title: Jim McMahon

text: In August 2020, a documentary entitled "Mad Mac: The Memory Of Jim McMahon" by director CJ Wallis began shooting. The film covers McMahon's life in and out of professional sports.


title: Jim McMahon

text: Throughout his career, McMahon was known for both on- and off-field antics. Most famously, his wearing of a headband while on the sidelines once led to him being fined by then NFL commissioner, Pete Rozelle, as it had an unauthorized corporate logo (Adidas) on it. The next week his headband simply said "Rozelle". (The commissioner later admitted in a letter to McMahon that the headband with Rozelle's name was "funny as hell", but declined to rescind the $5,000 fine.) Reportedly before Super Bowl XX hundreds of fans mailed McMahon headbands in hopes he would wear them during the game; Rozelle warned the quarterback not to wear anything "unacceptable". In response, McMahon decided to help bring attention to Juvenile Diabetes by wearing a headband simply stating "JDF Cure", before switching to one stating "POW-MIA", and finally one with the word "Pluto", the nickname of his close friend and favorite collegiate receiving target, former BYU wide receiver Danny Plater, who was afflicted with a brain tumor.


title: Jim McMahon

text: He also is known for his trademark sunglasses, which he wears for medical reasons. At age six, while trying to untie a knot in a toy gun holster with a fork, he accidentally severed the cornea in his right eye when the fork slipped. While his vision was saved, the accident left that eye extremely sensitive to light. On the field he was among the first to wear a helmet fitted with a tinted plastic visor covering the eyes, leading to nicknames like "Darth Vader" and "Black Sunshine."


title: Jim McMahon

text: McMahon occasionally would play wearing gloves, and urged former NFL quarterback David Carr to also wear gloves.


title: Jim McMahon

text: McMahon met Nancy Daines at BYU, and the couple married in 1982 after four years of dating. They had four children together and divorced in 2009. He was in a romantic relationship with Laurie Navon, who was cited in the "Sports Illustrated" article where his health was discussed. The specifics of his relationship with Navon are not known, but more recent media reports currently have him in a relationship with Mayra Montoya.


title: Piper Alpha

text: Piper Alpha was an oil platform located in the North Sea approximately north-east of Aberdeen, Scotland. It was operated by Occidental Petroleum (Caledonia) Limited (OPCAL) and began production in 1976, initially as an oil-only platform but later converted to add gas production.


title: Piper Alpha

text: Piper Alpha exploded and sank on 6 July 1988, killing 165 of the men on board, 30 of whose bodies were never recovered, as well as a further two rescue workers after their rescue vessel, which had been trapped in debris and immobilized, was destroyed by the disintegrating rig. Sixty-one workers escaped and survived. The total insured loss was about £1.7 billion (£ billion in ), making it one of the costliest man-made catastrophes ever. At the time of the disaster, the platform accounted for approximately 10% of North Sea oil and gas production. The accident is the world's worst offshore oil disaster in terms of lives lost and industry impact. The Inquiry blamed it on inadequate maintenance and safety procedures by Occidental, though no charges were brought.


title: Piper Alpha

text: In Aberdeen, the Kirk of St Nicholas on Union Street has dedicated a chapel in memory of those who died, containing a Book of Remembrance listing them. There is a memorial sculpture in the Rose Garden of Hazlehead Park.


title: Piper Alpha

text: Four companies that later became the OPCAL joint venture obtained an oil exploration licence in 1972. They discovered the "Piper" oilfield located at in early 1973 and began fabrication of the platform, pipelines and onshore support structures. Oil production started in 1976 with about of oil per day, increasing to . A gas recovery module was installed by 1980. Production declined to by 1988. OPCAL built the Flotta oil terminal in the Orkney Islands to receive and process oil from the Piper, Claymore, and Tartan oilfields, each with its own platform. One diameter main oil pipeline ran from Piper Alpha to Flotta, with a short oil pipeline from the "Claymore" platform joining it some to the west. The Tartan field also fed oil to Claymore field and then onto the main line to Flotta. Separate diameter gas pipelines were run from Tartan platform to the Piper, and from Piper to the gas compressing platform MCP-01 some to the northwest.


title: Piper Alpha

text: A large, fixed platform, Piper Alpha sat atop Piper oilfield, approximately northeast of Aberdeen in of water. It was built in four modules separated by firewalls.


title: Piper Alpha

text: The platform was constructed by McDermott Engineering of Ardersier and Union Industrielle d'Entreprise of Cherbourg, with the sections united at Ardersier before being towed out during 1975. Production commenced in late 1976. For safety reasons the modules were organised so that the most dangerous platform operations took place far from the personnel areas. The conversion from oil to gas broke this safety concept, with the result that sensitive areas were brought together; for example, the gas compression was next to the control room. The close position of these two areas played a role in the accident.


title: Piper Alpha

text: Piper Alpha produced crude oil and natural gas from 36 wells for delivery to the Flotta oil terminal on Orkney and to other installations by three separate pipelines. At the time of the disaster, Piper was one of the heaviest platforms operating in the North Sea, along with "Magnus" and "Brae B".


title: Piper Alpha

text: In 1978, major works were carried out to enable the platform to meet UK Government gas conservation requirements, and to avoid waste from the flaring of excess gas. After this work had been completed, Piper Alpha was operating in what was known as "phase 2 mode" (operating with the Gas Conservation Module (GCM)). From the end of 1980 until July 1988 phase 2 mode was its normal operating state. In the late 1980s, major construction, maintenance, and upgrade works were planned by Occidental and by July 1988, the rig was already well into major reconstruction, with six major projects identified, including the change-out of the GCM unit. This meant that the rig was returned to its initial phase 1 mode (i.e., operating without a GCM unit). Despite the complex and demanding work schedule, Occidental made the decision to continue operating the platform in phase 1 mode throughout this period and not to shut it down, as had been originally planned. The planning and controls that were put in place were thought to be adequate. Therefore, Piper continued to export oil at just under per day and to export Tartan gas at some per day at standard conditions during this period.


title: Piper Alpha

text: Because the platform was completely destroyed, and many of those involved died, analysis of events can only suggest a possible chain of events based on known facts. Some witnesses to the events question the official timeline.


title: Piper Alpha

text: At the time of the disaster 226 people were on the platform; 165 died and 61 survived. Two men from the "Sandhaven", which was the standby vessel for the nearby "Santa Fe 135", were also killed in attempts to pick up survivors in the Sandhaven's Fast Rescue Boat. The Coxswain (Iain Letham) was the only survivor. The standby vessel for Piper Alpha was the "Silver Pit", which by co-incidence was also the standby vessel in the Ekofisk Field when the "Alexander Kielland" capsized on 27 March 1980.


title: Piper Alpha

text: There is controversy about whether there was sufficient time for a more effective emergency evacuation. The first explosion killed most of the personnel with the authority to order an evacuation when it destroyed the control room, and much of the control systems in the room responsible for sounding platform-wide alarms had also been lost with its destruction. This was a consequence of the platform design, which did not include blast walls. Another contributing factor was that the nearby connected platforms Tartan and Claymore continued to pump gas and oil to Piper Alpha until its pipeline ruptured in the heat in the second explosion. Their operations crews did not believe they had authority to shut off production, even though they could see that Piper Alpha was burning.


title: Piper Alpha

text: The nearby diving support vessel "Lowland Cavalier" reported the initial explosion just before 22:00, and the second explosion occurred 22 minutes later. By the time civil and military rescue helicopters reached the scene, flames over 100 metres in height and visible as far away as 100 km (120 km from the "Maersk Highlander") away prevented safe approach. The largest number of survivors (37 out of 59) were recovered by the Fast Rescue Boat of the Standby Safety Vessel, MV "Silver Pit"; coxswain James Clark later received the George Medal as did Iain Letham of the Sandhaven. Others awarded the George Medal were Charles Haffey from Methil, Andrew Kiloh from Aberdeen, and James McNeill from Oban. Sandhaven crewmates Malcolm Storey, from Alness, and Brian Batchelor, from Scunthorpe, were awarded George Medals posthumously.


title: Piper Alpha

text: The blazing remains of the platform were eventually extinguished three weeks later by a team onboard MSV "Tharos" led by firefighter Red Adair, despite reported conditions of winds and waves. The part of the platform which contained the galley where about 100 victims had taken refuge was recovered by divers in late 1988 from the sea bed, and the bodies of 87 men were found inside.


title: Piper Alpha

text: The Cullen Inquiry was set up in November 1988 to establish the cause of the disaster. It was chaired by the Scottish judge William Cullen. After 180 days of proceedings, it released its report "Public Inquiry into the Piper Alpha Disaster" (short: "Cullen Report") in November 1990. It concluded that the initial condensate leak was the result of maintenance work being carried out simultaneously on a pump and related safety valve. The inquiry was critical of Piper Alpha's operator, Occidental, which was found guilty of having inadequate maintenance and safety procedures, but no criminal charges were ever brought against the company.


title: Piper Alpha

text: The recommendations led to the enactment of the Offshore Safety Act 1992 and the making of the Offshore Installations (Safety Case) Regulations 1992.


title: Piper Alpha

text: Most significant of these recommendations was that operators were required to present a safety case and that the responsibility for enforcing safety in the North Sea should be moved from the Department of Energy to the Health and Safety Executive, as having both production and safety overseen by the same agency was a conflict of interest.


title: Piper Alpha

text: In 2013, on the 25th anniversary of the disaster, the video "Remembering Piper - The Night That Changed Our Lives" was released by Step Change in Safety. A three-day conference was held in Aberdeen to reflect on lessons learned from Piper Alpha and industry safety issues in general.


title: Piper Alpha

text: The disaster led to insurance claims of around US$1.4 billion, making it at that time the largest insured man-made catastrophe. The insurance and reinsurance claims process revealed serious weaknesses in the way insurers at Lloyd's of London and elsewhere kept track of their potential exposures, and led to their procedures being reformed.


title: Piper Alpha

text: Survivors and relatives of those who died went on to form the Piper Alpha Families and Survivors' Association, which campaigns on North Sea safety issues. The wreck buoy marking the remains of the Piper is approximately 1.1 nautical miles from the replacement Piper Bravo platform. A lasting effect of the Piper Alpha disaster was the establishment of Britain's first "post-Margaret Thatcher" trade union, the Offshore Industry Liaison Committee.


