prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which person is known for playing in punk bands, Keith Morris or Rome Ramirez?

The following are given passages.
Context 1: Passage 1:
Reggae rock
Reggae rock is a subgenre of reggae fusion and rock music that primarily uses the genres reggae, rock, and ska  Typical lyrics of reggae rock songs incorporate love, personal awareness, and life challenges while incorporating music and beat elements of rock, punk, and hip-hop  The term "reggae rock" has been used to categorize bands like the Police, Men at Work, Sublime, Sublime with Rome, No Doubt, Pepper, Slightly Stoopid, the Expendables, Iration, the Dirty Heads, Rebelution, 311 and, to some extent, heavier bands such as Bad Brains 
Among the earliest examples of the genre are the 1972 songs "D'yer Mak'er" by English rock band Led Zeppelin and "C Moon" by Paul McCartney and Wings The term "reggae metal" has been used to describe bands that combine reggae rock with heavy metal, such as Dub War, Shinobi Ninja, Skindred, Twelve Foot Ninja, and Zeroscape  Reggae rock found its rise in popularity in the 1990s in Long Beach, California, with the band Sublime  The genre has lately found a boost in popularity with the 2010 song "Lay Me Down" by the Dirty Heads featuring Rome Ramirez from Sublime with Rome, which peaked at number 1 on both the US Billboard Alternative Songs and Rock Songs charts With reggae rock rising in popularity, the genre was included in the inaugural California Roots Music & Arts Festival in 2010 
Passage 2:
Street punk
Street punk (sometimes alternatively spelled streetpunk) is an urban working class-based subgenre of punk rock, which partly emerged as a rebellion against the perceived artistic pretensions of the first wave of British punk  Street punk emerged from the style of Oi! and hardcore punk bands  A key band in defining the aesthetic was the Exploited  Street punks generally have a much more ostentatious and flamboyant appearance than the working class or skinhead image cultivated by many Oi! groups  Street punks commonly sported multi-coloured hair, mohawks, tattoos, heavily studded vests and leather jackets, and clothing, especially plaids, adorned with political slogans, patches, and/or the names of punk bands  In the 1990s and 2000s, a street punk revival began with emerging street punk bands such as the Casualties 

Characteristics
Street punk music is characterized by single-note guitar lines and short solos  Unlike similar genres, such as traditional hardcore punk, street punk bands sometimes consisted of two guitarists, one of which plays guitar melodies while not singing  Street punk also makes frequent use of communal vocals, gang vocals, and sing–along choruses  Street punk lyrics commonly address topics such as fighting, drinking, partying, inner-city turmoil or personal relationships  Street punk bands sometimes express political viewpoints, typically of a left-wing variety, although some street punks eschew politics altogether in favor of a more hedonistic, nihilistic outlook  Street punk also had influences from New Wave of British Heavy Metal bands like Iron Maiden and Motörhead Punk veteran Felix Havoc said:

It was aggressive, yet had melody  As opposed to today's "melodic" punk it still had a lot of energy  It was honest  Hence the term "street punk " There is and was a feel that this was the kids music, from the streets, and was uncorrupted by "professionalism" or "musicianship " As opposed to the anarcho bands its message was more bleak and irreverent  The music was not a-political, just a less intellectual expression of political views of working class youth  The music was marketed as being of and by the working class  I suspect this was not universally the case  Still most middle and upper class kids cringe at frank discussions of violence as evidenced in a typical Blitz song  Early 80's UK punk was catchy as hell; it has sing-a-long choruses and hooky riffs 

History
Origins (1980s)
UK 82
UK 82 (also known as UK hardcore or second wave punk) took the existing punk sound and added faster drumbeats and an aggressive distorted guitar sound  The term UK 82 is taken from the title of a song by the Exploited  Cross-pollination existed between this era of British street punk and American hardcore punk The lyrics of UK 82 bands tended to be much darker and more violent than the lyrics of earlier punk bands  They tended to focus on the possibilities of a nuclear holocaust, and other apocalyptic themes, partially due to the military tension of the Cold War atmosphere  The other mainstay of the lyrics of the era was unemployment, and the policies of the Conservative Party government  Lyrics frequently denounced the Conservative leader Margaret Thatcher in the same way that American hardcore punk bands addressed the Ronald Reagan administration 
The three most prominent UK82 bands, according to Ian Glasper, are the Exploited, Discharge, and GBH  The Exploited were controversial due to their aggressive lyrics and rowdy concerts, and were considered by Glasper to be "cartoon punks"  Glasper wrote: "For many, The Exploited were the quintessential second wave punk band with their senses-searing high-speed outbursts against the system, and wild-eyed frontman Walter 'Wattie' Buchan's archetypal orange mohican " Discharge's early work proved to be enormously influential, providing the blueprint for an entire subgenre  Their later work, however, has been described as moving into heavy metal 

D-beat
D-beat (also known as Discore or käng (boot), in Sweden) was developed in the early 1980s by imitators of the band Discharge, for whom the genre is named  The first such group was the Varukers  The vocal content of D-beat tends towards shouted slogans  The style is distinct from its predecessors by its minimal lyrical content and greater proximity to heavy metal  It is closely associated with crust punk, which is a heavier, more complex variation  D-beat bands typically have anti-war, anarchist messages and closely follow the bleak nuclear war imagery of 1980s anarcho-punk bands  The style was particularly popular in Sweden, and was developed there by groups such as Anti Cimex and Mob 47 

Revival (1990s and 2000s)
In the 1990s, a new era of street punk began with emerging street punk bands like the Casualties and Rancid, The Casualties became one of the most well-known street punk bands and achieved underground success  Their 2004 album On the Front Line peaked at number 8 on the Independent Albums chart  On the Front Line and the Casualties' 2006 album Under Attack peaked at numbers 7 and 9 on the Heatseekers Albums chart, respectively 

See also
Clockwork Orange punks
List of street punk bands
Oi!
Passage 3:
Midnight Snack Break at the Poodle Factory
Midnight Snack Break at the Poodle Factory is the only album by Punk jazz supergroup Midget Handjob, formed by former Black Flag and Circle Jerks singer Keith Morris  Stylistically, the album combines elements of hardcore punk, jazz, and spoken word  It was released on Epitaph Records on September 26, 2000 

Track listing
Passage 4:
Brisbane punk rock
Brisbane punk rock had its main impact between 1975 and 1984 as part of the overall punk rock scene in Australia  According to rock music historian, Ian McFarlane, the Queensland capital provided "some of the most anarchistic bands" of that era whilst it was "arguably the most conservative city" in the country  The development of the local punk movement differed from other cities because of its relative geographic isolation from other similar trends  The Brisbane scene also received a greater scrutiny by local police where early punk bands formed as "an obvious backlash to an oppressed society"  This generated antagonistic and individualistic groups or "snot" driven punk bands 
The Brisbane punk rock movement can be divided into four phases  First, there was the pioneering chapter, which lasted from 1975 to 1977  These bands were either innovators or part of the first wave of local punk bands  Foremost of all such groups are the Saints, which are acknowledged as "Aussie punk pioneers"  The second phase occurred between 1978 and 1980, which McFarlane described as "the second generation" of punk groups  The next period or "third-generation" spanned from 1981 to 1984 and diverged into two subgenres: hardcore punk and post-punk  The fourth period, during 1985 to 1988, developed three styles: Detroit rock (and the closely aligned garage punk), hardcore punk and skate punk – the Brisbane punk rock movement had become alternative rock 

History
Pioneers (1975–77)
Brisbane punk rock developed under the state government of Joh Bjelke-Petersen, the Premier of Queensland from 1968 to 1987; his administration was investigated by the Fitzgerald Inquiry (1987–89), which found "long-term, systemic political corruption and abuse of power " Bjelke-Petersen resigned, two of his ministers and the state's police commissioner were jailed for corruption charges  Doug Hutson and Gavin Sawford co-wrote in their book from 1988, Out of the Unknown: Brisbane Bands 1976-1988 that, "Authority's intolerance of anything different, which, to be fair has since considerably diminished, reflects the peculiar suspicious verging on animosity that Queenslanders as a whole hold for anyone who leaves the cultural straight and narrow of beer, beach and burgers "Kid Galahad and the Eternals were a garage rock band formed in 1973 in Brisbane by school mates: Chris Bailey on lead vocals, Ivor Hay on piano and Ed Kuepper on guitar  Locally they earned a reputation for their punk attitude after a debut performance at a Returned and Services League venue in the western suburbs  Bailey described the first gig to a United Kingdom fanzine, Sniffin' Glue, in October 1976, "Then after our second drummer walked out and we almost called it 'quits' but we decided to keep playing to the 30 people (from an original 150 patrons) who were still with us  Before the last number the manager of the hall arrived with cops, turned off the power    The cops told us they would confiscate our equipment if we didn't go, so we went " By the end of 1975 the band added Kym Bradshaw on bass guitar and moved Hay to drums; soon after they changed their name to the Saints The Saints favourite rehearsal space was a shed behind Hay's home, which was near a police station; after the group were "ostracised" by the local music scene they established their own venue to perform their original material  Located at 4 Petrie Terrace, it was named Club 76  Kuepper later opined "we didn't play until we started putting on shows of our own, and then the cops would break them up anyway, as they did any sort of gathering " The Saints' debut single, "(I'm) Stranded" (September 1976), was issued on their own Fatal Records label  Copies were sent to local, national and international media and record labels  "(I'm) Stranded" came to the attention of the UK musical press and fitted neatly into the punk sound and attitude in London  Sounds magazine's Jonh Ingham declared it "Single of this and every week ": 57–76  Jon Savage, UK journalist and punk historian, later wrote that the Saints "had been developing in near isolation for three years, but it took just one review in Sounds magazine to make their career "The Saints arrived in the UK in 1977 but found that their hair and image did not fit the UK punk dress codes  The locals were sporting spiky hair and brothel creepers, instead the group had appeared similar to street bums with attitude  Kuepper reflected on their reception, "By the time we got here the initial spirit already died out, it was very contrived  There were too many people following slavishly after  We had problems because we didn't look new wave " The Saints reached the UK charts with their third single, "This Perfect Day" (July 1977), after the Sex Pistols had released their second single, "God Save the Queen" (May) 
The Saints released (I'm) Stranded (February 1977) and followed with Eternally Yours (May 1978), which included their single, "Know Your Product" (February)  Australian musicologist, Ian McFarlane, declared that "Know Your Product" was "one of the greatest R&B-fuelled rock songs of all time " A third album, Prehistoric Sounds, was released in October before Kuepper left  Bailey formed a new line-up of the Saints in 1980; however, their punk edge was lost without "Ed Kuepper's relentless power chords " In May 2001 "(I'm) Stranded" was listed in Australian Performing Rights Association's Top 30 Australian songs of all time  (I'm) Stranded was listed at No  20 in the book, 100 Best Australian Albums (October 2010), with Prehistoric Sounds at No  41 In 1976 the Leftovers were formed in Sandgate, as "Australia's first true punks in the Sex Pistols mould" according to music writer, Clinton Walker  Walker felt they were "obnoxious, anarchic, anti-social, powerful, violent and with a strong self-destructive bent " They gained local recognition for their existentialist approach  On Behind the Banana Curtain (2000, a CD compilation sponsored by the radio station, 4ZZZ) they were described as "Raw, intoxicated, energetic and antisocial " The Leftovers experienced "continuous harassment from the local constabulary"; and a history that included, a "story of prison, the shocking aftermath of attempted suicide and now-numerous deaths " In June 1979 they released their only single, "Cigarettes and Alcohol", which McFarlane declared was "one of the classics of the late 1970s Australian punk rock era " They disbanded later that year Also from this period were the Survivors (formed in 1976 as Rat Salad), which issued a sole single, "Baby Come Back", in December 1977  It was included on the Lethal Weapons (May 1978) compilation by various Australian punk bands  During this era Brisbane punk rock venues included the Hamilton Hall and Toowong RSL hall  Hutson and Sawford stated that "Two of the more notorious DIY venues were the Saint's 76 Club     and the Baroona Road Hall, scene of numerous 'one-off' multiple band gigs "From November 1975 4ZZZ broadcast local punk music; John Stanwell, its original Arts Administrator, explained, in September 2006, that it was "The first (Radio) station in the world to play The Saints " The era was documented in a fanzine SSuicide Alley, arguably Australia's second punk fanzine, which was printed in Brisbane in April 1977 by Walker and Andrew McMillan  Walker detailed the late 1970s Brisbane scene through his contemporary work for University of Queensland paper, Semper, and another fanzine, Pulp : 12  His later books include Inner City Sound (1982) and Stranded: The Secret History of Australian Independent Music 1977–1991 (1996) 

Second phase (1978–80)
The Brisbane punk movement expanded from 1978: the "second generation" of bands were formed  They were given air time on 4ZZZ, David Macpherson of ToxicH website described how the "DJs Michael Finucane, Bill Riner, Tony Biggs, Andy Nehl and others were influential in playing the new music " One band, which benefited from such airplay, was Razar with their track, "Task Force (Undercover Cops)" (1978)  Hutson and Sawford described them as a "Youthful and popular punk outfit which attracted a lot of attention due to their controversial material " The lyrics of "Task Force" dealt with the Queensland Police special branch, or "Brisbane's notorious undercover police "Razar, and most high-profile Brisbane punk groups, received intense scrutiny from the local constabulary with their venues often raided and closed  4ZZZ's Dave Darling, and an independent concert promoter, recalled: "We encountered problems with police just like everybody else did that tried to run a venue    9 out of 10 of them I don't think ever made the final song    and [we would] disguise them from Task Force knowing they were on, but eventually in the course of the night one of them would find out and next thing you know you had all of them there   " Hutson and Sawford elucidated that, "In fact it wasn't uncommon for police, both uniformed and Special Branch plainclothes, to regularly break up concerts by bands such as Razar, the Leftovers and the Sharks, who were considered among the more subversive and threatening local talent "The Fun Things, originally known as The Aliens, were an outfit that characterised the Detroit sound inspired by Sydney-based punk group, Radio Birdman  Fun Things recorded a track, "When the Birdmen Fly", released on their self-titled EP  According to McFarlane, "The Fun Things issued what has emerged as one of the most collectable artefacts of the Australian punk rock era, the Fun Things EP which came in a pressing of only 500 copies " The band members, John Hartley, Brad Shepherd and, his older brother, Murray Shepherd, went on to join other bands, including the Hoodoo Gurus for Brad and The Screaming Tribesmen for Hartley and Murray Zero, a feminist-styled punk band, (although some critics considered Zero to play a more quirky sort of pop, or New wave music) were present on the local scene  Their contributions were seen as "colourful and imaginative"  Zero changed their name in the 1980s to Xero and released an EP in 1982  The line-up included John Willsteed and Lindy Morrison, who both went on to the Go Betweens Another youthful Brisbane punk band was the Young Identities, which mostly consisted of brothers Gavin, Clayton and Rod McLeod  According to McFarlane, the band presented "plenty of youthful energy, belligerent spirit and all-important punk attitude  Young Identities issued two rare EPs of ultra-primitive, snot-nosed punk"  In the 1980s the band changed its name to Kicks and joined the rising Goth rock sound Other artists from this second phase included the 31st , the Alphabet Children, the Bodysnatchers, Flying Squad, Gerry Mander and the Boundaries, Just Urbain, the Leftovers, the Pits, Same 13, the Survivors, the Swell Guys, the Toy Watches, the Upsets  Fuller Banks & the Debentures, supported UK group the Stranglers at the Queens Hotel, other groups played spasmodically, generally at hall gigs  The Stranglers issued a single in October 1979, Nuclear Device (The Wizard of Aus), which focussed on Premier Bjelke-Petersen and his political style  It peaked at No  36 in the UK singles chart Also during 1979 a track, "Sunset Strip", released by the Numbers (later renamed the Riptides), was a punk-like tune, which had regular 4ZZZ airplay  It was regarded by Stephen J  McParland as "punchy and energetic and featured a brilliant, English-flavoured 1960s-inspired pop sound "Venues that hosted punk gigs, largely booked and promoted by 4ZZZ, during this second phase include Exchange Hotel, Queens Hotel, The Curry Shop, Baroona Hall and the Silver Dollar Disco  Rotten Import Records was a shop dedicated to punk music in 1978 and The Elizabeth Street Bar (nicknamed White Chairs) – a hang out for punk, new wave or alternative rockers from 1980 to 1987 

