blogawiki

From the Joe Francis wiki article:

Joseph R. “Joe” Francis (born April 1, 1973)^[1] is an American entrepreneur known as the founder of Mantra Films, Inc., which produces the Girls Gone Wild and Guys Gone Wild DVD series.

Controversies

In January 2004 Francis was kidnapped from his Bel Air home by a would-be blackmailer, Darnell Riley. Riley first put a revolver up to Francis’s head and duct-taped his hands behind his back. He then videotaped Francis, lying on a bed with his shirt off and a vibrating dildo at the crest of buttocks, repeating, “My name is Joe Francis, I’m from Boys Gone Wild and I like it in the [buttock].” Riley later attempted to extort $500,000 from Francis. Daren Riley was tried in 2006, convicted, and sentenced to 10 years in prison.^[9][10]

Civil

In June 2007, Francis and Mantra Films became the subject of another lawsuit claiming that images had been used without the subject’s permission.^[14] However, the plaintiff, Ashley Alexandra Dupré better known as the prostitute involved in the Eliot Spitzer scandal that led to his resignation as New York governor in March 2008, dropped the suit after Francis released footage showing her agreeing to be filmed.^[15]

Wynn Resorts Ltd.

Francis is being sued by the Wynn Las Vegas casino for $2 million in gambling debt from February 2007. The lawsuit was filed on June 27, 2008 in Clark County District Court. A spokesperson for the casino claims that the debt has been in their collections department and the suit is a last resort to obtain the debt plus costs. In response to the lawsuit, Francis asserted that he had already paid his debt through agreements with the hotel including certain discounts. Francis claims that he was deceived by the hotel and its Chief Executive Steve Wynn.^[24] Francis attended a deposition in connection with the lawsuit and tried to take the fifth amendment with respect to almost all questions asked, including whether or not he owned a cell phone. During the deposition Francis repeatedly took out his cell phone and appeared to answer emails, and at one point took a call. Steve Wynn’s attorneys reported that Francis repeatedly passed gas during the deposition. “As the court will see from reviewing the video clips of Francis’ deposition, his utter contempt for the judicial system is apparent, including his repeated attempts to disrupt the deposition with flatulence,” the lawyers wrote. Ultimately, the judge in the case ruled that Francis was liable for the entire $2 million, calling Francis’ conduct “the most ridiculous exercise of the Fifth Amendment I think I’ve ever seen.” Francis is expected to appeal the judge’s ruling.^[25]

From the Stadium buddy wiki article:

A Stadium buddy is an apparatus which consists of a collecting bag fastened around the leg and tubing that attaches to a condom catheter. The hood attaches over the penis but, unlike a condom, has a plug for the tube where the condom’s reservoir tip would normally be. This apparatus allows an individual to “conveniently” urinate without having to make use of a restroom. Stadium buddies have been used by sports and concert enthusiasts for over two decades, and are also used by pilots when flying aircraft too small to carry a restroom. Some aircraft have a tube in the seat for attaching to the condom catheter, and this tube drains out the bottom of the aircraft in flight.

From the Bezoar wiki article:

A bezoar is a mass found trapped in the gastrointestinal system (usually the stomach),^[2] though it can occur in other locations.^[3][4] There are several varieties of bezoar, some of which have inorganic constituents and others organic.

Bezoars were sought because they were believed to have the power of a universal antidote against any poison. It was believed that a drinking glass which contained a bezoar would neutralize any poison poured into it. The word “bezoar” comes from the Persian pâdzahr (پادزهر), which literally means “protection from poison.”

In 1575, the surgeon Ambroise Paré described an experiment to test the properties of the Bezoar Stone. At the time, the Bezoar stone was deemed to be able to cure the effects of any poison, but Paré believed this was impossible. It happened that a cook at Paré’s court was caught stealing fine silver cutlery. In his shame, the cook agreed to be poisoned. He then used the Bezoar stone to no great avail as he died in agony seven hours later.^[5] Paré had proved that the Bezoar stone could not cure all poisons as was commonly believed at the time.

A famous case in the common law of England (Chandelor v Lopus, 79 Eng Rep. 3, Cro. Jac. 4, Eng. Ct. Exch. 1603) announced the rule of caveat emptor, “let the buyer beware” if the goods he purchased are in fact genuine and effective. The case concerned a purchaser who sued for the return of the purchase price of an allegedly fraudulent bezoar. (How the plaintiff discovered that the bezoar did not work is not discussed in the report.) Judicial scepticism over the alleged magical powers of bezoars may well have justified this judgment in this particular case. The ruling, however, was seized on and formed an impediment to the formation of effective consumer protection remedies and the law of implied warranty well into the nineteenth century.

