New wave music
New wave is a genre of rock music popular in the late 1970s and the 1980s with ties to mid-1970s punk rock. New wave moved away from blues and rock and roll sounds to create rock music or pop music that incorporated disco and electronic music. New wave was similar to punk rock, before becoming a distinct genre, it subsequently engendered fusions, including synth-pop. New wave differs from other movements with ties to first-wave punk as it displays characteristics common to pop music, rather than the more "artsy" post-punk. Although it incorporates much of the original punk rock sound and ethos, new wave exhibits greater complexity in both music and lyrics. Common characteristics of new wave music include the use of synthesizers and electronic productions, a distinctive visual style featured in music videos and fashion. New wave has been called one of the definitive genres of the 1980s, after it was promoted by MTV; the popularity of several new wave artists is attributed to their exposure on the channel.
In the mid-1980s, differences between new wave and other music genres began to blur. New wave has enjoyed resurgences since the 1990s, after a rising "nostalgia" for several new wave-influenced artists. Subsequently, the genre influenced other genres. During the 2000s, a number of acts, such as the Strokes, Franz Ferdinand and The Killers explored new wave and post-punk influences; these acts were sometimes labeled "new wave of new wave". The catch-all nature of new wave music has been a source of much controversy; the 1985 discography Who's New Wave in Music listed artists in over 130 separate categories. The New Rolling Stone Encyclopedia of Rock calls the term "virtually meaningless", while AllMusic mentions "stylistic diversity". New wave first emerged as a rock genre in the early 1970s, used by critics including Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground and New York Dolls, it gained currency beginning in 1976 when it appeared in UK punk fanzines such as Sniffin' Glue and newsagent music weeklies such as Melody Maker and New Musical Express.
In November 1976 Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands not punk, but related to the same musical scene. The term was used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. For a period of time in 1976 and 1977, the terms new wave and punk were somewhat interchangeable. By the end of 1977, "new wave" had replaced "punk" as the definition for new underground music in the UK. In the United States, Sire Records chairman Seymour Stein, believing that the term "punk" would mean poor sales for Sire's acts who had played the club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave"; as radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "new wave". Like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers used the term "new wave" for British punk acts.
Starting in December 1976, The New York Rocker, suspicious of the term "punk", became the first American journal to enthusiastically use the term starting with British acts appropriating it to acts associated with the CBGB scene. Part of what attracted Stein and others to new wave was the music's stripped back style and upbeat tempos, which they viewed as a much needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with the ascendance of overblown progressive rock and stadium spectacles. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity or more polished production, came to be categorized as "new wave". In the U. S. the first new wavers were the not-so-punk acts associated with the New York club CBGB.
CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave." Furthermore, many artists who would have been classified as punk were termed new wave. A 1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Talking Heads and the Runaways. New wave is much more tied to punk, came and went more in the United Kingdom than in the United States. At the time punk began, it was a major phenomenon in the United Kingdom and a minor one in the United States, thus when new wave acts started getting noticed in America, punk meant little to the mainstream audience and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts. Post-punk music developments in the UK were considered unique cultural events. By the early 1980s, British journalists had abandoned the term "new wave" in favor of subgenre terms such as "synthpop".
By 1983, the term of choice for the US music industry had become "new music", while to the majority of US fans it was still a "new wave" reacting to album-based rock. New wave died out in the mid-1980s, knocked out by guitar-driven rock reacting against new wave. In the 21st-century United States, "new wave" was used to describe ar
The Academy Awards known as the Oscars, are a set of awards for artistic and technical merit in the film industry. Given annually by the Academy of Motion Picture Arts and Sciences, the awards are an international recognition of excellence in cinematic achievements as assessed by the Academy's voting membership; the various category winners are awarded a copy of a golden statuette called the "Academy Award of Merit", although more referred to by its nickname "Oscar". The award was sculpted by George Stanley from a design sketch by Cedric Gibbons. AMPAS first presented it in 1929 at a private dinner hosted by Douglas Fairbanks in the Hollywood Roosevelt Hotel; the Academy Awards ceremony was first broadcast on radio in 1930 and televised for the first time in 1953. It is now seen live worldwide, its equivalents – the Emmy Awards for television, the Tony Awards for theater, the Grammy Awards for music – are modeled after the Academy Awards. The 91st Academy Awards ceremony, honoring the best films of 2018, was held on February 24, 2019, at the Dolby Theatre, in Los Angeles, California.
