title: Accounts payable

text: This remained the main way to exchange transactional data between trading partners for nearly 3 decades. The 1990s came with advances in internet technology. Companies began to appear offering more robust user interface web applications with functions that catered to both supplier and customer. These new web-based applications allowed for online submission of individual invoices as well as EDI file uploads. Along with other methods of file uploads including CSV and XML. These services allow suppliers to present invoices to their customers for matching and approval via a user-friendly web application. Suppliers can also see a history of all the invoices they submitted to their customer without having direct access to the customers' systems. This is because all the transactional information is stored in the data centers of the third-party company that provides the invoicing web app. This proprietary information can be regulated by the customer in order to control how much transactional information the vendor is allowed to see. (For example, payment dates, or check information).


title: Accounts payable

text: As companies advance into the digital era, more and more are switching to electronic invoicing services to automate their accounts payable departments. Some even believe it to be an industry standard in the near future. According to a report done by the GXS team in 2013, Europe is adopting government legislation encouraging businesses to adopt electronic invoicing practices. The United States has no such legislation yet but does recognize the value of this technology. The US Treasury estimated that implementing e-invoicing across the entire federal government would reduce cost by 50% and save $450 million annually.


title: Accounts payable

text: With the increasing availability of robotic solutions, businesses are driving process improvement in AP even further. By applying end-to-end robotic process automation or RPA to their accounts payable department, organizations can accelerate invoice processing speed and accuracy while improving operational costs. Some organizations report that by implementing RPA they have managed to almost eliminate human intervention from the AP process, thus saving 65% to 75% of the time that was previously had spent on manual processing.


title: Kaguya-sama: Love Is War (season 2)

text: The second season of "", titled Kaguya-sama: Love Is War?, is a 2020 Japanese anime series, based on the manga series of the same title, written and illustrated by Aka Akasaka. It was announced on October 19, 2019. The staff and cast returned to reprise their roles. The season premiered from April 11 to June 27, 2020 on the same Japanese stations as the first, though its world premiere took place prior to Japanese broadcast at Anime Festival Sydney on March 8, 2020. As theme music, the season uses Suzuki's "Daddy! Daddy! Do! feat. Airi Suzuki" as the opening theme while using Haruka Fukuhara's "Kaze ni Fukarete" (lit. "Blown by the Wind") as the ending theme.


title: Martin Jarvis (actor)

text: Martin Jarvis OBE (born 4 August 1941) is an English actor and a producer of radio drama. Described by the BBC as "one of Britain's most distinguished and versatile actors", he has had a varied career in theatre, film and television, and is particularly noted for radio acting and voicing audiobooks.


title: Martin Jarvis (actor)

text: Jarvis was born in Cheltenham, Gloucestershire, to Denys Harry Jarvis and Margot Lillian Scottney, and grew up in South Norwood and Sanderstead.


title: Martin Jarvis (actor)

text: He was educated at Whitgift School, an independent school in Croydon, and at the Royal Academy of Dramatic Art (RADA), where he won the Vanbrugh Award and the silver medal.


title: Martin Jarvis (actor)

text: Jarvis has acted in many stage productions in London and abroad, including alongside Diana Rigg and Natascha McElhone in Joanna Murray-Smith's "Honour" at London's Wyndham's Theatre in 2006. His other stage work includes "Woman in Mind" and "Henceforward..." by Alan Ayckbourn, "Other Places" by Harold Pinter, "Exchange" by Michael Frayn, and "The Importance of Being Earnest" by Oscar Wilde (opposite Judi Dench).


title: Martin Jarvis (actor)

text: Jarvis appeared on Broadway in 2001 as P. G. Wodehouse's character Jeeves in the musical "By Jeeves", a performance for which he was awarded a Theatre World Award.


title: Martin Jarvis (actor)

text: Jarvis has had a long association with the BBC, particularly BBC Radio 4. In the 1980s Michael Frayn's columns for "The Guardian" and "The Observer", described by some as models of the comic essay, were adapted and performed in many voices for BBC Radio 4 by Jarvis. He read a four part adaptation of John Gordon (author)'s The Giant Under the Snow in 1981. He performs regularly in radio dramas and readings, both comic and serious. In David Mamet's "Mind Your Pantheon" he played the actor Strabo. He is known for his long series of readings of Richmal Crompton's "Just William" stories, which show his characteristic and flexible reading voices. He has also narrated the Billy Bunter series by Frank Richards. As a result of this extensive work, Jarvis has been satirised in the radio show "Dead Ringers" by Mark Perry, highlighting his seeming ubiquity in Radio 4 programmes.


title: Martin Jarvis (actor)

text: Jarvis has performed the role of Jeeves in multiple radio dramas based on P. G. Wodehouse's Jeeves stories, including the 1997 L.A. Theatre Works adaptation of "The Code of the Woosters", the 2014 BBC radio adaptation of "Ring for Jeeves", and the 2018 BBC radio adaptation of "Stiff Upper Lip, Jeeves". He performs live dramatic readings of some of the stories in the intermittent radio series "Jeeves Live!" (2007–2020).


title: Martin Jarvis (actor)

text: In America, Jarvis and his wife Rosalind Ayres perform frequently in audio drama with the L.A. Theater Works and Hollywood Theater of the Ear.


title: Martin Jarvis (actor)

text: Jarvis's first television appearance was in the BBC science fiction series "Doctor Who" as Hilio, captain of the butterfly-like Menoptra, in "The Web Planet" (1965). He returned to "Doctor Who" as the scientist Dr. Butler in "Invasion of the Dinosaurs" (1974) and as the beleaguered governor of the planet Varos in "Vengeance on Varos" (1985). He became a familiar face on television when he played Jon in the BBC's landmark 1967 adaptation of "The Forsyte Saga", the title role in a BBC serial of "Nicholas Nickleby" (1968), "The Rivals of Sherlock Holmes" (1970) and Uriah Heep in the 1974 BBC version of "David Copperfield", and when he was the male lead in the sitcom "Rings on Their Fingers" (1978–80) with Diane Keen. In 1993, he starred with Ewan McGregor and Rachel Weisz in a BBC adaptation of "Scarlet and Black". He also appeared in the 2002 BBC children's miniseries "Bootleg".


title: Martin Jarvis (actor)

text: His appearances on American television include such series as "Murder, She Wrote", "Walker, Texas Ranger", and more recently "Stargate Atlantis" and "Numb3rs".


title: Martin Jarvis (actor)

text: He appeared in ITV 1's "The Bill" in July 2008. In March 2010, it was announced that he would appear in the BBC soap opera "EastEnders" playing journalist Harvey Freeman.


title: Martin Jarvis (actor)

text: Jarvis appeared in a 2014 episode of "" as Eric Chandler, a man arrested and charged with murder. In September 2022, Jarvis appeared alongside his wife in an episode of the BBC soap opera "Doctors" as John Chilton.


title: Martin Jarvis (actor)

text: Among his work, Jarvis did the voiceovers for the 2010 BBC series "Just William" and voices the animal characters, as well as Voltaire the wise Weather-Cock, in the 1994 children's television series "Fourways Farm". He has also voiced various characters in animated series such as "The Grim Adventures of Billy & Mandy" and "The Life and Times of Juniper Lee". In the former, he inherited the role of the character Nergal from his "Titanic" co-star David Warner. In 2000, Jarvis voiced John Dread in the TV series "Max Steel". He has also voiced all the characters in the children's stop-motion animated series "Huxley Pig" and narrated "The Tempest" in "".


title: Martin Jarvis (actor)

text: Jarvis has also undertaken audiobooks of P. G. Wodehouse's works, and won the Audie Award for these. He is the narrator of the 2011 audiobook of "The Selfish Giant" by Oscar Wilde. Further work in 2011 includes an audiobook of the Wilbur Smith novel "The Leopard Hunts in Darkness". He has also appeared in "Jubilee", a "Doctor Who" spin-off audio drama by Big Finish Productions, alongside his wife. In film, Jarvis appeared in Disney's 2012 film "Wreck-It Ralph" as Saitine, one of the video game villains who attends the Bad Anon self-help groups with Ralph (John C. Reilly).


title: Martin Jarvis (actor)

text: Jarvis has also performed voiceovers for video games, beginning in 2007 as the role of The Chronicler in the "Spyro the Dragon" video game series. He also provided the voice of Admiral Zaal'Koris vas Qwib Qwib in "Mass Effect 2" (2010) and "Mass Effect 3" (2012). Also in 2011, Jarvis also performed a voice-over part for the MMORPG "". Jarvis also voiced Alfred Pennyworth in the "" series of video games. He first voiced the character in the 2011 video game "" and would reprise for the 2013 video game "" and the 2014 DC Universe animated movie "", and the 2015 video game "".


title: Martin Jarvis (actor)

text: He read Charles Dickens' "A Tale of Two Cities" for the Chivers Audio Books production on cassette, later released on CD by Barnes & Noble Audio Classics.


title: Martin Jarvis (actor)

text: Jarvis married Rosalind Ayres on 23 November 1974 in Ealing; he has two sons by a previous marriage. He met Ayres when they played in "Hamlet" together; she played Ophelia. Together with his wife, Jarvis runs the radio production company "Jarvis & Ayres Productions", frequently used by BBC Radio 4.


title: Martin Jarvis (actor)

text: He was awarded the OBE in 2000. He has also published a book of memoirs titled "Acting Strangely: A Funny Kind of Life" ( hardback, paperback). Jarvis has homes in West Hollywood and London.


title: Almarai

text: Almarai Company () is a Saudi multinational dairy company which is listed on the Tadawul stock exchange. It specializes in food and beverage manufacturing and distribution. The company's main offices are located in Riyadh, Saudi Arabia.


title: Almarai

text: Almarai started its operations in 1977 by Irish brothers Alastair McGuckian and Paddy McGuckian and Prince Sultan bin Mohammed bin Saud Al Kabeer. During the early years of the company's history, there was little infrastructure for the production and sale of milk in the Kingdom of Saudi Arabia. Prince Sultan recognized that the area and the wider Middle East could benefit from higher quality milk production and logistics. Almarai then set up a number of facilities in regions across Saudi Arabia, which initially helped local farmers produce and distribute milk.


title: Almarai

text: During the early 1990s, Almarai entered a period of restructuring and reinvestment that took it from a decentralized to a centralized structure. Five decentralized processing plants were replaced with a central processing plant. Ten small dairy farms that were scattered across Saudi Arabia were replaced with four large dairy farms in Al Kharj in the central region.


title: Almarai

text: Savola owns a quarter of its shares and the rest has been on the market since 2006. In 2005, Almarai entered a new phase, transformed from a company with limited liability to a joint-stock company. The move was part of the company's IPO, as they floated 30% of the company shares on the Saudi Arabian stock market, the Tadawul. All shareholders, including The Savola Group, diluted their shares for the IPO to take place. However exact figures were never revealed how the 30% of shares were divided.