The Merck Manual of Diagnosis and Therapy notes that consumption of unripened persimmons have been identified as causing epidemics of intestinal bezoars, and that up to ninety percent of food boluses that occur from eating too much of the fruit require surgery for removal.^[6]

Types by content

• Food boli (singular, bolus) imitate true bezoars and are composed of loose aggregates of food items such as seeds, fruit pith, or pits as well as other types of items such as shellac, bubble gum, soil, and concretions of some medications.
• Pharmacobezoars (or medication bezoars) are mostly tablets or semi-liquid masses of drugs. Normally found following overdose of sustained release medications.^[7]
• Phytobezoars are composed of nondigestible plant material (e.g., cellulose) and are frequently reported in patients with impaired digestion and decreased gastric motility.
• Diospyrobezoar is a bezoar formed from unripe persimmons.^[8] Coca-Cola has been used in the treatment.^[9][10]
• Trichobezoar is a bezoar formed from hair ^[11]- an extreme form of hairball. Humans who frequently consume hair sometimes require these to be removed. The Rapunzel syndrome, a very rare and extreme case, may require surgery. A trichobezoar in the trachea is called a tracheobezoar.

Types by location

• A bezoar in the esophagus is common in young children and in horses. In horses, it is known as choke.
• A bezoar in the large intestine is known as a fecalith.
• A trichobezoar in the trachea is called a tracheobezoar.

From the Carolee Schneemann wiki article:

Carolee Schneemann (b. October 12, 1939 in Fox Chase, Pennsylvania) is an American visual artist, known for her discourses on the body, sexuality and gender. She received a B.A. from Bard College and an M.F.A. from the University of Illinois. Her work is primarily characterized by research into visual traditions, taboos, and the body of the individual in relationship to social bodies.

Early work

Production on Schneemann’s work Eye Body began in 1963. Schneemann created a “loft environment” filled with broken mirrors, motorized umbrellas, and rhythmic color units.^[14] To become a piece of the art herself, Schneemann covered herself in various materials including grease, chalk, and plastic. She created 36 “transformative-actions” – photographs by Icelandic artist Erró of herself in her constructed environment.^[15] Included in these images is a frontal nude featuring two garden snakes crawling on Schneemann’s torso. This image drew particular attention both for its “archaic eroticism” and her visible clitoris.^[14] Upon its presentation to the public in 1963, art critics found the piece to be lewd and pornographic.

Meat and film

The 1964 piece Meat Joy revolved around eight partially nude figures dancing and playing with various objects and substances including wet paint, sausage, raw fish, scraps of paper, and raw chickens.^[10] It was first performed in Paris and was later filmed and photographed as performed by her Kinetic Theater group at Judson Memorial Church.^[1] She described the piece as an “erotic rite” and an indulgent Dionysian “celebration of flesh as material.”^[14][18]

In 1975, Schneemann performed Interior Scroll, a Fluxus-influenced piece featuring her use of text and body. In her performance, Schneemann entered wrapped in a sheet, under which she wore an apron. She disrobed and then got on a table where she outlined her body with dark paint. Several times, she would take “action poses”, similar to those in figure drawing classes.^[24] Concurrently, she read from her book Cézanne, She Was a Great Painter. Following this, she dropped the book and slowly extracted from her vagina a scroll from which she read.

From the Ilona Staller wiki article:

Ilona Staller (complete name Anna Elena Staller, 26 November 1951), also known by her stage name la Cicciolina, is a Hungarian-born Italian porn-star, sometimes politician, and singer. She continued to make hard core pornographic films while in office.^[2] She is famous for delivering political speeches with one breast exposed.^[2][3]

Anna Ilona was born in Budapest, Hungary. Her stepfather was an official in the Ministry of the Interior, her mother a midwife. In 1964 she began working for a Hungarian modeling agency, M.T.I. In her memoirs and in a 1999 TV interview, she claimed that she had provided Hungarian authorities with information on American diplomats staying at a Budapest luxury hotel where she worked as a maid in the late 1960s.^[4]