The ceremony was broadcast on ABC. A total of 3,072 Oscar statuettes have been awarded from the inception of the award through the 90th ceremony, it was the first ceremony since 1988 without a host. The first Academy Awards presentation was held on 16 May 1929, at a private dinner function at the Hollywood Roosevelt Hotel with an audience of about 270 people; the post-awards party was held at the Mayfair Hotel. The cost of guest tickets for that night's ceremony was $5. Fifteen statuettes were awarded, honoring artists and other participants in the film-making industry of the time, for their works during the 1927–28 period; the ceremony ran for 15 minutes. Winners were announced to media three months earlier; that was changed for the second ceremony in 1930. Since for the rest of the first decade, the results were given to newspapers for publication at 11:00 pm on the night of the awards; this method was used until an occasion when the Los Angeles Times announced the winners before the ceremony began.
The first Best Actor awarded was Emil Jannings, for his performances in The Last Command and The Way of All Flesh. He had to return to Europe before the ceremony, so the Academy agreed to give him the prize earlier. At that time, the winners were recognized for all of their work done in a certain category during the qualifying period. With the fourth ceremony, the system changed, professionals were honored for a specific performance in a single film. For the first six ceremonies, the eligibility period spanned two calendar years. At the 29th ceremony, held on 27 March 1957, the Best Foreign Language Film category was introduced; until foreign-language films had been honored with the Special Achievement Award. The 74th Academy Awards, held in 2002, presented the first Academy Award for Best Animated Feature. Since 1973, all Academy Awards ceremonies have ended with the Academy Award for Best Picture. Traditionally, the previous year's winner for Best Actor and Best Supporting Actor present the awards for Best Actress and Best Supporting Actress, while the previous year's winner for Best Actress and Best Supporting Actress present the awards for Best Actor and Best Supporting Actor.
See § Awards of Merit categories The best known award is the Academy Award of Merit, more popularly known as the Oscar statuette. Made of gold-plated bronze on a black metal base, it is 13.5 in tall, weighs 8.5 lb, depicts a knight rendered in Art Deco style holding a crusader's sword standing on a reel of film with five spokes. The five spokes represent the original branches of the Academy: Actors, Directors and Technicians; the model for the statuette is said to be Mexican actor Emilio "El Indio" Fernández. Sculptor George Stanley sculpted Cedric Gibbons' design; the statuettes presented at the initial ceremonies were gold-plated solid bronze. Within a few years the bronze was abandoned in favor of Britannia metal, a pewter-like alloy, plated in copper, nickel silver, 24-karat gold. Due to a metal shortage during World War II, Oscars were made of painted plaster for three years. Following the war, the Academy invited recipients to redeem the plaster figures for gold-plated metal ones; the only addition to the Oscar since it was created is a minor streamlining of the base.
The original Oscar mold was cast in 1928 at the C. W. Shumway & Sons Foundry in Batavia, which contributed to casting the molds for the Vince Lombardi Trophy and Emmy Award's statuettes. From 1983 to 2015 50 Oscars in a tin alloy with gold plating were made each year in Chicago by Illinois manufacturer R. S. Owens & Company, it would take between four weeks to manufacture 50 statuettes. In 2016, the Academy returned to bronze as the core metal of the statuettes, handing manufacturing duties to Walden, New York-based Polich Tallix Fine Art Foundry. While based on a digital scan of an original 1929 Oscar, the statuettes retain their modern-era dimensions and black pedestal. Cast in liquid bronze from 3D-printed ceramic molds and polished, they are electroplated in 24-karat gold by Brooklyn, New York–based Epner Technology; the time required to produce 50 such statuettes is three months. R. S. Owens i
The Cremaster Cycle
The Cremaster Cycle is a series of five feature-length films, together with related sculptures, photographs and artist's books, created by American visual artist and filmmaker Matthew Barney. The Cremaster Cycle was made over a period of eight years and culminated in a major museum exhibition organized by Nancy Spector of the Solomon R. Guggenheim Museum in New York City, which traveled to the Museum Ludwig in Cologne and the Musée d'art Moderne in Paris from 2002-03. Barney's longtime collaborator Jonathan Bepler arranged the soundtracks for the films; the series incorporates a multidisciplinary narrative that references connections between real people, real places and real things personal to Barney himself, but are all fictionalized to some merit. Guggenheim Museum curator Nancy Spector has described the Cremaster cycle as "a self-enclosed aesthetic system." The cycle includes the films as well as photographs, drawings and installations the artist produced in conjunction with each episode.