title: Almarai

text: In 2006, Almarai began to diversify its portfolio by pushing promotions on other dairy products and not just milk. It held a cheddar cheese product promotion throughout the Middle East to try and increase the number of households that bought the cheese on a regular basis. At the beginning of 2007, Almarai signed a memorandum of understanding with the authorized partners in Western Bakeries Company Limited, to acquire up to 100% ownership of these companies. And then raise the capital of the company to (1.090) million Saudi riyals. The current capital is SR 8 billion.


title: Almarai

text: In 2009, Almarai and PepsiCo announced that they would be forming a joint venture, International Dairy and Juice Limited, known as IDJ. They then announced that they would be acquiring Egypt's International Company for Agro-Industrial Projects (Beyti). The company specializes in dairy and juice products, including plain and flavored ultra-high-temperature (UHT) milk, flavored yogurt, cheese and a variety of juices. The brand name was known throughout Egypt and continued to operate under its name as a subsidiary of the IDJ joint venture. During that year, Almarai also moved into the poultry market. This was following the acquisition of Hail Agricultural Development Co. The lucrative poultry business was purchased for $253.2 million in cash and stock to complete the takeover.


title: Almarai

text: As part of the PepsiCo partnership, Almarai also moved into the Jordanian drinks market. IDJ acquired a 75% stake in Teeba, a leading Jordanian dairy producer. This helped strengthen Almarai's presence in the country's dairy market, but also Pepsi used the acquisition to launch Tropicana orange juice drinks into the Jordanian market.


title: Almarai

text: The expansion and growth of the dairy producer continued into 2010, when it was announced they planned on expanding its operations into Pakistan. The likelihood was that Almarai would invest in the country's dairy market through acquisition.


title: Almarai

text: Almarai announced in 2011 that they would be investing heavily in Saudi Arabia to increase dairy production in the country. Arab News reported that they would be creating an additional 12,000 jobs in the country over the next five years. The joint venture with Pepsi continued to grow, when Reuters announced that both companies would invest a total of $345 million in Egypt's agriculture industry. It was seen as a positive move in the country, following 3 years of economic turmoil following the 2011 revolution in the country. During the same year, they also made an announcement that they would be acquiring a large farming company, based in Argentina.


title: Almarai

text: Between 2006 and 2016, the company grew rapidly. It was announced that their total staffing numbers had reached 38,000, which means the company created over thirty thousand jobs in a decade. Later in 2016, Almarai announced that it would be acquiring land in the United States to expand its farming operations. The land would be purchased in a number of locations, predominantly in California, USA. In total they acquired around 14,000 acres. In 2017, it was announced that Savola would reduce its stake in Almarai by 2 percent.


title: Almarai

text: The Kingdom's sovereign wealth fund announced in late 2017, that they would be acquiring a large share in Almarai, increasing their share to 16.32 percent. Bloomberg valued their investment at $2.4 billion. It was said to be a move by the Saudi Arabian wealth fund to diversify its portfolio away from oil investments. The move proved to be positive with investors, as the shares rose 4 percent following the announcement.


title: Almarai

text: In 2018, it was announced that Almarai was the most popular brand in the Kingdom of Saudi Arabia for the third year in a row. This was according to a poll carried out by the British market research company, YouGov. Later that year, it was announced that Almarai announced plans to invest $2.8 billion in Middle Eastern production facilities. Between 2019 and 2023, Almarai was said to be focusing on the production facilities at farms in the region, but also its distribution and transportation in the region, so it would be easier to expand geographically throughout the Middle East.


title: Almarai

text: Almarai was the first dairy farm in Saudi Arabia to be accredited with ISO 22000. Almarai also received the ISO 9001-2000, across all its operating divisions, (farming, procurement, processing, technical research and development, distribution and supply chain.


title: Almarai

text: In June 2012, Almarai invited a number of representatives from both the International press and also financial leaders to visit their main facility in Saudi Arabia, located in Al Kharj. The facility is around 60 miles from the Saudi capital of Riyadh.


title: Almarai

text: The Al Kharj facility includes dairy and juice processing operations, along with a bakery facility. It also has the region's first infant nutrition factory. CNN reported on the innovative technology used at the Al Kharj facility, with each cow needing an estimated 3 litres of water each day in the middle of the Saudi Arabian desert, the company uses a method known as the Californian model to run huge dairy productions in some of the driest regions across the globe. The facility can automate temperatures from above 50C degrees down to 21C-23C all year round. The milk it produces serves over 55,000 stores in the Persian Gulf region. In 2017, Almarai added a it second production facility in Al Kharj, known as CPP3. It is home to a bakery, infant nutrition plant, central processing plant, and a logistics warehouse.


title: Kay Hanley

text: Kay Hanley is an American singer and songwriter. She is best known as the vocalist for the alternative rock band Letters to Cleo.


title: Kay Hanley

text: Hanley grew up in Dorchester, Massachusetts across the street from the Wahlberg family. She attended school at St. Gregory's and Latin Academy. She has been lead singer/songwriter for rock band Letters To Cleo since 1990. The band name was inspired by Hanley's childhood penpal.


title: Kay Hanley

text: In 1994, she co-starred alongside Gary Cherone in Boston Rock Opera's performance of "Jesus Christ Superstar" as Mary Magdalene.


title: Kay Hanley

text: In 1999, Hanley appeared as herself in the film "10 Things I Hate About You", singing a cover version of Nick Lowe's "Cruel to Be Kind" to Heath Ledger and Julia Stiles at their characters' high school prom, in addition to performing original song "Come On" with Letters to Cleo during an earlier scene at a club. Towards the end of the 90s she began performing with her then-husband and fellow Letters To Cleo member Michael Eisenstein outside of the band. Around the same time, she gave birth to their daughter, Zoe Mabel.


title: Kay Hanley

text: In 1999 Hanley began a shift in her music career. She wrote and performed songs for the Kids' WB cartoon series "Generation O!" along with the rest of Letters to Cleo and provided the singing voice for Rachael Leigh Cook's character Josie in the movie "Josie and the Pussycats". In 2002, she released her first solo album, "Cherry Marmalade". That same year, she appeared on the Dropkick Murphys/Face to Face split CD, providing guest vocals on the original version of the Dropkick Murphys song "The Dirty Glass".


title: Kay Hanley

text: In 2003, Hanley was approached by Jun Senoue from Sega to co-write and perform on an original song for their upcoming entry in the Sonic the Hedgehog series, entitled "Sonic Heroes". The result was the song "Follow Me."


title: Kay Hanley

text: In 2004, Hanley released a follow up to Cherry Marmalade, "The Babydoll EP". That same year, she and her then-husband Michael Eisenstein had their second child, Henry Aaron, the name given in honor of baseball player Hank Aaron and their love for baseball.


title: Kay Hanley

text: In August 2005, Hanley recorded a cover of Iggy Pop's "Lust for Life" for the soundtrack of the Reese Witherspoon film "Just Like Heaven". In September 2005, she appeared on "The Tonight Show with Jay Leno" as part of a pre-taped man-on-the-street segment, singing a song about falling in love at Starbucks.


title: Kay Hanley

text: Hanley is popular with fans of the New England Patriots thanks to the team at one point going after she sang the pre-game National Anthem at Gillette Stadium. The streak came to an end when the Patriots lost on January 10, 2010, to the Baltimore Ravens. Hanley is also very involved with the Boston-based charity "Hot Stove, Cool Music," both as performer and spokesperson for the semi-annual event.


title: Kay Hanley

text: She sang the theme song for "My Friends Tigger & Pooh", a half-hour Disney Channel TV show that premiered on Playhouse Disney on May 12, 2007, and "We Are Care Bears" from "" and "Care Bears to the Rescue".


title: Kay Hanley

text: Hanley and longtime writing partner Michelle Lewis currently compose all-original songs for animated television shows such as the hit Disney series "Doc McStuffins".,


title: Kay Hanley

text: Cartoon Network/WB's "DC Super Hero Girls", and "Harvey Girls Forever" and "Ada Twist, Scientist" on Netflix.


title: Kay Hanley

text: She is co-executive director of Songwriters of North America, an LA-based non-profit which advocates for fair pay and other rights for songwriters. Due to her work with SONA in getting the Music Modernization Act passed into law in October 2018, Hanley was elected Vice Chair of the Mechanical Licensing Collective's Unclaimed Royalties Oversight Committee in August 2019


title: Kay Hanley

text: On Thanksgiving Day 2007, Hanley sang a song called "Caring Changes The World" in the Macy's Thanksgiving Day Parade on the Care Bears float.


title: Kay Hanley

text: In 2007–08, Hanley toured as a back-up singer with Miley Cyrus for Hannah Montana concerts and events.


title: Kay Hanley

text: In 2014, Kay Hanley appeared in the "Parks and Recreation" season 6 finale, performing her song "Here & Now" at the Pawnee-Eagleton Unity Concert. The character of Ben Wyatt, played by Adam Scott, is seen offstage in his Letters to Cleo t-shirt, blissfully watching the band as Hanley winks at him. Hanley is seen later in the episode entering Tom Haverford's new restaurant, "Tom's Bistro".


title: Kay Hanley

text: In 2020, at the height of the COVID-19 pandemic, she appeared as lead vocalist in a "distanced" music video, a cover of Donnie Iris's "Ah! Leah!"


title: Kay Hanley

text: The title of this section indicates projects that both Hanley and Eisenstein have taken an active interest in developing, in terms of playing multiple roles, including production as well as composition and/or instrumentation.


title: Haystacks Calhoun

text: William Dee Calhoun (August 3, 1934 – December 7, 1989) was an American professional wrestler, who used the professional name "Haystack" or "Haystacks" Calhoun.


title: Haystacks Calhoun

text: Born on August 3, 1934, William Dee Calhoun grew up on a farm in McKinney, Texas; a rural suburb located in Collin County about north of Dallas. By age 14, he already weighed , as he routinely ate a dozen eggs for breakfast. By the time he was in his early 20s, Calhoun weighed over . Legend has it that Calhoun was discovered by a traveling wrestling promoter that saw him pick up and move cows across a field. Calhoun first broke into wrestling in 1955 and he began competing for local promoter Orville Brown.


title: Haystacks Calhoun

text: Initially performing under the name "Country Boy Calhoun", he performed in various regional territories, including Houston, Kansas City, and Canada. However, he first appeared nationally on Art Linkletter's "House Party", a televised variety show where Calhoun tossed full bales of hay into a high loft. As a result of this feat, he adopted the name "Haystacks Calhoun." Recognizing the show business potential of such a gimmick, Calhoun decided to exaggerate his hillbilly persona by adopting the fictional birthplace of Morgan's Corner, Arkansas, while sporting a bushy beard, white t-shirt, blue overalls, and a genuine horseshoe around his neck on a chain. Moreover, while promoters typically did not book him for championships, he seldom lost a match. He was often booked in handicap matches and battle royals. He was matched up against fellow wrestling giant Happy Humphrey (who was billed as the heaviest wrestler in the world) in a series of highly promoted altercations at Madison Square Garden during the early 1960s. At over 750 lbs (340 kg), Humphrey outweighed Calhoun by over and was considerably slower than Calhoun. Calhoun took the majority of the decisions over Humphrey, many by count out as Humphrey often could not get himself back into the ring by the count of 20 when thrown out. Calhoun stated: "He had very poor balance, was easy to get around and easy to handle. I slammed him easier than the average-size fellow. When I learned he was up to 800 pounds I warned him that it wasn't healthy."


