input: Memoirs of a Geisha received mixed reviews from western critics. Illinois' Daily Herald said that the "[s]trong acting, meticulously created sets, beautiful visuals, and a compelling story of a celebrity who can't have the one thing she really wants make Geisha memorable". The Washington Times called the film "a sumptuously faithful and evocative adaption" while adding that "[c]ontrasting dialects may remain a minor nuisance for some spectators, but the movie can presumably count on the pictorial curiosity of readers who enjoyed Mr. Golden's sense of immersion, both harrowing and [a]esthetic, in the culture of a geisha upbringing in the years that culminated in World War II". The film scored a 35% "Rotten" rating on Rotten Tomatoes; the consensus stated "Less nuanced than its source material, Memoirs of a Geisha may be a lavish production, but it still carries the simplistic air of a soap opera." On Metacritic, the film was given a 54/100 meaning "mixed or average review." In the United States, the film managed $57 million during its box office run. The film peaked at 1,654 screens, facing off against King Kong, The Chronicles of Narnia, and Fun with Dick and Jane. During its first week in limited release, the film screening in only eight theaters tallied up an $85,313 per theater average which made it second in highest per theater averages behind Brokeback Mountain for 2005. International gross reached $158 million. The New Statesman criticized Memoirs of a Geisha's plot, saying that after Hatsumomo leaves, "the plot loses what little momentum it had and breaks down into one pretty visual after another" and says that the film version "abandons the original's scholarly mien to reveal the soap opera bubbling below". The Journal praised Zhang Ziyi, saying that she "exudes a heartbreaking innocence and vulnerablity" but said "too much of the character's yearning and despair is concealed behind the mask of white powder and rouge". London's The Evening Standard compared Memoirs of a Geisha to Cinderella and praised Gong Li, saying that "Li may be playing the loser of the piece but she saves this film" and Gong "endows Hatsumomo with genuine mystery". Eighteen days later, The Evening Standard put Memoirs of a Geisha on its Top Ten Films list. Glasgow's Daily Record praised the film, saying the "geisha world is drawn with such intimate detail that it seems timeless until the war, and with it the modern world comes crashing in".

Answer this question "Was there any awards for this?"
output:

input: The band's debut album, Adrenaline, was recorded at Bad Animals Studio in Seattle, Washington and released on October 3, 1995. It was produced by Deftones and Terry Date, who would go on to produce the band's next three albums. While they were initially unsuccessful, the band built a dedicated fan base through extensive touring, word-of-mouth and Internet promotion. Through their efforts, Adrenaline went on to sell over 220,000 copies. It is regarded as an important part of the 1990s nu metal movement. An early track which predated Adrenaline but did not make the album's final cut was "Teething"; the band contributed the song to the soundtrack for the 1996 film The Crow: City of Angels. The band can also be seen performing the song live during one of the film's scenes. The album spent 21 weeks on the Billboard Heatseekers chart, reaching a peak position of 23. When asked what he attributed the album's success to, Cheng responded, "One word: perseverance. We've been together for almost eight years, on the road for two, and we do it with honesty and integrity--and the kids can tell". The album was certified gold by the RIAA on July 7, 1999, and was certified platinum on September 23, 2008. Regarding the recording of the album, Cunningham said, "At the time we did the first record--which I really like and think is good--you can tell the band was really young. We'd been playing most of those songs for quite a while, and we were just so happy to be making a record that we didn't really think a whole lot about making the songs better". Moreno felt that Adrenaline was recorded "really fast" and performed all his vocals live with the band in the room using a hand-held Shure SM58 microphone. AllMusic's review of Adrenaline praised the album's musical control, precision, overall groove and Cunningham's "surprisingly sophisticated drumming". It was also noted that "there is a bit of sameness in Chino Moreno's whispered vocal melodies, which drags the record down a bit".

Answer this question "how did it do with the public?"
output: The album was certified gold by the RIAA on July 7, 1999, and was certified platinum on September 23, 2008.

input: The band's lead singer, Damian Kulash, met bassist Tim Nordwind at Interlochen Arts Camp when they were 11. Kulash was in for graphic design, Nordwind for music. The band name comes from an art teacher of the band members saying, "OK... Go!" while they were drawing. They kept in touch after camp, often exchanging mixtapes which influenced each other's musical taste and the band's future sound. They met the band's future guitarist and keyboardist Andy Duncan in high school. Nordwind and Duncan moved to Chicago for college, where they formed the band Stanley's Joyful Noise with drummer Dan Konopka. The name OK Go was adopted in 1998, when Kulash moved to Chicago to join the band. The band plastered the city with posters for its earliest gigs and within a year had shared the stage with international artists such as Elliott Smith, the Promise Ring, the Olivia Tremor Control and Sloan. At the end of 2000, the band was invited by radio host Ira Glass to serve as the house band for live performances of This American Life in Boston, New York, and Chicago. The band self-released two EPs, titled Brown EP (2000) and Pink EP (2001), which were culled from an album's worth of songs recorded in February 2000 with producer Dave Trumfio, to serve as demos. The early music had electronic influences, as Kulash told the Chicago Reader in 2001, "We were trying to figure out how we could get a sampler and beats to work in rock songs that didn't sound like rip-offs of Portishead." The demos did not land the band a label deal, but got them the attention of booking agent Frank Riley, who offered them shows with They Might Be Giants, a relationship that has endured as OK Go opened for the band numerous times during this period, and was introduced to the band's manager by them. Though the members of OK Go eventually left for Los Angeles and New York, they consider themselves a Chicago band. In a 2011 interview, Kulash described the band's formative years: "As far as the band is concerned, we only have one home town. We all live in L.A. now but there's only one period of your life as a band where you're playing the same clubs every week or every month, and you know everybody in every other band; and it's all your friends, all the people that work at the clubs, and it's such a community. Chicago had such a close-knit and intense community five years ago when we were here. It's amazing. The Empty Bottle was where it all started for us. We played at the Metro and the Double Door as well."

Answer this question "What happened with the shows with TMBG?"
output:
OK Go opened for the band numerous times during this period,