Its conceptual departure point is the male cremaster muscle, the primary function of, to raise and lower the testes in response to temperature. The project is filled with anatomical allusions to the position of the reproductive organs during the embryonic process of sexual differentiation: Cremaster 1 represents the most "ascended" or undifferentiated state, Cremaster 5 the most "descended" or differentiated; the cycle returns to those moments during early sexual development in which the outcome of the process is still unknown — in Barney's metaphoric universe, these moments represent a condition of pure potentiality. As the cycle evolved over eight years, Barney looked beyond biology as a way to explore the creation of form, employing narrative models from other realms, such as biography and geology. While thematically the Cremaster films are chronological in the numbered order, they were not made or released in the same manner; the order in which they were made is as follows: The numerical order is the thematic order, while in order of production the films increased in production quality and scope, they can alternatively be viewed in any order, as different views of a set of themes and preoccupations.
The films are different in length. Like Barney's other works, most of the films lack any particular dialogue with the exceptions being Cremaster 2 and 5, the latter of, an opera sung in Hungarian. An important precursor of The Cremaster Cycle is Drawing Restraint, a biologically inspired multi-episode work in multiple media featuring the field emblem; the full series was released in a limited series of 20 sets of DVDs, sold each for at least $100,000, in custom packaging – as fine art, rather than mass-market movies. In 2007 one disc sold for $571,000; the films are not available on mass-market DVDs, according to the press release for the 2010 US tour, the cycle "is Not Now Nor Will it Ever be Available on DVD". The films are available via periodic screenings. Palm Pictures, the distributor, has continued to comply with Barney's request, has not made the series available on DVD, though there were some rumors and announcements to this effect in 2003. Only a 31-minute excerpt, the Guggenheim scene from Cremaster 3 entitled The Order, was released on mass-market DVD in 2003.
Reaction to the cycle is divided – some consider it a major work of art, on a par with Un Chien Andalou and The Waste Land, while others dismiss it as vapid, self-indulgent tedium. This is summarized by one critic as "Barney's cinematic art inspires both awe and revulsion simultaneously." Indeed, the Village Voice featured two reviews, with art critic Jerry Saltz praising the cycle, film critic J. Hoberman panning it. Lavish praise includes: "The Cremaster Cycle by Matthew Barney is the first great piece of cinema to be made in a fine art context since Dali and Bunuel filmed Un Chien Andalou in 1929, it is one of the most imaginative and brilliant achievements in the history of avant-garde cinema." In 1999, when three of its entries had been made, Michael Kimmelman of The New York Times hailed Barney as "the most important American artist of his generation." It has on the other hand, received scathing criticism as "a tedious succession of striking but vacant imagery whose effect diminishes the longer you look at it," from which "any sense of mystery or wonder is drained."The visuals are roundly praised and some feel that the movies work well as parts of installations, due to visuals, though not as movies, due to poor editing and pacing.
The large volume by Nancy Spector, Matthew Barney: The Cremaster Cycle, is the standard work on the Cycle and contains reproductions of production stills, concept drawings and an exegetical essay by Spector, Only The Perverse Fantasy Can Still Save Us. Neville Wakefield has produced The Cremaster Glossary, included in the book. Nancy Spector, Matthew Barney: The Cremaster Cycle, New York: Guggenheim Museum Publications, 2002; the Cremaster Cycle Cremaster Fanatic – The Matthew Barney Fan Site Cremaster 1 on IMDb Cremaster 2 on IMDb Cremaster 3 on IMDb Cremaster 4 on IMDb Cremaster 5 on IMDb Metacritic: Cremaster 3 Metacritic: Cremaster Cycle Jones, The myth-maker, The Guardian The Cremaster Cycle, Peter Bradshaw, The Guardian, 17 October 2003 Uhlich, Keith, "The Cremaster Cycle", Time Out New York, archived from the original on July 28, 2010 Man vs.'C
Quasimodo's Dream (song)
"Quasimodo's Dream" is a song by Australian pop/new wave band The Reels and was released as the title single off their second album, Quasimodo's Dream in May 1981. The album peaked at No. 27 on the Australian Kent Music Report Albums Chart but the single did not reach the Top 50 of the related Singles Chart. Rock music historian, Ian McFarlane claimed, "the album's highlight was the sparse, evocative title track"; the song, written by lead singer Dave Mason, is now regarded as a classic—in 2001 it was named by Australasian Performing Right Association at No. 10 of their Top 30 Australian songs of all time. It was covered by fellow Australians Kate Jimmy Little; the Reels were formed in 1979 in Sydney and signed with the Australian branch of Mercury Records, with the line-up of Paul Abrahams on bass guitar, John Bliss on drums, Craig Hooper on lead guitar and synthesiser, Dave Mason on vocals, Colin Newham on keyboards and guitar. They released their debut single, "Love Will Find a Way" in October, which peaked into the top 40 of the Australian Kent Music Report Singles Chart.