title: Haystacks Calhoun

text: On April 14, 1961, in the Chicago International Amphitheater, he challenged Capitol Wrestling NWA United States heavyweight champion "Nature Boy" Buddy Rogers in a second attempt to take the U.S. title. This bout ended in failure when Rogers dropkicked Calhoun to the ropes and the middle rope broke and Calhoun tumbled to the concrete floor and was counted out. Calhoun had also lost his first championship bout with Rogers in New York's Sunnyside Garden Arena on January 28, 1961. Although mainly active in the eastern half of the United States, he also wrestled in Australia, on tour with other American wrestlers in bouts promoted by United States promoter Sam Menacker. He also wrestled for in Vancouver, where he twice won the NWA Canadian Tag Team Championship with Don Leo Jonathan. He formed a tag team with the over Mountain Man Mike on the West Coast. Their combined weight was over in the ring. After engaging in a feud against Dick the Bruiser, Calhoun then generally traveled from territory to territory, never staying in one region for too long.


title: Haystacks Calhoun

text: In 1966 he won both the NWA Tri-State Tag Team Championship and the NWA Canadian Tag Team Championship while teaming with a young Jack Brisco and Don Leo Jonathan, respectively. Moreover, he then helped attract fans to the fledgling Northeast promotion World Wide Wrestling Federation (WWWF). On May 30, 1973, Calhoun paired with Tony Garea to defeat the Japanese duo of Mr. Fuji and Prof. Toru Tanaka for the WWF Tag Team Title; six months later they dropped the titles back to Fuji and Tanaka. He continued working for WWWF until 1979. Calhoun as well continued working in various territories until retiring from wrestling in 1980.


title: Haystacks Calhoun

text: Calhoun's weight and declining health eventually forced him into retirement, and he was ultimately confined to a double-wide trailer after losing his left leg to diabetes in 1986. He died at age 55 on December 7, 1989. He is buried in Scott Cemetery in Collin County, Texas. His daughter donated mementos of his wrestling career to the Collin County museum.


title: Haystacks Calhoun

text: Calhoun was more directly an influence on British super heavyweight wrestler Martin Ruane, best known in America for his stint as Loch Ness in World Championship Wrestling. Ruane achieved fame in his home country as "Giant Haystacks", a modified version of Calhoun's gimmick. Ruane first wrestled as "Haystacks Calhoun", a direct copy of the American original, while working for Wrestling Enterprises (of Birkenhead) in the early 1970s, before modifying his name and character. Thus adapted, Ruane later moved to Joint Promotions where he achieved television exposure and national fame as the tag team partner - and later arch enemy - of Big Daddy.


title: Haystacks Calhoun

text: Calhoun often appeared at Capital Arena in Washington, D.C., scuffling on televised bouts. A. J. Weberman was head of Haystacks Calhoun fan club.


title: Haystacks Calhoun

text: In 2003 WWE listed him as one of the 50 greatest WWE superstars of all time. On March 31, 2017, Calhoun was posthumously inducted into the WWE Hall of Fame as a part of the Legacy Wing.


title: Haystacks Calhoun

text: Calhoun appears briefly at the end of the 1962 theatrical motion picture version of Rod Serling's teleplay "Requiem For A Heavyweight". The protagonist, played by Anthony Quinn, is a punch-drunk prize fighter slipping into oblivion but his manager, played by Jackie Gleason, finds a way to squeeze a few more bucks from his career by lining him up for a "professional wrestling" match. The opponent's name is stated on a poster for the event, and announced as Quinn's character approaches the ring, but only the upper fourth of the wrestler's torso is seen, from the rear, on screen. He scratches his head in response to the behavior of this unknown newcomer. The film's credits make no reference, however, to Calhoun's participation. He was known for his frequent appearances on television including Groucho Marx' show "You Bet Your Life" and talk shows hosted by Jack Paar and Merv Griffin. Calhoun showed off his strength when he appeared on Art Linkletter's program "House Party", where he tossed bales of hay with ease.


title: Haystacks Calhoun

text: On April 26th, 2022, Haystacks Calhoun was depicted on NBC’s Young Rock in season 2 episode 7, “An Understanding.” Calhoun was portrayed by Steve Moulton in this episode which told the story of how Dwayne Johnson’s parents met and fell in love.


title: Blond Ambition World Tour

text: The Blond Ambition World Tour (billed as Blond Ambition World Tour 90) was the third concert tour by American singer Madonna. It supported her fourth studio album "Like a Prayer" (1989), and the soundtrack album to the 1990 film "Dick Tracy", "I'm Breathless". The 57-show tour began on April 13, 1990, in Chiba, Japan, and concluded on August 5, 1990, in Nice, France. Additionally, it marked Madonna's first concerts in Sweden and Spain. Originally planned as the Like a Prayer World Tour, it was supposed to be sponsored by soft drink manufacturer Pepsi. However, the company canceled the contract following the controversy surrounding the music video of "Like a Prayer".


title: Blond Ambition World Tour

text: The concert was divided into five thematic segments: "Metropolis", inspired by the 1927 German Expressionist film of the same name and the "Express Yourself" music video; "Religious", by Catholic themes; "Dick Tracy", by the film of the same name and cabaret; "Art Deco", inspired by early Hollywood films and featuring paintings by Polish artist Tamara de Lempicka; and finally, an encore. The art direction was by Madonna's brother Christopher Ciccone, while the costumes were created by French fashion designer Jean-Paul Gaultier. The tour garnered positive reviews from contemporary critics and was a commercial success. It received the "Most Creative Stage Production" award at the Pollstar Concert Industry Awards and grossed over US$62.7 million ($ million in dollars). Madonna was named the second most successful solo touring act at the time, behind Michael Jackson.


title: Blond Ambition World Tour

text: The tour generated controversy due to its use of Catholic imagery and sexual content. Pope John Paul II urged the general public and the Christian community not to attend the tour, calling it "one of the most satanic shows in the history of humanity". The protests resulted the cancelation of one Italian show. In Toronto, the police threatened to arrest Madonna over the performance of "Like a Virgin", which featured her simulating masturbation. Nevertheless, Madonna continued the show unaltered.


title: Blond Ambition World Tour

text: A number of concerts were recorded and broadcast, including the tour's final show in Nice, which aired as a special on HBO; afterwards it was released exclusively on LaserDisc under the title "Blond Ambition World Tour Live". Directed by Alek Keshishian, "" (1991) was a documentary film chronicling the tour. Blond Ambition has been noted by critics and authors for its theatricality and fashion, which have left its mark on the work of subsequent pop acts. In 2017, "Rolling Stone" magazine included the tour on a list of the greatest tours of the past 50 years.


title: Blond Ambition World Tour

text: In January 1989, Pepsi-Cola announced that they had signed a US$5 million deal with Madonna to feature her and her then upcoming single "Like a Prayer" in a television commercial. The deal also included Pepsi sponsorship of Madonna's next concert tour, announced at the time as the Like a Prayer World Tour. Madonna wanted to use the commercial to launch the song globally before its actual release — the first time this had been done in the music industry. Pepsi also benefited from having their product associated with Madonna. Titled "Make a Wish", the commercial had its premiere during the global telecast of the 31st Grammy Awards on February 22, 1989, with an estimated 250 million people around the world viewing it. The following day, Madonna released the music video for "Like a Prayer" on MTV. Featuring a church and Catholic images such as stigmata, Ku Klux Klan-style cross burning and the singer kissing a black saint. Religious groups worldwide, including the Holy See, immediately protested against, what they saw as, blasphemous use of Christian imagery and called for a boycott of Pepsi and PepsiCo's subsidiaries. As a result, Pepsi withdrew the commercial and canceled Madonna's sponsorship contract.


title: Blond Ambition World Tour

text: Sire Records officially announced the Blond Ambition World Tour on November 16, 1989; Madonna's performance of the single "Express Yourself" at the MTV Video Music Awards was deemed a "preview". She described the tour as "much more theatrical than anything I've ever done [...] I know that I'm not the best singer and I know that I'm not the best dancer. But, I can fucking push people's buttons and be as provocative as I want. This tour's goal is to break useless taboos". The tour promoted Madonna's fourth album "Like a Prayer" and the "Dick Tracy" soundtrack "I'm Breathless".


title: Blond Ambition World Tour

text: According to author J. Randy Taraborrelli, Madonna had "complete control over virtually every aspect of the tour". The singer's brother Christopher Ciccone was selected as the tour's art director. He wrote in his autobiography "Life with My Sister Madonna" that she called him and said, "I'm going on tour, and of course I want you to dress me, but you think you ought to design the stage and art-direct the show as well". The tour's troupe was made up of seven dancers, two backup singers and eight musicians. Vincent Paterson, who had worked with the singer on the Pepsi commercial and the "Express Yourself" music video, was appointed co-director and choreographer. Auditions for dancers took place in New York and Los Angeles. An advertisement was put on "Daily Variety" magazine by choreographer Karole Armitage, it read: "Open auditions for fierce male dancers who know the meaning of troop style, beat boy and vogue. Wimps and Wanna-Bes need not apply!". Luis Camacho and Jose Gutierez Xtravaganza, who had previously worked with Madonna on the video for her single "Vogue", were the first to be selected. After sending a video tape to the singer, Madonna invited the pair to the Tracks nightclub for an informal audition. After his audition, dancer Carlton Wilborn was also asked by Madonna to meet her at a nightclub. He pointed out that she was "looking for very confident people – the best of the best – so I was acutely aware of how I was presenting myself. When I made the cut, I knew it was a huge opportunity"; he described the rehearsals as being "like boot camp". The rest of the dancers selected were Oliver Crumes, Kevin Stea, Gabriel Trupin and Salim Gauwloos. Paterson stated that "instead of just presenting songs, Madonna and I wanted to combine fashion, Broadway, rock and performance arts".


title: Blond Ambition World Tour

text: To allow greater movement while dancing and singing, she used a hands-free radio-frequency headset microphones, with the headset fastened over the ears or the top of the head, and the microphone capsule on a boom arm that extended to the mouth. Because of her prominent usage, the microphone design came to be known as the "Madonna mic". Other personnel included Jai Winding as the music director, John Draper as the tour's manager and Chris Lamb as the production manager. Rehearsals took place at the Walt Disney Studios in Burbank, California.