Third generation (1981–84)
This phase centred on the early to mid-1980s  The dark mood of the bands reflected the changing dynamics of punk  "As the restrictive measures of punk, and all the clichéd fashion statements it entailed, came to a close, post punk groups took up the gauntlet  These exciting new bands used the DIY spirit to launch a more introspective, even gloomy, but still vibrant sound " said Jason C  Reeher in his review of Post Punk  Many of the Brisbane bands absorbed the darker edge due to the post-punk fashion; however, several of these newer groups continued on the same seditious punk path that was distinctive to Brisbane 
Zits, a punk venue in the Fortitude Valley during 1982, was instrumental for putting on the early appearances of last wave punk groups such as Mystery of Sixes (mix of hardcore punk and death rock influenced by The Stranglers and Bauhaus), Vampire Lovers (garage – death rock style of punk) and Public Execution (Black Flag inspired)  After the closure of another punk venue in 1984, The Aussie Nash (at the Australian National Hotel) there was a general decline in punk band numbers participating in the local scene The Mystery of Sixes self-titled song, "Mystery of Sixes", received substantial airplay on 4ZZZ  Jello Biafra, (Dead Kennedys) reviewed their EP's songs as such, "this Brisbane band is a little more on the post-punk side  They definitely live in their own world, especially when the Arabic – style vocals on the title song are taken into account  The lyrics have Satanic overtones " It was asserted in 2000 that "the band quickly gained a reputation for courting controversy," by being banned by the Australian Broadcasting Tribunal and by the acts of violence at various times perpetrated upon them with knives and guns  The Mystery of Sixes, along with Public Execution supported the Dead Kennedys in Brisbane in 1983 Meanwhile, the Vampire Lovers were the type of group, according to the Bucket full of Brains magazine, to "embody an enjoyably snotty early eighties zombie-punk-schlock vibe " It was claimed that "Through their intermittent break ups and infrequent gigs, has enjoyed special cult status throughout Australia"  Buzzsaw Popstar their most recognisable song was declared by Rob Younger (from Radio Birdman) "a masterpiece"  They disbanded in 1984 only to reform in 1988 after the popularity of the Buzzsaw Popstar 1987 single re-release The Black Assassins were another popular live punk band from the early 1980s  The band claimed that, "Their songs and stage act were energetic and highly political, focussing on issues of the day   "  The Black Assassins supported the Dead Kennedys at Brisbane's Festival Hall in 1983 During the same early 1980s period 'hardcore' punk bands also appeared in Brisbane, particularly from 1983 onwards  Two of the more prominent hardcore groups were New Improved Testament and the La Fetts  New Improved Testament, existed from 1983 – 1984 with Fred Noonan on drums  Fred Noonan also drummed previously with Public Execution and went on much later to Six Ft Hick "Hard and abrasive 4 piece which attracted a large and often violent reaction", was how Hutson and Sawford described La Fetts  La Fetts' track, "SEQEB Scabs" (1985), was written by the group's Peter de Hesse in protest against Bjelke-Petersen's government sacking over 1000 electrical industry workers for going on strike : 174–175 Of other Punk bands of Brisbane's third generation were Aftermath, Dumb Show, Kicks, Pictish Blood, The Pits, Strange Glory, Toxic Garden Gnomes, Xero, The Differentials and studio band the Parameters – who were known for their punk spirited song, '"Pig City", which was released as a single in September 1984  Andrew Stafford used it in the title of his book, Pig City: from the Saints to Savage Garden (2004)  He explained the choice: "it was really a rallying call, and a signature song for Brisbane at that time  Certainly if you listened to ZZZ in that period, the song was inescapable and it was so symbolic of living in Brisbane at that time, it described so vividly what it was like to live here  And also, it described police and political corruption in this State three or four years before anyone had heard of Tony Fitzgerald "Popular venues from this particular time include Amyl's Nitespace, Zits, The Australian National Hotel, and the South Brisbane Blind Hall  The Treasury Hotel downstairs, near the Elizabeth Street Bar (White Chairs) became an important hang out for those of a Hardcore Punk and Oi! persuasion during the stretch of 1983 to 1987 

From punk to alternative rock (1985–88)
During 1983 a large number of Alternative acts appeared in the local underground music scene  Brisbane's original spirit of punk begun to wane; eventually it was lost in 1985  It was superseded by the Alternative Rock movement 
It has been said, "Essentially, "alternative" is a catch-all for post-punk bands that appeared as new wave began to die out in 1983–84, and runs all the way into 1995, when alternative pop/rock is the mainstream "Although a number of Brisbane bands continued with punk after 1984, they became absorbed as part of the alternative rock scene  The Brisbane punk groups of the late 1980s were influenced by the strong Sydney music scene as well as from California's hardcore Generically speaking, the punk music scene in Brisbane during the mid to late 1980s period split mostly into three main basic categories  These categories during this time were the Detroit rock and the closely aligned Garage punk groups, with Hardcore punk bands being almost as large in number  A smaller contingent of Skate punk groups made the third category  Stylistically or in a Punk fashion sense, many of the bands (except for some of the hardcore scene) and their fans replaced the generic style of outlandish hair (for the period), cheap items of attire, sewn-in tight trousers, leather and PVC for longer hair, casual clothing sometimes incorporating skater shorts and skateboards, which was in line with the skate punk style 
Bands of the early 1980s, such as The Screaming Tribesmen and Presidents 11 originally began with aspects of punk, however, they quickly diverged beyond the punk genre to explore wider alternative tastes  Also since the early 1980s, an assortment of Punk fusion bands speckled the local punk movement, with a mixture of various musical styles that belonged outside punk rock including Country and Western (The Kingswoods and Tex Deadly and the Dum Dums, both early to mid 1980s), Ska (BLoWHaRD, late 1989 to 1990s), Rockabilly (The Skeletones, mid 1980s) and Heavy Metal (The Dreamkillers, late 1989 to 1990s)Brisbane punk bands that belonged to the particular era between 1985 and 1988 are as follows  ACT, The Adorable Ones, Bad Ronald, Criminally Insane/Rabid Souls, Death of a Nun, The Dinky Flyers, Disorderly Public Outbreak, The Egyptians, The Four Horsemen, The Girlies, The Horny Toads, Hotel Breslin, La Fetts, Insane Hombres, The Pineapples from the Dawn of Time, Post No Bills, Prince of Weasels, Never Again, Oral Injuy, Psycho Circus, Reality Damage, Sanity Assassins, The Slam, Subsonic Barflies, Thrash this Trash, Vampire Lovers, Voodoo Lust, Crucified Truth, Dementia 13, Mungabeans, Water Rats Picnic, Aloha Pussycats and one of Brisbane only all female bands Batswing Saloon, Sentinel and Trash of all Nations [1]
Venues include The Outpost, The Lands Office Hotel, Sensoria and The Love Inn 

A new political era? (1988 onwards)
Brisbane has continued to produce acts which espouse punk ideologies and/or aesthetics, diversifying in attitudes and stylistic influences according to international trends characterising the nineties  While the overt police brutality of the Bjelke-Petersen era waned after the end of his reign in 1987, Brisbane was still experienced as stiflingly conservative, and post World Expo 88, increasingly expensive  Alternative rock, post-punk and skate punk continued, with additional influences of 90s grunge, hardcore, shoegaze, indie-pop, ska and pop-punk trends  Performances diversified to reflect an increased representation of feminine, queer, post-modern, surrealist and/or overtly ideological perspectives relative to the raw, 'snot-driven', straightforward approach of punk predecessors more closely influenced by rock and roll  The latter was still channeled to an extent, but its prominence and subversive reputation had yielded to the political ambiguities of the nineties 
In 1993, 4ZZZ purchased their Fortitude Valley headquarters from the Communist Party of Australia, which had diminished in relevance following the dissolution of the Soviet Union  4zzz has since persisted to operate in this settled, alternative cultural zone, in which punk aesthetics and/or ideals have been a mainstay alongside the station's prominent new left orientation and anarchist and/or socialist activists 
Notable bands beginning in the 1990s include Brisbane underground music mainstays Clag, who music journalist Everett True described as "   a beacon of weirdness, surreal humour and unrepentant femaleness " Clag employed 'reckless genre swapping', unconventional stage theatrics and goaded their audience with banter, resulting in hecking that front-woman Bek Moore described as 'fairly vicious' and 'involved people throwing things'  
An example of Brisbane punk of the mid-early 2000s was Anal Traffic, who used sexually-charged shock value, blatant parodies of rock stage conventions, and intentionally unconventional bricolage outfits to reinforce sardonic, politically-charged lyrics 

Recent years (late 2000s-present)
Venues including Trainspotters, Stepinn (defunct), Prince of Wales Hotel, The Trans, the Foundry, the Bearded Lady, the Beetle Bar (defunct), the Underdog (defunct) have hosted performances in recent years, along with informal spaces such as the William Jolly Bridge  A prominent example of Brisbane punk culture noted by music journalist Everett True is the Negative Guest List punk zine which released printed volumes from 2009–2012, one of which is archived in the National Library of Australia 

See also
List of Brisbane suburbs
Pig City music festival and symposium
Popular Theatre Troupe
The Cane Toad Times
Brisbane Live Music

Bibliography
Hutson, Doug; Sawford, Gavin (1988)  Out of the Unknown: Brisbane Bands 1976–1988  Brisbane: Time Off 
McFarlane, Ian (1999)  The Encyclopedia of Australian Rock and Pop  St  Leonards, NSW: Allen & Unwin  ISBN 1-86508-072-1 
McKinnon, Robert; Negric, Frank (1986)  "The Absolute Beginners Guide to Brisbane Bands" November 1986 pp  13-15 Semper Floreat  Brisbane: University of Queensland Union 
Savage, Jon (1991)  England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond  New York: Faber and Faber 
Spencer, Chris; Nowara, Zbig; McHenry, Paul (2002) [1989]  Who's Who of Australian Rock (5th ed )  Noble Park, Vic: The Five Mile Press 
Walker, Clinton (1981)  Inner City Sound  NSW: Wild & Woolley  ISBN 9780909331481 
Walker, Clinton (1996)  Stranded: The Secret History of Australian Independent Music 1977-1991  NSW: Pan Macmillan 
Passage 5:
List of Circle Jerks band members
The Circle Jerks are an American punk rock band which consists of vocalist Keith Morris and guitarist Greg Hetson (both since 1979) alongside bassist Zander Schloss (since 1983), and drummer Joey Castillo (since 2019)  The band was formed in Southern California in 1979, and originally comprised Morris, Hetson, Roger Rogerson on bass and Lucky Lehrer on drums 
The first Circle Jerks lineup released three albums (including their 1980 debut Group Sex), before Rogerson and Lehrer were kicked out of the band in 1983 and replaced by Earl Liberty and Chuck Biscuits respectively  This lineup lasted only a year, and the Circle Jerks hired Zander Schloss and Keith Clark as Liberty and Biscuits' replacements  The new lineup, consisting of Morris, Hetson, Schloss and Clark, recorded two more albums before the Circle Jerks split up for the first time in 1990, when Hetson left to concentrate on Bad Religion, which he had joined a few years before 
A long period of inactivity ended in 1994, when the Circle Jerks, with the 1984-1990 lineup, reunited and signed a major label deal with Mercury Records, a move that had a few business complications: Hetson was still with Bad Religion, who had signed a long-term contract with Atlantic Records, while Schloss had been part of a band contracted to Interscope  After ironing out these difficulties, the band recorded Oddities, Abnormalities and Curiosities and released it in the summer of 1995, but broke up once again  Reasons for this breakup were essentially the same as they were in 1990 
A second Circle Jerks reunion occurred in 2001  Participating this time were Morris, Hetson, Schloss and Kevin Fitzgerald, who filled in on drums for Clark, who at that time had retired from the music business  Tensions among its members and failed attempts to record the follow-up to Oddities, Abnormalities and Curiosities resulted in the Circle Jerks breaking up yet again in 2011  The band announced in November 2019 that they would reunite in 2020 to celebrate the 40th anniversary of Group Sex with live shows 

Members
Current

Former

Touring

Timeline
Passage 6:
Yours Truly (Sublime with Rome album)
Yours Truly is the debut studio album by American rock group Sublime with Rome, released on July 12, 2011 by Fueled by Ramen  It is the first album since the original Sublime disbanded in 1996 following lead singer and guitarist Bradley Nowell's death  According to the liner notes, the album is dedicated to him  
In 2009, Sublime's surviving members, Eric Wilson and Bud Gaugh, reformed the band, with Rome Ramirez filling in for Nowell  However, the group were unable to use the name Sublime for legal reasons, resulting in the name change to Sublime with Rome  After embarking on their first US tour in 2010, Sublime with Rome signed with the record label Fueled by Ramen and began recording their first full-length album  Guitarist Paul Leary of Butthole Surfers, who co-produced Sublime's eponymous final album, produced it 
Yours Truly received mixed reviews  "Panic" was released as the album's first single and achieved success, reaching No  4 on Billboard's Alternative Songs and cracking the top 10 on the Rock Songs chart  "Lovers Rock" and "Take It or Leave It" were also released as singles 
Yours Truly is the only Sublime with Rome album recorded with co-founder Bud Gaugh, who left the group in December 2011 

Background and history
Sublime broke up immediately after Bradley Nowell died from a drug overdose in 1996  After the break up, Eric Wilson and Bud Gaugh resurfaced in the band Long Beach Dub Allstars, releasing two albums and then splitting up in 2002  After Long Beach Dub Allstars, Wilson went on to form Long Beach Shortbus, while Gaugh went on to form Eyes Adrift and Volcano (both of which featured Meat Puppets guitarist/vocalist Curt Kirkwood) 
In 2009, Gaugh and Wilson reunited for a show in Nevada and called themselves Sublime  They were joined by a new singer-guitarist whose identity was not announced; on March 1, 2009, Gaugh confirmed this was then-20-year-old Northern California native Rome Ramirez, who had previously collaborated with Wilson on RAWsession where he played Sublime songs such a "Saw Red" and "Boss DJ"  The trio played another show at Cypress Hill's Smokeout Festival on October 24, 2009 in San Bernardino, California  The festival also featured performances from Kottonmouth Kings, Slipknot, Deftones, Bad Brains and Pennywise  However, because the name Sublime had been trademarked by Bradley Nowell, the band decided to call themselves Sublime with Rome to curtail any legal difficulties Work on Yours Truly began as early as 2010 and Gaugh told Billboard com that Sublime with Rome would enter the studio in June for a week "and nail down some of the more worked-out songs, and possibly even finish one or two of them for a late summer radio release"  The band was expected to have the album out in 2011  On February 5, 2011, Sublime With Rome announced on their official website that they were planning to enter the studio in March to begin recording their debut album, with Butthole Surfers guitarist Paul Leary producing  On February 21, 2011 (Wilson's 41st birthday), the band posted a statement on their Facebook page saying that they had begun recording the album and would be posting "mad videos" to "let everyone know where to go for a behind the scenes look at the Sublime With Rome process " On April 14, 2011, Rome posted an update on Sublime With Rome's official website saying that the album was almost finished and expected for a summer release  During the summer 2010 tour, Sublime With Rome performed their first new song "Panic" on Jimmy Kimmel Live!  It was also announced that Sublime with Rome officially signed to record label Fueled By Ramen and would release their debut album Yours Truly on July 12, 2011 The band began streaming the album in its entirety via their official Facebook page on July 6, 2011 
Sublime with Rome was invited to promote Yours Truly by supporting 311 on their Universal Pulse tour, dubbed the 2011 Unity Tour  Special guests included DJ Soulman and DJ Trichrome 

Critical reception
Critical reception has been generally mixed, with the album receiving a 48 on Metacritic  The Allmusic review by Jason Lymangrover states: "Yours Truly doesn't quite match the caliber of the albums in the Sublime discography, but it's a fairly enjoyable spin-off just the same"  Ultimate-Guitar com praised Yours Truly as a "solid release with tracks appealing to original fans as well as those with Rome's flair of originality "

Commercial performance
The album debuted at No  9 on Billboard 200, and No  3 on Rock Albums, selling 35,000 copies in its first week  The album has sold 153,000 copies in the United States as of June 2015 

Charts
Track listing
Personnel
Rome Ramirez – vocals, guitar
Eric Wilson – bass
Bud Gaugh – drums, percussion
Todd Forman – Saxophone
DJ Rocky Rock – DJ /Turntables
Aimee Allen – Additional vocals ("Safe And Sound")
Maggie Walters – Additional vocals ("You Better Listen" and other tracks)
Passage 7:
Keith Morris
Keith Morris (born September 18, 1955) is an American singer and songwriter known for his role as frontman of the hardcore punk bands Black Flag, Circle Jerks, and Off!  Born and raised in Hermosa Beach, California, he formed Black Flag at the age of 21 with guitarist Greg Ginn and performed on the band's 1979 debut EP Nervous Breakdown  Shortly after leaving Black Flag in 1979, he formed the Circle Jerks with guitarist Greg Hetson; the band released seven albums between 1980 and 1995 and have broken up and reformed on numerous occasions  In 2009 Morris formed the supergroup Off! with guitarist Dimitri Coats, bassist Steven Shane McDonald, and drummer Mario Rubalcaba  Morris has also appeared as a guest vocalist on several albums by other artists 

Biography
Early life
Morris was born September 18, 1955 and grew up in Hermosa Beach, California  His father, Jerry, had been a budding jazz drummer in his youth and practiced with visiting jazz groups at the Lighthouse Café  Jerry later opened a bait shop in the 1970s and struck up a friendship with jazz record producer Ozzie Cadena (both men's sons, Keith and Dez, later became singers in Black Flag)  Keith attended Mira Costa High School, where brothers Greg and Raymond Ginn were also students, and graduated in 1973  He then studied fine art and painting at the Pasadena Arts Center while working at his father's bait shop  One of his co-workers at the shop was Bill Stevenson, a Mira Costa student eight years Morris' junior who would also go on to be a member of Black Flag Morris and his friends spent their spare time hanging out by the Strand under Hermosa Beach pier, where they took drugs: "I'd get off work, and we'd get up to trouble," he later recalled, "smoking angel dust, snorting elephant tranquilizers  Just real goofy, 'why-would-you-want-to-do-that?' kinda stuff, the kind of thing you get up to when you're young, and into experimenting  If it was a good experience, then cool; if not, well, then it was just a real hard lesson learned " His early musical tastes included various rock acts such as Bob Seger, Foreigner, Montrose, Styx, Deep Purple, Black Sabbath, Queen, Ten Years After, Status Quo, Uriah Heep, UFO, the Scorpions, Aerosmith, Ted Nugent, and the MC5, "any kind of fist-pumping, 'flick-your-bic' rock  I was into anything that was loud"  He became a freely opinionated and passionate fan of heavy rock and protopunk, and took a job working at local record store Rubicon Records 