Their self-titled debut album, The Reels, produced by Mark Opitz had appeared in November. With the follow-up single, "Prefab Heart" appearing in November, combined with the band's distinctive image, they gained increasing attention with their music videos featured on the influential national ABC TV pop show Countdown from early 1980. In February, The Reels were joined by another keyboardist, Karen Ansel, released their third single, "After the News" in July, it marked a transition in their music—their songs took on a more serious lyrical tone—they dispensed with guitars, by using synthesisers as their main instruments."Shout and Deliver" was released in March 1981, ahead of their second album, Quasimodo's Dream, in May, which peaked at No. 27 on the Australian Kent Music Report Albums Chart. The title single, "Quasimodo's Dream", followed but did not reach the Top 50 of the related Singles Chart. Australian rock music historian, Ian McFarlane claimed, "the album's highlight was the sparse, evocative title track".
In 1983 the band travelled to the United States and United Kingdom, released a five track EP, Pitt Street Farmers and followed with an updated version of "Quasimodo's Dream" in December, which demonstrated the band's faith in the song, although it failed to chart on its second release. At this point Mason was forced to give up performing after contracting hepatitis, which ended the group; the song became acknowledged as a classic, in 2001, it was named by Australasian Performing Right Association at No. 10 of their Top 30 Australian songs of all time. Music journalist, Toby Creswell, described the song in his 2005 book, 1001 Songs as being "a grim but beautiful tale of alienation and self-hatred", although the song's writer, concedes that the "whole lyric just doesn't make sense". In March 2011, while performing the song on RocKwiz, Mason says, "... And of course you know that Quasimodo, wanted to marry Gazelda, live in a nice little house with three children, a picket fence. No Sir." "Quasimodo's Dream" was covered by Kate Ceberano on her album, Brave.
Subsequently it was covered by Glenn Richards of Augie March on national radio, Triple J's segment "Like a Version" in October 2010. Another variety was arranged and performed by Tripod and Eddie Perfect together with Gotye as a special download and vinyl release in March 2013 to support the Save Live Australian Music campaign on Pledge Music. "Quasimodo's Dream" was interpreted by Tim Rogers with a music video by Sandpit to coincide with the theatrical release of an Australian feature film, The Boy Castaways. Singer / songwriter Rob Dougan released a cover of the track on his "The Life of the World to Come" EP in February 2019, including both vocal and instrumental versions. "Quasimodo's Dream" – 4:06 " Here Today" credited on the record label as Brian Wilson/Peter Asher – 3:39
Flubber is a 1997 American science fiction comedy film directed by Les Mayfield and written by Hughes, based on an earlier screenplay by Bill Walsh. A remake of The Absent-Minded Professor, the film was produced by Walt Disney Pictures and stars Robin Williams, Marcia Gay Harden, Christopher McDonald, Ted Levine, Raymond J. Barry, Clancy Brown; the film grossed $178 million worldwide. In selected theatres, the Pepper Ann episode "Old Best Friend" was featured before the film. Professor Philip Brainard, of Medfield College, is developing a new energy source in an attempt to raise enough money to save the college from closure, his preoccupancy with his research distracts him from his fiancée and the college president Sara Jean Reynolds. On the day of the third attempted wedding, Philip is approached by his former partner Wilson Croft, who has profited from ideas he has stolen from the chemist and now desires to steal Sara from Philip and make her his wife, which he declares directly to Philip, though Philip takes it as a joke.