title: Blond Ambition World Tour

text: For the wardrobe, the singer contacted French designer Jean Paul Gaultier; she was attracted to the designer's "irreverence and humor" and sent him a handwritten letter asking him to design the tour's costumes. Gaultier happily accepted. He was already an admirer of Madonna and expressed admiration for the fact that "when she was not so famous, she made her clothes herself [...] the visible bra, the transparencies, the crucifixes as jewelry". Madonna and Gaultier took three months to finalize the details of the costumes; they first met at New York City's Carlyle Hotel, with additional meetings taking place in Paris' Bofinger restaurant, Balajo Club, Zoopsie nightclub and Théâtre Equestre Zingaro. Gaultier remembers this period as one of intense stress, claiming to have gotten through "350 aspirins and 1,500 sketches" before the singer approved of his designs. Tour backup singer and dancer Niki Haris later recalled that "with Madonna, it always comes down to clothes and shoes". The result were two corsets with conical-shaped cups, one was peach-colored and the other solid gold. Gaultier explained that the idea first came when, as a child, his grandmother took him to an exhibit where "they had a corset on display. I loved the flesh color, the salmon satin, the lace. The gold conical bra was just an extension of that idea". Other costumes created included a pin-striped suit, a green and white striped vaudeville-style corset, a black mini-dress trimmed and stitched with a stuffed West African stork called the marabou, a black clergyman's robe with a neon crucifix and a cage vest. To avoid any incidents, every piece was double sewn with elastic threads. For the Asian and North American legs of the tour, the singer wore a synthetic ponytail clip on extension, which was replaced by a curly hairstyle on the European leg.


title: Blond Ambition World Tour

text: Construction for the stage cost approximately US$2 million. The stage was 80 x 70 feet long and needed over a hundred crew members to mount it and 18 trucks to haul it around. The centerpiece was a huge hydraulic platform, in which Madonna ascended at the beginning of each concert. The show was split into different thematic sections, each one with its own specific settings, divided by a curtain going up and down. To come up with the designs of each section, Madonna and her brother studied fashion and architecture from the 1920s, 30s and 40s. It was the singer's idea to incorporate the movie "Dick Tracy" onto the tour; "it's a great opportunity for me [...] Most people don't associate me with movies. But I know I have a much bigger following than Warren does and a lot of my audience isn't even aware of who he is", she recalled. The first section, which was inspired by "Metropolis" and the "Express Yourself" music video, featured several funnels billowing smoke, steel piping, cables hanging above and a flight of stairs in the middle. At the end of this section ends, the curtain drops to the floor and gives way to the second one, where the stage became a boudoir and featured the singer on a red velvet bed. The third section, which was church-themed, had a large arc of Corinthian columns and votive candles. Halfway through one of the performances, a large scrim depicting a stained glass window was lowered from the ceiling. The fourth act, which featured scenic elements inspired by Art Deco skyscrapers, had a grand semicircular double staircase in the middle and backdrops that were cutout reproductions of Tamara de Lempicka's paintings. Props included a grand piano and a huge cross lit with purple and orange lights. Belgian electronic music band Technotronic was signed as the opening act.


title: Blond Ambition World Tour

text: The show was separated into five different sections: "Metropolis", "Religious", "Dick Tracy", "Art Deco" and an encore. It began with "Express Yourself", and included a lyrical sample from "Everybody" (1982) during the introduction. Seven bare-chested male dancers appeared from behind a steel structure and did a choreographed routine on the stage; towards the end Madonna appeared on a rising platform atop a flight of stairs. She was dressed in a pin-striped suit with holes cut in it, so that her brassiere poked out of them. Underneath she wore the Gaultier conical corset. Accompanied by Niki Haris and Donna De Lory, her two backup singers and dancers, Madonna did a straightforward vocal rendition of the track, and an elaborate choreography, which included voguing, humping and simulated masturbation. The next number, "Open Your Heart", featured Madonna performing a choreographed routine with a chair while a muscular dancer watched her from afar. For "Causing a Commotion" the singer wore a colorful cycling jacket and wrestled Haris and De Lory. The final song of the act was "Where's the Party". Three male dancers did an elaborate choreography while Madonna left the stage for a costume change.


title: Blond Ambition World Tour

text: The "Religious" section began with a slow and sultry sitar-based version of "Like a Virgin". Madonna was decked out in the gold Gaultier corset and simulated masturbating on top of a red velvet bed. She was flanked by two male dancers wearing tights and gold pointy bras. For "Like a Prayer", Madonna wore a black robe and knelt down in the middle of the stage, which was surrounded by votive candles, while her dancers, who were dressed like priests and nuns, gyrated around her and uttered the phrase "Oh my God" several times. Next, she performed "Live to Tell" on a prie-dieu. Halfway through the song, she started singing "Oh Father" while Carlton Wilborn in a black frock played the role of a priest. An energetic performance of "Papa Don't Preach" closed this section. "Sooner or Later" opened the "Dick Tracy" act. Madonna sat atop a grand piano and wore a cabaret-themed corset under a long black robe. For the energetic "Hanky Panky", she was joined by Haris, De Lory and a dancer dressed as Dick Tracy. At the end of the performance, she would tell the audience: "You all know the pleasures of a good spanking, don't you? [...] When I hurt people, I feel better, you know what I mean?". "Now I'm Following You" closed the act; Madonna danced with the Dick Tracy dancer to a pre-recorded version of the song, while six other dancers in yellow trenchcoats did a kick line.


title: Blond Ambition World Tour

text: The "Art Deco" act began with "Material Girl"; performed in a strong midwestern accent, Madonna, Haris and De Lory sat beneath beauty parlor hair dryers and wore fluffy pink dresses with dollar signs underneath bathrobes. Towards the end of the performance, they would take fake dollar bills from inside their bosoms and throw them to the crowd. The next song performed was "Cherish". It featured Madonna playing the harp and her male dancers dressed up as mermen. Madonna ended the section with "Into the Groove", performed with leather-clad dancers, and "Vogue". The latter featuring various cutouts of Tamara de Lempicka's paintings as backdrops, with the singer and the dancers wearing black spandex and doing the original choreography from the music video. The first encore, "Holiday", had Madonna dressed in a polka-dotted blouse with matching flounces at the bottom of white trousers. The tour's final performance was "Keep it Together"; it featured lyrical samples of Sly and the Family Stones "Family Affair" (1971). It started with dancers appearing on the stage, with chairs on their back. Madonna came on dressed in an all-black ensemble involving a cage vest, skintight shorts, knee-pads and bowler hat. She started singing "Family Affair", then midway through the song switched back to "Keep It Together". During the mid-section of the song, her and the dancers performed a choreography with the chairs. At the end, all the musicians, dancers and collaborators came to say goodbye to Madonna and disappeared into a hole on the stage. The singer was left alone to finish with a repeat of her line "Keep people together forever and ever".


title: Blond Ambition World Tour

text: The tour received generally positive reviews from critics. In his book "", J. Randy Taraborrelli wrote that "brazenly sexual dance numbers and religious imagery commingled in a fast-paced, tightly choreographed unforgettable extravaganza". Similar thoughts were shared by "Rolling Stone"s Barry Waters. The "Los Angeles Times" said it highlighted "just how deep Madonna's repertoire has become over the years". From the same publication, Robert Hilburn opined that "Madonna's Blond Ambition show comes equipped with enough high-concept, Broadway-like choreography and stage design to satisfy the most demanding stargazer in a crowd equally populated by style-conscious wanna-be's and simply curious mainstream fans". "The Pittsburgh Press"s Ron Miller called it "big, glitzy and full of elaborate production numbers and costume changes". Also from "The Pittsburgh Press", David Hinckley compared it to a "flashy, high-energy Broadway production". In his review of the show on May 7, 1990 at Dallas' Reunion Arena, Tom Maurstad felt that "it wasn't so much a concert as it was a musical extravaganza, with each song functioning more as its own production"; however, he criticized the singer for mixing up Dallas with Houston when addressing the crowd. Peter Buckley, author of "The Rough Guide to Rock", praised the production and said it was "an imaginative take of the staging of a stadium gig". Montgomery Brower and Todd Gold, from "People", called it a "105-minute hullabaloo amazing for its breadth of controversy". For "Gay Times" magazine's Scott Anderson, "despite all that's happening on the stage it still felt like a concert, and despite the precession of the choreography, it had a certain rawness to it, it felt playful and spontaneous". Richard Harrington from "The Washington Post", hailed the tour as "a roadshow version of the videos that have made her one of the world's biggest stars".


title: Blond Ambition World Tour

text: "Newsday"s Frank DeCaro noted that "in just over an hour and a half, [Madonna] juggles as many looks as she does a month's worth of international magazine covers", concluding that "Blond Ambition is a night at the Roxy, the Pyramid and Studio 54 in its heyday, all rolled into one". From the same publication, John LeLand said that "the advance word was that it was shocking and outrageous [...] But what brought most of the crowd together at Nassau Coliseum Monday night, was that we weren't shocked. Amused, tickled, stimulated or diverted, maybe, but not shocked or outraged". Sujata Massey from "The Baltimore Sun" highlighted the "passionate" performances, Madonna's outfits and the "sexy" chatter. Greg Kot from the "Chicago Tribune" felt that "though the music certainly offered a few shake-your-booty thrills, it was Madonna the performer, dancer, rogue philosopher and smart-mouthed comic who made the evening memorable". He praised the singer's stage presence and pointed out the performance of "Like a Virgin" for being "both seductive and hilarious". Kot concluded his review: "nothing about this production was second-rate. Each of the evening's 18 songs was expertly choreographed, and the lighting, staging and costuming were often spectacular". Writing for "Maclean's", Brian D. Johnson expressed that "[Madonna] performs with the ruthless, aerobic efficiency of a circus girl. As a singer, she has limited range. But she knows how to seduce a pop song [...] as she whips through her circus repertoire of poses, the show unfolds like a kaleidoscope of sexual decadence".


title: Blond Ambition World Tour

text: In a mixed review, Jon Pareles from "The New York Times" wrote that "Madonna might be testing taboos, but she's hardly breaking new ground in rock theatrics", also criticizing the use of lip sync; "she would clearly rather lip-sync than risk a wrong note. It makes the concert airless and off-putting". Three years later, the same author said that "with Blond Ambition she was pop's least flirtatious sex symbol", and deemed it "proudly uningratiating". In his review of the show in Gothenburg, Luis Hidalgo from "El País" said that "the big question is knowing if Madonna sings live or not completely [...] The non-existence of natural gasping and agitated breaths reinforces this hypothesis, strongly denied by the organization". Author Lucy O'Brien was critical of the "Dick Tracy" act, calling it "the least dynamic part of the show". Blond Ambition won the award for Most Creative Stage Production at the 1990 Pollstar Concert Industry Awards, and was also nominated in the Major Tour of the Year category.


title: Blond Ambition World Tour

text: The tour was attended by 800,000 people around the world, with initial reports of a US$19 million gross. The first three concerts at Japan's Chiba Marine Stadium were attended by 35,000 people each, grossing US$4.5 million. All her Japanese concerts had sold out within days of the tickets going on sale, earning the star US$37 million just from the Japanese leg of her tour. In North America, 482,832 tickets were sold in the first two hours during the pre-sale, grossing US$14 million. The first four dates alone were reported to have grossed almost US$1.5 million. In Los Angeles, the tour set a record at the Memorial Sports Arena; tickets for the first three concerts were sold out in 45 minutes, and grossed US$456,720 dollars, becoming the highest grossing musical event of all time in the history of the arena. The proceeds of the last American date in New Jersey, over US$300,000, were donated to the nonprofit organization amfAR; the show was dedicated to Madonna's friend Keith Haring who died of AIDS.