Black Flag
In 1976, Morris co-founded Black Flag (then-known as Panic) along with guitarist Greg Ginn  Their work ethic proved too challenging for some early members; Ginn and  Morris had an especially hard time finding a reliable bass guitarist, and often rehearsed without a bassist, a factor that contributed to the development of Ginn's distinctive, often low-pitched guitar sound  The band went through three bass players before Chuck Dukowski joined and then Robo answered a Pennysaver ad and became their drummer After a number of line-up changes, Morris recorded vocals for the first Black Flag EP Nervous Breakdown  After two years in the band, Morris left the band citing, among other reasons, creative differences with Ginn, and his own "freaking out on cocaine and speed "

Circle Jerks
After leaving Black Flag in 1979, Morris founded the Circle Jerks, along with former Redd Kross guitarist Greg Hetson  Cited as one of the most important hardcore punk groups, the Circle Jerks were active until 1990, when Hetson left the band to continue playing guitar and release a number of albums with Bad Religion  The Circle Jerks reunited in 1994 and released their last studio album to date in 1995  The group performed on and off until 2011, when they went back on hiatus  In November 2019, plans were announced for a 2020 reunion tour in support of the 40th anniversary of their 1980 album, Group Sex, however the tour was postponed until September 2021 due to the COVID-19 pandemic  In April 2022, six of the dates on their 40th anniversary tour were postponed due to Morris testing positive for the COVID-19 virus 

Off!
As of 2010, Morris has been performing and touring with his latest project Off!, which he founded with Dimitri Coats from Burning Brides, Steven Shane McDonald from Redd Kross, and Mario Rubalcaba from Earthless/Rocket From The Crypt/Hot Snakes Morris stated in a March 2011 interview that Off! was asked to open future dates for the Red Hot Chili Peppers and they said they would even though it might anger some of their younger punk fans  Ultimately, Off! ended up not touring with Red Hot Chili Peppers  Morris has known the band for over 30 years and the Circle Jerks had performed shows with the Chili Peppers in the 80s  The Chili Peppers had also covered Black Flag and the Circle Jerks during their shows  Chili Peppers singer, Anthony Kiedis, wore an Off! hat at every show on the band's entire I'm with You World Tour including some of their music videos  Morris even filled in for Kiedis during one of the Chili Peppers' shows in 1984  When Kiedis, who was off scoring drugs, failed to show up for the performance, the band asked Morris to fill in on vocals  Morris, who didn't know any of the lyrics, yelled and made up lyrics to the band's songs to get through the performance  In the Chili Peppers' "An Oral/Visual History" book, bassist Flea said "We got an opening slot at the Olympic Auditorium  But Anthony in all his junkie splendor did not show up  Keith Morris from the Circle Jerks said 'I'll sing' and so we went out with him  We were just playing the songs and he would yell out stuff - whatever he could "As of 2014, the group has released three studio albums  In July 2021, Off! released their first new song in seven years, a cover of Metallica's “Holier than Thou ” The song is on The Metallica Blacklist covers album that was released on September 10, 2021  Off! also announced that they are working on a new album and a sci-fi feature film 

FLAG
In 2013, Keith Morris, Chuck Dukowski, Dez Cadena, Bill Stevenson and Descendents member Stephen Egerton, created FLAG as an offshoot of Black Flag  As of now, they are only touring  No plans for an album have been announced 

Other works
After the Circle Jerks' first break-up in 1990, Morris led the bands Bug Lamp and Midget Handjob  He also provided backing vocals on "Operation Rescue", from Bad Religion's album Against the Grain (1990) 
Morris also narrated Chris Fuller's 2007 Gotham Award-nominated independent film Loren Cass 
Morris appeared as the DJ for the West Coast Punk Rock station Channel X in the video game Grand Theft Auto V released on September 17, 2013
In 2016, Morris released an autobiography called My Damage: The Story of a Punk Rock Survivor 

Personal life
In 1999, Morris was diagnosed with adult onset diabetes  He has also been sober since the 1980s On April 13, 2022, it was revealed on the Circle Jerks' Facebook page that Morris had contracted and was recovering from COVID-19 

Discography
With Black Flag
Nervous Breakdown (1979)
Tracks 1-9 Everything Went Black (1982)

With Circle Jerks
Group Sex (1980)
Wild in the Streets (1982)
Golden Shower of Hits (1983)
Wonderful (1985)
VI (1987)
Gig (1992)
Oddities, Abnormalities and Curiosities (1995)

With Bug Lamp
"Howling at the Moon (Sha-La-La)" on Gabba Gabba Hey: A Tribute to the Ramones (1991)
"El Dorado" on Roadside Prophets soundtrack (1992)
"The Ballad of Dwight Fry" on Welcome to Our Nightmare: A Tribute to Alice Cooper (1993)

With Midget Handjob
Midnight Snack Break at the Poodle Factory (2000)

With Off!
1st EP (2010)
First Four EPs (2010)
"Compared to What" (2011)
Live at Generation Records (2011)
Sugar Daddy Live Split Series Vol  3 (split with the Taylor's) (2012)
Off! (2012)
The Music of Grand Theft Auto V ("What's Next) (2013)
Live at 9:30 Club (2013)
Wasted Years (2014)
"Learn to Obey" (2014)
Live From the BBC (2015)
The Metallica Blacklist  ("Holier than Thou") (2021)
Free LSD (2022)

Guest appearances
Passage 8:
Rome Ramirez
Roman René Ramírez (born June 11, 1988), better known as Rome Ramirez or simply Rome, is an American singer and guitarist best known for playing with Eric Wilson from Sublime in the band Sublime with Rome 

Early life
Ramirez was born and raised in Fremont, California  Both of his parents are of Mexican heritage, his mother being from Guadalajara and his father's parents from Tijuana, but his father relocated the family to Oakland  He first started playing guitar at age 11, and one of the first songs he learned was a Sublime song 
At 18, Ramirez headed to Los Angeles to focus full-time on music  There, he was introduced to one of his idols, Eric Wilson, bassist for Sublime  They became friends and started jamming together at Eric's infamous holiday parties in Long Beach  Within the year, the plan to bring back Sublime had been set into motion 

Sublime With Rome
In 2008, Rome collaborated with Eric Wilson on a RAWsession video (also at 17th Street Recording Studio) where he played Sublime songs such as "Saw Red" and "Boss DJ", and eventually began to play with the band's two surviving members, Eric and Bud Gaugh 
The trio then went on tour together playing covers of original Sublime material  Sublime with Rome made its debut in 2009 at Cypress Hill's Smoke Out Festival in San Bernardino, California  Ramirez was soon touring steadily with Sublime with Rome, and the trio released their debut album Yours Truly on July 12, 2011  Shortly after, Gaugh left the band and Josh Freese stepped in to play drums  In 2015, they released another album, Sirens  Freese left in 2017 to tour with Sting, and Carlos Verdugo of Tribal Seeds joined the band  They then released a new album in 2019 with producer Rob Cavallo 

Songwriting and Producing
Rome co-wrote the song "Lay Me Down" with The Dirty Heads and has collaborated with the band on several albums including Sounds of Change, Dirty Heads, Dessert EP and Swim Team 
Rome also worked extensively with Enrique Iglesias on his 10th studio album 
Rome has said in interviews that his influences are Sublime, Muse, Jimi Hendrix, Bad Brains, Nirvana, Led Zeppelin, Public Enemy, The Beastie Boys and Primus Rome's promotional solo single, "Dedication," was premiered on the Rolling Stone website May 30, 2012   "The song's about loving someone who is struggling with getting their life together and eventually having to move on," says Rome  "It's probably some of the most personal stuff I've put in a song   Sometimes all you need is the right people to pull the best out of you, and that's what I feel happened with the three of us  The right individuals, at the right place and time " His debut solo EP was released on June 12, 2012 In March 2015, Ramirez appeared on Blues Traveler's album Blow Up the Moon, co writing the song "Castaway" and "Vagabond Blues" with Dirty Heads 
Passage 9:
Circle Jerks
Circle Jerks (stylized as Ciʀcle JƎʀᴋs) are an American hardcore punk band, formed in 1979 in Los Angeles, California  The group was founded by former Black Flag vocalist Keith Morris and Redd Kross guitarist Greg Hetson  To date, Circle Jerks have released six studio albums, one compilation, a live album and a live DVD  Their debut album, Group Sex (1980), is considered a landmark of the hardcore genre 
The band has broken up and re-formed several times, sometimes with different bassists and/or drummers  They disbanded for the first time after the release of their fifth album VI (1987), allowing Hetson to focus on Bad Religion (which he joined in 1984 and stayed with until 2013) full-time  The Circle Jerks first reunited in 1994 and released their sixth and last studio album to date, Oddities, Abnormalities and Curiosities, the following year before separating for the second time  The band reunited for the second time in 2001 and spent the next ten years performing live periodically; this reunion released only one new song, "I'm Gonna Live", which was posted on their MySpace profile in 2007  Tensions among members and failed attempts to record the follow-up to Oddities, Abnormalities and Curiosities resulted in the Circle Jerks breaking up yet again in 2011  However, the band announced in November 2019 that they would reunite in 2020 to celebrate the 40th anniversary of Group Sex with live shows Many groups and artists have cited Circle Jerks as an influence, including Red Hot Chili Peppers, Pearl Jam, Anti-Flag, Dropkick Murphys, the Offspring, NOFX, and Pennywise 

History
Early days and increasing popularity (1979–1982)
Lead vocalist Keith Morris was an original member of Black Flag, co-founding the band with guitarist Greg Ginn and recording the Nervous Breakdown EP with them before suddenly departing the group in December 1979  Morris formed Circle Jerks as the Bedwetters along with guitarist Greg Hetson, bassist Roger Rogerson (a classically-trained guitarist) and drummer Lucky Lehrer (a jazz-trained drummer)  Lehrer did not like the name the Bedwetters, so Morris looked through a dictionary of slang words and renamed the band the Circle Jerks The band's first recordings took place in spring 1980, including the original version of "Wild in the Streets", which appeared on Posh Boy's first Rodney on the ROQ compilation  In July of that year, the band recorded their debut studio album, Group Sex, which was released in October 1980 on the Frontier Records label; its 14 songs totaled just 15 minutes  The album featured several songs that Morris had written while in Black Flag  That same year, the group was one of several California punk bands to be immortalized in the Penelope Spheeris documentary The Decline of Western Civilization; live versions of five songs from Group Sex appeared on the movie's soundtrack 
In late 1980, the group signed with IRS Records subsidiary Faulty Products and recorded their second album, Wild in the Streets, released in 1982  The title track was a cover version of a song by Garland Jeffreys  Faulty Products ceased operations several months after its release, forcing Circle Jerks to seek their third record deal in as many years  While they regained the copyright to Wild in the Streets, the original stereo master tape was lost, forcing the band to remix it from the multi-track tapes when they reissued the album in 1988 

Later years (1983–1989)
They signed a management deal with War producer/manager Jerry Goldstein's Far Out Productions, and recorded their third album, Golden Shower of Hits, in 1983  The album was released on Goldstein's LAX Records label  The title track was a medley of six cover versions (of artists as diverse and unexpected as the Association, the Carpenters and Tammy Wynette) strung together to create a storyline of two people who fall in love, have an unplanned pregnancy, rush into marriage and end up divorced  Another song from the album, "Coup d'État", was used in the soundtrack of Alex Cox's 1984 film Repo Man, which the band appeared in, playing an acoustic lounge version of "When the Shit Hits the Fan", featuring new members Chuck Biscuits (formerly of Black Flag and D O A ) on drums and Earl Liberty (formerly of Saccharine Trust) on bass  Just prior to joining Circle Jerks at the suggestion of Biscuits, Liberty worked 10 weeks as a roadie for the Misfits as he became increasingly disillusioned with Saccharine Trust's lack of interest in developing new material, recalling in a 1983 interview that his former bandmates "were just getting too lazy "Biscuits and Liberty were eventually replaced by Keith Clark and Zander Schloss (who also appeared in Repo Man), respectively  The band also changed labels for the fourth time, signing a deal with Relativity Records' metal imprint Combat Records, which had started a punk sub-label, Combat Core  The newly revamped group recorded Wonderful, released in 1985  Their newfound stability allowed the lineup to record a second album for Relativity, VI, issued in 1987  One track from VI, "Love Kills", had been commissioned by Cox for the soundtrack of the 1986 movie Sid and Nancy, and was heard in the film 
Chris Poland played bass with Circle Jerks briefly circa 1989 after being fired as guitarist for Megadeth (Schloss had left the band by that point) 

Hiatus (1990–1993)
Circle Jerks dissolved in 1990 after Hetson left the band to continue recording with Bad Religion  Live recordings made during what would be their final tour at the time were immortalized in the live album Gig in 1992, their third and last release for Relativity 
During the hiatus, Hetson would continue playing in Bad Religion; Schloss played guitar and bass with various acts; Clark initially retired from music; Morris worked menial jobs and battled health problems (he had kicked a longtime dependence on drugs and alcohol in 1988) 

Reunions and hiatuses (1994–2011)
A long period of inactivity for Circle Jerks ended in 1994, when the Wonderful-era lineup reunited and signed a major label deal with Mercury Records, a move that had a few business complications: Hetson was still with Bad Religion, who had signed a long-term contract with Atlantic Records, while Schloss had been part of a band contracted to Interscope Records  After ironing out these difficulties, the band recorded their final studio album to date, Oddities, Abnormalities and Curiosities, released June 20, 1995  One track on the album, a cover of the Soft Boys' "I Wanna Destroy You", featured backing vocals from pop singer/songwriter Deborah Gibson, who had just finished a solo album with the same producer that Circle Jerks were using  Gibson later made a surprise appearance at Circle Jerks' performance at punk mecca CBGB to perform "I Wanna Destroy You" with the band  Despite such media attention, the group suddenly imploded three weeks into a tour behind the album  The breakup would not be totally permanent, with the Jerks playing sporadically throughout the late 1990s, but Clark left music for good afterward  Original bassist Rogerson died in 1996 of a drug overdose  He was 41 years old 
Further Circle Jerks activity was suddenly held up when Morris announced that he had been diagnosed with adult onset diabetes in 1999  A multitude of punk bands held benefits on his behalf 
The core of Morris, Hetson and Schloss, with drummer Kevin Fitzgerald, continued to tour until 2011, in between other commitments — Hetson was still a full-time member of Bad Religion, Schloss played bass for the reformed first-generation LA punk band the Weirdos, and Morris was an A&R director for V2 Records until the label was suddenly shuttered by its owners in 2007 
In 2004, the Circle Jerks shot a live concert DVD as part of Kung-Fu Records' live DVD series The Show Must Go Off!, in which the band played songs from all six of their studio albums, plus – in nods to Schloss' other current band and Morris' first band, respectively – covers of the Weirdos' "Solitary Confinement" and Black Flag's "Nervous Breakdown"  In 2005, Hetson formed another band, Black President 
For several years, a rumored Circle Jerks album featuring new material was said to be imminent, although no further formal announcement was made  In late February 2007, the band released their first new song since 1995 on their Myspace page, titled "I'm Gonna Live", adding more anticipation to the possibility of a new album emerging  However, in an April 2008 interview, guitarist Hetson admitted that Circle Jerks would not release any new studio material, saying that he does not know what will happen in the future, "but in the near future, no Circle Jerks stuff will come out" Circle Jerks were featured on a television commercial for XM Satellite Radio (they were the first band played in the commercial, which included "Operation" from the album Group Sex), and the band also posted a cover of  Germs song "The Slave" on their Myspace page 
The Circle Jerks played their final show for nearly a decade at the Bluebird Theater in Denver on January 27, 2011 From 2011 to 2019, the Circle Jerks were on hiatus due to a dispute between Morris and the rest of the band  The conflict was over songs that were written by Morris and Dimitri Coats  Coats (from Burning Brides), who was supposed to produce a new Circle Jerks album, decided that the songs Hetson had written were not up to par with Circle Jerks' catalog  Morris agreed, and both he and Coats wrote multiple songs intended for the new album  The other members of Circle Jerks believed Coats to be "arrogant, overbearing, egotistical" and called for him to be fired from producing the new record  Morris disagreed, and he and Coats recruited Steven Shane McDonald (from Redd Kross) and Mario Rubalcaba (Rocket from the Crypt, Hot Snakes, 411, Clikatat Ikatowi, Earthless) to start a new band called Off! 