title: Piper Alpha

text: Beginning in 1998, one month after the tenth anniversary, Professor David Alexander, director of the Aberdeen Centre for Trauma Research at Robert Gordon University carried out a study into the long-term psychological and social effects of Piper Alpha. He managed to find 36 survivors who agreed to give interviews or complete questionnaires. Almost all of this group reported psychological problems. More than 70% of those interviewed reported psychological and behavioural symptoms of post traumatic stress disorder. Twenty-eight said they had difficulty in finding employment following the disaster; it appears that some offshore employers regarded Piper Alpha survivors as "Jonahs" – bringers of bad luck, who would not be welcome on other rigs and platforms. The family members of the dead and surviving victims also reported various psychological and social problems. Alexander also wrote that "some of these lads are stronger than before Piper. They've learned things about themselves, changed their values, some relationships became stronger. People realised they have strengths they didn't know they had. There was a lot of heroism took place."


title: Piper Alpha

text: On 6 July 1991, the third anniversary of the disaster, a memorial sculpture showing three oil workers was erected in the Rose Garden within Hazlehead Park in Aberdeen. The figures represent on the west the physical nature of offshore trades, the east youth and eternal movement and the north holds an unwinding spiral that represents oil in the left hand. The sculptor is Sue Jane Taylor, the Scottish artist who had visited the Piper platform the previous year, and based much of her work around what she saw in and around the oil industry. One of the survivors was used as a model for one of the figures. In 1991, Scottish composer James MacMillan wrote "Tuireadh", a piece for clarinet and string quartet, as a musical complement to the memorial sculpture. In 2008, to mark the 20th anniversary of the disaster, a stage play, "Lest We Forget" was commissioned by Aberdeen Performing Arts and written by playwright Mike Gibb. It was performed in Aberdeen in the week leading up to the anniversary with the final performance on 6 July 2008, the 20th anniversary.


title: Piper Alpha

text: The incident was featured in the 1990 STV documentary television series "Rescue", about the RAF Search and Rescue Force at RAF Lossiemouth, in the episode "Piper Alpha". Coincidentally, the film crew had been documenting the rescue teams at Lossiemouth at the time of the Piper Alpha accident.


title: Piper Alpha

text: On 6 July 2008, BBC Radio 3 broadcast a 90-minute play entitled "Piper Alpha". Based on the actual evidence given to the Cullen Inquiry, the events of that night were retold twenty years to the minute after they happened.


title: Piper Alpha

text: National Geographic featured this incident in its "Seconds From Disaster" documentary as the episode "Explosion in the North Sea".


title: Piper Alpha

text: The 2013 documentary film "Fire in the Night" is about the disaster. It was made by Berriff McGinty Films and co-produced by STV. Producer and cameraman Paul Berriff had been with Sea King R137 filming their search and rescue activities in the Scottish highlands for a television series, and was able to accompany the helicopter during the Piper Alpha disaster, filming events as they happened.


title: Piper Alpha

text: In 2018, the disaster was featured on the History documentary series "James Nesbitt's Disasters That Changed Britain". Testimonials were heard from survivors and relatives of victims.


title: Nebraska (film)

text: Nebraska is a 2013 American comedy-drama road film directed by Alexander Payne, written by Bob Nelson, and starring Bruce Dern, Will Forte, June Squibb and Bob Odenkirk. Shot in black-and-white, the story follows an elderly Montana resident and his son as they try to claim a million-dollar sweepstakes prize on a long trip to Nebraska.


title: Nebraska (film)

text: The film was nominated for the Palme d'Or (Grand Prize) at the 2013 Cannes Film Festival, where Dern won the Best Actor Award. It was also nominated for six Oscars, including Best Picture, Best Director, Best Actor for Dern, Best Supporting Actress for Squibb, Best Original Screenplay, and Best Cinematography. The film was acclaimed by critics and became a commercial success, bringing in $27.7 million from the box office on a $13.5 million budget. It was the final film to be released by Paramount Vantage, as it merged with its parent company Paramount Pictures.


title: Nebraska (film)

text: In Billings, Montana, a police officer discovers Woody Grant walking dangerously on the shoulder of the roadway and takes him to the local police station. Woody is picked up by his son David, who learns that Woody wants to go to Lincoln, Nebraska, to collect a million dollar sweepstakes prize he believes he has won. When David sees the sweepstakes letter, he knows immediately that it is a mail scam designed to get gullible people to purchase magazine subscriptions. David brings his father home, where his mother Kate becomes increasingly annoyed by Woody's insistence on collecting the money.


title: Nebraska (film)

text: After Woody is picked up again trying to get to Nebraska, David and his brother Ross discuss putting Woody in a retirement home. Ross is especially frustrated because their Dad didn't put any effort into parenting them and used to drink a lot. He doesn't feel they 'owe' their father anything.


title: Nebraska (film)

text: David is visited by his ex-girlfriend, Noelle, who returns his belongings and refuses to move back in with him. Their conversation is cut short by a call from Kate reporting that Woody has taken off once again. David retrieves Woody and decides to drive him all the way to Lincoln, much to Kate's dismay and anger.


title: Nebraska (film)

text: While in Rapid City, South Dakota, Woody goes on a bender and hits his head while stumbling back to their motel room. David takes him to the hospital to get his head stitched up. The doctor wants to observe Woody for a day and when he hears about Woody's 'win' he says that'll cover the hospital fees. David learns that they will be passing through Woody's hometown of Hawthorne, Nebraska, and suggests they spend the night with Woody's family. Woody is against the idea, but they end up going anyway.


title: Nebraska (film)

text: They stay with Woody's brother Ray, his wife Martha, and their two sons, Cole and Bart. Woody and David visit a mechanic shop Woody once co-owned, followed by some drinks at a bar. Woody pressures David into having a beer. When David was six his Dad had let him drink beer thinking it harmless. David brings up Woody's alcoholism and problems within the family — with Woody implying that he fell into marriage and did not discuss having children with Kate; he just liked 'screwing' — they get into an argument.


title: Nebraska (film)

text: At another bar, they meet Ed Pegram, whom the family blames for stealing Woody's air compressor decades ago. But Woody previously said he had sold the garage to Ed. Over David's objections, Woody mentions winning the money and the barflies toast his good fortune. The next day, they learn that the news has spread through the town like wildfire.


title: Nebraska (film)

text: Kate arrives by bus in Hawthorne, where David escorts his parents to the cemetery. Kate pays her respects there while providing some colorful history on Woody's relatives, particularly their sex lives. A local newspaper owner wants to run a story about Woody and his sweepstakes "victory." She is an old girlfriend of Woody's and provides David with some background about his father. That night, Ed corners David in the men's room about some money Ed loaned Woody years ago that he wants back, threatening legal action.


title: Nebraska (film)

text: The rest of Woody's family, including Ross, come to visit him. Cole and Bart, along with others, approach David and Ross about their share of the money that they believe Woody owes them. A fight begins, ending abruptly with Kate calling out the relatives for their own unpaid debts. David, Kate, Ross and Woody tour the latter's childhood home, which has fallen into disrepair. They drive past a house Kate identifies as Ed's, so David and Ross conspire to steal back the air compressor. Kate soon realizes that the house actually belongs to another couple. She distracts the homeowners so David and Ross can quickly return the stolen compressor.


title: Nebraska (film)

text: At the bar, asking Woody for money, Ed reveals that Woody cheated on Kate before David's birth. As they leave, they are attacked by a masked Bart and Cole, who escape with the sweepstakes letter. They later tell David they threw it away after finding out it was a scam. Nevertheless, David and Woody go searching for it. They enter a bar where they find Ed reading the letter aloud to the other patrons, humiliating Woody. After Woody takes the letter back and goes outside, David punches Ed in the face.


title: Nebraska (film)

text: Woody has repeatedly said he wants to buy a truck with the money. He cannot drive any more, but Woody tells his son that he also wants to leave something for his family when he dies. David says that they are not going to Lincoln, at which point Woody collapses. David takes him to the hospital in Norfolk. In the middle of the night, Woody abruptly leaves and starts walking, so David relents and drives Woody to Lincoln.


title: Nebraska (film)

text: They arrive at the marketing agency, where they are told that Woody did not have the winning number. He is given a consolation gift of a hat that reads "Prize Winner". David goes to an auto dealership and trades in his Subaru for a late-model truck that his father always wanted, along with a new Craftsman air compressor. While driving back through Hawthorne, David hides below the dash and lets Woody take the wheel for all to see. Among them is Woody's former flame who smiles at him, a nonplussed Ed with a black eye, and Woody's brother Albert. Woody waves goodbye and drives out of town, then stops in the middle of the road and switches seats with David, who takes them the rest of the way back home.


title: Nebraska (film)

text: While working on "About Schmidt", Payne received Nelson's screenplay from Albert Berger and Ron Yerxa, asking him to recommend a director. He asked to direct it himself, but did not want to follow up one road trip film ("Sideways", on which he was in pre-production) with another. He decided to wait until after completing "The Descendants" to begin work on the film. This was the first film of Payne's in which he was not directly involved in the writing process, and he rewrote only a few things prior to the beginning of filming.


title: Nebraska (film)

text: After first reading the script, Payne thought of Bruce Dern for the role of Woody Grant. As casting for the film began, Payne met with over fifty actors. Because Paramount demanded a big star, Gene Hackman, Robert De Niro, Robert Duvall, Jack Nicholson and Robert Forster, were initially short listed for the role. Hackman and Nicholson retired from acting, and Duvall and De Niro declined their role. Payne eventually considered Dern again. The director chose this actor because, as he said:


title: Nebraska (film)

text: The role of David Grant was desired by several notable Hollywood actors. Bryan Cranston read for the role, but Payne considered him a bad fit. Other considered candidates including Paul Rudd, Casey Affleck and Matthew Modine, who spoke publicly of being considered. Payne later selected Will Forte, despite rumors that a high-profile actor was wanted. He stated:


title: Nebraska (film)

text: The film was shot with Arri Alexa digital cameras and Panavision C-Series anamorphic lenses. The film's lighting was designed to accommodate black and white screening, and was converted from color to black and white in post-production because Payne said he wanted to produce an "iconic, archetypal look". According to cinematographer Phedon Papamichael, the choice was to use "the poetic power of the black and white in combination with these landscapes and of course the landscapes are playing a huge role in this story". The choice of black and white was made against distributor Paramount Vantage's wishes, though a color master of the film was also produced in an effort to satisfy the concerns; Payne said that he hopes no one ever sees it. Despite this, the network Epix announced in August 2014 that it would show the color version as a "limited time showing".