title: Blond Ambition World Tour

text: The tour proved to be successful in Europe as well. The single concert in Rome was attended by 30,000 people. In Spain, tickets went on sale on 11 June 1990; prices ranged from 1,200 to 4,000 pesetas. The single concert at Madrid's Vicente Calderón Stadium attracted 50,000 fans, while in Vigo only 23,000 of the 40,000 tickets were sold. The single concert at Gothenburg's Eriksberg Docks attracted 55,000 people, one of the biggest crowds for a concert in Gothenburg at the time. Upon completion, the tour was reported to have grossed a total of US$62.7 million ($ million in dollars) from 57 concerts. "Billboard" reported that a percentage of ticket proceeds would be donated to the charity organization Cities In Schools, a high school drop-out prevention program. Madonna was named the second most successful solo touring act of the time, behind only Michael Jackson.


title: Blond Ambition World Tour

text: The tour was subject to controversy due to its sexual and Catholic imagery. In Italy, a private association of Roman Catholics called for a boycott of the shows in Rome and Turin; Pope John Paul II urged the general public and the Christian community not to attend the concert, calling it "one of the most satanic shows in the history of humanity". The Vatican's newspaper "L'Osservatore Romano" deemed it "sinful, blasphemous" and "a complete disgrace", while the "Famiglia Domani", a private association of conservative Catholics, criticized its eroticism and called it "shameful". Madonna held a press conference in Rome's Leonardo da Vinci–Fiumicino Airport defending herself and the tour: "I am Italian American and proud of it... The tour in no way hurts anybody's sentiments. It's for open minds and gets them to see sexuality in a different way. Their own and others [...] Like theater, [Blond Ambition] asks questions, provokes thought and takes you on an emotional journey, portraying good and bad, light and dark, joy and sorrow, redemption and salvation". Nonetheless, the protests had effect and a planned second show in the city's Stadio Flaminio was canceled due to low ticket sales and a threatened general strike by labor unions. Roman newspaper "Il Messaggero" dismissed the controversy with a lukewarm review; "A lot of noise over nothing", read the headline.


title: Blond Ambition World Tour

text: In Toronto, the tour's explicit overtone also caused problems. During the first show at the city's SkyDome on May 27, the crew received a visit from the local police who threatened to arrest the singer for "lewd and indecent display", specifically the masturbation scene during the performance of "Like a Virgin". However, according to "Rolling Stone", no charges were made after the tour's manager gave the police an ultimatum: "Cancel the show, and you'll have to tell 30,000 people why." The show was unaltered and Madonna began the concert by asking the crowd "do you believe in artistic expression and freedom of speech?", and later issued a statement saying she was willing to be arrested to protect her freedom to "express myself as an artist". Frank Bergen, a Toronto police officer at the time, recalled that the claims were led by a retired police officer and a crown attorney with a "strong position" against Madonna and the tour. He also said despite the police being depicted as "real knobs" on the "" documentary, he felt they weren't acting that way. Kevin Stea, one of the dancers, said the troupe was willing to be arrested over the performance, calling it "the most powerful moment I ever felt with Madonna. As a team we were all together".


title: Blond Ambition World Tour

text: The last concert in Nice, France, was recorded and broadcast on HBO as "Live! Madonna: Blond Ambition World Tour 90". The rights to the special were bought by HBO for US$1 million, and was advertised as "America's No.1 female pop star in a live-by-satellite performance of one of the summer's biggest pop music events". According to the "Chicago Tribune", it was not a pay-per-view special as the channel wanted to distinguish itself from its pay-TV rival, Showtime. The transmission gave HBO a record for the highest ratings ever for an original program at the time; around 4.5 million people tuned in. It was considered too racy for television, and during the concert Madonna told the cameras: "You know what I have to say to America? Get a fucking sense of humor, okay?". Soon after, the concert was released exclusively on LaserDisc, entitled "Blond Ambition World Tour Live"; it earned Madonna her very first Grammy win for Best Long Form Music Video. One of the Yokohama dates was also recorded and released exclusively in Japan under the title "Blond Ambition – Japan Tour 90". In addition to these releases, Spanish broadcaster TVE recorded the concert in Barcelona and aired it in 30 countries. "L’Osservatore Romano" felt the broadcast was a violation of "good sense, good taste and decency". In England, BBC Radio 1 broadcast the full show from Wembley Stadium, which led to controversy over the profanity Madonna used live on air.


title: Blond Ambition World Tour

text: The documentary film which chronicled the tour, "Madonna: Truth or Dare" (known as "In Bed with Madonna" outside of North America), was directed by Alek Keshishian and released in theaters on May 10, 1991, grossing over US$15 million. The singer approached Keshishian about doing an HBO special on her and the tour; the director, who found the backstage scene to be "a Fellini-esque dysfunctional family", persuaded the singer to do an actual film focused on that, with interspersed footage of some performances. It received generally positive reviews; Peter Travers from "Rolling Stone" wrote that "you may not leave "Truth or Dare" loving Madonna, but you'll respect her as a force of nature". In 2018, it was named by "The Guardian" as the greatest music documentary of all time, with Ryan Gilbey claiming that "[Alek] Keshishian couldn't have trained his cameras on Madonna at a better time". However, Madonna was nominated for a Razzie Award for Worst Actress for her role in the film. It was released on video by LIVE Entertainment on October 9, 1991. The 2016 documentary "Strike a Pose" chronicled the life of six of the dancers after the tour finished.


title: Blond Ambition World Tour

text: Blond Ambition has been noted for its theatricality and fashion, something uncommon for concerts at the time. Drew Mackie from "People", said that "Blond Ambition changed the pop-culture landscape". The fact that the show was divided into different thematic acts represented, according to the author, "not only a level of creative planning unusual for concerts at the time but also the sheer volume of material Madonna had to work with". Lucy O'Brien noted that the singer had previously explored "conceptual musical theatre as concert" with her Who's That Girl World Tour, but it wasn't until Blond Ambition that "art, spectacle and dance "really" came together". Courtney E. Smith wrote in her book "Record Collecting for Girls: Unleashing Your Inner Music Nerd, One Album at a Time" that "[Blond Ambition] forever changed audience expectations for pop concerts. Even if you didn't go, you're probably familiar with that tour". Co-Director/Choreographer Vincent Paterson recalled that Madonna's goal was to "break every rule we can. She wanted to make statements about sexuality, cross-sexuality and the church. And she did". Dancer Luis Camacho said that Madonna "set the stage" for concerts and shows that followed. Scott Anderson concluded that the Blond Ambition Tour changed the way artists present and perform in stadiums and arenas. According to Christopher Rosa from VH1, the tour solidified Madonna's status as a "cultural tour-de-force and groundbreaking pop artist". Gina Vivinetto from "The Advocate" named it Madonna's best tour and wrote that "until [Blond Ambition] came along, we had no idea what a live concert could be". For The Odyssey's Rocco Papa, "[Blond Ambition] offered a level of theatricality not previously seen in pop shows" and "set the standard for all pop concerts that followed. Madonna and choreographer Vincent Patterson put together routines that pushed boundaries". "Spin" deemed it the sixth greatest concert of the last 35 years. Ilana Kaplan wrote that it "was more than just shock factor: It was meant to transform live pop music", and also that it helped Madonna "reclaim her narrative and power as the tabloids (wrongfully) deemed her a villain". "Idolator"s Mike Wass considered it the "blueprint for modern concerts [...] The Queen of Pop really shook things up by giving choreography, costumes and production as much attention as the live vocals". Writing for "The Guardian", professor Sarah Churchwell wrote that the tour allowed Madonna to "catapult[ed] herself into megastardom, shaping the music industry" and establishing herself as "the mother of today’s multimedia concert extravaganzas".


title: Blond Ambition World Tour

text: "Rolling Stone" noted that Madonna had "reinvented the pop megatour itself"; in 2017, the magazine included Blond Ambition on their list of "The 50 Greatest Concerts of the Last 50 Years". Similarly, "Q" magazine named it one of the "10 Greatest Gigs of All Time"; Sylvia Patterson explained that "in spring 1990, Madonna was not only the most regonisable woman on Earth, but the most gloriously dynamic pop force on the planet. [...] Blond Ambition, her third major tour, was acknowledged as the first-ever global pop tour to use Broadway theatre production values with sets and a narrative 'arc'". On a similar note, "Billboard"s Jon O'Brien commented that "no longer were audiences content to watch their pop idol simply play the hits. Elaborate production values and strong narrative arcs soon became just as integral to the superstar tour as the music itself". "The Guardian"s Mark Beaumont wrote that it "set a new bar for confrontational theatricality that only greater shock tactics could ever challenge". In 2022, Alim Kheraj from "The Guardian", named the tour one of the 50 gigs that changed music, for "altering the blueprint for modern pop shows with this combination of narrative, choreography, high production values and fashion. A taboo-busting exploration of sexuality and religion only solidified its legacy". Ramona Liera Schwichtenberg, Deidre Pribram, Dave Tetzlaff and Ron Scott, authors of "The Madonna Connection: Representational Politics, Subcultural Identities, And Cultural Theory", wrote that the tour revealed the "underlying contradictory tensions within dominant American culture vis-à-vis sexuality" and that it violated too many "fragile, middle-class sexual codes and boundaries".


title: Blond Ambition World Tour

text: It has also left its mark on the work of subsequent pop acts; "NME"s El Hunt wrote: "Think of the whips and chains of Rihanna's 'S&M', Ariana Grande's 'Side to Side' and countless other pop greats who emerged post-Madonna, and traces of Blond Ambition linger in their every move". The music video for Lady Gaga's 2010 single "Alejandro" was deemed a "visual love letter" to Madonna and the tour. Kylie Minogue's 1991 Let's Get to It Tour was criticized for its similarities to Blond Ambition and branded a "parody". Further influence has been recognized by critics on Michael Jackson's 1992–93 Dangerous World Tour, as well as on the live performances of Pink, Beyoncé, Lady Gaga, Katy Perry, Miley Cyrus, Marilyn Manson, Nicki Minaj and Justin Bieber. In order to record the actors' expressions up close, filmmakers working on James Cameron's "Avatar" (2009) had them wear black headsets with small square cameras positioned in front of their mouths ―similar to the microphones used by Madonna on the tour; producer Jon Landau explained that "if [Madonna] can be bouncing around with a microphone in her face and give a great performance [...] we thought, 'Let’s replace that microphone with a video camera'".