Group Sex anniversary shows (2019–present)
On November 22, 2019, the Circle Jerks announced that they were going to reunite in 2020 for a number of shows to celebrate the 40th anniversary of their debut album Group Sex, including that year's Punk Rock Bowling  However, the COVID-19 pandemic caused performances to be postponed until 2021  Three-fourths of the final lineup — Keith Morris, guitarist Greg Hetson, bassist Zander Schloss — were involved in the reunion 
On July 15, 2021 it was announced that former Queens of the Stone Age and Danzig drummer Joey Castillo would be joining the band on drums In April 2022, six dates on the anniversary tour were postponed after Morris tested positive for the COVID-19 virus 

Band members
Current members
Keith Morris – vocals (1979–1990, 1994–1995, 2001–2011, 2019–present)
Greg Hetson – guitars (1979–1990, 1994–1995, 2001–2011, 2019–present)
Zander Schloss – bass (1984–1988, 1989-1990, 1994–1995, 2001–2011, 2019–present)
Joey Castillo – drums (2021–present)

Discography
Studio albums

Group Sex (1980)
Wild in the Streets (1982)
Golden Shower of Hits (1983)
Wonderful (1985)
VI (1987)
Oddities, Abnormalities and Curiosities (1995)
Context 2: Passage 1:
The Lives of a Bengal Lancer (film)
The Lives of a Bengal Lancer is a 1935 American adventure film starring Gary Cooper, directed by Henry Hathaway, and written by Grover Jones, William Slavens McNutt, Waldemar Young, John L  Balderston, and Achmed Abdullah  The setting and title come from the 1930 autobiography of the British soldier Francis Yeats-Brown 
The story, which has little in common with Yeats-Brown’s book, tells of a group of British cavalrymen and high-ranking officers desperately trying to defend their stronghold and headquarters at Bengal against the rebellious natives during the days of the British Raj  Cooper plays Lieutenant Alan McGregor, Franchot Tone, Lieutenant John Forsythe, Richard Cromwell, Lieutenant Donald Stone, Guy Standing, Colonel Tom Stone, and Douglass Dumbrille plays the rebel leader Mohammed Khan, who reads the now often-misquoted line "We have ways to make men talk "The film was produced by released by Paramount Pictures  Planning began in 1931, and Paramount had expected the film to be released that same year  However, most of the location footage deteriorated due to the high temperatures, and the project was delayed  It was eventually released in the US in 1935 
It met with positive reviews and good box office results, and was nominated for seven Academy Awards, winning Assistant Director, with other nominations including Best Original Screenplay and Best Picture  The film grossed $1 5 million in worldwide theatrical rentals 

Plot
On the northwest frontier of India during the British Raj, Scottish Canadian  Lieutenant Alan McGregor  (Gary Cooper), in charge of newcomers, welcomes two replacements to the 41st Bengal Lancers: Lieutenant John Forsythe  (Franchot Tone) and  Lieutenant Donald Stone  (Richard Cromwell), the son of the unit's commander, Colonel Tom Stone  (Guy Standing)  Lieutenant Stone, a "cub" (meaning a newly commissioned officer), eagerly anticipated serving on the Indian frontier, particularly because he specifically was requested and assumed that his father sent for him; Lieutenant Forsythe, an experienced cavalrymen and something of a teasing character, was sent out as a replacement for an officer who was killed in action  
After his arrival Lieutenant Stone discovers that his father keeps him at arms length, wanting to treat him the same as he treats all of the other men  He also reveals that he did not request his son serve in his regiment, a discovery that breaks his heart and leads to him going on a drunken bender  Attempting to show impartiality, the colonel treats his son indifferently  The Colonel's commitment to strictly military behavior and adherence to protocol is interpreted by young Stone as rejection  He had not seen his father since he was a boy and had looked forward to spending time with him 
Lieutenant Barrett (Colin Tapley), disguised as a native rebel in order to spy on Mohammed Khan (Douglass Dumbrille), reports that Khan is preparing an uprising against the British  He plans to intercept and hijack a military convoy transporting two million rounds of ammunition  When Khan discovers that Colonel Stone knows of his plan, he orders Tania Volkanskaya, a beautiful Russian agent, to seduce and kidnap Lieutenant Stone in an attempt to extract classified information about the ammunition caravan from him, or use him as leverage to attract his father  When the colonel refuses to attempt his son's rescue, McGregor and Forsythe, appalled by the seeming lack of concern the colonel has for his own son, leave the camp at night without orders  Disguised as native merchants trying to sell blankets, they successfully get inside Khan's fortress  However, they are recognized by Tania, who had met the two men at a social event  McGregor and Forsythe are taken prisoner 
During interrogation, Khan wants to know when and where the munitions will be transported so that he can attack and steal the arms  He has the prisoners tortured for the information  Bamboo shoots are shoved under their fingernails and set on fire  McGregor and Forsythe refuse to talk, but the demoralized Stone, feeling rejected by his father, cracks and reveals what he knows  As a result, the ammunition convoy is captured 
After receiving news of the stolen ammunition, Colonel Stone takes the 41st to battle Khan  From their cell, the captives see the overmatched Bengal Lancers deploy to assault Khan's fortress  They manage to escape and blow up the ammunition tower, McGregor manning a machine gun and dying in the assault  Young Stone redeems himself by killing Khan with a dagger  With their ammunition gone, their leader dead, and their fortress in ruins, the remaining rebels surrender 
In recognition of their bravery and valor in battle, Lieutenants Forsythe and Stone are awarded the Distinguished Service Order  McGregor posthumously receives the Victoria Cross, Great Britain's highest award for military valor, with Colonel Stone pinning the medal to the saddle cloth of McGregor's horse in the custom in the 41st Lancers 

Cast
Gary Cooper as  Lieutenant Alan McGregor, a highly experienced officer in his mid-thirties, who has spent a long time with the regiment  McGregor, a Canadian, is portrayed as a charming, open character who befriends most officers, but because of disregard for his superiors and habit of speaking his mind is regarded askance by his superiors, who nevertheless respect his military abilities 
Franchot Tone as  Lieutenant John Forsythe, an upper-class cavalryman in his mid-twenties from the Royal Military Academy Sandhurst  Transferred from the Blues, one of the two regiments at the time the movie was made tasked with guarding the Sovereign, Forsythe is presented as the  funny guy  of the main characters, and is noteworthy for his Sandhurst style in military exercise, something that earns him countless compliments from his superiors Richard Cromwell as  Lieutenant Donald Stone, a recent graduate of Sandhurst and a very young officer  As the son of a colonel with a famous name, he is treated respectfully but becomes frustrated and morose because of personal issues with his father 
Guy Standing  as  Colonel Tom Stone, a long-serving colonel who left his home in Britain to serve on the Frontier, and explains to his son in the film that the "service always comes first     something your mother never understood " He is considered to be a dyed-in-the-wool, by-the-book colonel who suppresses his feelings and never does anything without orders 
C  Aubrey Smith as  Major Hamilton, an old, very experienced major who serves as Colonel Stone's adjutant and Lieutenant Stone's second father and friend  He, along with his chief, planned and coordinated the big assault on Mohammad Khan's fortress 
Kathleen Burke as  Tania Volkanskaya, a beautiful and seductive young Russian woman who is Khan's ally  She is used as Khan's secret ace, who seduces young men when needed to forward Khan's plans  It was she who, with considerable ease, outwitted first Stone and then McGregor and Forsythe 
Douglass Dumbrille as  Mohammed Khan, a well-known, wealthy prince of the region, educated at Oxford and ostensibly a friend of the British  He is also the secret rebel leader who fights for Bengal's independence from the British Crown  He is portrayed as the film's villain and is responsible for the death and torture of many people 
Colin Tapley as  Lieutenant Barrett, a close friend of Lieutenant McGregor who has been ordered to infiltrate Khan's group of bandits and delivers vital information about the rebels' location and movement 
Lumsden Hare as  Major General Woodley, the man in  command of the British intelligence service in India  He is disliked by most of the regiment's officers, especially McGregor, because his orders usually involve training exercises in locations where the pig-sticking is good  He thought of and approved the attack on Khan's stronghold 
J  Carrol Naish as Grand Vizier
James Dime

Production
Stock crisis
Paramount originally planned to produce the film in 1931 and sent cinematographers Ernest B  Schoedsack and Rex Wimpy to India to film location shots such as a tiger hunt  However, much of the film stock deteriorated in the hot sun while on location, so when the film was eventually made, much of the production took place in the hills surrounding Los Angeles, where Northern Paiute people were used as extras According to Hathaway, Schoedack struggled with the studio so was replaced by Steven Roberts, who began spending more money than Paramount were willing to, so he was fired  Gary Cooper had director approval and he suggested Henry Hathaway, whose Westerns the actor admired - it was Hathaway's entry into big budget films  The director had been to India for nine months and remembered everything being white so insisted on that in the film 

Filming
Among the filming locations were Lone Pine, Calif , Buffalo Flats in Malibu, Calif , the Paramount Ranch in Agoura, Calif , and the Iverson Movie Ranch in Chatsworth, Calif  For the climactic half-hour battle sequence at the end of the film, an elaborate set was built in the Iverson Gorge, part of the Iverson Movie Ranch, to depict Mogala, the mountain stronghold of Mohammed Khan 

Release
Box office
The film was released in American cinemas in January 1935  It was a big success at the box office and kicked off a cycle of Imperial adventure tales, including The Charge of the Light Brigade (1936), Another Dawn (1937), Gunga Din (1939), The Four Feathers (1939), and The Real Glory (1939)  The film had theatrical rentals of about $1 million in the U S  and Canada, and $1 5 million worldwide  It was the second most popular film at the British box office in 1935–36  The film was successful enough that it led to Gary Cooper being booked to star in a number of films of similar plots that were also set in "exotic" locales, including Beau Geste, The Real Glory, North West Mounted Police and Distant Drums 

Critical reception and influence
Laura Elston from the magazine Canada wrote that The Lives of a Bengal Lancer did "more glory to the British traditions than the British would dare to do for themselves " In response to the film success, Frederick Herron of the Motion Picture Association of America wrote "Hollywood is doing a very good work in selling the British Empire to the world "Writer John Howard Reid noted in his book Award-Winning Films of the 1930s that the film is considered "one of the greatest adventure films of all time" and highly praised Hathaway's work by saying "the film really made his reputation " It also received a praised review in Boys' Life magazine, starting off the review with the words "You will be immensely pleased with The Lives of a Bengal lancer" and went on to compare the style and class of the three main characters to that of The Three Musketeers  The film holds an overall approval rating of 100% on the review aggregator website Rotten Tomatoes, based on 9 reviews, with a rating average of 8 out of 10 Critic Otis Ferguson said he was "taken by the show, imperialism and all " Andre Sennwald of The New York Times said the film "glorified the British Empire better than any film produced in Britain for that purpose "  Sennwald added that Paramount's "Kiplingesque" movie "ought to prove a blessing to Downing Street " The film proved so popular in the United States that it spurred a series of imperial films that continued throughout the decade and into the next decade  Frank S  Nugent, also of The New York Times, wrote that "England need have no fears for its empire so long as Hollywood insists upon being the Kipling of the Pacific " Nugent commented that movies such as The Lives of a Bengal Lancer and The Charge of the Light Brigade were far more pro-British than actual British filmmakers would ever dare to be: "In its veneration of British colonial policy, in its respect for the omniscience and high moral purpose of His, or Her, Majesty's diplomatic representatives and in its adulation of the courage, the virtue and the manly beauty of English soldiery abroad, Hollywood yields to no one—not even to the British filmmakers themselves "In Fascist Italy, Mussolini's motion picture bureau had the movie banned, as well as several other British-themed American movies, including Lloyd's of London and The Charge of the Light Brigade, on the grounds that they were "propaganda" 
According to Ivone Kirkpatrick, who met Adolf Hitler at Berchtesgaden in 1937, one of Hitler's favorite films was The Lives of a Bengal Lancer, which he had watched three times  He liked the film because "it depicted a handful of Britons holding a continent in thrall  That was how a superior race must behave and the film was a compulsory viewing for the S S "
Also, his valet recalled that Hitler enjoyed the film 
It was one of the eleven US movies that, from 1933 to 1937, were considered "artistically valuable" by the Nazi authorities 

Plot discrepancies
The film shares nothing with the source book, except the setting  Reid noted in Award-Winning Films of the 1930s that "none of the characters in the book appear in the screenplay, not even Yeats-Brown himself  The plot of the film is also entirely different "

Home media
The Paramount picture was distributed to home media on VHS on March 1, 1992 and on DVD on May 31, 2005  It has since been released in multiple languages and is included in several multi-film collections 

Awards
The film was nominated for the following Academy Awards, winning in one category:

See also
The Witching Hour
The Shepherd of the Hills
Now and Forever
Passage 2:
The White Haired Witch of Lunar Kingdom
The White Haired Witch of Lunar Kingdom is a 2014 Chinese wuxia-fantasy film based on the best-selected novel Romance of the White-Haired Maiden written by Liang Yusheng  Directed by Jacob Cheung and co-produced by Bona Film Group and Huang Jianxin with the creative consultant led by Tsui Hark, the film stars Fan Bingbing, Huang Xiaoming, Vincent Zhao and others among the supporting cast  Originally scheduled for release on 25 April 2014, the film was moved to 1 August 2014, then moved a day earlier to 31 July 2014 

Cast
Fan Bingbing as Lian Nishang
Huang Xiaoming as Zhuo Yihang
Vincent Zhao as Jin Duyi
Wang Xuebing as Murong Chong
Ni Dahong as Wei Zhongxian
Tong Yao as Ke Pingting
Li Xinru as Tie Shanhu
Cecilia Yip as Ling Yunfeng
Yan Yikuan as Huangtaiji

Production
The White Haired Witch of Lunar Kingdom was produced at a budget of 100 million yuan  Shooting started in November 2012 and ended in March 2013  During filming, Huang Xiaoming had a three-metre fall after a wire accident on the set and he fractured two toes on his left foot  He had to sit in a wheelchair for weeks, but resumed filming even though he had yet to fully recover  On 2 April 2013, Huang and Fan Bingbing attended a press conference in Beijing to talk about their experiences in filming White Haired Witch 

Reception
Box office
The film grossed US$61,900,000 in mainland China and a total of US$64 2 million internationally 

Critical response
The film received negative reviews from audiences  The review aggregator Rotten Tomatoes reports a 0 approval rating from critics, with an average score of 4 3/10, based on 6 reviews  The Hollywood Reporter said, "it's a shame that Cheung's first film in seven years is eventually weighed down by this rushed, uneven sprawl of a story credited to five screenwriters, each of whom possibly bringing their own references (ranging from political-parable historical dramas like last year's Life of Ming, to the contemporary dramas like Infernal Affairs) and their perspective in how to make The White Haired Witch connect with a new generation of viewers  Their attempt in reinventing this tale sits uncomfortably with the one central element that couldn't be moved — that is, the troubled (and sloppily presented) romance involving the title character "On Chinese movie review site Douban, the film has a rating of 3 8/10, based on 51590 viewers  On Mtime com, it has a score of 5 5 out of 10, based on 13137 viewers 
Passage 3:
Morgan Paull
Morgan Paull (December 15, 1944 – July 17, 2012) was an American actor most notable for playing Dave Holden in the Ridley Scott film Blade Runner 

Early life
Morgan Paull was born to a wealthy family in Wheeling, West Virginia and appeared in many high school plays  When he told his father that he wanted to attend Boston University to continue acting, his father disagreed with his plans and Morgan ran off  He went to the Barter Theatre in Abingdon, Virginia and then later appeared on Broadway in New Faces of 1965 and the off-Broadway show That Thing at the Cherry Lane 

Career
After moving to LA, he appeared in Muzeeka at the Mark Taper Forum and caught the attention of director Franklin Schaffner and producer Frank McCarthy  He made his acting debut in the 1970 film Patton playing Captain Richard N  Jenson  He was in the 1971 film Fools' Parade with Jimmy Stewart and the 1976 film The Last Hard Men with Charlton Heston  He is also known for playing the scheming Philip Wendell in the 1978 American television miniseries Centennial and a greedy businessman in the 1984 comedy Surf II 

Personal life
Until his death he resided in Lake Arrowhead in the mountains northeast of Los Angeles in the San Bernardino National Forest about 90 miles (140 km) from Hollywood  Paull was married four times, first to Gaye Huston in 1965 until they divorced in 1976  He was then married to Carmen Paull from 1976 to 1996, which ended in divorce  He was then married to April Paull in 1990 until that marriage ended in divorce  He later married Jenny Elam in 2004 until his death in 2012  Paull had two daughters Paull died on July 17, 2012 from stomach cancer in his home in Ashland, Oregon  He is buried in the Paull family plot, located in section 10 of Greenwood Cemetery, Wheeling, Ohio County, West Virginia 

Filmography
Film
Television
Passage 4:
Dirty O'Neil
Dirty O'Neil is a 1974 American film directed by Leon Capetanos and Lewis Teague 

Plot
Jimmy O'Neil (Morgan Paull), a cop in a small California town with a fondness for women, is forced into action when a trio of homicidal thugs invade the town 

Cast
Morgan Paull - Jimmy O'Neill
Art Metrano - Lassiter
Pat Anderson - Lizzie
Jeane Manson - Ruby
Katie Saylor - Vera
Raymond O'Keefe - Lou
Tommy J  Huff  - Bennie
Bob Potter - Al
Sam Laws - Clyde
Liv Lindeland - Mrs  Crawford
Kitty Carl - Bobby
Tara Strohmeier - Mary
Susan McIver - Helen