title: Nebraska (film)

text: "Nebraska" started filming in locations in its namesake state in November 2012. Filming moved to Billings, Montana; Buffalo, Wyoming; and Rapid City, South Dakota, and wrapped in December after a 35-day shoot. Nebraska communities where filming took place include Allen, Battle Creek, Elgin, Hooper, Lincoln, Lyons, Madison, Norfolk, Osmond, Pierce, Plainview, Stanton, and Tilden. The premiere in the namesake state was in Norfolk on November 25, 2013.


title: Nebraska (film)

text: The film score to "Nebraska" was composed by Tin Hat member Mark Orton. The score also includes performances by other members of Tin Hat, marking the first time the three original members had reunited since 2005. A soundtrack album was released by Milan Records on November 19, 2013.


title: Nebraska (film)

text: On review aggregator website Rotten Tomatoes the film holds an approval rating of 91% based on 249 reviews, with an average rating of 8.00/10. The site's critical consensus reads, "Elegant in its simplicity and poetic in its message, "Nebraska" adds another stirringly resonant chapter to Alexander Payne's remarkable filmography." On Metacritic, film has a weighted average score of 86 out of 100, based on 45 critics, indicating "universal acclaim".


title: Nebraska (film)

text: In his review following the Cannes Film Festival, Robbie Collin at "The Daily Telegraph" gave the film four stars out of five, describing it as "a bittersweet elegy for the American extended family, shot in a crisp black-and-white that chimes neatly with the film's concern for times long past." He also said the film was "a resounding return to form for Payne". Peter Bradshaw at "The Guardian" wrote that Payne had "returned to a more natural and personal movie language", and praised Dern's performance. Joe Morgenstern of "The Wall Street Journal" noted that "Bruce Dern's portrait of the boozy old coot is a wonder, as well as the capstone, thus far, of that singular actor's career." Writing for Roger Ebert's website, Christy Lemire commented, “The film's starkly beautiful final images have a poignancy that might leave a lump in your throat.”


title: Nebraska (film)

text: "Nebraska" has received several awards and nominations since its release. The American Film Institute included it in their Top Ten Films of the Year. The cast won Best Ensemble from the Boston Society of Film Critics, while Squibb won Best Supporting Actress. "Nebraska" has received five Golden Globe nominations. It also earned six nominations from the Independent Spirit Awards. Dern and Forte won Best Actor and Best Supporting Actor respectively at the National Board of Review. "Nebraska" has gathered three Satellite Award nominations and has won Best Cast and Best Supporting Actress for Squibb. The film received two nominations from the Screen Actors Guild Awards.


title: Tremors (franchise)

text: The Tremors franchise consists of a series of American monster comedy-horror films and a spin-off television show, with a plot centered around attacks from subterranean worm-like creatures known as Graboids. It began in 1990 with the release of "Tremors", which spawned a series of direct-to-video films and the titular television series. In 2017, a second television series was ordered to air on Syfy, and a pilot was shot, but the project was ultimately cancelled.


title: Tremors (franchise)

text: "Tremors" is a 1990 American monster film directed by Ron Underwood, with a screenplay by S. S. Wilson and Brent Maddock, starring Kevin Bacon, Fred Ward, Finn Carter, Michael Gross and Reba McEntire. It was distributed by Universal Pictures.


title: Tremors (franchise)

text: "Tremors 2: Aftershocks" is a 1996 action-horror sequel to "Tremors", in which the character of Earl Bassett, returning from the first movie, is hired to deal with a subterranean "Graboid" infestation at a Mexican oilfield. It was directed by S. S. Wilson, and stars Fred Ward, Christopher Gartin, Michael Gross and Helen Shaver. It introduced a new creature called the Shriekers.


title: Tremors (franchise)

text: "Tremors 3: Back to Perfection" is a 2001 comedic monster film, the third in the "Tremors" series featuring the subterranean worm-creatures dubbed "Graboids". It was directed by Brent Maddock and stars Michael Gross. Like the second movie, the film was not released in theaters. It introduced a new creature called the Ass-Blasters.


title: Tremors (franchise)

text: "Tremors 4: The Legend Begins" is a 2004 direct-to-video movie. It is the fourth film in the "Tremors" series of monster films. It is a prequel to the earlier movies and featured Michael Gross as the ancestor to his original character in the first "Tremors" film.


title: Tremors (franchise)

text: "Tremors 5: Bloodlines" was produced in South Africa, featuring a returning Michael Gross and new co-star Jamie Kennedy. It also stars Natalie Becker. The film was released on Blu-ray, DVD and Digital HD on October 6, 2015. Though it is based on a script written by Brent Maddock and S. S. Wilson in 2004, the original creators declined to be involved due to a lack of creative control over the project. It received mixed reviews.


title: Tremors (franchise)

text: On September 20, 2016, Michael Gross announced on his official Facebook page that a sixth film was in development. "Tremors 5" co-star Jamie Kennedy returned, along with director Don Michael Paul. Filming commenced in late January 2017. The film was released on DVD and Blu-ray in May 2018.


title: Tremors (franchise)

text: On December 13, 2018, Michael Gross confirmed that Universal had ordered a seventh entry in the series and that he would return to star, stating ""Tremors" fans will be delighted to know I have just agreed to the terms of a contract for a seventh film. My best estimate is that Burt Gummer will begin his hunt for Graboids and other nefarious forms of wildlife in the fall of 2019." On November 13, 2019, filming began in Thailand. On November 26, 2019, Jon Heder, Jackie Cruz, and Richard Brake signed on to star alongside Gross. On December 12, 2019, Gross confirmed that filming had wrapped. In August 2020, the film was known under the working title "Island Fury" until it was officially titled "Tremors: Shrieker Island". The film was released direct-to-video on October 20, 2020.


title: Tremors (franchise)

text: In a podcast with "Bloody Disgusting", Gross mentioned that "part of me that feels that Universal Home Entertainment might've had enough of "Tremors"", though he followed up by saying "The door is still open for an eighth "Tremors". It may seem unlikely by what people see on the screen, but it is possible. There could be an eighth. And if there were, and if it were an interesting story, I would be up for it because Burt is always a great deal of fun. It would depend on his physicality. How much they want me to do. If it's in another two years, I'll be 75 years old. So I will continue to hope and pray that I stay in shape, to do what is asked of me – if it is asked of me." Gross later said on Facebook "There are no guarantees, but for those who wonder aloud if this is the final film, I will say what I have said before: SALES drive sequels. Show biz is 5% show and 95% business, so if this latest addition to the "Tremors" franchise, sells well, Universal Studios Hollywood will follow the money, and Universal Pictures Home Entertainment may will [sic] be back for more."


title: Tremors (franchise)

text: "Tremors" is a television spin-off of the "Tremors" franchise which originally ran on Syfy, with one half-season of 13 episodes aired before being cancelled.


title: Tremors (franchise)

text: While only the first film was filmed in Lone Pine, California, there is an exhibit dedicated to "Tremors" in the Lone Pine Film History Museum. The exhibit contains film props such as the Graboid head used to burst through the ground, a miniature of Chang's Market used in "", and a mount of a Graboid used in "."


title: Tremors (franchise)

text: In 2010, Newgrounds released "Tremerz", an online 8-bit video game adaptation of the original "Tremors" film.


title: Tremors (franchise)

text: "Universal Movie Tycoon" is a sim-city-building game released in 2012 for iOS, developed by Fuse Powered Inc. and published by Bytemark Games, that featured the "Tremors" film.


title: Tremors (franchise)

text: A "Tremors: The Game" video game based on the franchise was announced in August 2002 by Rock Solid Studios. It was scheduled for release during the fall of 2003. However, the game was quietly cancelled in the summer of that year.


title: Tremors (franchise)

text: During the production of "Tremors 2: Aftershocks", a television series titled "Tremors 2: Aftershocks – The Lost Monsters!" was being developed by Universal Television and Stampede Entertainment. According to Stampede, "[the] series premise was that, after their success in fighting the Graboids, Val and Earl would be sought out by the readers of tabloid newspapers, believers in UFOs, etc. to battle other little-known creatures".


title: Tremors (franchise)

text: On November 28, 2015, it was reported that Universal Television and Blumhouse Productions were developing a new "Tremors" TV series and that Kevin Bacon would reprise his role of Valentine McKee for the first time in the series since the first film. In September 2016, it was announced the series was moving forward at Amazon Prime Video, however, in June 2017, the pilot was moved to Syfy. In August 2017, it was announced that Vincenzo Natali would direct the pilot which would be written by showrunner Andrew Miller with filming taking place from late October 2017 through November 2017. On April 28, 2018, it was announced that Syfy had passed on the pilot.


title: Viola

text: The viola ( , , ) is a string instrument that is bowed, plucked, or played with varying techniques. Slightly larger than a violin, it has a lower and deeper sound. Since the 18th century, it has been the middle or alto voice of the violin family, between the violin (which is tuned a perfect fifth above) and the cello (which is tuned an octave below). The strings from low to high are typically tuned to C, G, D, and A.


title: Viola

text: In the past, the viola varied in size and style, as did its names. The word viola originates from the Italian language. The Italians often used the term viola da braccio meaning literally: 'of the arm'. "Brazzo" was another Italian word for the viola, which the Germans adopted as "Bratsche". The French had their own names: "cinquiesme" was a small viola, "haute contre" was a large viola, and "taile" was a tenor. Today, the French use the term "alto", a reference to its range.


title: Viola

text: The viola was popular in the heyday of five-part harmony, up until the eighteenth century, taking three lines of the harmony and occasionally playing the melody line. Music for the viola differs from most other instruments in that it primarily uses the alto clef. When viola music has substantial sections in a higher register, it switches to the treble clef to make it easier to read.


title: Viola

text: The viola often plays the "inner voices" in string quartets and symphonic writing, and it is more likely than the first violin to play accompaniment parts. The viola occasionally plays a major, soloistic role in orchestral music. Examples include the symphonic poem "Don Quixote", by Richard Strauss, and the symphony/concerto "Harold en Italie", by Hector Berlioz. In the earlier part of the 20th century, more composers began to write for the viola, encouraged by the emergence of specialized soloists such as Lionel Tertis and William Primrose. English composers Arthur Bliss, York Bowen, Benjamin Dale, Frank Bridge, Benjamin Britten, Rebecca Clarke and Ralph Vaughan Williams all wrote substantial chamber and concert works. Many of these pieces were commissioned by, or written for, Lionel Tertis. William Walton, Bohuslav Martinů, Tōru Takemitsu, Tibor Serly, Alfred Schnittke, and Béla Bartók have written well-known viola concertos. The concerti by Béla Bartók, Paul Hindemith, Carl Stamitz, Georg Philipp Telemann, and William Walton are considered major works of the viola repertoire. Paul Hindemith, who was a violist, wrote a substantial amount of music for viola, including the concerto "Der Schwanendreher".