title: Blond Ambition World Tour

text: The tour has also influenced the fashion world. In her book "Fashion Details: 1,000 Ideas from Neckline to Waistline, Pockets to Pleats", Macarena San Martin called the Gaultier conical corset "an emblematic symbol of fashion in the early 90s". "Billboard"s Gregory DelliCarpini Jr. stated that the corset "redefined the female silhouette and moved many designers to add some edge to their undergarments". "Entertainment Weekly"s Nina Terrero said that Madonna "birthed a major fashion moment" when she performed on tour wearing the corset. For Harold Koda, the singer's use of the corset, an undergarment, as outerwear suggested that "an explicit control of one's image might transform, or at least destabilize, the patriarchal relationships of voyeuristic male and sexually objectified female". For Adam Geczy and Vicki Karaminas, the conical corset over a male suit represented both the breasts and the phallus. They concluded that "in the interval of a decade, she transmogrified from virgin to dominatrix to "Übermensch" [...] Until then, only Bowie had multi-morphed; Madonna was the first woman to do so". Rebecca Dana from "The Daily Beast" stated that the corset's "genius" lied in its subversion of traditional femininity: "Soft becomes hard; curvy becomes phallic; the engine of maternity transforms into a weapon—it's a Freudian nightmare".


title: Blond Ambition World Tour

text: The conical corset has inspired and been recreated by many contemporary artists, including Lady Gaga, Katy Perry and Rihanna. In 2001, one of the corsets was sold at an auction for US$21,105. The corset was reinvented by Gaultier for Madonna's 2012 MDNA Tour in a cage-like leather style; "what I have done this time is a nod to the conical bra corset of the Blond Ambition tour but reinterpreted in 3-D, in patent leather on the outside with metallic leather on the inside. It's all about masculine and feminine", the designer recalled. While reviewing the tour on its 30th anniversary, Liam Hess from "Vogue" wrote that the conical corset "is so embedded within the canon of both pop music and fashion that it now requires little introduction", and that it represented a pop star in control. Hess concluded that its most lasting influence is that it allowed female pop performers "to channel their sexuality through the outfits they choose to wear without shame, and on their own terms". The synthetic ponytail the singer wore during the Asian and American legs became a fashion trend among the youth, with "People" magazine reporting that many fans were showing up at the concerts with similar hairdos.


title: Blond Ambition World Tour

text: Of the singer's look with the corset and ponytail, Mark Elliott expressed that "no other artist would ever inhabit an image so immortal from a live show". It is now considered one of Madonna's most iconic looks. The look was then referenced by actress Stephanie Faracy in the 1993 film "Hocus Pocus". On the fifth episode of the second season of American television series "Pose", "What Would Candy Do?", the characters Damon (Ryan Jamaal Swain) and Ricky (Dyllón Burnside) audition to be back-up dancers for the tour. While discussing the episode, "W" Magazine's Brooke Marine argued that "as much as that tour is known for Madonna's famous Jean-Paul Gaultier cone bra, it was her dancers who made the whole spectacle culturally relevant [...] If it weren’t for the queer men of color who danced on the tour, Blond Ambition would not have been as effective or as subversive". Mark Beaumont expressed that the main taboo Madonna broke with Blond Ambition was "that of feminine sexuality as strength rather than titillation, as something owned by the artist not cashed in by the svengalis", while according to "Vulture"s David Goldberg, ""everything" Madonna can be traced down to this cultural convergence: fashion, religion, sex, spectacle, and, of course, controversy".


title: Blond Ambition World Tour

text: Set list and samples adapted per Madonna's official website and the notes and track listing of "Blond Ambition World Tour Live".


title: Asa of Judah

text: Asa (; ; ) was, according to the Hebrew Bible, the third king of the Kingdom of Judah and the fifth king of the House of David. The Hebrew Bible gives the period of his reign between 40–41 years. His reign is dated between 913–910 BC to 873–869 BC. He was succeeded by Jehoshaphat, his son (by Azubah). According to Thiele's chronology, when Asa became very ill, he made Jehoshaphat coregent. Asa died two years into the coregency.


title: Asa of Judah

text: Asa was zealous in maintaining the traditional worship of God, and in rooting out idolatry, with its accompanying immoralities. After concluding a battle with Zerah of Ethiopia in the 10th year of his reign, there was peace in Judah () until the 36th year of Asa's reign (). In his 36th year he was confronted by Baasha, king of Israel. He formed an alliance with Ben-Hadad I, king of Aram Damascus, and using a monetary bribe, convinced him to break his peace treaty with Baasha and invade the Northern Kingdom (). He died greatly honoured by his people, and was considered for the most part a righteous king. He threw the prophet Hanani in jail and "oppressed some of the people at the same time" (2 Chronicles 16:10). It is also recorded of Asa that in his old age, when afflicted with a foot disease, he “sought not to the Lord, but to the physicians”.


title: Asa of Judah

text: Asa is typically understood as the son of Abijam. Some scholars believe the biblical accounts of Asa's family to be contradictory; however, a study of Hebrew linguistics removes any seeming contradictions. One of the alleged contradictions is that Maacah (Abijah's mother) is sometimes described as the daughter of Absalom, and elsewhere the daughter of Uriel. Absalom is described as only having one daughter, Tamar. In Hebrew, "daughter" and "granddaughter" are the same word, removing any contradiction there. Similarly, Maacah is initially described as Abijah's mother, but subsequently described as the mother of his son Asa. However, in Hebrew, "mother" and "grandmother" are the same word, once again removing any contradiction.


title: Asa of Judah

text: Azariah son of Oded, a wiseman and prophet, exhorted Asa to reinforce strict national observance of The Law given to Moses, and Asa paid heed. He purged the land of foreign religions and false idols; all the sites of Baʿal and Asherah worship were destroyed and the nation and YHWH entered into a renewed covenant. At this time, the current "gəḇīrā", Maʿacah, was deposed for her worship of Asherah and for making an "ʾăšērā". This worship was in-line with local beliefs and practices, which were observed by the native peoples, and may or may not have been part of the official state religion. Finally, when the religious transition was completed in Asa's fifteenth year, a great feast was held in Jerusalem at Solomon's Temple (). At that time, many northerners, particularly from the tribes Ephraim and Manasseh, migrated to the Kingdom of Judah because of the fruitful golden age in Judah, and the internal conflict in Israel after the fall of the dynasty of Jeroboam I.


title: Asa of Judah

text: Taking advantage of 35 years of peace, Asa revamped and reinforced the fortress cities originally built by his grandfather Rehoboam. 2 Chronicles reports that Asa also repelled a raid by the Egyptian-backed chieftain Zerah the Ethiopian, whose million men and 300 chariots were defeated by Asa's 580,000 men in the Valley of Zephath, near Mareshah (). According to Steven Shawn Tuell, the biblical numbers given in this passage are "completely unrealistic". The Bible does not state whether Zerah was a pharaoh or a general of the army. The Ethiopians were pursued all the way to Gerar, in the coastal plain, where they stopped out of sheer exhaustion. The resulting peace kept Judah free from Egyptian incursions until the time of Josiah, some centuries later.


title: Asa of Judah

text: In Asa's 36th year, King Baasha of Israel attacked the Kingdom of Judah (; the Seder Olam and some later commentators take this as the 36th year since the division of the kingdom, not the 36th year of Asa's reign.) Alteratively it could be interpreted as 26th year of Asa's reign and the last year of Baasha's life. Baasha built the fortress of Ramah on the border, less than ten miles from Jerusalem. The result was that the capital was under pressure and the military situation was precarious. Asa took gold and silver from the Temple and sent them to Ben-Hadad I, king of Aram Damascus, in exchange for the Damascene king canceling his peace treaty with Baasha. Ben-Hadad I attacked Ijon, Dan, and many important cities of the tribe of Naphtali, and Baasha was forced to withdraw from Ramah. Asa tore down the unfinished fortress and used its raw materials to fortify Geba and Mizpah, on his side of the border.


title: Asa of Judah

text: Hanani the Seer, a prophet, admonished Asa for relying on the King of Syria as opposed to Divine help in defeating Baasha (). Asa became very angry and threw Hanani in jail. Asa was also not as just as he had been and oppressed some of the people. In the thirty-ninth year of his reign, Asa developed a severe disease in his feet, for which he sought the help of physicians, not the Lord (). In Thiele's chronology, Asa made his son Jehoshaphat coregent in the year that saw the onset of his disease. Asa died two years later and was buried with his ancestors in Jerusalem, in the grave that he had dug for himself, and a pyre was lit in his honor ().


title: Asa of Judah

text: The question that puzzled Heinrich Ewald ("Gesch. des Volkes Israel," iii. 669, note 5) and others, "Where was the brazen serpent till the time of Hezekiah?" occupied the Talmudists also. They answered it in a very simple way: Asa and Joshaphat, when clearing away the idols, purposely left the brazen serpent behind, in order that Hezekiah might also be able to do a praiseworthy deed in breaking it (Ḥul. 6b).


title: Asa of Judah

text: According to the Rabbis, Asa was one of the five men who were distinguished by certain physical perfections possessed by Adam, but were, on account of their having abused them, afflicted in these very parts of their body. Samson was distinguished by his strength, and behold, "his strength went from him" (Judges xvi. 19); Saul by towering with his neck above the rest, and behold, "he took a sword and fell upon it" (I Sam. xxxi. 4); Absalom by his long hair, and behold, "his head caught of the oak" (II Sam. xviii. 9); Zedekiah by his eyes, and behold, "they put out the eyes of Zedekiah" (II Kings xxv. 7); Asa by his feet (compare as to Adam B. B. 58a; Tan., AḦare Mot, ed. Buber, 3) and behold, "in the time of his old age he was diseased in his feet" (I Kings xv. 23); that is, he was afflicted with gout. And the reason for this affliction of Asa was that, when enlisting the whole of Judah in war he "exempted none" (I Kings xv. 22), but forced also the students of the Law—nay, even newly married husbands, whom the Law (Deut. xx. 7) exempts—to march along (Soṭah 10a). [Pirḳe Rabbenu ha-Ḳadosh, v. 14, ed. Gruenhut, p. 72, has Asahel the light-footed (II Sam. ii. 18-23) instead of Asa. Compare Pirḳe R. Eliezer liii., where, instead of five, six are mentioned, Josiah being added as the sixth, as boasting of and afflicted in his nostrils (II Chron. xxxv. 22, 23; Ta'an. 22b) whereas Tan., Wa'etḦanan, ed. Buber, 1, has seven instead of five.]


title: Asa of Judah

text: The chronological discrepancy between II Chron. xvi. 1 and I Kings xvi. 8 is readjusted by the interpretation that the thirty-sixth year of Chronicles refers to the thirty-six years of the secession of the northern kingdom, which was a punishment for the thirty-six years of Solomon's marriage to the daughter of Pharaoh, and ended in reality in the fifteenth year of Asa's reign, when Zerah the Ethiopian was vanquished by him; the alliance between the kingdoms of Israel and Syria (I Kings xi. 23) also lasted thirty-six years In obtaining an alliance with the king of Syria against Baasha by giving away the gold and silver treasures of the house of the Lord (I Kings xv. 18), Asa sinned grievously, for which Hanani, the seer, sternly rebuked him (II Chron. xvi. 7) (Tosef., Soṭah, xii. 1, 2; Seder 'Olam R. xvi.).