Before he can make it to the wedding, his latest experiment shows fast development, forcing him to miss another wedding. The resulting substance created from the experiment is a living green goo that increases in speed as it bounces and proves to be difficult to control, wreaking havoc on the neighborhood before the professor manages to capture it. Weebo, Philip's hovering robot assistant, classifies the substance as "flying rubber", leading Philip to christen it as "Flubber". Philip continues to work on Flubber into the early morning, looking to stabilize the Flubber's movement as opposed to stimulation. Philip's watch alarm goes off at 6:30 a.m. and Weebo informs him that he has missed the wedding. Philip goes to Sara's office and unsuccessfully attempts to explain the situation to her. Meanwhile, Medfield College sponsor Chester Hoenicker is disappointed that Philip failed his son Bennett in chemistry class; that night, Hoenicker sends his security guards Smith and Wesson to Philip's house in an attempt to persuade Philip into giving Bennett a better grade.
However, Philip is too busy testing the Flubber to notice them and unknowingly knocks them unconscious with a Flubber-coated golf ball and bowling ball. He uses Flubber to give his vintage Ford Thunderbird flight. During a test run, he discovers Wilson making the moves on Sara. Afterward, Weebo attempts to confess her love of Philip. In response, she secretly creates a holographic human version of herself named Sylvia in hopes of winning him over. Before Weebo can kiss Philip in this form as he sleeps, Philip awakens with another idea for Flubber, he tests the effects of Flubber on a basketball and his shoes. He gives Flubber-padded shoes to the unskilled Medfield basketball team to increase their abilities and defeat their opposing team, Rutland. Back in Philip's home, looking to have some fun, Weebo unleashes Flubber from his case, allowing him to dance around the house and cause general mayhem. After the close but successful basketball game, Philip's attempt to win Sara back into his favor fails.
Upon returning home, Philip dumps all of his emotional baggage onto Weebo, saying his absent-mindedness is due to his love of Sara. Weebo records Philip's ramblings and shows the footage to Sara, who reconciles with Philip. Philip demonstrates Flubber's abilities to Sara and they discuss how it can be used for profit. However, Hoenicker discovers Flubber's existence and, after failing to convince Philip and Sara to sell it to him, sends Smith and Wesson to infiltrate Philip's house and steal Flubber. Weebo attempts to fend off the henchmen. Philip and Sara return home and find Weber cleaning up, Flubber gone, Weebo destroyed. Philip discovers that Weebo had downloaded backup data of herself onto his computer in the event of her destruction, as well as a video recording of Weebo's hologram professing her love for him. Philip and Sara confront Hoenicker and try to save Flubber, under the guise of accepting Hoenicker's offer. While there, they discover. Philip and Sara reveal their ruse and unleash Flubber, starting a battle between them and the villains.
In the end and Sara defeat Wilson, Bennett and his henchmen, retrieve Flubber, raise enough money to save the college, have a successful wedding, along with Flubber and the "daughter" of Weebo, called Weebette. The film ends with the family heading to Hawaii in the Thunderbird 30,000 feet in the air. Robin Williams as Professor Philip Brainard Marcia Gay Harden as Dr. Sara Jean Reynolds Christopher McDonald as Wilson Croft Jodi Benson as the voice of Weebo Raymond J. Barry as Chester Hoenicker Clancy Brown as Smith Ted Levine as Wesson Wil Wheaton as Bennett Hoenicker Edie McClurg as Martha George Sam Lloyd as Coach Willy Barker Scott Michael Campbell as Dale Jepner Bob Sarlatte as Rutland coach Julie Morrison as the voice of Weebette Scott Martin Gershin as Flubber Filming began in San Francisco on Treasure Island in Building 180 and Hanger 3. Sets constructed there included the basketball court, a duplicate of the Professor's house where some exterior and all interior shots were produced, a separate set portraying the basement of
Nutty Professor II: The Klumps
Nutty Professor II: The Klumps is a 2000 American science-fiction romantic-comedy film directed by Peter Segal. It is a sequel to the 1996 film The Nutty Professor. In contrast to the previous film, subplots which are centered on his parents occupy a substantial part of the film. Like the first film, the sequel's theme song is "Macho Man" by The Village People, which this time is played during the end credits. After finding success with a DNA restructuring formula in the first film, Sherman Klump has created another formula which enables those who take it to find the Fountain of Youth, he has met and fallen in love with a colleague, Denise Gaines, who has developed a method to isolate genetic material and becomes his fiancée. Together, their work has enabled Wellman College to receive a $150 million award from a pharmaceutical firm to the excitement of Dean Richmond, who has grown to adore and respect Sherman. Despite his good fortune, Sherman has a major problem: the personality of his vanquished alter ego, Buddy Love, is still ingrained inside him and causes him to act out in the same crass manner Buddy does.