title: Viola

text: The viola is similar in material and construction to the violin. A full-size viola's body is between and longer than the body of a full-size violin (i.e., between ), with an average length of . Small violas typically made for children typically start at , which is equivalent to a half-size violin. For a child who needs a smaller size, a fractional-sized violin is often strung with the strings of a viola. Unlike the violin, the viola does not have a standard full size. The body of a viola would need to measure about long to match the acoustics of a violin, making it impractical to play in the same manner as the violin. For centuries, viola makers have experimented with the size and shape of the viola, often adjusting proportions or shape to make a lighter instrument with shorter string lengths, but with a large enough sound box to retain the viola sound. Prior to the eighteenth century, violas had no uniform size. Large violas (tenors) were designed to play the lower register viola lines or second viola in five part harmony depending on instrumentation. A smaller viola, nearer the size of the violin, was called a "vertical viola" or an "alto viola". It was more suited to higher register writing, as in the viola 1 parts, as their sound was usually richer in the upper register. Its size was not as conducive to a full tone in the lower register.


title: Viola

text: Several experiments have intended to increase the size of the viola to improve its sound. Hermann Ritter's "viola alta", which measured about , was intended for use in Wagner's operas. The Tertis model viola, which has wider bouts and deeper ribs to promote a better tone, is another slightly "nonstandard" shape that allows the player to use a larger instrument. Many experiments with the acoustics of a viola, particularly increasing the size of the body, have resulted in a much deeper tone, making it resemble the tone of a cello. Since many composers wrote for a traditional-sized viola, particularly in orchestral music, changes in the tone of a viola can have unintended consequences upon the balance in ensembles.


title: Viola

text: One of the most notable makers of violas of the twentieth century was Englishman A. E. Smith, whose violas are sought after and highly valued. Many of his violas remain in Australia, his country of residence, where during some decades the violists of the Sydney Symphony Orchestra had a dozen of them in their section.


title: Viola

text: More recent (and more radically shaped) innovations have addressed the ergonomic problems associated with playing the viola by making it shorter and lighter, while finding ways to keep the traditional sound. These include the Otto Erdesz "cutaway" viola, which has one shoulder cut out to make shifting easier; the "Oak Leaf" viola, which has two extra bouts; viol-shaped violas such as Joseph Curtin's "Evia" model, which also uses a moveable neck and maple-veneered carbon fibre back, to reduce weight: violas played in the same manner as cellos (see vertical viola); and the eye-catching "Dalí-esque" shapes of both Bernard Sabatier's violas in fractional sizes—which appear to have melted—and David Rivinus' "Pellegrina" model violas.


title: Viola

text: Other experiments that deal with the "ergonomics vs. sound" problem have appeared. The American composer Harry Partch fitted a viola with a cello neck to allow the use of his 43-tone scale, called the "adapted viola". Luthiers have also created five-stringed violas, which allow a greater playing range.


title: Viola

text: A person who plays the viola is called a "violist" or a "viola player". The technique required for playing a viola has certain differences compared with that of a violin, partly because of its larger size: the notes are spread out farther along the fingerboard and often require different fingerings. The viola's less responsive strings and the heavier bow warrant a somewhat different bowing technique, and a violist has to lean more intensely on the strings.


title: Viola

text: The viola's four strings are normally tuned in fifths: the lowest string is C (an octave below middle C), with G, D, and A above it. This tuning is exactly one fifth below the violin, so that they have three strings in common—G, D, and A—and is one octave above the cello.


title: Viola

text: Each string of a viola is wrapped around a peg near the scroll and is tuned by turning the peg. Tightening the string raises the pitch; loosening the string lowers the pitch. The A string is normally tuned first, to the pitch of the ensemble: generally 400–442 Hz. The other strings are then tuned to it in intervals of fifths, usually by bowing two strings simultaneously. Most violas also have "adjusters"—"fine tuners", particularly on the A string that make finer changes. These adjust the tension of the string via rotating a small knob above the tailpiece. Such tuning is generally easier to learn than using the pegs, and adjusters are usually recommended for younger players and put on smaller violas, though pegs and adjusters are usually used together. Some violists reverse the stringing of the C and G pegs, so that the thicker C string does not turn so severe an angle over the nut, although this is uncommon.


title: Viola

text: Small, temporary tuning adjustments can also be made by stretching a string with the hand. A string may be tuned down by pulling it above the fingerboard, or tuned up by pressing the part of the string in the pegbox. These techniques may be useful in performance, reducing the ill effects of an out-of-tune string until an opportunity to tune properly.


title: Viola

text: The tuning C–G–D–A is used for the great majority of all viola music. However, other tunings are occasionally employed, both in classical music, where the technique is known as "scordatura", and in some folk styles. Mozart, in his Sinfonia Concertante for Violin, Viola and Orchestra in E, wrote the viola part in D major, and specified that the violist raises the strings in pitch by a semitone. He probably intended to give the viola a brighter tone so the rest of the ensemble wouldn't overpower it. Lionel Tertis, in his transcription of the Elgar cello concerto, wrote the slow movement with the C string tuned down to B, enabling the viola to play one passage an octave lower.


title: Viola

text: A renewal of interest in the viola by performers and composers in the twentieth century led to increased research devoted to the instrument. Paul Hindemith and Vadim Borisovsky made an early attempt at an organization, in 1927, with the Violists' World Union. But it was not until 1968, with the creation of the Viola-Forschungsgesellschaft, now the International Viola Society (IVS), that a lasting organization took hold. The IVS now consists of twelve chapters around the world, the largest being the American Viola Society (AVS), which publishes the "Journal of the American Viola Society". In addition to the journal, the AVS sponsors the David Dalton Research Competition and the Primrose International Viola Competition.


title: Viola

text: The 1960s also saw the beginning of several research publications devoted to the viola, beginning with Franz Zeyringer's, "Literatur für Viola", which has undergone several versions, the most recent being in 1985. In 1980, Maurice Riley produced the first attempt at a comprehensive history of the viola, in his "History of the Viola", which was followed with the second volume in 1991. The IVS published the multi-language Viola Yearbook from 1979 to 1994, during which several other national chapters of the IVS published respective newsletters. The Primrose International Viola Archive at Brigham Young University houses the greatest amount of material related to the viola, including scores, recordings, instruments, and archival materials from some of the world's greatest violists.


title: Viola

text: Music that is written for the viola primarily uses the alto clef, which is otherwise rarely used. Viola music employs the treble clef when there are substantial sections of music written in a higher register. The alto clef is defined by the placement of C on the middle line of the staff. In treble clef, this note is placed one ledger line below the staff and in the bass clef (used, notably, by the cello and double bass) it is placed one ledger line above.


title: Viola

text: As the viola is tuned exactly one octave above the cello (meaning that the viola retains the same string notes as the cello, but an octave higher), music that is notated for the cello can be easily transcribed for alto clef without any changes in key. For example, there are numerous editions of Bach's Cello Suites transcribed for viola. The viola also has the advantage of smaller scale-length, which means that the stretches on the cello are easier on the viola.


title: Viola

text: In early orchestral music, the viola part was usually limited to filling in harmonies, with very little melodic material assigned to it. When the viola was given a melodic part, it was often duplicated (or was in unison with) the melody played by other strings.


title: Viola

text: The concerti grossi, "Brandenburg Concertos", composed by J. S. Bach, were unusual in their use of viola. The third concerto grosso, scored for three violins, three violas, three cellos, and basso continuo, requires virtuosity from the violists. Indeed, Viola I has a solo in the last movement which is commonly found in orchestral auditions. The sixth concerto grosso, Brandenburg Concerto No. 6, which was scored for 2 violas "concertino", cello, 2 violas da gamba, and continuo, had the two violas playing the primary melodic role. He also used this unusual ensemble in his cantata, Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18 and in Mein Herze schwimmt im Blut, BWV 199, the chorale is accompanied by an obbligato viola.


title: Viola

text: There are a few Baroque and Classical concerti, such as those by Georg Philipp Telemann (one for solo viola, being one of the earliest viola concertos known, and one for two violas), Alessandro Rolla, Franz Anton Hoffmeister and Carl Stamitz.


title: Viola

text: The viola plays an important role in chamber music. Mozart used the viola in more creative ways when he wrote his six string quintets. The viola quintets use two violas, which frees them (especially the first viola) for solo passages and increases the variety of writing that is possible for the ensemble. Mozart also wrote for the viola in his Sinfonia Concertante, a set of two duets for violin and viola, and the Kegelstatt Trio for viola, clarinet, and piano. The young Felix Mendelssohn wrote a little-known Viola Sonata in C minor (without opus number, but dating from 1824). Robert Schumann wrote his "Märchenbilder" for viola and piano. He also wrote a set of four pieces for clarinet, viola, and piano, "Märchenerzählungen".


title: Viola

text: Max Bruch wrote a romance for viola and orchestra, his Op. 85, which explores the emotive capabilities of the viola's timbre. In addition, his Eight pieces for clarinet, viola, and piano, Op. 83, features the viola in a very prominent, solo aspect throughout. His Concerto for Clarinet, Viola, and Orchestra, Op. 88 has been quite prominent in the repertoire and has been recorded by prominent violists throughout the 20th century.]


title: Viola

text: From his earliest works, Brahms wrote music that prominently featured the viola. Among his first published pieces of chamber music, the sextets for strings Op. 18 and Op. 36 contain what amounts to solo parts for both violas. Late in life, he wrote two greatly admired sonatas for clarinet and piano, his Op. 120 (1894): he later transcribed these works for the viola (the solo part in his Horn Trio is also available in a transcription for viola). Brahms also wrote "Two Songs for Alto with Viola and Piano", Op. 91, "Gestillte Sehnsucht" ("Satisfied Longing") and "Geistliches Wiegenlied" ("Spiritual Lullaby") as presents for the famous violinist Joseph Joachim and his wife, Amalie. Dvořák played the viola and apparently said that it was his favorite instrument: his chamber music is rich in important parts for the viola. Another Czech composer, Bedřich Smetana, included a significant viola, originally viola d'amore part in his quartet "From My Life": the quartet begins with an impassioned statement by the viola. Bach, Mozart, and Beethoven all occasionally played the viola part in chamber music.


title: Viola

text: The viola occasionally has a major role in orchestral music, a prominent example being Richard Strauss' tone poem "Don Quixote" for solo cello and viola and orchestra. Other examples are the "Ysobel" variation of Edward Elgar's "Enigma Variations" and the solo in his other work, In the South (Alassio), the pas de deux scene from Act 2 of Adolphe Adam's Giselle and the "La Paix" movement of Léo Delibes's ballet "Coppélia", which features a lengthy viola solo.