title: Asa of Judah

text: Asa, having contracted a matrimonial alliance with the wicked house of-Omri, brought about the decree of Heaven that after forty-two years both the houses of David and of Omri should go down together, which nearly happened in the time of Ahaziah, wherefore the latter is said to have been forty-two years old when he ascended the throne (II Chron. xxii. 2) in contradiction with xxi. 20, and II Kings viii. 26 (Tosef., Soṭah, xii. and Seder 'Olam R. xvii.).


title: Asa of Judah

text: Among the treasures which Asa took from Zerah the Ethiopian, and which Zerah had taken from Shishak (II Chron. xii. 9, compare xvi. 2), there was also the marvelous throne of Solomon upon which all the kings of Judah subsequently sat (Esther R. i. 2); while the other great treasures were given by Asa to the king of Syria to obtain his alliance; then they were taken again by the Ammonites, to be recaptured by Jehoshaphat; then they fell into the hands of Sennacherib, from whom Hezekiah recovered them, and at the capture of Jerusalem they came into the hands of the Babylonians; then into those of the Persians, and afterward of the Macedonians, and finally of the Romans, who kept them at Rome (Pes. 119a; compare III Sibyl. 179 and 351; IV Sibyl. 145).


title: Asa of Judah

text: William F. Albright has dated his reign to 913–873 BCE, while E. R. Thiele offers the dates 911/910–870/869 BCE. Thiele's chronology for the first kings of Judah contained an internal inconsistency that later scholars corrected by dating these kings one year earlier, so that Asa's dates are taken as 912/911 to 871/870 BC in the present article. 1 Kings and 2 Chronicles describe his reign in a favorable manner. They both give his reign as lasting 41 years.


title: Asa of Judah

text: According to Thiele, the calendars for reckoning the years of kings in Judah and Israel were offset by six months, that of Judah starting in Tishri (in the fall) and that of Israel in Nisan (in the spring). Cross-synchronizations between the two kingdoms therefore often allow narrowing of the beginning and/or ending dates of a king to within a six-month range. For Asa, the Bible allows the narrowing of his accession to some time between Tishri 1 of 912 BC and the day before Nisan 1 of the 911 BCE. For calculation purposes, this should be taken as the Judean year beginning in Tishri of 912/911 BCE. His death occurred at some time between Tishri 1 of 871 BCE and Nisan 1 of 870 BCE. These dates are one year earlier than those given in the third edition of Thiele's "Mysterious Numbers of the Hebrew Kings", thereby correcting an internal inconsistency that Thiele never resolved.


title: Kuso (film)

text: Kuso is a 2017 American body horror surrealist comedy anthology film directed by Flying Lotus (credited as Steve), who co-wrote the screenplay with David Firth and Zack Fox.


title: Kuso (film)

text: "Kuso" depicts a series of four surreal vignettes about the mutated survivors of an earthquake that has destroyed Los Angeles. The vignettes are broken up throughout the film by animations, television static, and news reporters reporting on the earthquake; the news report is initially interrupted by Busdriver, who performs a jazz-spoken word number describing the earthquake.


title: Kuso (film)

text: Missy and Kenneth are lovers who live in an apartment complex. On their first appearance, Missy is seen choking Kenneth as he masturbates, then singing him to sleep. However, Missy covers her neck with a cloth, and refuses to let Kenneth perform sexual acts on her. Kenneth attempts to play the piano for her to sing, but another voice joins them; Missy finally removes the cloth to reveal a talking boil on her neck. After initial revulsion, the boil talks Kenneth into letting it perform fellatio on him; he agrees, and they do so. Afterward, Kenneth responds in pleasure, having learned to enjoy the boil's presence, and names it Royal.


title: Kuso (film)

text: Up-and-coming rapper B lives in an apartment with interdimensional creatures Kazo and Mazu. After smoking from a bong and watching what appears to be a snuff film with them, B goes to the bathroom to take a pregnancy test but is forced to hide it when Phil, a man who raped B and got her pregnant, appears through her toilet. Having tested positive, B goes to Dr. Clinton's clinic for an abortion, where she meets Manuel, who is cured of his fear of breasts by Mr. Quiggle, a large bug living in Clinton's anus. B is offered a coat hanger for her abortion and leaves in disgust. She visits Phil to tell him she is pregnant, but Phil refuses to let her get an abortion; Kazo and Mazu subdue Phil and trap him within one of B's music videos. They then remove the fetus from B's body, and B suggests that they smoke the fetus.


title: Kuso (film)

text: Charlie is a small man who goes to an exclusive school in the forest and is fed terrible food by his mother, which causes him to constantly need to defecate. Laughed out of his classroom for doing so in his pants, Charlie runs into the forest, where he finds a strange creature with only an anus-like orifice with a worm-like tongue. He feeds the creature some of his feces, which causes it to apparently evolve, growing a face in place of its tongue. On their second meeting, the creature transfers a beam of green light to Charlie's head, empowering him to stop going to school and overcome his mother at last. Charlie later feeds the creature dog feces, which causes it and its apparent offspring to vanish, leaving Charlie and the dog standing in the forest.


title: Kuso (film)

text: Angel, a woman crawling on the ground and eating concrete, tells herself she needs to sacrifice her baby. The voice of God speaks to her and tells her that her baby is missing and she will find it down a hole that she claims leads to Hell. Angel crawls into the hole, but slips and falls all the way down. She witnesses another man being consumed by a creature in the hole and is yelled at by Jenny, an inhabitant of the hole world. Angel is swallowed by another creature in the hole; she travels down a long, surreal tunnel, before coming up out of the ground inside a creature similar to the one from "Smear", witnessing a large object flying over Los Angeles.


title: Kuso (film)

text: The film features a score by Flying Lotus alongside British electronic musician Aphex Twin and Japanese composer Akira Yamaoka. A number of other musicians contributed to, or played on the score, including Thundercat, Kamasi Washington, Miguel Atwood-Ferguson, Dennis Hamm, Dante Winslow, Niki Randa, Brandon Coleman, Busdriver, The Buttress, and Angel Deradoorian, the latter three of which also perform in the film. A soundtrack album is forthcoming with no known date of release.


title: Kuso (film)

text: The film premiered at Sundance Film Festival on January 21, 2017. The film was reported to have many people leaving during the screening, with Flying Lotus later stating that "only like 20 people out of like 400" walked out.


title: Kuso (film)

text: In June 2017, Flying Lotus announced that Kuso will be released on Shudder on July 21, alongside a limited theatrical release.


title: Jared Hasselhoff

text: Jared Hennegan (born August 5, 1971), better known by the stage name "Evil" Jared Hasselhoff, is an American musician and television personality best known for being the former bassist of the rock band Bloodhound Gang.


title: Jared Hasselhoff

text: Hasselhoff was born Jared Hennegan in Philadelphia and raised in Woxall, Pennsylvania. He graduated from Souderton Area High School. He helped establish Woxfeat, a rock festival in his hometown. He attended Temple University, where he met future Bloodhound Gang member Jimmy Pop. At various times, Hasselhoff has claimed to be the illegitimate son and tennis partner of "Knight Rider" actor David Hasselhoff, although none of these appear to be the case.


title: Jared Hasselhoff

text: As a member of the musical group Bloodhound Gang, Hasselhoff is an Echo award winner and was twice honored with the prestigious Comet award.


title: Jared Hasselhoff

text: In 2007, Hasselhoff played bass for the German crunk artist Tony Damager's song "Totalschaden". He also played bass in the video clip, along with Sido on drums and B-Tight on the guitar.


title: Jared Hasselhoff

text: Hasselhoff participated in the Wok championship 2010 ("Wok-WM 2010") in Oberhof on March 19, 2010. He also participated in the Wok-WM 2011, 2012, 2013, 2014, 2015, and 2022.


title: Jared Hasselhoff

text: Hasselhoff guest-starred as himself in two episodes of the German soap opera "Verbotene Liebe", which aired in June 2008 on German television channel Das Erste.


title: Jared Hasselhoff

text: On March 30, 2012, Hasselhoff defeated two-time Olympic discus medalist Lars Riedel via a fourth-round KO to become the German celeb-boxing heavyweight champion.


title: Jared Hasselhoff

text: Hasselhoff currently has a recurring role as himself in the ProSieben game shows "Duell um die Welt", "Die beste Show der Welt" and "Joko & Klaas gegen Prosieben".


title: Jared Hasselhoff

text: Hasselhoff is the host of the alternative science magazine "Evil Science" which airs on the German ProSieben Maxx network.


title: Jared Hasselhoff

text: In 2006, Hasselhoff moved to Berlin, Germany, due to his resentment of George W. Bush's politics. He stated that he would not return to the United States as long as Bush was president.


title: Jared Hasselhoff

text: Hasselhoff suffers from obsessive compulsive disorder, and has asked for his requested Skittles to be separated by color on at least one rider while on tour. According to his episode of "MTV Cribs", he also suffers from irritable bowel syndrome.


title: Jared Hasselhoff

text: In 2013, Ukraine banned Hasselhoff from entering the country for five years after he allegedly urinated on the Ukrainian flag at a concert in Kyiv. A few days later, the band was due to perform at Russia's Kubana Festival on the Black Sea coast, but the gig did not go ahead, due to another concert stunt in which he stuffed the Russian flag into his underpants. Instead, they were questioned by police and were ordered to leave Russia.


title: Zentai

text: A "zentai" suit () is a skin-tight garment that covers the entire body. The word is a portmanteau of "zenshin taitsu" (). "Zentai" is most commonly made using nylon/spandex blends.


title: Zentai

text: The costumes are seen at major sporting events in North America and the United Kingdom. They created internationally recognized personalities out of The Green Men, two fans of the Vancouver Canucks NHL team. Various professional street dance/hip hop dance groups use the outfits, such as The Body Poets in the United States, and Remix Monkeys in the United Kingdom.


title: Zentai

text: Full-body suits are used for video special effects: the original colors offered enables the person wearing the chroma key suit to be lifted easily from a video image. Other applications have included music videos (Black Eyed Peas' song "Boom Boom Pow", including the live performance at the Super Bowl), breast cancer awareness, fashion modeling on an episode of "America's Next Top Model", social anxiety workshops, television (Charlie Kelly as Green Man), a participant in public art project "One & Other", and social experiments.


title: Zentai

text: Since "zentai" cover one's face, a fine of up to €150 may be issued to those who wear them publicly in France. Furthermore, some sports leagues, such as Major League Baseball, ban the use of the costume hoods.


title: Zentai

text: Companies have created brands of the suits including "RootSuit" or "Superfan Suit" in the United States, "Bodysocks" or "Second Skins" by Smiffy's and Morphsuits in the United Kingdom, and Jyhmiskin in Finland. Morphsuits has achieved relative commercial success internationally. Between January and late October 2010, the company shipped 10,000 to Canada alone. The Morphsuits brand has actively tried to disassociate themselves from the existing "zentai" community. Superfan Suits acknowledges in interviews that the outfits have existed previously. The term "morphsuit" has become a generic term in the process; one New Zealand-based newspaper refers to competing brand Jaskins as "one of the main online morphsuit brands." Jaskins company founder Josh Gaskin says their origins are unclear, pegging the first usage with "It's Always Sunny in Philadelphia".