Sherman tries proposing to Denise, but Buddy kicks in and makes it a perverted sex request, causing Denise to become mortified against him. Determined to be rid of Buddy permanently, despite Jason warning him of catastrophic consequences for his health, Sherman uses Denise's methodology to isolate and remove the gene in Sherman's DNA where Buddy has manifested and extracts it from inside his body. However, he does not dispose of the genetic material and as a result, Buddy becomes a sentient being when a hair from a Basset Hound named Buster, Sherman's test subject finds its way into it and causes such a reaction. To make matters worse, Jason's suspicions prove correct when Sherman discovers that, due to the extraction, his brain cells are beginning to deteriorate. Realizing he needs to keep the youth formula out of Buddy's hands, Sherman stashes it at his parents' house. Buddy, trying to sell the formula to a different company realizes where it is and steals some of it. Buddy doctors the remainder with fertilizer, which causes chaos at a demonstration the next day when a hamster Sherman uses to demonstrate the youth finding effects instead mutates into an aggressive monster who violates Dean Richmond in front of a live television audience.
The humiliated Dean fires Sherman, who learns that his brain's deterioration has worsened from Jason. Sherman decides to end his engagement and break up with Denise. In a last-ditch effort to secure the money, Sherman works on a newer, much more potent formula while his mental faculties allow him to. Richmond confronts him about Buddy's actions, he leaves with a tennis ball and head to the competing firm. Meanwhile, a worried Denise discovers what has happened and that Sherman's brain damage has progressed to eighty percent. Enlisting the help of Sherman's father Cletus, Denise goes after him. Sherman takes advantage of the canine DNA that crossed with Buddy's, uses the tennis ball to play fetch; the ball is covered with the new formula, which takes Buddy back to an infantile state and to a glowing mass of genetic material for Sherman to suck the genetic material back into his body through a straw, thus putting his DNA back together and returning him to normal. However, as Sherman chases what is left of Buddy, the glowing mass evaporates and thus Sherman cannot restore his intelligence.
Denise and Cletus arrive too late to save him, seeing what has happened to Sherman, Denise breaks into tears. As they go to leave, Sherman takes a look at a fountain and remarks that it is "pretty". Seeing that the water is glowing, Denise realizes that the genetic material has reconstituted and that if Sherman drinks the water before it dissipates, he will be restored to normal. Sherman drinks the water with the help of Denise and Cletus, thus he is able to get his genetic makeup back in proper order; the film closes with Sherman's wedding reception, with Buddy nowhere to be found. Dean Richmond rehires Sherman with a wedding present, the hamster is back to normal and Dean Richmond decides to love the hamster; the film grossed over $42.5 million in its opening weekend and went on to a total gross of over $123.3 million. It garnered an additional $43 million in foreign markets. Unlike the first film, Nutty Professor II received negative reviews from critics. Adjectives such as "obnoxious", "lowbrow", "bloated", "unfunny" cropped up in reviews.
Rotten Tomatoes lists the movie at a 26% approval rating, with the site's consensus stating that "While Eddie Murphy is still hilarious as the entire Klump family, the movie falls apart because of uneven pacing, a poor script, skits that rely on being gross rather than funny." Salon.com's reviewer gave the movie one of its few positive notices, offered the praise "cheerfully vulgar". The New Yorker's Anthony Lane was severe. Most critics, mixed a negative assessment of the movie with at least a nod towards Murphy's versatility and comic talent. Roger Ebert gave the film three stars, noting that while it was "raucous" and "scatological," the film overall proved to be "very funny" and "never less than amazing." Official website Nutty Professor II: The Klumps on IMDb Nutty Professor II: The Klumps at the TCM Movie Database Nutty Professor II: The Klumps at Box Office Mojo Nutty Professor II: The Klumps at Rotten Tomatoes Nutty Professor II
Neil Mullane Finn is a New Zealand singer-songwriter and musician. With his brother Tim Finn, he was the co-frontman for Split Enz, a project that he joined after it was founded by Tim and others, became the frontman for Crowded House, he has recorded several successful solo albums and assembled diverse musicians for the 7 Worlds Collide project. Finn rose to prominence in the late 1970s with Split Enz and wrote the successful songs "One Step Ahead", "History Never Repeats", "I Got You" and "Message to My Girl", among others. Finn rose to international fame after Split Enz broke up in 1984. While his brother Tim left for England, Neil was the founder of Crowded House with Split Enz's last drummer Paul Hester in 1985; the group achieved international success in 1987 when they released the single "Don't Dream It's Over", written by Neil. He ended Crowded House in 1996 to embark on what was to become a moderately successful solo career, has released two albums with his brother Tim as the Finn Brothers.