See also
List of American films of 1974
Passage 5:
The Man in the Iron Mask (1977 film)
The Man in the Iron Mask is a 1977 television film loosely adapted from the 1847–1850 novel The Vicomte de Bragelonne by Alexandre Dumas and presenting several plot similarities with the 1939 film version  It was produced by Norman Rosemont for ITC Entertainment, and starred Richard Chamberlain as King Louis XIV and his twin Philippe, Patrick McGoohan as Nicolas Fouquet, Ralph Richardson as Jean-Baptiste Colbert, Louis Jourdan as D'Artagnan, and Ian Holm as the Chevalier Duval   Jenny Agutter plays Louis XIV's mistress, Louise de la Vallière  Vivien Merchant appears as Queen Marie-Therese   It was directed by Mike Newell 

Plot
In this version, the twins' ages are swapped  Philippe is the firstborn and rightful king, who had been spirited away at birth and raised with no knowledge of his true identity in a plot by Cardinal Mazarin to manipulate Louis before his own death  Colbert and D'Artagnan plot to replace Louis (who is an ineffective king more interested in dancing and pleasure than the welfare of France) with Philippe, and in the process bring down the corrupt finance minister Fouquet, who has embezzled from the national treasury  Louis is repulsed by his own wife and makes repeated advances on Louise, who is in turn repulsed by him yet falls in love with Philippe 

Cast
Richard Chamberlain as King Louis XIV/Philippe
Jenny Agutter as Louise de La Vallière, Louis XIV's mistress
Patrick McGoohan as Nicolas Fouquet
Ralph Richardson as Jean-Baptiste Colbert
Louis Jourdan as D'Artagnan
Ian Holm as the Chevalier Duval
Hugh Fraser as Montfleury
Brenda Bruce as Queen Anne of Austria
Vivien Merchant as Queen Marie-Therese

Production
Filming
Although a made-for-TV movie, actual locations in France were used for filming, including the Château de Fontainebleau and Fouquet's actual chateau of Vaux-le-Vicomte for the final ball scene 

External links
The Man in the Iron Mask at IMDb
The Man in the Iron Mask at AllMovie
Passage 6:
Harrison Bergeron (film)
Harrison Bergeron is a 1995 cable science fiction television movie film loosely adapted from Kurt Vonnegut's 1961 dystopian  short story of the same name  It was produced for Showtime and first screened on August 13, 1995  It was released to VHS in 1998 

Plot
Harrison Bergeron lives in the fictional suburban town of Madison, Rhode Island in the year 2053  The audience is told that after the second American Revolution, which started during an ongoing economic depression that was a result of a combination of technological advancement and a widening disparity between the very rich and the very poor, it was mandated that all people be equal in all things  To this end, the social norm of this society has become dystopian egalitarianism  Citizens are pushed to strive to be of equal wealth, intelligence, athletic prowess and social status to all around them  Through a process of selective breeding, mankind is perfecting the perfectly average human being  What is not accomplished through arranged marriages is made up for through technological means, the most prominent of which are showing only mind numbing TV shows, and a headband device worn by all citizens which modulates intelligence, dialing a person's IQ up or down in order to arrive at a 'perfect' 100 
There are limits to the success of the devices, however, and Harrison Bergeron is one such case  He is a total failure in school, consistently receiving A's (C is the desired grade)  Even though he has been held back four years and his headband is consistently modified to dampen his intelligence, he still continues to excel to the embarrassment of him and his family 
Harrison goes to see a doctor about his intelligence problem, and after several tests it is determined that the headband is unsuccessful because Harrison's synaptic connections reroute themselves after each adjustment in order to overcome the inhibitions the headband is designed to place on the thought process  He is told that he will have to have an operation akin to a lobotomy in order to permanently lower his intelligence 
In his last day with a fully functioning brain, he goes to a "head house", where, in a parody of a bordello, men make plans to make high-end educational conversation with exceptionally smart women  Illegal device-free women are paid to play chess and conduct intelligent conversations with the clients  His first intelligent conversation ever with "mind whore" Phillipa is interrupted by a police bust  While the raid on the police station is underway Phillipa addresses a hidden camera saying not to take him away, and that she likes him  While being held captive in the police station, he is approached by a special agent who offers him an alternative to the lobotomy - to join what turns out to be the secret elite that runs the government 
Harrison falls in love with Phillipa there, but he illegally impregnates her and she is lobotomized for trying to escape   He feels he can no longer continue to betray his values and decides to take action  He breaks into a TV studio and reveals the truth about the secret society to the viewers  Eventually, the guards break through, and later on he is forced to make an appearance on TV and pretend the broadcast was not real  Instead, he uses his chance to commit suicide by shooting himself in front of the viewers  The story is framed by an additional perspective from Bergeron's parents, who are watching the incident on TV, but who, because of his father's handicapping due to his superior intelligence and his mother's less than average intelligence, cannot concentrate enough to appreciate what occurs nor remember it 
In a final scene, a young boy and his friend get together in his bedroom to watch the first four hours of Bergeron's broadcast, without their bands  Downstairs, one boy's mother looks up the stairs with a look of recognition on her face; she is seen to be Phillipa 

Cast
Sean Astin as Harrison Bergeron
Miranda de Pencier as Phillipa
Eugene Levy as President McCloskey
Mairlyn Smith as Janet Mckloskey
Howie Mandel as Charlie (of 'Chat with Charlie')
Andrea Martin as  Diana Moon Glampers
Christopher Plummer as John Klaxon
Nigel Bennett as Dr  Eisenstock
Peter Boretski as Newman
David Calderisi as Commissioner Benson
Emmanuelle Chriqui as Jeannie
Hayden Christensen as Eric
Cindy Cook as Weatherperson
Roger Dunn as George Bergeron
Jayne Eastwood as Ms  Newbound
Hal Eisen as TV Announcer - San Quentin
Matthew Ferguson as Garth Bergeron
Michael Fletcher - Technician
John Friesen as Frank the Plumber
Linda Goranson as Hazel Bergeron
Richard Monette as Eric Shockley
Quyen Hua as Wang

Production and release
Harrison Bergeron was filmed in Toronto, Ontario, Canada and the University of Toronto Scarborough campus 

Awards
Harrison Bergeron was nominated in four categories at the 1996 Gemini Awards for Best Direction, Best Performance by an Actor in a Supporting Role, Best Production Design or Art Direction and Best Sound 
Passage 7:
Blade Runner
Blade Runner is a 1982 science fiction film directed by Ridley Scott, and written by Hampton Fancher and David Peoples  Starring Harrison Ford, Rutger Hauer, Sean Young, and Edward James Olmos, it is an adaptation of Philip K  Dick's 1968 novel Do Androids Dream of Electric Sheep? The film is set in a dystopian future Los Angeles of 2019, in which synthetic humans known as replicants are bio-engineered by the powerful Tyrell Corporation to work on space colonies  When a fugitive group of advanced replicants led by Roy Batty (Hauer) escapes back to Earth, burnt-out cop Rick Deckard (Ford) reluctantly agrees to hunt them down 
Blade Runner initially underperformed in North American theaters and polarized critics; some praised its thematic complexity and visuals, while others critiqued its slow pacing and lack of action  It later became a cult film, and has since come to be regarded as one of the greatest science fiction films of all time  Hailed for its production design depicting a high-tech but decaying future, Blade Runner is often regarded as both a leading example of neo-noir cinema as well as a foundational work of the cyberpunk genre  The film's soundtrack, composed by Vangelis, was nominated in 1982 for a BAFTA and a Golden Globe as best original score 
The film has influenced many science fiction films, video games, anime, and television series  It brought the work of Philip K  Dick to the attention of Hollywood, and several of his works later became films such as Total Recall (1990), Minority Report (2002), and A Scanner Darkly (2006)  In 1993, it was selected for preservation in the U S  National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant" 
Seven different versions of Blade Runner exist as a result of controversial changes requested by studio executives  A director's cut was released in 1992 after a strong response to test screenings of a workprint  This, in conjunction with the film's popularity as a video rental, made it one of the earliest movies to be released on DVD  In 2007, Warner Bros  released The Final Cut, a 25th-anniversary digitally remastered version  This is the only version over which Scott retained artistic control 
The film is the first of the franchise of the same name  A sequel, directed by Denis Villeneuve and titled Blade Runner 2049, was released in October 2017 alongside a trilogy of short films covering the thirty-year span between the two films' settings  The anime series Blade Runner: Black Lotus was released in 2021 

Plot
In 2019 Los Angeles, former police officer Rick Deckard is detained by Officer Gaff, who likes to make origami figures, and is brought to his former supervisor, Bryant  Deckard, whose job as a "blade runner" was to track down bioengineered humanoids known as replicants and terminally "retire" them, is informed that four replicants are on Earth illegally  Deckard begins to leave, but Bryant ambiguously threatens him and Deckard stays  The two watch a video of a blade runner named Holden administering the Voight-Kampff test, which is designed to distinguish replicants from humans based on their emotional responses to questions  The test subject, Leon, shoots Holden on the second question  Bryant wants Deckard to retire Leon and three other Nexus-6 replicants: Roy Batty, Zhora, and Pris 
Bryant has Deckard meet with the CEO of the company that creates the replicants, Eldon Tyrell, so he can administer the test on a Nexus-6 to see if it works  Tyrell expresses his interest in seeing the test fail first and asks him to administer it on his assistant Rachael  After a much longer than standard test, Deckard concludes privately to Tyrell that Rachael is a replicant who believes she is human  Tyrell explains that she is an experiment who has been given false memories to provide an "emotional cushion", and that she has no knowledge of her true nature 
In searching Leon's hotel room, Deckard finds photos and a scale from the skin of an animal, which is later identified as a synthetic snake scale  Roy and Leon investigate a replicant eye-manufacturing laboratory and learn of J  F  Sebastian, a gifted genetic designer who works closely with Tyrell  Deckard returns to his apartment where Rachael is waiting  She tries to prove her humanity by showing him a family photo, but Deckard reveals that her memories are implants from Tyrell's niece, and she leaves in tears  Meanwhile, Pris locates Sebastian and manipulates him to gain his trust 
A photograph from Leon's apartment and the snake scale lead Deckard to a strip club, where Zhora works  After a confrontation and chase, Deckard kills Zhora  Bryant also orders him to retire Rachael, who has disappeared from the Tyrell Corporation  Deckard spots Rachael in a crowd, but he is ambushed by Leon, who knocks the gun out of Deckard's hand and beats him  As Leon is about to kill Deckard, Rachael saves him by using Deckard's gun to kill Leon  They return to Deckard's apartment and, during a discussion, he promises not to track her down  As Rachael abruptly tries to leave, Deckard restrains her and forces her to kiss him, and she ultimately relents 
Deckard leaves Rachael at his apartment and departs to search for the remaining replicants  Roy arrives at Sebastian's apartment and tells Pris that the other replicants are dead  Sebastian reveals that because of a genetic premature aging disorder, his life will be cut short, like the replicants that were built with a four-year lifespan  Roy uses Sebastian to gain entrance to Tyrell's penthouse  He demands more life from his maker, which Tyrell says is impossible  Roy confesses that he has done "questionable things" but Tyrell dismisses this, praising Roy's advanced design and accomplishments in his short life  Roy kisses Tyrell and then kills him by crushing his skull  Sebastian tries to flee and is later reported dead At Sebastian's apartment, Deckard is ambushed by Pris, but he kills her as Roy returns  Roy's body begins to fail as the end of his lifespan nears  He chases Deckard through the building and onto the roof  Deckard tries to jump onto another roof but is left hanging on the edge  Roy makes the jump with ease and, as Deckard's grip loosens, Roy hoists him onto the roof to save him  Before Roy dies, he laments that his memories "will be lost in time, like tears in rain"  Gaff arrives to congratulate Deckard, also reminding him that Rachael will not live, but "then again, who does?" Deckard returns to his apartment to retrieve Rachael  While escorting her to the elevator, he notices a small origami unicorn on the floor  He recalls Gaff's words and departs with Rachael 

Cast
Production
Development
Interest in adapting Philip K  Dick's novel Do Androids Dream of Electric Sheep? developed shortly after its 1968 publication  Director Martin Scorsese was interested in filming the novel, but never optioned it  Producer Herb Jaffe optioned it in the early 1970s, but Dick was unimpressed with the screenplay written by Herb's son Robert, saying, "Jaffe's screenplay was so terribly done     Robert flew down to Santa Ana to speak with me about the project  And the first thing I said to him when he got off the plane was, 'Shall I beat you up here at the airport, or shall I beat you up back at my apartment?'"The screenplay by Hampton Fancher was optioned in 1977  Producer Michael Deeley became interested in Fancher's draft and convinced director Ridley Scott to film it  Scott had previously declined the project, but after leaving the slow production of Dune, wanted a faster-paced project to take his mind off his older brother's recent death  He joined the project on February 21, 1980, and managed to push up the promised Filmways financing from US$13 million to $15 million  Fancher's script focused more on environmental issues and less on issues of humanity and religion, which are prominent in the novel, and Scott wanted changes  Fancher found a cinema treatment by William S  Burroughs for Alan E  Nourse's novel The Bladerunner (1974), titled Blade Runner (a movie)  Scott liked the name, so Deeley obtained the rights to the titles  Eventually, he hired David Peoples to rewrite the script and Fancher left the job over the issue on December 21, 1980, although he later returned to contribute additional rewrites Having invested over $2 5 million in pre-production, as the date of commencement of principal photography neared, Filmways withdrew financial backing  In ten days Deeley had secured $21 5 million in financing through a three-way deal between the Ladd Company (through Warner Bros ), the Hong Kong-based producer Sir Run Run Shaw and Tandem Productions Dick became concerned that no one had informed him about the film's production, which added to his distrust of Hollywood  After Dick criticized an early version of Fancher's script in an article written for the Los Angeles Select TV Guide, the studio sent Dick the Peoples rewrite  Although Dick died shortly before the film's release, he was pleased with the rewritten script and with a 20-minute special effects test reel that was screened for him when he was invited to the studio  Despite his well-known skepticism of Hollywood in principle, Dick enthused to Scott that the world created for the film looked exactly as he had imagined it  He said, "I saw a segment of Douglas Trumbull's special effects for Blade Runner on the KNBC news  I recognized it immediately  It was my own interior world  They caught it perfectly " He also approved of the film's script, saying, "After I finished reading the screenplay, I got the novel out and looked through it  The two reinforce each other so that someone who started with the novel would enjoy the movie and someone who started with the movie would enjoy the novel " The motion picture was dedicated to Dick  Principal photography of Blade Runner began on March 9, 1981, and ended four months later In 1992, Ford revealed, "Blade Runner is not one of my favorite films  I tangled with Ridley " Apart from friction with the director, Ford also disliked the voiceovers: "When we started shooting it had been tacitly agreed that the version of the film that we had agreed upon was the version without voiceover narration  It was a f**king [sic] nightmare  I thought that the film had worked without the narration  But now I was stuck re-creating that narration  And I was obliged to do the voiceovers for people that did not represent the director's interests " "I went kicking and screaming to the studio to record it " The narration monologs were written by an uncredited Roland Kibbee In 2006, Scott was asked "Who's the biggest pain in the arse you've ever worked with?" He replied: "It's got to be Harrison     he'll forgive me because now I get on with him  Now he's become charming  But he knows a lot, that's the problem  When we worked together it was my first film up and I was the new kid on the block  But we made a good movie " Ford said of Scott in 2000: "I admire his work  We had a bad patch there, and I'm over it " In 2006 Ford reflected on the production of the film saying: "What I remember more than anything else when I see Blade Runner is not the 50 nights of shooting in the rain, but the voiceover     I was still obliged to work for these clowns that came in writing one bad voiceover after another " Ridley Scott confirmed in the summer 2007 issue of Total Film that Harrison Ford contributed to the Blade Runner Special Edition DVD, and had already recorded his interviews  "Harrison's fully on board", said Scott 
The Bradbury Building in downtown Los Angeles served as a filming location, and a Warner Bros  backlot housed the 2019 Los Angeles street sets  Other locations included the Ennis-Brown House and the 2nd Street Tunnel  Test screenings resulted in several changes, including adding a voice-over, a happy ending, and the removal of a Holden hospital scene  The relationship between the filmmakers and the investors was difficult, which culminated in Deeley and Scott being fired but still working on the film  Crew members created T-shirts during filming saying, "Yes Guv'nor, My Ass" that mocked Scott's unfavorable comparison of U S  and British crews; Scott responded with a T-shirt of his own, "Xenophobia Sucks", making the incident known as the T-shirt war 