title: Viola

text: Gabriel Fauré's Requiem was originally scored (in 1888) with divided viola sections, lacking the usual violin sections, having only a solo violin for the "Sanctus". It was later scored for orchestra with violin sections, and published in 1901. Recordings of the older scoring with violas are available.


title: Viola

text: While the viola repertoire is quite large, the amount written by well-known pre-20th-century composers is relatively small. There are many transcriptions of works for other instruments for the viola and the large number of 20th-century compositions is very diverse. See "The Viola Project" at the San Francisco Conservatory of Music, where Professor of Viola Jodi Levitz has paired a composer with each of her students, resulting in a recital of brand-new works played for the very first time.


title: Viola

text: In the earlier part of the 20th century, more composers began to write for the viola, encouraged by the emergence of specialized soloists such as Lionel Tertis. Englishmen Arthur Bliss, York Bowen, Benjamin Dale, and Ralph Vaughan Williams all wrote chamber and concert works for Tertis. William Walton, Bohuslav Martinů, and Béla Bartók wrote well-known viola concertos. Paul Hindemith wrote a substantial amount of music for the viola; being himself a violist, he often performed his own works. Claude Debussy's Sonata for flute, viola and harp has inspired a significant number of other composers to write for this combination.


title: Viola

text: Charles Wuorinen composed his virtuosic "Viola Variations" in 2008 for Lois Martin. Elliott Carter also wrote several works for viola including his "Elegy" (1943) for viola and piano; it was subsequently transcribed for clarinet. Ernest Bloch, a Swiss-born American composer best known for his compositions inspired by Jewish music, wrote two famous works for viola, the "Suite 1919" and the "Suite Hébraïque" for solo viola and orchestra. Rebecca Clarke was a 20th-century composer and violist who also wrote extensively for the viola. Lionel Tertis records that Edward Elgar (whose cello concerto Tertis transcribed for viola, with the slow movement in scordatura), Alexander Glazunov (who wrote an "Elegy", Op. 44, for viola and piano), and Maurice Ravel all promised concertos for viola, yet all three died before doing any substantial work on them.


title: Viola

text: In the latter part of the 20th century a substantial repertoire was produced for the viola; many composers including Miklós Rózsa, Revol Bunin, Alfred Schnittke, Sofia Gubaidulina, Giya Kancheli and Krzysztof Penderecki, have written viola concertos. The American composer Morton Feldman wrote a series of works entitled "The Viola in My Life", which feature concertante viola parts. In spectral music, the viola has been sought after because of its lower overtone partials that are more easily heard than on the violin. Spectral composers like Gérard Grisey, Tristan Murail, and Horațiu Rădulescu have written solo works for viola. Neo-Romantic, post-Modern composers have also written significant works for viola including Robin Holloway Viola Concerto op.56 and Sonata op.87, and Peter Seabourne a large five-movement work with piano, "Pietà".


title: Viola

text: The viola is sometimes used in contemporary popular music, mostly in the avant-garde. John Cale of The Velvet Underground used the viola, as do some modern groups such as alternative rock band 10,000 Maniacs, Imagine Dragons, folk duo John & Mary, British Sea Power and others. Jazz music has also seen its share of violists, from those used in string sections in the early 1900s to a handful of quartets and soloists emerging from the 1960s onward. It is quite unusual though, to use individual bowed string instruments in contemporary popular music.


title: Viola

text: Although not as commonly used as the violin in folk music, the viola is nevertheless used by many folk musicians across the world. Extensive research into the historical and current use of the viola in folk music has been carried out by Dr. Lindsay Aitkenhead. Players in this genre include Eliza Carthy, Mary Ramsey, Helen Bell, and Nancy Kerr. Clarence "Gatemouth" Brown was the viola's most prominent exponent in the genre of blues.


title: Viola

text: The viola is also an important accompaniment instrument in Slovakian, Hungarian and Romanian folk string band music, especially in Transylvania. Here the instrument has three strings tuned G–D–A (note that the A is an octave lower than found on the standard instrument), and the bridge is flattened with the instrument playing chords in a strongly rhythmic manner. In this usage, it is called a "kontra" or "brácsa" (pronounced "bra-cha", from German "Bratsche", "viola").


title: Viola

text: There are few well-known viola virtuoso soloists, perhaps because little virtuoso viola music was written before the twentieth century. Pre-twentieth century viola players of note include Carl Stamitz, Alessandro Rolla, Antonio Rolla, Chrétien Urhan, Casimir Ney, Louis van Waefelghem, and Hermann Ritter. Important viola pioneers from the twentieth century were Lionel Tertis, William Primrose, composer/performer Paul Hindemith, Théophile Laforge, Cecil Aronowitz, Maurice Vieux, Vadim Borisovsky, Lillian Fuchs, Dino Asciolla, Frederick Riddle, Walter Trampler, Ernst Wallfisch, Csaba Erdélyi, the only violist to ever win the Carl Flesch International Violin Competition, and Emanuel Vardi, the first violist to record the 24 Caprices by Paganini on viola. Many noted violinists have publicly performed and recorded on the viola as well, among them Eugène Ysaÿe, Yehudi Menuhin, David Oistrakh, Pinchas Zukerman, Maxim Vengerov, Julian Rachlin, James Ehnes, and Nigel Kennedy.


title: Viola

text: Among the great composers, several preferred the viola to the violin when they were playing in ensembles, the most noted being Ludwig van Beethoven, Johann Sebastian Bach and Wolfgang Amadeus Mozart. Other composers also chose to play the viola in ensembles, including Joseph Haydn, Franz Schubert, Felix Mendelssohn, Antonín Dvořák, and Benjamin Britten. Among those noted both as violists and as composers are Rebecca Clarke and Paul Hindemith. Contemporary composers and violists Kenji Bunch, Scott Slapin, and Lev Zhurbin have written a number of works for viola.


title: Viola

text: Amplification of a viola with a pickup, an instrument amplifier (and speaker), and adjusting the tone with a graphic equalizer can make up for the comparatively weaker output of a violin-family instrument string tuned to notes below G3. There are two types of instruments used for electric viola: regular acoustic violas fitted with a piezoelectric pickup and specialized electric violas, which have little or no body. While traditional acoustic violas are typically only available in historically used earth tones (e.g., brown, reddish-brown, blonde), electric violas may be traditional colors or they may use bright colors, such as red, blue or green. Some electric violas are made of materials other than wood.


title: Viola

text: Most electric instruments with lower strings are violin-sized, as they use the amp and speaker to create a big sound, so they do not need a large soundbox. Indeed, some electric violas have little or no soundbox, and thus rely entirely on amplification. Fewer electric violas are available than electric violins. It can be hard for violists who prefer a physical size or familiar touch references of a viola-sized instrument, when they must use an electric viola that uses a smaller violin-sized body. Welsh musician John Cale, formerly of The Velvet Underground, is one of the more notable users of such an electric viola and he has used them both for melodies in his solo work and for drones in his work with The Velvet Underground (e.g. "Venus in Furs"). Other notable players of the electric viola are Geoffrey Richardson of Caravan and Mary Ramsey of 10,000 Maniacs.


title: Viola

text: Instruments may be built with an internal preamplifier, or may put out an unbuffered transducer signal. While such signals may be fed directly to an amplifier or mixing board, they often benefit from an external preamp/equalizer on the end of a short cable, before being fed to the sound system. In rock and other loud styles, the electric viola player may use effects units such as reverb or overdrive.


title: I Still Know What You Did Last Summer

text: I Still Know What You Did Last Summer is a 1998 slasher film directed by Danny Cannon and written by Trey Callaway. Jennifer Love Hewitt, Freddie Prinze Jr. and Muse Watson reprise their roles, with Brandy, Mekhi Phifer and Matthew Settle joining the cast. It is the second installment in the "I Know What You Did Last Summer" franchise. The film takes place one year after the events of its predecessor, and was shot in Mexico and California.


title: I Still Know What You Did Last Summer

text: It received negative reviews and grossed $40 million on a budget of $24 million. A direct-to-video sequel, "I'll Always Know What You Did Last Summer", was released in 2006.


title: I Still Know What You Did Last Summer

text: One year after the brutal murders of her friends, Helen Shivers (Sarah Michelle Gellar) and Barry Cox (Ryan Phillippe), by the vengeful fisherman Ben Willis (Muse Watson), Julie James (Jennifer Love Hewitt) is attending summer classes in Boston, but suffers from nightmares of the murders. Julie's roommate, Karla Wilson (Brandy), receives a phone call from a local radio station and wins a vacation for four to The Bahamas. Julie invites her boyfriend, Ray Bronson (Freddie Prinze, Jr.), who declines, but later changes his mind. That evening, Ray and his co-worker, Dave (John Hawkes), drive to Boston to surprise Julie, but stop due to a body in the middle of the road. When Ray discovers the body is a mannequin, Ben appears and kills Dave with his hook, then chases Ray in a truck, but Ray escapes and falls down a hill.


title: I Still Know What You Did Last Summer

text: The next morning, Julie, Karla, Karla's boyfriend, Tyrell Martin (Mekhi Phifer), and their friend, Will Benson (Matthew Settle), depart for the trip. The group arrives at the hotel in Tower Bay and checks in. That evening at the hotel's bar, Julie is singing karaoke when the words "I still know what you did last summer" roll onto the screen. Terrified, she runs back to her room. At the dock, Darick, the dockhand (Benjamin Brown), is tying up the boat. He is killed by Ben. Olga (Ellerine Harding), the housekeeper, finds bloody sheets while working and is then killed by Ben. While the others get into the hot tub, Julie is in her room and notices that her toothbrush is missing. She searches her room before finding Darick dead in the closet. She finds her friends and they return to find no sign of Darick's body; Mr. Brooks (Jeffrey Combs), the hotel manager, refuses to believe her story. By the pool, Titus Telesco (Jack Black) is murdered. Ray, who has survived his injuries, heads out to rescue Julie.


title: I Still Know What You Did Last Summer

text: The next day, the group finds Olga, Titus, and Mr. Brooks murdered and the two-way radio, their only way of contact, destroyed. Isolated, the group goes to the room of Estes (Bill Cobbs), the boat hand porter, and finds that he has been using voodoo against them. Estes appears, explaining he was trying to protect them after realizing that their answer to the radio station's question was incorrect. He tells them that Ben and his wife, Sarah, had two children: a son and a daughter. Ben murdered Sarah when he found out about an affair. Estes goes missing and Will volunteers to find him, while Ray takes a boat to the island. Julie, Karla, and Tyrell return to the hotel and find Nancy (Jennifer Esposito), the bartender, hiding in the kitchen.