In 2006, after the death of drummer Paul Hester, Finn reformed Crowded House and released their first studio album in over 13 years, Time on Earth, the band began a world tour. In 2010, Finn commenced another world tour with Crowded House in support of their 2010 release, Intriguer. In February 2014, Finn released Dizzy Heights. On 9 April 2018, it was announced that Finn would perform with Fleetwood Mac as part of their forthcoming tour in 2018, replacing Lindsey Buckingham. Finn was born the youngest of four children to Mary Finn in Te Awamutu, New Zealand, his mother, a devout Catholic who moved to New Zealand from Ireland at the age of two, maintained a religious influence over the family. Speaking of Catholicism, Finn stated "It's a great fertile ground for pulling lyrics out. Lots of good stuff going on in there, good rituals and imagery and lots of guilt. It's a potent combination. I think you're blessed to be brought up with some kind of weird dogma like that." His father, the son of a farmer from Waikato, served in the army in Italy and became an accountant during World War II.
His parents instilled an "inspiring admiration of music" in young Finn. In addition to music, Finn enjoyed sports swimming, rugby and biking; as a child, Finn would perform at family gatherings with his older brother Tim. Finn recalled, "We'd sing all night, it was much part of our upbringing.... That was the first inkling of the seduction of live performance." He idolized his brother and wished to imitate his actions, learning to play guitar and piano at the same time Tim did. Tim was more public about his musical aspirations, won ten shillings in his school's annual talent contest shortly after enrolling; when Tim left to study at Sacred Heart College, a boarding school in Auckland, eight-year-old Neil started playing a guitar that his older brother left behind. A natural performer, Finn was nicknamed'The Ant' by his family due to his determined and ambitious nature. Finn attended Sacred Heart boarding Te Awamutu College, he decided to become a musician at the age of 12 and throughout his school years performed in prisons and hospitals, as well as at home gatherings.
Finn finished school in 1975. In 1976, Finn formed the group After Hours, with Mark Hough, Geoff Chunn, Alan Brown. Not long after the band's debut performance, Finn's brother invited him to join Split Enz in London, replacing original singer-songwriter Phil Judd. By 1980, he was sharing lead singer duties and wrote their first international hit, "I Got You". Finn contributed to the band's albums, briefly assumed leadership of the band after Tim Finn left in 1984, prior to the cessation of the band. After the breakup of Split Enz in 1984. Finn formed a new band called The Mullanes with Split Enz drummer Paul Hester, guitarist Craig Hooper of The Reels, bassist Nick Seymour, whom Neil had met on the final Split Enz tour. Hooper left just before they recorded their first album, at which time the band was renamed Crowded House, inspired by the rental home they shared while recording in Los Angeles. Crowded House went on to enormous success worldwide, in particular with two major hits: "Don't Dream It's Over" and "Weather With You".
Both Neil and his brother Tim were invested as Officers of the Order of the British Empire for services to New Zealand music in the 1993 Queen's Birthday Honours List. After releasing four albums, Crowded House, Temple of Low Men and Together Alone, the group broke up in 1996, followed this action by releasing a greatest hits album Recurring Dream. Following the breakup of Crowded House, Finn embarked on a solo career; the album Afterglow was released in 1999, which contained unreleased Crowded House recordings. Finn appeared alongside Roddy Frame and Graham Gouldman as part of the BBC Four's "Songwriters' Circle" series in 1999, explained that "Don't Dream It's Over" and "Better Be Home Soon" were both written with all of the elements of each song—such as lyrics and verses—emerging at the same time. Finn sang the opening lines of The Verve song "The Drugs Don't Work" to the opening chords of the latter song. Finn penned a theme song for the All Blacks' participation in the 1999 Rugby World Cup, "Can You Hear Us?", that made it to the top of the NZ charts in Octo