Naturalized by marriage and settled in Italy, she met pornographer Riccardo Schicchi in the early 1970s, and, beginning in 1973, achieved fame with a radio show called “Voulez-vous coucher avec moi?” (French for “Do You Want to Sleep with Me?”) on Radio Luna. For that program she adopted the name “la Cicciolina,” which translates, loosely, as “cuddles”.^[4] She has referred to her male fanbase and later the Italian parliament as “cicciolini”, translating loosely as “little tubby boys”.^[2] Although she appeared in several films from 1970, she made her debut under her own name in 1975 with “La Liceale,” whose U.S. title was “The Teasers,” playing a lesbian classmate of Gloria Guida. In 1978, on the RAI show “C’era due Volte”, her breasts were the first to be bared live on Italian TV.^[4]

She appeared in her first hardcore pornographic film, titled “Il telefono rosso” (”The Red Telephone”) in 1983. She produced the film together with Schicchi’s company Diva Futura. She was rumored to have engaged in zoophilia with a horse in the movie “Cicciolina Number One”^[4], but her memoirs and other sources have disputed the claim.^[5][6]

Staller married American sculptor Jeff Koons in 1991. Koons produced a series of sculptures and photographs of them having sex in many positions, settings and costumes, which were exhibited under the title “Made In Heaven.”^[8] The marriage broke up in 1992, and their son Ludwig Maximillian was born shortly afterwards.

In 1994, she appeared in the film “Replikator,” and in 1996, she had a role in the Brazilian telenovela “Xica da Silva.”^[10] In 2008, she was a contestant on the Argentine version of “Strictly Come Dancing” named “Bailando por un Sueño”. She withdrew after breaking a rib in rehearsals.^[11]

Political career

In 1979, Staller was presented as a candidate to the Italian Parliament from the “Lista del Sole“, Italy’s first Green party. In 1985, she switched to the Partito Radicale, campaigning against nuclear energy and NATO membership, for human rights, and “against world hunger”.  She was elected to the Italian parliament in 1987, with approx. 20,000 votes. While in office, and before the outset of the Gulf War she offered to have sex with Saddam Hussein if he would release the foreign hostages.[1] She was not reelected at the end of her term in 1991.

In 1991, Staller was among the founders of the political movement Partito dell’Amore (Love Party), spearheaded by her friend and fellow porn star Moana Pozzi. She has advocated absolute sexual freedom – “Love for All!” She also proposed a tax on automobiles to reduce the damages of smog and fund the defence of nature.^[2] She is a strict vegan and an animal rights activist.[2]

She renewed her offer to have sex with Saddam Hussein in October 2002, when Iraq was resisting international pressure to allow inspections for weapons of mass destruction, and in April 2006 made the same offer to Osama bin Laden.^[2]

Musical career

Staller has recorded several songs, mostly from live performances, with explicit lyrics being sung to a childrens’ melody. Her most famous song is “Muscolo Rosso,” a song entirely dedicated to il cazzo, which means “the dick” in Italian. Because of its extensive use of swear words, the sond could not be released it in Italy, but became a hit in other countries, especially in France, where the listeners did not grasp the meaning of the lyrics. The song gained considerable popularity in the internet era, when many Italian speakers were able to hear it for the first time.

Quotations

• “My breasts have never done anyone any harm, while bin Laden’s war has caused thousands of victims.” — October 2002 ^[12]

From the Insulin Shock Therapy wiki article:

Insulin shock therapy or insulin coma therapy was a form of psychiatric treatment in which patients were repeatedly injected with large doses of insulin in order to produce daily comas over several weeks.^[1] It was introduced in 1933 by Polish-Austrian-American psychiatrist Manfred Sakel and used extensively in the 1940s and 1950s, mainly for schizophrenia, before falling out of favour and being replaced by neuroleptic drugs.^[2] Insulin coma therapy and the convulsive therapies (electro and cardiazol/metrazol) were collectively known as shock therapy.^[3] Although insulin coma therapy had disappeared in the USA by the 1970s, it was still being used at that time in some countries such as China, and the former Soviet Union.^[4]

Technique

Insulin coma therapy was a labour-intensive treatment that required trained staff and a special unit.^[2] Patients, who were almost invariably diagnosed with schizophrenia, were selected on the basis of having a good prognosis and the physical strength to withstand an arduous treatment.^[7] There were no standard guidelines for treatment; different hospitals and psychiatrists developed their own protocols.^[7] Typically, injections were administered six days a week for about two months.^[1] The daily insulin dose was gradually increased to 100-150 units until comas were produced, at which point the dose would be levelled out.^[1] Occasionally doses of up 450 units were used.^[8] After about 50 or 60 comas, or earlier if the psychiatrist thought that maximum benefit had been achieved, the dose of insulin was rapidly reduced before treatment was stopped.^[9][7] Courses of up to 2 years have been documented.^[9]