title: Bruce Wagner

text: Bruce Alan Wagner (born March 22, 1954) is an American novelist and screenwriter based in Los Angeles known for his apocalyptic yet ultimately spiritual view of humanity as seen through the lens of the Hollywood entertainment industry.


title: Bruce Wagner

text: Wagner was born in Madison, Wisconsin, to Morton Wagner and Bernice Maletz. When he was four, his family moved to San Francisco, then to Los Angeles four years later. His father was a radio station executive who eventually moved into television, producing "The Les Crane Show", before becoming a stock broker. When his parents divorced, his mother worked at Saks Fifth Avenue, where she remained for 40 years. He attended Beverly Vista Elementary School in Beverly Hills, California, until the 8th grade. He attended Beverly Hills High School but dropped out in his junior year. He worked in bookstores, drove an ambulance for Schaefer Ambulance Service, and became a chauffeur at the Beverly Hills Hotel. He has two older sisters.


title: Bruce Wagner

text: In his twenties, Wagner began writing articles for magazines and writing scripts. His first screenplay, "Young Lust", was produced by Robert Stigwood but was never released. It was that experience that ultimately led him to write his modern take on F. Scott Fitzgerald's "Pat Hobby" short stories about an alcoholic screenwriter who never gets ahead.


title: Bruce Wagner

text: Wagner self-published (with Caldecott Chubb) "Force Majeure: The Bud Wiggins Stories" in an edition of 1,000, which sold out at West Hollywood's Book Soup. It was optioned by Oliver Stone to direct but the project never came to fruition. Wagner has said that the script he wrote, based upon the stories' protagonist - a chauffeur named Bud Wiggins - later became "Maps to the Stars", the 2015 film directed by David Cronenberg. The book was well reviewed and led to a publishing deal with Random House.


title: Bruce Wagner

text: He has written essays and op-ed pieces for publications including "The New Yorker", "The New York Times", "Art Forum" and "Vanity Fair". His novel "I'm Losing You" "was" a New York Times Notable Book of the Year, and his novel "The Chrysanthemum Palace" was a PEN/Faulkner finalist in 2006. He has also written essays and prefaces for books by photographers William Eggleston and Manuel Alvarez Bravo, and painters Ed Ruscha and Richard Prince.


title: Bruce Wagner

text: Wes Craven read an unproduced script of Wagner's ("They Sleep By Night"), which led Craven to ask Wagner to co-write "" (1987). Wagner and Craven wrote the story and share screenwriting credit with Chuck Russell and Frank Darabont. Wagner and Oliver Stone co-executive produced "Wild Palms", the mini-series Wagner created, based on a comic strip that he wrote for "Details" magazine. "Wild Palms" aired on ABC in 1993. He was the executive producer and co-writer (with Tracey Ullman) of "Tracey Ullman's State of the Union" series (2008 - 2010) on Showtime. In 2014, David Cronenberg directed Wagner's script, "Maps To The Stars", a film that Cronenberg had been trying to make for a decade. For her role as Havana Segrand, Julianne Moore won Best Actress at the Cannes Film Festival in 2014. Wagner accepted the award on her behalf. In 2020, he wrote "Mother Tongue", an adaptation of his book "I Met Someone." It will be directed by Mike Figgis on location in Hong Kong, in early 2021.


title: Bruce Wagner

text: Wagner signed a book deal with Counterpoint Press in 2019 for his novel "The Marvel Universe: Origin Stories." When he turned in the manuscript, Wagner said that the editor and publisher told him "the language is problematic." One of their objections was to the word "fat" - a 500-lb. character in the novel playfully calls herself "The Fat Joan" (an homage to the popular social media personality "The Fat Jew") - and stated that "not even a character can call herself that." The writer Sam Wasson wrote about the book's journey in Graydon Carter's digital magazine AirMail ("Bruce Wagner's Woke Universe"), suspecting that Wagner's editor had been cautioned by "sensitivity readers." In the same article, Wasson quotes Wagner as saying, "My entire body of work would be thrown into a furnace if it were to be read and judged by sensitivity readers." On October 13, 2020, Wagner decided that rather than look for another publisher, he would release the novel for free, on brucewagner.la, and into the public domain. Within days, the book became available on-demand through Amazon, for which Wagner receives no profit. The book is also published in a limited, signed edition by Felix Farmer Press, a new publishing house in Los Angeles, for which Wagner also receives no profit by choice.


title: Bruce Wagner

text: Wagner married actress Rebecca De Mornay on December 16, 1986, and the couple divorced in 1990. He married Laura Peterson in 2009.


title: Bruce Wagner

text: After interviewing Carlos Castaneda for "Details" magazine in 1994, Wagner became part of Castaneda's inner circle under the assumed name of Lorenzo Drake. He directed the first videos on Tensegrity for Cleargreen. Wagner continues to be close to the group since Castaneda's death in 1998. His first autobiographical piece about his experience with the shaman and author Castaneda appeared in the Fall 2007 issue of . After Wagner's novel "Memorial" was favorably reviewed in that magazine by a Buddhist monk, Wagner wrote its editor, James Shaheen, a letter of thanks, and Shaheen invited him to contribute an essay about Castaneda. Wagner and two partners own the television and film rights to all of Castaneda's books. More recently, Wagner studied with Indian guru Ramesh Balsekar.


title: Helen Morrison

text: Helen Louise Morrison (born July 9, 1942) is an American forensic psychiatrist, writer and profiler. She was born in Greensburg, Pennsylvania and attended Temple University, the Medical College of Pennsylvania, and the Chicago Psychoanalytic Institute. Her work involves the psychology of serial killers.


title: Helen Morrison

text: The focus of her research has been to find common personality traits among serial killers. She has published a book, "My Life Among the Serial Killers"...


title: Helen Morrison

text: Morrison was a witness for the defense at the trial of John Wayne Gacy, testifying that he was legally insane because he was "unable to separate from his mother psychologically" and never developed a separate identity. The jury rejected Gacy's insanity defense and found him guilty. After his execution, Gacy's brain was removed and was in Morrison's possession.


title: Juana Bormann

text: Juana Bormann (or Johanna Borman; 10 September 1893 – 13 December 1945) was a German prison guard at several Nazi concentration camps from 1938, and was executed as a war criminal at Hamelin, Lower Saxony, Germany, after a court trial in 1945.


title: Juana Bormann

text: At her trial, Bormann said she had joined the Auxiliary SS in 1938 "to earn more money". She first served at the Lichtenburg concentration camp in Saxony under SS "Oberaufseherin" Jane Bernigau with 49 other SS women.


title: Juana Bormann

text: In 1939, she was assigned to oversee a work crew at the new Ravensbrück women's camp near Berlin. In March 1942, Bormann was one of a handful of women selected for guard duty at Auschwitz in occupied Poland. Short in stature, she was known for her cruelty. Victims called her "Wiesel" (weasel) and "the woman with the dogs". In October 1942, Bormann went to Auschwitz-Birkenau as an "Aufseherin". Her supervisors included Maria Mandel, Margot Dreschel, and Irma Grese. Bormann was eventually moved to Budy, a nearby subcamp where she continued her abuse of prisoners.


title: Juana Bormann

text: In 1944, as German losses mounted, Bormann was transferred to the auxiliary camp at Hindenburg (present-day Zabrze, Poland) in Silesia. In January 1945, she returned to Ravensbrück. In March, she arrived at her last post, Bergen-Belsen, near Celle, where she served under Josef Kramer, Irma Grese and Elisabeth Volkenrath (all of whom had served with her in Birkenau). On 15 April 1945, the British Army took Bergen-Belsen, finding over 10,000 corpses and 60,000 survivors. The liberators forced all SS personnel to carry the dead.


title: Juana Bormann

text: Bormann was later incarcerated and interrogated by the British, then prosecuted at the Belsen Trial, which lasted from 17 September 1945 to 17 November 1945. The court heard testimony relating to murders she had committed at Auschwitz and Belsen, sometimes unleashing her "big bad wolfhound" German shepherd on helpless prisoners. She was found guilty, and hanged (along with Grese and Volkenrath) on 13 December 1945. Her executioner, Albert Pierrepoint, later wrote:"She limped down the corridor looking old and haggard. She was 42 [sic] years old (actual age, 52), standing only a little over five feet. She was trembling as she was put on the scale. In German she said: 'I have my feelings'."


title: Remedial Chaos Theory

text: "Remedial Chaos Theory" is the fourth episode of the third season of the American television series "Community". The episode was written by Chris McKenna and directed by Jeff Melman. It originally aired on October 13, 2011 on NBC. It follows a community college study group at a housewarming party for members Troy (Donald Glover) and Abed (Danny Pudi). When Jeff (Joel McHale) throws a die to determine who will go to collect the pizza delivery from downstairs, seven different timelines unfold, showing each member of the group leaving to collect it depending on the outcome of the die—including the canonical timeline, in which Abed catches it before it lands. The episode was intended to be the third episode of the season, but was delayed by a week due to filming, editing and visual effects overrunning. As a result, "Competitive Ecology", due to be fourth, was aired third.


title: Remedial Chaos Theory

text: "Remedial Chaos Theory" is a concept episode, with each timeline showing how the group is affected by the absence of one of its members. "The Darkest Timeline" ensues when Troy leaves, causing Pierce to be shot and a fire to break out. Further episodes continued plot points from this timeline. The episode received critical acclaim, lauded by fans and critics alike as one of the best episodes of the show. It has been described as one of the best episodes of 2011 and the 2010s. McKenna received a PAAFTJ Award and an Emmy Award nomination for his work on the episode. "Remedial Chaos Theory" also received a Hugo Award nomination.


title: Remedial Chaos Theory

text: Troy and Abed invite their study group to a housewarming party. After Abed presents his "Raiders of the Lost Ark" boulder diorama, the group begin playing Yahtzee. Jeff rolls a die to determine which of the group must collect the pizza delivery, numbering starting from his left. Abed claims that Jeff is creating six different "timelines" by rolling the die.


title: Remedial Chaos Theory

text: Jeff rolls so that Annie (Alison Brie) gets the pizza. As Pierce (Chevy Chase) claims he had sex with Eartha Kitt, Britta (Gillian Jacobs) is stopped from singing along to "Roxanne" (1978) by Jeff. Troy finds a gun in Annie's bag. Pierce tries to give Troy a present. Jeff hurts his head on the ceiling fan. Annie returns, calling the pizza guy a creep. Similar scenes subsequently arise when the scene is restarted, Jeff rolling a different number each time. It arises that the group thinks Shirley (Yvette Nicole Brown) has a baking problem and Pierce's gift is a Norwegian troll that scares Troy. Other recurring scenes include Abed catching the rolling diorama boulder, Britta smoking marijuana and Annie inspecting Jeff's head injury.