Casting
Casting the film proved troublesome, particularly for the lead role of Deckard  Screenwriter Hampton Fancher envisioned Robert Mitchum as Deckard and wrote the character's dialogue with Mitchum in mind  Director Ridley Scott and the film's producers spent months meeting and discussing the role with Dustin Hoffman, who eventually departed over differences in vision  Harrison Ford was ultimately chosen for several reasons, including his performance in the Star Wars films, Ford's interest in the Blade Runner story, and discussions with Steven Spielberg who was finishing Raiders of the Lost Ark at the time and strongly praised Ford's work in the film  Following his success in those two films, Ford was looking for a role with dramatic depth  According to production documents, several actors were considered for the role, including Gene Hackman, Sean Connery, Jack Nicholson, Paul Newman, Clint Eastwood, Tommy Lee Jones, Arnold Schwarzenegger, Peter Falk, Nick Nolte, Al Pacino and Burt Reynolds One role that was not difficult to cast was Rutger Hauer as Roy Batty, the violent yet thoughtful leader of the replicants  Scott cast Hauer without having met him, based solely on Hauer's performances in Paul Verhoeven's movies Scott had seen (Katie Tippel, Soldier of Orange, and Turkish Delight)  Hauer's portrayal of Batty was regarded by Philip K  Dick as "the perfect Batty – cold, Aryan, flawless"  Of the many films Hauer made, Blade Runner was his favorite  As he explained in a live chat in 2001, "Blade Runner needs no explanation  It just [is]  All of the best  There is nothing like it  To be part of a real masterpiece which changed the world's thinking  It's awesome " Hauer rewrote his character's "tears in rain" speech himself and presented the words to Scott on set prior to filming 
Blade Runner used a number of then-lesser-known actors: Sean Young portrays Rachael, an experimental replicant implanted with the memories of Tyrell's niece, causing her to believe she is human; Nina Axelrod auditioned for the role  Daryl Hannah portrays Pris, a "basic pleasure model" replicant; Stacey Nelkin auditioned for the role, but was given another part in the film, which was ultimately cut before filming  Debbie Harry turned down the role of Pris  Casting Pris and Rachael was challenging, requiring several screen tests with Morgan Paull playing the role of Deckard  Paull was cast as Deckard's fellow bounty hunter Holden based on his performances in the tests  Brion James portrays Leon Kowalski, a combat and laborer replicant, and Joanna Cassidy portrays Zhora, an assassin replicant 
Edward James Olmos portrays Gaff  Olmos drew on diverse ethnic sources to help create the fictional "Cityspeak" language his character uses in the film  His initial address to Deckard at the noodle bar is partly in Hungarian and means, "Horse dick [bullshit]! No way  You are the Blade     Blade Runner " M  Emmet Walsh portrays Captain Bryant, a rumpled, hard-drinking and underhanded police veteran typical of the film noir genre  Joe Turkel portrays Dr  Eldon Tyrell, a corporate mogul who built an empire on genetically manipulated humanoid slaves  William Sanderson was cast as J  F  Sebastian, a quiet and lonely genius who provides a compassionate yet compliant portrait of humanity  J  F  sympathizes with the replicants, whom he sees as companions, and he shares their shorter lifespan due to his rapid aging disease  Joe Pantoliano had earlier been considered for the role  James Hong portrays Hannibal Chew, an elderly geneticist specializing in synthetic eyes, and Hy Pyke portrayed the sleazy bar owner Taffey Lewis – in a single take, something almost unheard-of with Scott, whose drive for perfection resulted at times in double-digit takes 

Design
Scott credits Edward Hopper's painting Nighthawks and the French science fiction comics magazine Métal Hurlant, to which the artist Jean "Moebius" Giraud contributed, as stylistic mood sources  He also drew on the landscape of "Hong Kong on a very bad day" and the industrial landscape of his one-time home in northeast England  The visual style of the movie is influenced by the work of futurist Italian architect Antonio Sant'Elia  Scott hired Syd Mead as his concept artist; like Scott, he was influenced by Métal Hurlant  Moebius was offered the opportunity to assist in the pre-production of Blade Runner, but he declined so that he could work on René Laloux's animated film Les Maîtres du temps – a decision that he later regretted  Production designer Lawrence G  Paull and art director David Snyder realized Scott's and Mead's sketches  Douglas Trumbull and Richard Yuricich supervised the special effects for the film, and Mark Stetson served as chief model maker Blade Runner has numerous similarities to Fritz Lang's Metropolis, including a built-up urban environment, in which the wealthy literally live above the workers, dominated by a huge building – the Stadtkrone Tower in Metropolis and the Tyrell Building in Blade Runner  Special effects supervisor David Dryer used stills from Metropolis when lining up Blade Runner's miniature building shots The extended end scene in the original theatrical release shows Rachael and Deckard traveling into daylight with pastoral aerial shots filmed by director Stanley Kubrick  Ridley Scott contacted Kubrick about using some of his surplus helicopter aerial photography from The Shining 

Spinner
"Spinner" is the generic term for the fictional flying cars used in the film  A spinner can be driven as a ground-based vehicle, and take off vertically, hover, and cruise much like vertical take-off and landing (VTOL) aircraft  They are used extensively by the police as patrol cars, and wealthy people can also acquire spinner licenses  The vehicle was conceived and designed by Syd Mead who described the spinner as an aerodyne – a vehicle which directs air downward to create lift, though press kits for the film stated that the spinner was propelled by three engines: "conventional internal combustion, jet, and anti-gravity"  A spinner is on permanent exhibit at the Science Fiction and Fantasy Hall of Fame in Seattle, Washington  Mead's conceptual drawings were transformed into 25 vehicles by automobile customizer Gene Winfield; at least two were working ground vehicles, while others were light-weight mockups for crane shots and set decoration for street shots  Two of them ended up at Disney World in Orlando, Florida, but were later destroyed, and a few others remain in private collections 

Voight-Kampff machine
The Voight-Kampff machine is a fictional interrogation tool, originating from the novel (where it is spelled "Voigt-Kampff")  The Voight-Kampff is a polygraph-like machine used by blade runners to determine whether an individual is a replicant  It measures bodily functions such as respiration, blush response, heart rate and eye movement in response to questions dealing with empathy 

Music
The Blade Runner soundtrack by Vangelis is a dark melodic combination of classic composition and futuristic synthesizers which mirrors the film noir retro-future envisioned by Scott  Vangelis, fresh from his Academy Award-winning score for Chariots of Fire, composed and performed the music on his synthesizers  He also made use of various chimes and the vocals of collaborator Demis Roussos  Another memorable sound is the tenor sax solo "Love Theme" by British saxophonist Dick Morrissey, who performed on many of Vangelis's albums  Ridley Scott also used "Memories of Green" from the Vangelis album See You Later, an orchestral version of which Scott would later use in his film Someone to Watch Over Me Along with Vangelis's compositions and ambient textures, the film's soundscape also features a track by the Japanese ensemble Nipponia – "Ogi no Mato" or "The Folding Fan as a Target" from the Nonesuch Records release Traditional Vocal and Instrumental Music – and a track by harpist Gail Laughton from "Harps of the Ancient Temples" on Laurel Records Despite being well received by fans and critically acclaimed and nominated in 1982 for a BAFTA and Golden Globe as best original score, and the promise of a soundtrack album from Polydor Records in the end titles of the film, the release of the official soundtrack recording was delayed for over a decade  There are two official releases of the music from Blade Runner  In light of the lack of a release of an album, the New American Orchestra recorded an orchestral adaptation in 1982 which bore little resemblance to the original  Some of the film tracks would, in 1989, surface on the compilation Vangelis: Themes, but not until the 1992 release of the Director's Cut version would a substantial amount of the film's score see commercial release These delays and poor reproductions led to the production of many bootleg recordings over the years  A bootleg tape surfaced in 1982 at science fiction conventions and became popular given the delay of an official release of the original recordings, and in 1993 "Off World Music, Ltd" created a bootleg CD that would prove more comprehensive than Vangelis' official CD in 1994  A set with three CDs of Blade Runner-related Vangelis music was released in 2007  Titled Blade Runner Trilogy, the first disc contains the same tracks as the 1994 official soundtrack release, the second features previously unreleased music from the movie, and the third disc is all newly composed music from Vangelis, inspired by, and in the spirit of the movie 

Special effects
The film's special effects are generally recognized to be among the best of all time, using the available (non-digital) technology to the fullest  Special effects engineers who worked on the film are often praised for the innovative technology they used to produce and design certain aspects of those visuals  In addition to matte paintings and models, the techniques employed included multipass exposures  In some scenes, the set was lit, shot, the film rewound, and then rerecorded over with different lighting  In some cases this was done 16 times in all  The cameras were frequently motion controlled using computers  Many effects used techniques which had been developed during the production of Close Encounters of the Third Kind 

Release
Theatrical run
Blade Runner was released in 1,290 theaters on June 25, 1982  That date was chosen by producer Alan Ladd Jr  because his previous highest-grossing films (Star Wars and Alien) had a similar opening date (May 25) in 1977 and 1979, making the 25th of the month his "lucky day"  Blade Runner grossed reasonably good ticket sales in its opening weekend; earning $6 1 million during its first weekend in theaters  The film was released close to other major science-fiction and fantasy releases such as The Thing, Star Trek II: The Wrath of Khan, Conan the Barbarian and E T  the Extra-Terrestrial, which affected its commercial success 

Versions
Several versions of Blade Runner have been shown  The original workprint version (1982, 113 minutes) was shown for audience test previews in Denver and Dallas in March 1982  Negative responses to the previews led to the modifications resulting in the U S  theatrical version  The workprint was shown as a director's cut without Scott's approval at the Los Angeles Fairfax Theater in May 1990, at an AMPAS showing in April 1991, and in September and October 1991 at the Los Angeles NuArt Theater and the San Francisco Castro Theatre  Positive responses pushed the studio to approve work on an official director's cut  A San Diego Sneak Preview was shown only once, in May 1982, and was almost identical to the U S  theatrical version but contained three extra scenes not shown in any other version, including the 2007 Final Cut Two versions were shown in the film's 1982 theatrical release: the U S  theatrical version (117 minutes), known as the original version or Domestic Cut (released on Betamax, CED Videodisc and VHS in 1983, and on LaserDisc in 1987), and the International Cut (117 minutes), also known as the "Criterion Edition" or "uncut version", which included more violent action scenes than the U S  version  Although initially unavailable in the U S  and distributed in Europe and Asia via theatrical and local Warner Home Video releases, the International Cut was later released on VHS and The Criterion Collection Laserdisc in North America, and re-released in 1992 as a "10th Anniversary Edition" Ridley Scott's Director's Cut (1992, 116 minutes) had significant changes from the theatrical version including the removal of Deckard's voice-over, the re-insertion of the unicorn sequence, and the removal of the studio-imposed happy ending  Scott provided extensive notes and consultation to Warner Bros  through film preservationist Michael Arick, who was put in charge of creating the Director's Cut Scott's definitive The Final Cut (2007, 117 minutes) was released by Warner Bros  theatrically on October 5, 2007, and subsequently released on DVD, HD DVD, and Blu-ray Disc in December 2007  This is the only version over which Scott had complete artistic and editorial control 

Reception
Critical response
On Rotten Tomatoes, the film holds an 89% approval rating based on 126 reviews, with an average rating of 8 50/10  The website's critics consensus reads, "Misunderstood when it first hit theaters, the influence of Ridley Scott's mysterious, neo-noir Blade Runner has deepened with time  A visually remarkable, achingly human sci-fi masterpiece " Metacritic, which uses a weighted average, assigned the film a score of 84 out of 100 based on 15 critics, indicating "universal acclaim" Initial reactions among film critics were mixed  Some wrote that the plot took a back seat to the film's special effects and did not fit the studio's marketing as an action and adventure film  Others acclaimed its complexity and predicted it would stand the test of time  Negative criticism in the United States cited its slow pace  Sheila Benson from the Los Angeles Times called it "Blade Crawler", and Pat Berman in The State and Columbia Record described it as "science fiction pornography"  Pauline Kael praised Blade Runner as worthy of a place in film history for its distinctive sci-fi vision, yet criticized the film's lack of development in "human terms"  Ares magazine said, "Misunderstood by audiences and critics alike, it is by far the best science fiction film of the year "

Cultural analysis
Academics began analyzing the film almost as soon as it was released  One of the first books on the film was Paul M  Sammon's Future Noir: The Making of Blade Runner (1996), which dissects all the details concerning the film making  He was followed by Scott Bukatman's Blade Runner and other books and academic articles  In Postmodern Metanarratives: Blade Runner and Literature in the Age of Image, Décio Torres Cruz analyzes the philosophical and psychological issues and the literary influences in Blade Runner  He examines the film's cyberpunk and dystopic elements by establishing a link between the Biblical, classical and modern traditions and the postmodern aspects in the film's collage of several literary texts The boom in home video formats helped establish a growing cult around the film, which scholars have dissected for its dystopic aspects, questions regarding "authentic" humanity, ecofeminist aspects and use of conventions from multiple genres  Popular culture began to reassess its impact as a classic several years after it was released  Roger Ebert praised the visuals of both the original and the Director's Cut and recommended it for that reason; however, he found the human story clichéd and a little thin  He later added The Final Cut to his "Great Movies" list  Critic Chris Rodley and Janet Maslin theorized that Blade Runner changed cinematic and cultural discourse through its image repertoire and subsequent influence on films  In 2012, Time film critic Richard Corliss surgically analyzed the durability, complexity, screenplay, sets and production dynamics from a personal, three-decade perspective  Denis Villeneuve, who directed the sequel, Blade Runner 2049, cites the film as a huge influence for him and many others It has also been noted for its postmodernist approach and that it contributes to the historical development of modern dystopia in film  Furthermore, the futuristic version of Los Angeles has been widely discussed by academics with some comparing it to Milton's descriptions of hell in Paradise Lost  A 2019 retrospective in the BBC argued that elements of the film's socio-political themes remained prescient in the real year of the film's setting, such as its depiction of climate change  From a more philosophical perspective, Alison Landsberg described Scott's direction of the film as a "prosthetic memory"—an action that has never happened and appears to be divorced from lived experience, yet it defines personhood and identity within the wider Blade Runner universe 

Awards and nominations
Blade Runner won or received nominations for the following awards:

Themes
The film operates on multiple dramatic and narrative levels  It employs some of the conventions of film noir, among them the character of a femme fatale; narration by the protagonist (in the original release); chiaroscuro cinematography; and giving the hero a questionable moral outlook – extended to include reflections upon the nature of his own humanity  It is a literate science fiction film, thematically enfolding the philosophy of religion and moral implications of human mastery of genetic engineering in the context of classical Greek drama and hubris  It also draws on Biblical images, such as Noah's flood, and literary sources, such as Frankenstein and William Blake  Although Scott said any similarity was merely coincidental, fans claimed that the chess game between Sebastian and Tyrell was based on the famous Immortal Game of 1851 Blade Runner delves into the effects of technology on the environment and society by reaching to the past, using literature, religious symbolism, classical dramatic themes, and film noir techniques  This tension between past, present, and future is represented in the "retrofitted" future depicted in the film, one which is high-tech and gleaming in places but decayed and outdated elsewhere  In an interview with The Observer in 2002, director Ridley Scott described the film as "extremely dark, both literally and metaphorically, with an oddly masochistic feel"  He also said that he "liked the idea of exploring pain" in the wake of his brother's death: "When he was ill, I used to go and visit him in London, and that was really traumatic for me "A sense of foreboding and paranoia pervades the world of the film: corporate power looms large; the police seem omnipresent; vehicle and warning lights probe into buildings; and the consequences of huge biomedical power over the individual are explored –
especially regarding replicants' implanted memories  The film depicts a world post ecocide, where warfare and capitalism have led to destruction of 'normal' ecological systems  Control over the environment is exercised on a vast scale, and goes hand in hand with the absence of any natural life; for example, artificial animals stand in for their extinct predecessors  This oppressive backdrop explains the frequently referenced migration of humans to "off-world" (extraterrestrial) colonies  Eyes are a recurring motif, as are manipulated images, calling into question the nature of reality and our ability to accurately perceive and remember it These thematic elements provide an atmosphere of uncertainty for Blade Runner's central theme of examining humanity  In order to discover replicants, an empathy test is used, with a number of its questions focused on the treatment of animals – seemingly an essential indicator of one's "humanity"  Replicants will not respond the same way humans would, showing a lack of concern  The film goes so far as to question if Deckard might be a replicant, in the process asking the audience to re-evaluate what it means to be human The question of whether Deckard is intended to be a human or a replicant has been an ongoing controversy since the film's release  Both Michael Deeley and Harrison Ford wanted Deckard to be human, while Hampton Fancher preferred ambiguity  Ridley Scott has stated that in his vision, Deckard is a replicant  Deckard's unicorn-dream sequence, inserted into Scott's Director's Cut and concomitant with Gaff's parting gift of an origami unicorn, is seen by many as showing that Deckard is a replicant – because Gaff could have retrieved Deckard's implanted memories  The interpretation that Deckard is a replicant is challenged by others who believe the unicorn imagery shows that the characters, whether human or replicant, share the same dreams and recognize their affinity, or that the absence of a decisive answer is crucial to the film's main theme  The film's inherent ambiguity and uncertainty, as well as its textual richness, have permitted multiple interpretations 