title: I Still Know What You Did Last Summer

text: Ben appears in the kitchen and kills Tyrell. The girls retreat to the attic, where Karla is attacked by Ben. Julie and Nancy rescue Karla and run to the storm cellar, where they find Ben's victims. Will bursts in and takes the girls back to the hotel, stating that he saw Ben on the beach. At the hotel, Will tells them that Estes attacked him and he is bleeding from the stomach. Nancy and Karla leave to find a first aid kit, but find Estes impaled with a harpoon. Ben appears, kills Nancy and attacks Karla. While Julie tends to Will, he reveals that it is not his blood and asks Julie what her favorite radio station is, revealing that he was the radio host and had killed Estes.


title: I Still Know What You Did Last Summer

text: Will drags Julie to a graveyard, where he reveals that he is Ben's son. Ben appears and attacks Julie before Ray arrives and engages in a fight with Will. When Ben tries to stab Ray, he accidentally kills Will instead. While Ben is distraught from killing his son, Julie shoots him dead. Back at the hotel, Karla is found alive and they are rescued by the coast guard.


title: I Still Know What You Did Last Summer

text: Sometime later, Ray and Julie get married and buy a home. Ray is brushing his teeth and the bathroom door is locked while he is occupied. Julie sits down on the bed and looks in the mirror, seeing Ben underneath. She screams as Ben pulls her under the bed, which ends the movie, thus leaving the audience questioning if the attack was real or just another of Julie's nightmares.


title: I Still Know What You Did Last Summer

text: In February 1998, it was announced Danny Cannon would direct the sequel to "I Know What You Did Last Summer"


title: I Still Know What You Did Last Summer

text: In March 1998 it was announced Matthew Settle had joined the cast alongside returning cast members Hewitt and Prinze. Jennifer Esposito joined the cast in April 1998. While the film is set in the Bahamas, it was actually shot at El Tecuan Marina Resort Costa Alegre in Jalisco, Mexico, Los Angeles, California and Sony Pictures Studios in Culver City, California.


title: I Still Know What You Did Last Summer

text: The soundtrack was released on November 17, 1998 by Warner Bros. Records. On January 19, 1999, "How Do I Deal" was released as a single, backed by Jory Eve's "Try to Say Goodbye". A music video for "How Do I Deal" was made available to music television networks.


title: I Still Know What You Did Last Summer

text: The film made $16.5 million from 2,443 theaters during its opening weekend, finishing second behind holdover "The Waterboy". At the end of its 15-week run, the film grossed $40,020,622 in the United States. and 40,000,000 in other areas.


title: I Still Know What You Did Last Summer

text: On review aggregator website Rotten Tomatoes the film holds an approval rating of 7% based on 57 reviews, with an average rating of 3.4/10. The site's critical consensus reads, "Boring, predictable and bereft of thrills or chills, "I Still Know What You Did Last Summer" is exactly the kind of rehash that gives horror sequels a bad name." On Metacritic the film has a weighted average score of 21 out of 100, based on 19 critics, indicating "generally unfavorable reviews." Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.


title: I Still Know What You Did Last Summer

text: Leonard Klady of "Variety" said: "Purists will find the pic's obviousness disappointing, but there's no question that the film delivers a sufficient shock quotient to satisfy its youthful target audience." It also won the award for Worst Sequel at the 1998 Stinkers Bad Movie Awards.


title: I Still Know What You Did Last Summer

text: Later "I Know What You Last Summer"’s director, Jim Gillespie, said: “I thought it wasn't the right story. I didn't like the premise. It kind of killed the franchise a little bit. They had a chance to do something a bit different and for me it didn't work.“


title: I Still Know What You Did Last Summer

text: On 15 August 2006, a straight-to-DVD film titled "I'll Always Know What You Did Last Summer" was released. The film is unrelated to the two previous films and features no returning cast members. It was originally proposed to continue where "I Still Know What You Did Last Summer" left off. Instead, the film features an unrelated plot with a brief mention of the first two films.


title: I Still Know What You Did Last Summer

text: In 1998, a paperback version of the screenplay for "I Still Know What You Did Last Summer" was published by Pocket Books.


title: Max Stirner

text: Johann Kaspar Schmidt (25 October 1806 – 26 June 1856), known professionally as Max Stirner, was a German post-Hegelian philosopher, dealing mainly with the Hegelian notion of social alienation and self-consciousness. Stirner is often seen as one of the forerunners of nihilism, existentialism, psychoanalytic theory, postmodernism and individualist anarchism.


title: Max Stirner

text: Stirner's main work, "The Ego and Its Own" (), was first published in 1844 in Leipzig and has since appeared in numerous editions and translations.


title: Max Stirner

text: Stirner was born in Bayreuth, Bavaria. What little is known of his life is mostly due to the Scottish-born German writer John Henry Mackay, who wrote a biography of Stirner ("Max Stirner – sein Leben und sein Werk"), published in German in 1898 (enlarged 1910, 1914) and translated into English in 2005. Stirner was the only child of Albert Christian Heinrich Schmidt (1769–1807) and Sophia Elenora Reinlein (1778–1839), who were Lutherans. His father died of tuberculosis on 19 April 1807 at the age of 37. In 1809, his mother remarried to Heinrich Ballerstedt (a pharmacist) and settled in West Prussian Kulm (now Chełmno, Poland). When Stirner turned 20, he attended the University of Berlin, where he studied philology. He attended the lectures of Georg Wilhelm Friedrich Hegel, who was to become a source of inspiration for his thinking. He attended Hegel's lectures on the history of philosophy, the philosophy of religion and the subjective spirit. Stirner then moved to the University of Erlangen, which he attended at the same time as Ludwig Feuerbach.


title: Max Stirner

text: Stirner returned to Berlin and obtained a teaching certificate, but he was unable to obtain a full-time teaching post from the Prussian government. While in Berlin in 1841, Stirner participated in discussions with a group of young philosophers called "Die Freien" (The Free Ones), whom historians have subsequently categorized as the Young Hegelians. Some of the best known names in 19th century literature and philosophy were involved with this group, including Karl Marx, Friedrich Engels, Bruno Bauer and Arnold Ruge. While some of the Young Hegelians were eager subscribers to Hegel's dialectical method and attempted to apply dialectical approaches to Hegel's conclusions, the left-wing members of the group broke with Hegel. Feuerbach and Bauer led this charge.


title: Max Stirner

text: Frequently the debates would take place at Hippel's, a wine bar in Friedrichstraße, attended by among others Marx and Engels, who were both adherents of Feuerbach at the time. Stirner met with Engels many times and Engels even recalled that they were "great friends," but it is still unclear whether Marx and Stirner ever met. It does not appear that Stirner contributed much to the discussions, but he was a faithful member of the club and an attentive listener. The most-often reproduced portrait of Stirner is a cartoon by Engels, drawn forty years later from memory at biographer Mackay's request. It is highly likely that this and the group sketch of "Die Freien" at Hippel's are the only firsthand images of Stirner. Stirner worked as a teacher in a school for young girls owned by Madame Gropius when he wrote his major work, "The Ego and Its Own", which in part is a polemic against Feuerbach and Bauer, but also against communists such as Wilhelm Weitling and the anarchist Pierre-Joseph Proudhon. He resigned from his teaching position in anticipation of controversy from this work's publication in October 1844.


title: Max Stirner

text: Stirner married twice. His first wife was Agnes Burtz (1815–1838), the daughter of his landlady, whom he married on 12 December 1837. However, she died from complications with pregnancy in 1838. In 1843, he married Marie Dähnhardt, an intellectual associated with "Die Freien". Their "ad hoc" wedding took place at Stirner's apartment, during which the participants were notably dressed casually, used copper rings as they had forgotten to buy wedding rings, and needed to search the whole neighborhood for a Bible as they did not have their own. Using Marie's inheritance, Stirner opened a dairy shop that handled the distribution of milk from dairy farmers into the city, but was unable to solicit the customers needed to keep the business afloat. It quickly failed and drove a wedge between him and Marie, leading to their separation in 1847. "The Ego and Its Own" was dedicated "to my sweetheart Marie Dähnhardt." Marie later converted to Catholicism and died in 1902 in London.


title: Max Stirner

text: After "The Ego and Its Own", Stirner wrote "Stirner's Critics" and translated Adam Smith's "The Wealth of Nations" and Jean-Baptiste Say's "Traite d'Economie Politique" into German to little financial gain. He also wrote a compilation of texts titled "History of Reaction" in 1852. Stirner died in 1856 in Berlin from an infected insect bite. Only Bruno Bauer and Ludwig Buhl represented the Young Hegelians present at his funeral, held at the Friedhof II der Sophiengemeinde Berlin.


title: Max Stirner

text: Stirner, whose main philosophical work was "The Ego and Its Own", is credited as a major influence in the development of nihilism, existentialism and post-modernism as well as individualist anarchism, post-anarchism and post-left anarchy. Although Stirner was opposed to communism for the same reasons he opposed capitalism, humanism, liberalism, property rights and nationalism, seeing them as forms of authority over the individual and as purveyors of ideologies he could not reconcile himself with, he has influenced many anarcho-communists and post-left anarchists. The writers of "An Anarchist FAQ" report that "many in the anarchist movement in Glasgow, Scotland, took Stirner's 'Union of egoists' literally as the basis for their anarcho-syndicalist organising in the 1940s and beyond." Similarly, the noted anarchist historian Max Nettlau states that "[o]n reading Stirner, I maintain that he cannot be interpreted except in a socialist sense." Stirner was anti-capitalist and pro-labour, attacking "the division of labour resulting from private property for its deadening effects on the ego and individuality of the worker" and writing that free competition "is not 'free,' because I lack the things for competition. [...] Under the regime of the commonality the labourers always fall into the hands of the possessors of the capitalists [...]. The labourer cannot realise on his labour to the extent of the value that it has for the customer. [...] The state rests on the slavery of labour. If labour becomes free, the state is lost." For Stirner, "Labor has an egoistic character; the laborer is the egoist."


title: Max Stirner

text: Stirner did not personally oppose the struggles carried out by certain ideologies, such as socialism, Ludwig Feuerbach's humanism or the advocacy of human rights. Rather, he opposed their legal and ideal abstractness, a fact that made him different from the liberal individualists, including the anarcho-capitalists and right-libertarians, but also from the "Übermensch" theories of fascism, as he placed the individual and not the sacred collective at the center. About socialism, Stirner wrote in a letter to Moses Hess that "I am not at all against socialism, but against consecrated socialism; my selfishness is not opposed to love [...] nor is it an enemy of sacrifice, nor of self-denial [...] and least of all of socialism [...]—in short, it is not an enemy of true interests; it rebels not against love, but against sacred love, not against thought, but against sacred thought, not against socialists, but against sacred socialism."