Legacy
Cultural impact
While not initially a success with North American audiences, Blade Runner was popular internationally and garnered a cult following  The film's dark style and futuristic designs have served as a benchmark and its influence can be seen in many subsequent science fiction films, video games, anime, and television programs  For example, Ronald D  Moore and David Eick, the producers of the re-imagining of Battlestar Galactica, have both cited Blade Runner as one of the major influences for the show The film was selected for preservation in the United States National Film Registry in 1993 and is frequently taught in university courses  In 2007, it was named the second-most visually influential film of all time by the Visual Effects Society  The film has also been the subject of parody, such as the comics Blade Bummer by Crazy comics, Bad Rubber by Steve Gallacci, and the Red Dwarf 2009 three-part miniseries "Back to Earth"  The anime series Psycho-Pass by Production I G was also highly influenced by the movie Blade Runner continues to reflect modern trends and concerns, and an increasing number of critics consider it one of the greatest science fiction films of all time  It was voted the best science fiction film ever made in a 2004 poll of 60 eminent world scientists  Blade Runner is also cited as an important influence to both the style and story of the Ghost in the Shell franchise, which itself has been highly influential to the future-noir genre  Blade Runner has been very influential to the cyberpunk movement  It also influenced the cyberpunk derivative biopunk, which revolves around biotechnology and genetic engineering The dialogue and music in Blade Runner has been sampled in music more than any other film of the 20th century  The 2009 album I, Human by Singaporean band Deus Ex Machina makes numerous references to the genetic engineering and cloning themes from the film, and even features a track titled "Replicant" Blade Runner is cited as a major influence on Warren Spector, designer of the video game Deus Ex, which displays evidence of the film's influence in both its visual rendering and plot  Indeed, the film's look – and in particular its overall darkness, preponderance of neon lights and opaque visuals – are easier to render than complicated backdrops, making it a popular reference point for video game designers  It has influenced adventure games such as the 2012 graphical text adventure Cypher, Rise of the Dragon, Snatcher, the Tex Murphy series, Beneath a Steel Sky, Flashback: The Quest for Identity, Bubblegum Crisis video games (and their original anime), the role-playing game Shadowrun, the first-person shooter Perfect Dark, the shooter game Skyhammer, and the Syndicate series of video games The logos of Atari, Bell, Coca-Cola, Cuisinart, Pan Am, and RCA, all market leaders at the time, were prominently displayed as product placement in the film, and all experienced setbacks after the film's release, leading to suggestions of a Blade Runner curse  Coca-Cola and Cuisinart recovered, and Tsingtao beer was also featured in the film and was more successful after the film than before The design of Tesla's Cybertruck was inspired by the film  Prior to its release Elon Musk promised that it would "look like something out of Blade Runner"  Besides referring to the truck as the "Blade Runner Truck", Musk chose to debut the truck in order to coincide with the film's setting of November 2019  The film's art designer Syd Mead praised the truck and said he was "flattered" by the homage to Blade Runner 

Media recognition
American Film Institute recognition
AFI's 100 Years   100 Thrills – No  74
AFI's 100 Years   100 Movies (10th Anniversary Edition) – No  97
AFI's 10 Top 10 – No  6 Science Fiction Film

In other media
Before filming began, Cinefantastique magazine commissioned Paul M  Sammon to write a special issue about Blade Runner's production which became the book Future Noir: The Making of Blade Runner  The book chronicles Blade Runner's evolution, focusing on film-set politics, especially the British director's experiences with his first American film crew; of which producer Alan Ladd, Jr  has said, "Harrison wouldn't speak to Ridley and Ridley wouldn't speak to Harrison  By the end of the shoot Ford was 'ready to kill Ridley', said one colleague  He really would have taken him on if he hadn't been talked out of it " Future Noir has short cast biographies and quotations about their experiences as well as photographs of the film's production and preliminary sketches  A second edition of Future Noir was published in 2007, and additional materials not in either print edition have been published online Philip K  Dick refused a $400,000 offer to write a Blade Runner novelization, saying: "⁠[I was] told the cheapo novelization would have to appeal to the twelve-year-old audience" and it "would have probably been disastrous to me artistically"  He added, "That insistence on my part of bringing out the original novel and not doing the novelization – they were just furious  They finally recognized that there was a legitimate reason for reissuing the novel, even though it cost them money  It was a victory not just of contractual obligations but of theoretical principles " Do Androids Dream of Electric Sheep? was eventually reprinted as a tie-in, with the film poster as a cover and the original title in parentheses below the Blade Runner title  Additionally, a novelization of the movie entitled Blade Runner: A Story of the Future by Les Martin was released in 1982  Archie Goodwin scripted the comic book adaptation, A Marvel Comics Super Special: Blade Runner, published in September 1982, which was illustrated by Al Williamson, Carlos Garzon, Dan Green, and Ralph Reese, and lettered by Ed King Blue Dolphin Enterprises published the film's screenplay combined with selected production storyboards as The Illustrated Blade Runner (June 1982); a book of original production artwork by Syd Mead, Mentor Huebner, Charles Knode, Michael Kaplan, and Ridley Scott as Blade Runner Sketchbook (1982); and The Blade Runner Portfolio (1982), a collection of twelve photographic prints, similar to the artist portfolios released by their Schanes & Schanes imprint There are two video games based on the film, both titled Blade Runner: one from 1985, a side-scrolling video game for Commodore 64, ZX Spectrum, and Amstrad CPC by CRL Group PLC, which is marked as "a video game interpretation of the film score by Vangelis" rather than of the film itself (due to licensing issues); and another from 1997, a point-and-click adventure for PC by Westwood Studios  The 1997 game has a non-linear plot based in the Blade Runner world, non-player characters that each ran in their own independent AI, and an unusual pseudo-3D engine (which eschewed polygonal solids in favor of voxel elements) that did not require the use of a 3D accelerator card to play the game  Eldon Tyrell, Gaff, Leon, Rachael, Chew, J  F  Sebastian and Howie Lee appear, and their voice files are recorded by the original actors, with the exception of Gaff, who is replaced by Javier Grajeda (as Victor Gardell) and Howie Lee, who is replaced by Toru Nagai  The player assumes the role of McCoy, another replicant-hunter working at the same time as Deckard The television film (and later series) Total Recall 2070 was initially planned as a spin-off of the film Total Recall (based on Philip K  Dick's short story "We Can Remember It for You Wholesale"), but was produced as a hybrid of Total Recall and Blade Runner  Many similarities between Total Recall 2070 and Blade Runner were noted, as well as apparent influences on the show from Isaac Asimov's The Caves of Steel and the TV series Holmes & Yoyo 

Documentaries
The film has been the subject of several documentaries 

Blade Runner: Convention Reel (1982, 13 minutes)
Co-directed by Muffet Kaufman and Jeffrey B  Walker, shot and screened in 16 mm, featured no narrator, was filmed in 1981 while Blade Runner was still in production and featured short "behind-the-scenes" segments showing sets being built and sequences being shot, as well as interviews with Ridley Scott, Syd Mead and Douglas Trumbull  Appears on the Blade Runner Ultimate Collector's Edition On the Edge of Blade Runner (2000, 55 minutes)
Directed by Andrew Abbott and hosted/written by Mark Kermode  Interviews with production staff, including Scott, give details of the creative process and the turmoil during preproduction  Insights into Philip K  Dick and the origins of Do Androids Dream of Electric Sheep? are provided by Paul M  Sammon and Hampton Fancher 
Future Shocks (2003, 27 minutes)
Directed by TVOntario  It includes interviews with executive producer Bud Yorkin, Syd Mead, and the cast, and commentary by science fiction author Robert J  Sawyer and from film critics 
Dangerous Days: Making Blade Runner (2007, 213 minutes)
Directed and produced by Charles de Lauzirika for The Final Cut version of the film  Its source material comprises more than 80 interviews, including extensive conversations with Ford, Young, and Scott  The documentary is presented in eight chapters, with each of the first seven covering a portion of the filmmaking process  The final chapter examines Blade Runner's controversial legacy 
All Our Variant Futures: From Workprint to Final Cut (2007, 29 minutes)
Produced by Paul Prischman, appears on the Blade Runner Ultimate Collector's Edition and provides an overview of the film's multiple versions and their origins, as well as detailing the seven-year-long restoration, enhancement and remastering process behind The Final Cut 
 Blade Runner Phenomenon (2021, 53 minutes)
Directed by Boris Hars-Tschachotin and made by the France and Germany European public service channel ARTE, this documentary informs viewers using behind-the-scenes material from various sets, photos, original locations in Los Angeles, and interviews with those involved in the production 

Sequel and related media
A sequel was released in 2017, titled Blade Runner 2049, with Ryan Gosling alongside Ford in the starring roles  It entered production in mid-2016 and is set decades after the first film  Harrison Ford reprised his role as Rick Deckard  The film won two Academy Awards, for cinematography and visual effects The world of Blade Runner has also come to be explored in animation  Blade Runner 2049 was preceded by the release of three short films that served as prequels, where the chronological first, Blade Runner Black Out 2022, was anime (the other two, 2036: Nexus Dawn and 2048: Nowhere to Run, were live action, not animated) In November 2021, a Japanese-American anime television series called Blade Runner: Black Lotus was released  The series tells the story of a female replicant protagonist, rather than that of a male Blade Runner one Dick's friend K  W  Jeter wrote three authorized Blade Runner novels that continue Rick Deckard's story, attempting to resolve the differences between the film and Do Androids Dream of Electric Sheep? These are Blade Runner 2: The Edge of Human (1995), Blade Runner 3: Replicant Night (1996), and Blade Runner 4: Eye and Talon (2000)
Blade Runner cowriter David Peoples wrote the 1998 action film Soldier, which he referred to as a "sidequel" or spiritual successor to the original film; the two are set in a shared universe  A bonus feature on the Blu-ray for Prometheus, the 2012 film by Scott set in the Alien universe, states that Eldon Tyrell, CEO of the Blade Runner Tyrell Corporation, was the mentor of Guy Pearce's character Peter Weyland In late 2022, Amazon announced a Blade Runner 2049 sequel series would be produced  On October 12, 2022, an apparent official approval to actually make a Blade Runner 2099 TV series was reported 

See also
Blade Runner (franchise)
Arcology
Biorobotics
List of dystopian films
List of fictional robots and androids
Synthetic biology
Tech noir

Notes
Context 3: Passage 1:
Det Norske Jernkompani
Det Norske Jernkompani also known as Jernkompaniet or Det store Jern Compagni, was a Norwegian iron company  It was established in 1618, as an initiative of Johan Post and Herman Krefting on the orders of King Christian IV  A royal privilege granted in 1624 meant that the company almost had a monopoly on iron production on an industrial scale within Norway  The company operated ironworks at Bærum, Eidsvoll, Fossum and Hakadal  After Johan Post died in 1631,  Herman Krefting maintained an interest at the Eidsvoll and Bærums ironworks until his own death in 1651 

See also
Bærums Verk
Eidsvoll Verk
Passage 2:
Det norske Theater (Bergen)
Det norske Theater is a former theatre in Bergen, Norway, and regarded as the first pure Norwegian stage theatre  It opened in 1850 (1850) by primus motor, violinist Ole Bull, and closed in 1863 (1863), after a bankruptcy  The theatre's first production was Holberg's comedy Den Vægelsindede, and the opening was on 2 January 1850  The theatre played at the old comedy house built in 1800 In 1876 the theatre Den Nationale Scene opened in the same building 
Passage 3:
Språkåret 2013
Språkåret (The Language Year) in Norway was arranged with government support in 2013  That year was 200 years after Ivar Aasen was born  It was 100 years after Det Norske Teatret (The Norwegian Theatre) opened  Ivar Aasen's life work was the development of Nynorsk (New Norse), a language with grammar and vocabulary based upon the way ordinary Norwegians, primarily rural, spoke   After a few hundred years under Danish rule, many in the cities as well as everyone educated in Denmark, spoke and wrote Danish and Danish was taught in schools  Det Norske Teatret is a theatre in Oslo that primarily produces plays in Nynorsk 
These two jubilees were the main reasons for the decision to create a national year of celebration of languages   Språkåret 2013 was a stand-alone project, organised within the Nynorsk kultursentrum (Nynorsk culture center) and funded by the Norwegian Ministry of Culture 

Valuable cultural expressions
The purpose of Språkåret 2013 was to embrace and celebrate the diversity of language that exists in Norway  One sought to put focus on the positive effects that arise out of living in a country with several languages  The two official written versions of Norwegian, Bokmål and Nynorsk, the language of the indigenous people in the north, Sámi, and the three recognised national minority languages;  Kvensk, romani, romanes as well as Norwegian sign language, another official language   In addition there is huge variation in local dialects as well as the many languages spoken by immigrants  The year of 2013 was dedicated to celebrating, discussing, and trying to raise awareness of the valuable cultural expressions and identities that are connected to languages and dialects 

Objectives for the year
To create stronger linguistic self-esteem amongst people who have Nynorsk as their preferred language and moreover to heighten public acceptance of the country's language-divided culture 
To increase pride in the linguistic culture of Nynorsk, also among the people who have Bokmål as their preferred language 
To increase knowledge of and respect for the native language Sámi, minority languages, immigrant- languages and sign language 
To put the language situation in Norway into international and comparative perspectives 
To take an initiative to more contact among language-policy actors with common interests that cross linguistic borders and ethnicity In an interview in December 2013, the leader of the language year project, the author Inger Johanne Sæterbakk, said that the language year had lived a life of its own; many arrangements occurred without central steering  No one knows how many there were, but it was more than a thousand  Sæterbakk said that she saw that the use of dialects have an emotional element, while written language is used more as a tool  While she regretted that it wasn't possible to engage minority language groups more, she was very pleased with the activity-level all around the country 
Passage 4:
Ludvig Holberg
Ludvig Holberg, Baron of Holberg (3 December 1684 – 28 January 1754) was a writer, essayist, philosopher, historian and playwright born in Bergen, Norway, during the time of the Dano-Norwegian dual monarchy  He was influenced by Humanism, the Enlightenment and the Baroque  Holberg is considered the founder of modern Danish and Norwegian literature  He was also a prominent Neo-Latin author, known across Europe for his writing  He is best known for the comedies he wrote in 1722–1723 for the Lille Grønnegade Theatre in Copenhagen  Holberg's works about natural and common law were widely read by many Danish law students over two hundred years, from 1736 to 1936 

Studies and teaching
Holberg was the youngest of six brothers  His father, Christian Nielsen Holberg, died before Ludvig was one year old  He was educated in Copenhagen, and was a teacher at the University of Copenhagen for many years  At the same time, he started his successful career as an author, writing the first of a series of comedies 
He began to study theology at the University of Copenhagen and later taught himself law, history and language  He was not particularly interested in theology as a career, settling for an attestats (similar to a Bachelor's degree today), which gave him the right to work as a priest; he did not attempt a baccalaureus, magister or doctorate in the subject, nor did he follow a career as a theology professor, priest, or bishop  In Holberg's youth, it was common to study theology and specialize according to one's degree, for example in Greek, Latin, philosophy or history  For the purpose of becoming a lawyer, it was normal to study abroad  In 1736 the Danish Lawyer degree was established at the University of Copenhagen, a degree which continued to be granted for 200 years, and for which Holberg's writings remained common reading material throughout this time  Holberg was formally appointed assistant professor after having first worked as one without pay  He had to accept the first available position, which was teaching metaphysics  Later, he became a professor and taught rhetoric and Latin  Finally, he was given a professorship in the subject which he prized most and was most productive in, history 
Holberg was well-educated and well-traveled  In his adolescence, he visited large cities in countries such as the Netherlands and France, and lived for a short period of time in Rome; and for a longer period of time in Oxford, England (1706–1708), which was rare during that time as intellectual life was centered in continental Europe  He was not formally admitted to Oxford University, but spent his time there using the libraries and participating in Latin discussions with the English students 

Writings
Holberg's travels were a main inspiration in his later writings –  these experiences matured him both artistically and morally  Holberg let himself be inspired by old Latin comedies and newer French comedies he had seen in Paris, and street theaters in Rome 
His writings can be divided into three periods, during which he produced mainly history, 1711–1718; mainly satirical poetry and stage comedies, 1719–1731; and mainly philosophy, 1731–1750  His rich output of comedies during the middle period was shaped by his role as house dramatist at Denmark's first public theater, opened in Copenhagen in 1721  These comedies are the works on which his fame rests today, and they were an immediate and immense success  However the poverty caused by the Copenhagen Fire of 1728, brought a wave of depression and puritanism upon the nation, which clashed with Holberg's satirical works, and as a consequence he gave up his comedies switching to philosophical and historical writings in 1731  Holberg's only novel, the satirical science-fiction/fantasy Niels Klim's Underground Travels was originally published in Latin in 1741 as Nicolai Klimii Iter Subterraneum 

Ideology
In Paris, Holberg met the Danish-born French scientist Jacob Winsløw, who was Catholic  Winsløw tried to convert Holberg, without success  Holberg enjoyed the debate, but it started a rumor in Copenhagen that Holberg had converted to Catholicism as Winsløw had, and as a consequence he felt it necessary to deny this to the Danish public, giving voice to anti-Catholic views on several occasions Holberg criticized school doctrines in Christianity, arguing that "Children must be made into men, before they can become Christians" and
"If one learns Theology, before learning to become a man, one will never become a man "Holberg believed in people's inner divine light of reason, and to him it was important that the first goal of education was to teach students to use their senses and intellect, instead of uselessly memorising school books  This was a new, modern understanding of the question of religion, and it shows he was a man of the Age of Enlightenment  Holberg was interested in intellect because he felt that this is what binds society together  He also wondered why there was so much evil in the world, especially when one could let reason lead the way  One could say that he distanced himself from a religious explanation of evil towards a rational/empirical train of thought, and this is important because of his status as an author; both in his time and ours 
Holberg was open to biblical criticism, and Holberg's religious representation was, for the most part, deism  He was critical of the notion of original sin, instead subscribing to the notion of man's free will 
Holberg's declared intentions with his authorship were to enlighten people to better society  This also fits in with the picture of Holberg as of the age of enlightenment  It is worth noting that Holberg enjoyed larger cities with deep culture – small cities and nature did not interest him 
Like many scholars of his time, Holberg also influenced science  Holberg's concept for science was that it should be inductive (through experience built on observations) and practical to use  One example is his Betænkning over den nu regierende Qvæg-Syge (Memorandum on the prevalent cattle disease), (1745) where he reasons that the disease is caused by microorganisms 

Finances
In youth
Holberg had to live a modest life in his youth and early adulthood



ground_truth: Keith Morris

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Morgan Paull played Dave Holden in a 1982 film loosely adapted from a novel by what author?

The following are given passages.
Context 3:  He earned a living as a tutor and as a travel companion for noblemen and tried to work as a private sports coach at the university  He received further support from a grant to travel to other universities in other countries, namely Protestant universities, but it was a condition he did not respect since he searched out those places where the discussion were the loudest and the experiences were the largest 
During his stay in England, Holberg set his eyes on academic authoring and on his return, he started writing about history  Later, he wrote also about natural and international law, possibly at the prompting of an older professor who likened him to natural and international law authors such as Hugo Grotius and Samuel Pufendorf 
To make the most possible profit, Holberg published his own works and sold them as papers under a subscription to interested people, either bound or in looseleaf sheets  Holberg also tried, with some success, a publisher in Norway  There, his book about natural and international law was printed in several editions but did not garner him financial gains 

Investments
Holberg lived modestly and was able to invest a large part of the profits from the sale of his books on the side and lend them out or invest them in more active ventures  Several times in his writings he criticized townspeople and nobles who used their resources in unproductive ways to be carried round in chairs, to live in lavish houses and waste money on luxury  He ate reasonably and did not use his money on being driven around  He said that his travelling on foot, and continued walking, was the reason he could keep his malaria, which had plagued him in the south, under control 
When he came to the conclusion he could put his money in better ventures than trading, he started investing in real estate  His first large property purchase, Brorupgaard close to Havrebjerg, happened in stages; first he lent money to the owner at that time, and later took over the farm himself 
Some years later, Holberg also purchased Tersløsegard by Dianalund, the only one of his properties which is preserved because the others in Bergen, Copenhagen and Havrebjerg have been either burned down or torn down 

Sorø Academy and Holberg's will;Holberg was both unmarried and childless, but in the end of his life had a small fortune  He was interested in leaving a legacy and left his estate to Sorø Academy, which was a royal riding academy, with the goal of creating an institution at a university level for young men coming from nobility  Holberg supported the idea of the academy, worked out suggestions to which academic direction it would take and was asked by the king's superintendent to refer some professors for the school  The influential Enlightenment writer Jens Schielderup Sneedorff was appointed professor at Sorø Academy at Holbergs request 

The agreement with the king included that Holberg would be free of taxes from any income from the farms he owned, because the amount donated to the school should be larger than the amount he would pay in taxes  At the same time, he earned the title of Baron of Holberg 
Holberg's casket, a work of Johannes Wiedewelt, can be seen in Sorø Monastery Church 

Examples of Holberg's financial management
It can be seen from Holberg's correspondence that he was very conservative with money where he thought it would not be of any use; for example, he was against raising the wage of the pedagogues of Havrebjerg 
Holberg commented several times that he was willing to use money if it were put to good use, for example, he would use money on medication and supplies for his farm hands if they suffered from injury or illness 
When academia had large economic difficulties, because funding was very limited, Holberg agreed to help fund the academy (at Sorø Academy) while he was alive 

Tributes
Norwegian Edvard Grieg composed the Holberg Suite (opus 40) to honor Holberg  The suite is in the style of country dances from Holberg's time   In 1911 Johan Halvorsen composed incidental music for a production of Holberg's Barselstuen (The Lying-in Room) in Oslo  Halvorsen later arranged the music into his Suite Ancienne op  31, which he dedicated to the memory of Holberg 
The Norwegian University of Bergen awards the Holberg International Memorial Prize  The 4 5 million kroner (ca  €520,000) endowed prize was awarded to Julia Kristeva in 2004, to Jürgen Habermas in 2005, and to Shmuel Eisenstadt in 2006 
There is a town named after Holberg on northern Vancouver Island, British Columbia, Canada  It was founded by Danish immigrants in 1907 
Dan Shore's opera The Beautiful Bridegroom, for six sopranos, is based on Holberg's last play, Den forvandlede Brudgom There is a statue of Holberg and a boulevard named after him (Holbergsallmenningen) in the centre of Bergen, Norway 
A crater on Mercury is named for him 

Written works
Comedies
Den Politiske Kandestøber, 1722 (Eng  The Political Tinker / The Pewterer turned Politician)
Den vægelsindede, 1722 (Eng  The Waverer / The Weathercock)
Jean de France eller Hans Frandsen, 1722 (Eng  Jean de France)
Jeppe på bjerget eller den forvandlede Bonde, 1722 (Eng  Jeppe of the Hill, or The Transformed Peasant)
Mester Gert Westphaler, 1722 (Eng  Gert Westphaler)
Barselstuen, 1723 (Eng  The Lying-in Room)
Den ellefte Junii, 1723 (Eng  The Eleventh of June)
Jacob von Tyboe eller den stortalende Soldat, 1723 (Eng  Jacob von Tyboe, or The Bragging Soldier)
Ulysses von Ithacia, 1723 (Eng  Ulysses of Ithaca)
Erasmus Montanus eller Rasmus Berg, 1723 (Eng  Erasmus Montanus or Rasmus Berg)
Don Ranudo de Colibrados, 1723
Uden Hoved og Hale, 1723 (Eng  Without Head or Tail)
Den Stundesløse, 1723 (Eng  The Fidget)
Hexerie eller Blind Allarm, 1723 (Eng  Witchcraft or False Alert)
Melampe, 1723
Det lykkelige Skibbrud, 1724 (Eng  The Happy Capsize)
Det Arabiske Pulver, 1724 (Eng  The Arabian Powder)
Mascarade, 1724 (Eng  Masquerade)
Julestuen, 1724 (Eng  The Christmas Party)
De Usynlige, 1724 (Eng  The Invisible / The Masked Ladies)
Diderich Menschenskraek, 1724 (Eng  Diderich the Terrible)
Kildereisen, 1725 (Eng  The journey to the source / The source Journey)
Henrich og Pernille, 1724–1726 (Eng  Henrik and Pernille)
Den pantsatte Bondedreng, 1726 (Eng  The Pawned Farmers helper / The Peasant in Pawn)
Pernilles korte Frøkenstand, 1727 (Eng  Pernille's Brief Experience as a Lady)
Den Danske Comoedies Liigbegængelse, 1727 (Eng  Funeral of Danish Comedy)
Den honette Ambition, 1731 (Eng  The honest/honourable ambition)
Den Forvandlede Brudgom, 1753 (Eng  The Changed Bridegroom)
Plutus eller Proces imellom Fattigdom og Riigdom, publ  1753
Husspøgelse eller Abracadabra, publ  1753 (Eng  The house's Ghost or Abracadabra)
Philosophus udi egen Indbildning, publ  1754
Republiqven eller det gemeene Bedste, publ  1754
Sganarels Rejse til det philosophiske Land, publ  1754 (Eng  Sganarel's Journey to the Land of the Philosophers)

Poems
Peder Paars, 1720
fire Skæmtedigte, 1722 (Eng  Four poems for fun)
Metamorphosis eller Forvandlinger, 1726 (Eng  Metamorphosis or Changes)

Novels
Nicolai Klimii iter subterraneum, 1741  (Translated to Danish by Hans Hagerup in 1742 as Niels Klims underjordiske Rejse ) (Eng  Niels Klim's Underground Travels or Nicolai Klimii's subterranean Journey or The Journey of Niels Klim to the World Underground Bison Books, 2004  ISBN 0-8032-7348-7)

Essays
Moralske Tanker, 1744 (Eng  Moral thoughts)
Epistler, 1748–54
Moralske Fabler, 1751 (Eng



ground_truth: Philip K. Dick

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What title did the author of Det norske Theater's first production hold ? 

The following are given passages.
Context 3:  Moral Fables)
Tre latinske levnedsbreve, 1728–1743

Historical works
Introduction til de fornemste Europæiske Rigers Historier, 1711 (Eng  Introduction to the Greatest European Empires Histories)
Morals Kierne eller Introduction til Naturens og Folke-Rettens Kundskab, 1716 (Eng  The Core of Morality or Introduction to Natural and International Law)
Dannemarks og Norges Beskrivelse, 1729 (Eng  Denmark's and Norway's Description)
Dannemarks Riges Historie, 1732–35 (Eng  The Danish Empire/Kingdom's History)
Den berømmelige Norske Handel-Stad Bergens Beskrivelse, 1737 (Eng  The Famous Norwegian Commercial Hub Bergen's Description)
Almindelig Kirke-Historie, 1738 (Eng  General Church History)
Den jødiske Historie fra Verdens Begyndelse, fortsat til disse Tider, 1742 (Eng  The Jewish History From the Beginning of the World, Continued till Present Day/These Times)
Adskillige store Heltes og berømmelige Mænds sammenlignede Historier, 1739–53 (Eng  Several Great Heroes' and Famous Men's Compared Histories)
Adskillige Heltinders og navnkundige Damers sammenlignede Historier, 1745 (Eng  Several Heroines' and Noteworthy Ladies' Compared Histories)

Memoir
Memoirs of Lewis Holberg, 1737 (published in English, 1827)

See also
Christian Gotlob Mengel

Notes
Passage 5:
Lucie Wolf
Lucie Wolf (née Johannesen; 25 May 1833 – 6 October 1902) was a Norwegian stage actress 

Biography
Born in Bergen, Wolf was the daughter of Svend Johannesen (1796–1882) and Johanne Andrea Jonsdotter (1799–1862) She made her stage debut in 1850 at Ole Bull's Det norske Theater in Bergen  From 1853 she played at Christiania Theatre  and from 1901 at Nationaltheatret  She had her last stage performance in 1902 She wrote about her experiences on the early Norwegian theater in Skuespillerinden Fru Lucie Wolfs Livserindringer (1897) 
She was married in 1854 to the Danish actor and opera singer Jacob Wilhelm Nicolay Wolf (1824–1875) Their daughter Sigrid Wolf-Schøller (1863-1927) became a opera singer (mezzo-soprano) and music educator 
Passage 6:
The Feast at Solhaug
The Feast at Solhaug (or in the original Norwegian Gildet paa Solhoug) is the first publicly successful drama by Henrik Ibsen  It was written in 1855 and had its premier at Det norske Theater in Bergen on 2 January 1856  Part of the strength and charm of this play as well as Ibsen's other early poetic works results from the style of the poetic form and the inherent melody of the old ballads for those who speak Scandinavian languages 

Plot
The play opens on the day of the feast celebrating the third wedding anniversary of the marriage of Bengt Gauteson and Margit  Erik of Hogge, a friend of Knut Gesling, the King's sheriff, and Knut himself are seeking permission for Knut to marry Margit's sister, Signe  Knut, a warlike man, is advised that he must demonstrate peaceful ways for a year before Margit will support the marriage  They are invited to the feast, under pledge that they will be peaceful that night 
They depart to look for Margit's kinsman, Gudmund Alfson, who they know to be outlawed and suspect to be nearby  Once they depart and her husband leaves, Margit speaks of her regret in marrying Bengt Gauteson, even though he was a wealthy older landowner  Her woe is captured by her phrase, "I myself am the Hill-King's wife!"
Gudmund Alfson arrives  Margit, who has loved him since he departed three years earlier, treats him poorly until she realizes that, although once close to the king, he has been outlawed and is on the run  She then dreams of marrying him and obtains poison to administer to Bengt 
Meanwhile, Gudmund speaks to Signe, who has grown up since he last saw her, expressing his love  Signe remembers him well and is most willing 
Knut returns in the evening for the feast  Finding Gudmund there, although he is the sheriff, Knut does not take Gudmund to demonstrate his intent to be peaceful, but declares that this day shall end peacefully 
They both speak together, expressing their intent to marry  After some discussion they both proclaim, and realize they woo the same woman  Since Signe loves Gudmund, Knut announces he is leaving peacefully, but will return in the morn to take Gudmund 
Magrit prepares to poison Bengt after many of the guests depart, leaving him a poisoned drink as she goes to bed  He is advised of Knut’s return and, setting aside his drink, goes to meet Knut and his men  Gudmund & Signe enter and almost drink the poison 
As Knut returns in the morning and meets Bengt who is set upon defending his household, Knut slays him  Bengt’s friends capture Knut and bring him before Margit 
The king’s men arrive  Gudmund is prepared to surrender, but finds that the king has recognized his error and restored all of Gudmund’s property and standing 
Margit wishes Gudmund and Signe well and goes off to St  Sunniva's cloister 

List of main characters
BENGT GAUTESON, Master of Solhoug 
MARGIT, his wife 
SIGNE, her sister 
GUDMUND ALFSON, their kinsman 
KNUT GESLING, the King's sheriff 
ERIK OF HEGGE, his friend In the first staging of the play, at Det norske Theater in Bergen in 1856, the main characters were performed by Johannes Brun as Bengt Gauteson, his wife in real life Louise Brun as Margit, Fredrikke Nielsen as Signe, Jacob Prom as Gudmund Alfson, Andreas Isachsen as Knut Gesling, and Carl Hansen as Erik of Hegge  The director was the playwright himself, Henrik Ibsen 

References and notes
External links
 The Feast at Solhaug at Project Gutenberg
Gildet paa Solhoug, free e-book of the Norwegian text, at Project Runeberg  (in Norwegian)
Passage 7:
Per Sunderland
Per Sunderland (9 October 1924 – 4 June 2012) was a Norwegian stage actor and film actor  He made his stage debut at Studioteatret in 1945  He performed at Det Norske Teatret from 1949, at Det Nye Teater from 1951, at Folketeatret from 1952, and at Nationaltheatret from 1957  He played the title role in the film Hans Nielsen Hauge from 1961 

Per Sunderland retired from stage and film when he reached the age limit in 1995  Shortly before he retired, he was appointed a Knight of the 1st Class of the Order of St  Olav  Sunderland died on 4 June 2012 
Passage 8:
Nynorsk Literature Prize
The Nynorsk Literature Prize is awarded annually by Noregs Mållag, Det Norske Teatret and Det Norske Samlaget for the best book in either Nynorsk or dialect  The award is presented for the best novel, poetry, novellas, or drama in the past year 

Winners
List of winners 
1982 – Eldrid Lunden,  Gjenkjennelsen
1983 – Kjartan Fløgstad, U3
1984 – Alfred Hauge,  Serafen
1985 – Paal-Helge Haugen, Det overvintra lyset
1986 – Kjartan Fløgstad,  Det 7  klima
1987 – Edvard Hoem, Ave Eva
1988 – Johannes Heggland,  Meisterens søner
1989 – Helge Torvund, Den monotone triumf
1990 – Liv Nysted, Som om noe noengang tar slutt
1991 – Marit Tusvik, Ishuset
1992 – Jon Fosse, Bly og vatn
1993 – Einar Økland, Istaden for roman og humor
1994 – Solfrid Sivertsen, Grøn koffert
1995 – Lars Amund Vaage, Rubato 
1996 – Oddmund Hagen, Utmark
1997 – Marie Takvam, Dikt i samling
1998 – Brit Bildøen,  Tvillingfeber
1999 – Åse Marie Nesse, Dikt i samling (1999), Faust (1993, 1999) and Mitt hjarte slo (1999)
2000 – Rune Belsvik,  Ein naken gut
2001 – Ragnar Hovland, Ei vinterreise
2002 – Inger Bråtveit, Munn mot ein frosen fjord
2003 – Jon Fosse, Auge i vind
2004 – not awarded
2005 – Øyvind Vågnes, Ekko
2006 – Eilev Groven Myhren for Ringdrotten, a translation of The Lord of the Rings
2007 – Frode Grytten for Rom ved havet, rom i byen, novella
2008 – Gunnhild Øyehaug for Vente, blinke, novel
2009 – Kjartan Fløgstad for Grense Jakobselv, novel
2010 – Jan Roar Leikvoll for Fiolinane, novel
2011 – Marit Eikemo for Samtale ventar, novel
2012 – Lars Amund Vaage for Syngja, novel
2013 – Sigrun Slapgard for Englestien, novel
2014 – Lars Petter Sveen for Guds barn, novel
2015 – Eirik Ingebrigtsen for Spikrar frå fallande plankar, novel
2016 – Ruth Lillegraven for Sigd, poems
2017 – Olaug Nilssen for Tung tids tale, novel
2018 – Brit Bildøen for Tre vegar til havet, novel
Passage 9:
Svein Tindberg
Svein Randor Tindberg (born 25 June 1953) is a Norwegian actor  He was born in Oslo; the son of Snorre Tindberg and Inger Mogstad  He made his stage debut 13 years old at Det Norske Teatret in 1966, in the musical The King and I  As an actor, he has worked for Fjernsynsteatret, Det Norske Teatret, Trøndelag Teater and Nationaltheatret  His film debut was in Rallarblod from 1979  His one-man performances with texts based on The Bible became very popular  His prizes include Teaterkritikerprisen, the Telenor Culture Award in 1995, Bibelprisen in 1996 and Brobyggerprisen in 2001 
Passage 10:
Aloysius Valente
Aloysius Valente (15 October 1926 – 23 March 2013) was a Norwegian dancer, choreographer and stage instructor  He was born in Oslo  He made his breakthrough in the performance Veslefrikk med fela, based on a traditional fairytale  This story was later basis for the first Norwegian dance film from 1953, where he played the title role  He later worked for a number of institutions, including Nationaltheatret, Den Nationale Scene, Det Norske Teatret and Den Norske Opera, and also produced television shows 



ground_truth: Baron of Holberg