title: Max Stirner

text: Stirner's egoism argues that individuals are impossible to fully comprehend, as no understanding of the self can adequately describe the fullness of experience. Stirner has been broadly understood as containing traits of both psychological egoism and rational egoism. Unlike the self-interest described by Ayn Rand, Stirner did not address individual self-interest, selfishness, or prescriptions for how one should act. He urged individuals to decide for themselves and fulfill their own egoism.


title: Max Stirner

text: He believed that everyone was propelled by their own egoism and desires and that those who accepted this—as willing egoists—could freely live their individual desires, while those who did not—as unwilling egoists—will falsely believe they are fulfilling another cause while they are secretly fulfilling their own desires for happiness and security. The willing egoist would see that they could act freely, unbound from obedience to sacred but artificial truths like law, rights, morality, and religion. Power is the method of Stirner's egoism and the only justified method of gaining philosophical property. Stirner did not believe in the one-track pursuit of greed, which as only one aspect of the ego would lead to being possessed by a cause other than the full ego. He did not believe in natural rights to property and encouraged insurrection against all forms of authority, including disrespect for property.


title: Max Stirner

text: Stirner proposes that most commonly accepted social institutions—including the notion of state, property as a right, natural rights in general and the very notion of society—were mere illusions, "spooks" or ghosts in the mind. He advocated egoism and a form of amoralism in which individuals would unite in Unions of egoists only when it was in their self-interest to do so. For him, property simply comes about through might, saying: "Whoever knows how to take and to defend the thing, to him belongs [property]. [...] What I have in my power, that is my own. So long as I assert myself as holder, I am the proprietor of the thing." He adds that "I do not step shyly back from your property, but look upon it always as my property, in which I respect nothing. Pray do the like with what you call my property!" Stirner considers the world and everything in it, including other persons, available to one's taking or use without moral constraint and that rights do not exist in regard to objects and people at all. He sees no rationality in taking the interests of others into account unless doing so furthers one's self-interest, which he believes is the only legitimate reason for acting. He denies society as being an actual entity, calling society a "spook" and that "the individuals are its reality."


title: Max Stirner

text: Despite being labeled as anarchist, Stirner was not necessarily one. Separation of Stirner and egoism from anarchism was first done in 1914 by Dora Marsden in her debate with Benjamin Tucker in her journals "The New Freewoman" and "The Egoist". The idea of egoist anarchism was also expounded by various other egoists, mainly Malfew Seklew and Sidney E. Parker.


title: Max Stirner

text: Stirner suggested that communism was tainted with the same idealism as Christianity and infused with superstitious ideas like morality and justice. Stirner's principle critique of socialism and communism was that they ignored the individual; they aimed to hand ownership over to the abstraction society, which meant that no existing person actually owned anything. The Anarchist FAQ writes that "[w]hile some may object to our attempt to place egoism and communism together, it is worth pointing out that Stirner rejected 'communism'. Stirner did not subscribe to libertarian communism, because it did not exist when he was writing and so he was directing his critique against the various forms of state communism which did. Moreover, this does not mean that anarcho-communists and others may not find his work of use to them. And Stirner would have approved, for nothing could be more foreign to his ideas than to limit what an individual considers to be in their best interest." In summarizing Stirner's main arguments, the writers "indicate why social anarchists have been, and should be, interested in his ideas, saying that, John P. Clark presents a sympathetic and useful social anarchist critique of his work in "Max Stirner's Egoism"."


title: Max Stirner

text: Daniel Guérin wrote that "Stirner accepted many of the premises of communism but with the following qualification: the profession of communist faith is a first step toward total emancipation of the victims of our society, but they will become completely 'disalienated,' and truly able to develop their individuality, only by advancing beyond communism." According to author Renzo Connors, "red prophets [attempt] to re-brand and turn Stirner into a system similar to Marx". He concludes that "the relevance of Max Stirner to anarcho-communism was to drop the communism part".


title: Max Stirner

text: Stirner criticizes conventional notions of revolution, arguing that social movements aimed at overturning established ideals are tacitly idealist because they are implicitly aimed at the establishment of a new ideal thereafter. "Revolution and insurrection must not be looked upon as synonymous. The former consists in an overturning of conditions, of the established condition or status, the State or society, and is accordingly a political or social act; the latter has indeed for its unavoidable consequence a transformation of circumstances, yet does not start from it but from men's discontent with themselves, is not an armed rising, but a rising of individuals, a getting up, without regard to the arrangements that spring from it. The Revolution aimed at new arrangements; insurrection leads us no longer to let ourselves be arranged, but to arrange ourselves, and sets no glittering hopes on 'institutions'. It is not a fight against the established, since, if it prospers, the established collapses of itself; it is only a working forth of me out of the established. If I leave the established, it is dead and passes into decay."


title: Max Stirner

text: Stirner's idea of the Union of egoists was first expounded in "The Ego and Its Own". The Union is understood as a non-systematic association, which Stirner proposed in contradistinction to the state. Unlike a "community" in which individuals are obliged to participate, Stirner's suggested Union would be voluntary and instrumental under which individuals would freely associate insofar as others within the Union remain useful to each constituent individual. The Union relation between egoists is continually renewed by all parties' support through an act of will. Some such as Svein Olav Nyberg argue that the Union requires that all parties participate out of a conscious egoism while others such as Sydney E. Parker regard the union as a "change of attitude," rejecting its previous conception as an institution.


title: Max Stirner

text: Scholar Lawrence Stepelevich states that G. W. F. Hegel was a major influence on "The Ego and Its Own". While the latter has an "un-Hegelian structure and tone" on the whole and is hostile to Hegel's conclusions about the self and the world, Stepelevich states that Stirner's work is best understood as answering Hegel's question of the role of consciousness after it has contemplated "untrue knowledge" and become "absolute knowledge." Stepelevich concludes that Stirner presents the consequences of the rediscovering one's self-consciousness after realizing self-determination.


title: Max Stirner

text: Scholars such as Douglas Moggach and Widukind De Ridder have stated that Stirner was obviously a student of Hegel, like his contemporaries Ludwig Feuerbach and Bruno Bauer, but this does not necessarily make him an Hegelian. Contrary to the Young Hegelians, Stirner scorned all attempts at an immanent critique of Hegel and the Enlightenment and renounced Bauer and Feuerbach's emancipatory claims as well. Contrary to Hegel, who considered the given as an inadequate embodiment of rational, Stirner leaves the given intact by considering it a mere object, not of transformation, but of enjoyment and consumption ("His Own").


title: Max Stirner

text: According to Moggach, Stirner does not go beyond Hegel, but he in fact leaves the domain of philosophy in its entirety, stating:


title: Max Stirner

text: In 1842, "The False Principle of Our Education" ("Das unwahre Prinzip unserer Erziehung") was published in "Rheinische Zeitung", which was edited by Marx at the time. Written as a reaction to Otto Friedrich Theodor Heinsius' treatise "Humanism vs. Realism", Stirner explains that education in either the classical humanist method or the practical realist method still lacks true value. Education is therefore fulfilled in aiding the individual in becoming an individual.


title: Max Stirner

text: "Art and Religion" ("Kunst und Religion") was also published in "Rheinische Zeitung" on 14 June 1842. It addresses Bruno Bauer and his publication against Hegel called "Hegel's Doctrine of Religion and Art Judged From the Standpoint of Faith". Bauer had inverted Hegel's relation between "Art" and "Religion" by claiming that "Art" was much more closely related to "Philosophy" than to "Religion", based on their shared determinacy and clarity, and a common ethical root. However, Stirner went beyond both Hegel and Bauer's criticism by asserting that "Art" rather created an object for "Religion" and could thus by no means be related to what Stirner considered—in opposition with Hegel and Bauer—to be "Philosophy", stating:


title: Max Stirner

text: Stirner deliberately left "Philosophy" out of the dialectical triad (Art–Religion–Philosophy) by claiming that "Philosophy" does not "bother itself with objects" (Religion), nor does it "make an object" (Art). In Stirner's account, "Philosophy" was in fact indifferent towards both "Art" and "Religion." Stirner thus mocked and radicalised Bauer's criticism of religion.


title: Max Stirner

text: Stirner's main work, "The Ego and Its Own" ("Der Einzige und sein Eigentum"), appeared in Leipzig in October 1844, with as year of publication mentioned 1845. In "The Ego and Its Own", Stirner launches a radical anti-authoritarian and individualist critique of contemporary Prussian society and modern western society as such. He offers an approach to human existence in which he depicts himself as "the unique one", a "creative nothing", beyond the ability of language to fully express, stating that "[i]f I concern myself for myself, the unique one, then my concern rests on its transitory, mortal creator, who consumes himself, and I may say: All things are nothing to me".


title: Max Stirner

text: The book proclaims that all religions and ideologies rest on empty concepts. The same holds true for society's institutions that claim authority over the individual, be it the state, legislation, the church, or the systems of education such as universities. Stirner's argument explores and extends the limits of criticism, aiming his critique especially at those of his contemporaries, particularly Ludwig Feuerbach and Bruno Bauer, also at popular ideologies, including communism, humanism (which he regarded as analogous to religion with the abstract Man or humanity as the supreme being), liberalism, and nationalism as well as capitalism, religion and statism, arguing:


title: Max Stirner

text: "Stirner's Critics" ("Recensenten Stirners") was published in September 1845 in "Wigands Vierteljahrsschrift". It is a response, in which Stirner refers to himself in the third-person, to three critical reviews of "The Ego and its Own" by Moses Hess in "Die letzten Philosophen" ("The Last Philosophers"), by a certain Szeliga (alias of an adherent of Bruno Bauer) in an article in the journal "Norddeutsche Blätter", and by Ludwig Feuerbach anonymously in an article called "On 'The Essence of Christianity' in Relation to Stirner's 'The Ego and its Own"' ("Über 'Das Wesen des Christentums' in Beziehung auf Stirners 'Der Einzige und sein Eigentum") in "Wigands Vierteljahrsschrift".


title: Max Stirner

text: "The Philosophical Reactionaries" ("Die Philosophischen Reactionäre") was published in 1847 in "Die Epigonen", a journal edited by Otto Wigand from Leipzig. At the time, Wigand had already published "The Ego and Its Own" and was about to finish the publication of Stirner's translations of Adam Smith and Jean-Baptiste Say. As the subtitle indicates, "The Philosophical Reactionaries" was written in response to a 1847 article by Kuno Fischer (1824–1907) entitled "The Modern Sophists" ("Die Moderne Sophisten"). The article was signed G. Edward and its authorship has been disputed ever since John Henry Mackay "cautiously" attributed it to Stirner and included it in his collection of Stirner's lesser writings. It was first translated into English in 2011 by Widukind De Ridder and the introductory note explains:


title: Max Stirner

text: The majority of the text deals with Kuno Fischer's definition of sophism. With much wit, the self-contradictory nature of Fischer's criticism of sophism is exposed. Fischer had made a sharp distinction between sophism and philosophy while at the same time considering it as the "mirror image of philosophy". The sophists breathe "philosophical air" and were "dialectically inspired to a formal volubility". Stirner's answer is striking:


title: Max Stirner

text: Looking back on "The Ego and Its Own", Stirner claims that "Stirner himself has described his book as, in part, a clumsy expression of what he wanted to say. It is the arduous work of the best years of his life, and yet he calls it, in part, 'clumsy'. That is how hard he struggled with a language that was ruined by philosophers, abused by state-, religious- and other believers, and enabled a boundless confusion of ideas".


title: Max Stirner

text: "History of Reaction" ("Geschichte der Reaktion") was published in two volumes in 1851 by Allgemeine Deutsche Verlags-Anstalt and immediately banned in Austria. It was written in the context of the recent 1848 revolutions in German states and is mainly a collection of the works of others selected and translated by Stirner. The introduction and some additional passages were Stirner's work. Edmund Burke and Auguste Comte are quoted to show two opposing views of revolution.


title: Max Stirner

text: Stirner's work did not go unnoticed among his contemporaries. Stirner's attacks on ideology—in particular Feuerbach's humanism—forced Feuerbach into print. Moses Hess (at that time close to Marx) and Szeliga (pseudonym of Franz Zychlin von Zychlinski, an adherent of Bruno Bauer) also replied to Stirner, who answered the criticism in a German periodical in the September 1845 article "Stirner's Critics" ("Recensenten Stirners"), which clarifies several points of interest to readers of the book—especially in relation to Feuerbach.


title: Max Stirner

text: While Marx's "Saint Max" ("Sankt Max"), a large part of "The German Ideology" ("Die Deutsche Ideologie"), was not published until 1932 and thus assured "The Ego and Its Own" a place of curious interest among Marxist readers, Marx's ridicule of Stirner has played a significant role in the preservation of Stirner's work in popular and academic discourse despite lacking mainstream popularity.


title: Max Stirner

text: Twenty years after the appearance of Stirner's book, the author Friedrich Albert Lange wrote the following:


title: Max Stirner

text: Some people believe that in a sense a "second positive part" was soon to be added, though not by Stirner, but by Friedrich Nietzsche. The relationship between Nietzsche and Stirner seems to be much more complicated. According to George J. Stack's "Lange and Nietzsche", Nietzsche read Lange's "History of Materialism" "again and again" and was therefore very familiar with the passage regarding Stirner.


title: Max Stirner

text: While "Der Einzige" was a critical success and attracted much reaction from famous philosophers after publication, it was out of print and the notoriety that it had provoked had faded many years before Stirner's death. However, since his death, it has seen a revival in publication in multiple languages. Stirner had a destructive impact on left-Hegelianism, but his philosophy was a significant influence on Marx and his magnum opus became a founding text of individualist anarchism. Edmund Husserl once warned a small audience about the "seducing power" of "Der Einzige", but he never mentioned it in his writing. As the art critic and Stirner admirer Herbert Read observed, the book has remained "stuck in the gizzard" of Western culture since it first appeared.


title: Max Stirner

text: Many thinkers have read and been affected by "The Ego and Its Own" in their youth including Rudolf Steiner, Gustav Landauer, Victor Serge, Carl Schmitt and Jürgen Habermas. Few openly admit any influence on their own thinking. Ernst Jünger's book "Eumeswil", had the character of the Anarch, based on Stirner's Einzige. Some have tried to use Stirner’s ideas to defend capitalism while others have used them to argue for anarcho-syndicalism.


title: Max Stirner

text: Several other authors, philosophers and artists have cited, quoted or otherwise referred to Max Stirner. They include Albert Camus in "The Rebel" (the section on Stirner is omitted from the majority of English editions including Penguin's), Benjamin Tucker, James Huneker, Dora Marsden, Renzo Novatore, Emma Goldman, Georg Brandes, John Cowper Powys, Martin Buber, Sidney Hook, Robert Anton Wilson, Horst Matthai, Frank Brand, Marcel Duchamp, several writers of the Situationist International including Raoul Vaneigem and Max Ernst. Oscar Wilde's "The Soul of Man Under Socialism" has caused some historians to speculate that Wilde (who could read German) was familiar with the book.


title: Max Stirner

text: Stirner's philosophy was important in the development of modern anarchist thought, particularly individualist anarchism and egoist anarchism. Although Stirner is usually associated with individualist anarchism, he was influential to many social anarchists such as anarcha-feminists Emma Goldman and Federica Montseny. In European individualist anarchism, he influenced its major proponents after him such as Émile Armand, Han Ryner, Renzo Novatore, John Henry Mackay, Miguel Giménez Igualada and Lev Chernyi.


title: Max Stirner

text: In American individualist anarchism, he found adherence in Benjamin Tucker and his magazine "Liberty" while these abandoned natural rights positions for egoism. Several periodicals "were undoubtedly influenced by "Liberty"'s presentation of egoism". They included "I", published by Clarence Lee Swartz and edited by William Walstein Gordak and J. William Lloyd (all associates of "Liberty"); and "The Ego and The Egoist", both of which were edited by Edward H. Fulton. Among the egoist papers that Tucker followed, there were the German "Der Eigene", edited by Adolf Brand; and "The Eagle and The Serpent", issued from London. The latter, the most prominent English-language egoist journal, was published from 1898 to 1900 with the subtitle "A Journal of Egoistic Philosophy and Sociology". Other American egoist anarchists around the early 20th century include James L. Walker, George Schumm, John Beverley Robinson, Steven T. Byington.


title: Max Stirner

text: In the United Kingdom, Herbert Read was influenced by Stirner and noted the closeness of Stirner's egoism to existentialism (see existentialist anarchism). Later in the 1960s, Daniel Guérin says in "Anarchism: From Theory to Practice" that Stirner "rehabilitated the individual at a time when the philosophical field was dominated by Hegelian anti-individualism and most reformers in the social field had been led by the misdeeds of bourgeois egotism to stress its opposite" and pointed to "the boldness and scope of his thought". In the 1970s, an American Situationist collective called For Ourselves published a book called "" in which they advocate a "communist egoism" basing themselves on Stirner.


title: Max Stirner

text: Later in the United States, it emerged the tendency of post-left anarchy which was influenced profoundly by Stirner in aspects such as the critique of ideology. Jason McQuinn says that "when I (and other anti-ideological anarchists) criticize ideology, it is always from a specifically critical, anarchist perspective rooted in both the skeptical, individualist-anarchist philosophy of Max Stirner". Bob Black and Feral Faun/Wolfi Landstreicher strongly adhere to Stirnerist egoism. In the hybrid of post-structuralism and anarchism called post-anarchism, Saul Newman has written on Stirner and his similarities to post-structuralism. Insurrectionary anarchism also has an important relationship with Stirner as can be seen in the work of Wolfi Landstreicher and Alfredo Bonanno who has also written on him in works such as "Max Stirner" and "Max Stirner and Anarchism".


title: Max Stirner

text: German Stirnerist Adolf Brand produced the homosexual periodical "Der Eigene" in 1896. This was the first ongoing homosexual publication in the world and ran until 1931. The name was taken from the writings of Stirner (who had greatly influenced the young Brand) and refers to Stirner's concept of "self-ownership" of the individual. Another early homosexual activist influenced by Stirner was John Henry Mackay. Mackay also used the works of Stirner to justify "man-boy love" and the abolition of the age of consent. Feminists influenced by Stirner include anarchist Emma Goldman, as well as Dora Marsden who founded the journals "The Freewoman, The New Freewoman", and "The Egoist". Stirner also influenced free love and polyamory propagandist Émile Armand in the context of French individualist anarchism of the early 20th century which is known for "[t]he call of nudist naturism, the strong defense of birth control methods, the idea of "unions of egoists" with the sole justification of sexual practices".


title: Max Stirner

text: In his book "Specters of Marx", influential French poststructuralist thinker Jacques Derrida dealt with Stirner and his relationship with Marx while also analysing Stirner's concept of "specters" or "spooks". Gilles Deleuze, another key thinker associated with post-structuralism, mentions Stirner briefly in his book "The Logic of Sense". Saul Newman calls Stirner a proto-poststructuralist who on the one hand had essentially anticipated modern post-structuralists such as Foucault, Lacan, Deleuze and Derrida, but on the other had already transcended them, thus providing what they were unable to—i.e. a ground for a non-essentialist critique of present liberal capitalist society. This is particularly evident in Stirner's identification of the self with a "creative nothing", a thing that cannot be bound by ideology, inaccessible to representation in language.


title: Max Stirner

text: Engels once even recalled at how they were "great friends" ("Duzbrüder"). In November 1844, Engels wrote a letter to Karl Marx in which he first reported a visit to Moses Hess in Cologne and then went on to note that during this visit Hess had given him a press copy of a new book by Stirner, "The Ego and Its Own". In his letter to Marx, Engels promised to send a copy of the book to him, for it certainly deserved their attention as Stirner "had obviously, among the 'Free Ones', the most talent, independence and diligence." To begin with, Engels was enthusiastic about the book and expressed his opinions freely in letters to Marx:


title: Max Stirner

text: Later, Marx and Engels wrote a major criticism of Stirner's work. The number of pages Marx and Engels devote to attacking Stirner in the unexpurgated text of "The German Ideology" exceeds the total of Stirner's written works. In the book Stirner is derided as "Sankt Max" (Saint Max) and as "Sancho" (a reference to Cervantes’ Sancho Panza). As Isaiah Berlin has described it, Stirner "is pursued through five hundred pages of heavy-handed mockery and insult." The book was written in 1845–1846, but it was not published until 1932. Marx's lengthy ferocious polemic against Stirner has since been considered an important turning point in Marx's intellectual development from idealism to materialism. It has been argued that historical materialism was Marx's method of reconciling communism with a Stirnerite rejection of morality.