After the insulin injection patients would experience various symptoms of decreased blood glucose: flushing, pallor, perspiration, salivation, drowsiness or restlessness.^[9] Sopor and coma - if the dose was high enough – would follow.^[9] Each coma would last for up to an hour and be terminated by intravenous glucose.^[1] Seizures sometimes occurred before or during the coma.^[10] Many would be tossing, rolling, moaning, twitching, spasming or thrashing around.^[7]

Some psychiatrists regarded seizures as therapeutic and patients were sometimes also given electroconvulsive therapy or cardiazol/metrazol convulsive therapy during the coma, or on the day of the week when they didn’t have insulin treatment.^[9][10] When they were not in a coma, insulin coma patients were kept together in a group and given special treatment and attention; one handbook for psychiatric nurses, written by British psychiatrist Eric Cunningham Dax, instructs nurses to take their insulin patients out walking and occupy them with games and competitions, flower-picking and map-reading, etc.^[11]Patients required continuous supervision as there was a danger of hypoglycaemic aftershocks after the coma.^[2]

Effects

Although a few psychiatrists (including Sakel) claimed success rates for insulin coma therapy of over 80 percent in the treatment of schizophrenia, and a few argued that it merely sped up remission in those patients who would undergo remission anyway, the consensus at the time was somewhere in between – claiming a success rate of about 50 per cent in patients who had been ill for less than a year (about double the spontaneous remission rate) with no influence on relapse.^[5][12] The shock therapies in general had developed on the erroneous premise that epilepsy and schizophrenia rarely occurred in the same patient. Another theory was that patients were somehow “jolted” out of their mental illness.^[13]

The hypoglycemia (pathologically low glucose levels) that resulted from ICT made patients extremely restless, sweaty, and liable to further convulsions and “after-shocks”. In addition, patients invariably emerged from the long course of treatment “grossly obese“.^[7] The most severe risks of insulin coma therapy were death and brain damage, resulting from irreversible or prolonged coma respectively.^[1][8] A study at the time actually claimed that many of the cases of brain damage were actually therapeutic improvement because they showed “loss of tension and hostility”.^[14] Mortality (death) risk estimates varied from about one percent^[2] to 4.9 percent^[15].

Recent writing

Recent articles about insulin coma treatment have attempted to explain why it was given such uncritical acceptance. In the United States Deborah Doroshow writes that insulin coma therapy secured its foothold in psychiatry not because of scientific evidence or knowledge of any mechanism of therapeutic action, but due to the impressions it made on the minds of the medical practitioners within the local world in which it was administered and the dramatic recoveries they saw in some patients. Today, she writes, those who were involved are often ashamed, recalling it as unscientific and inhumane. Administering insulin coma therapy made psychiatry seem a more legitimately medical field. Harold Bourne, who questioned the treatment at the time, is quoted: “It meant that psychiatrists had something to do. It made them feel like real doctors instead of just institutional attendants”.^[7]

Leonard Roy Frank, an American survivor of 50 forced insulin coma treatments combined with ECT has described it as “the most devastating, painful and humiliating experience of my life”, a “flat-out atrocity” glossed over by psychiatric euphemism, and a violation of basic human rights.^[19]

From the Three Sided Football wiki article:

Three-sided football is a variation of football with three teams instead of the usual two. It was devised by the Danish Situationist Asger Jorn to explain his notion of triolectics, his refinement on the Marxian concept of dialectics, as well as to disrupt one’s everyday idea of football. Played on a hexagonal pitch [1], the game can be adapted for similarity to soccer as well as other versions of football.

Unlike in conventional football, where the winner is determined by the highest scoring of the two teams, no score is kept of the goals which a team scores, but conversely a count is taken of the number of goals conceded and the winning team is that which concedes the least number of goals. The game purports to deconstruct the confrontational and bi-polar nature of conventional football as an analogy of class struggle in which the referee stands as a signifier of the state and media apparatus, posturing as a neutral arbitrator in the political process of ongoing class struggle.

It has been promoted in England, Scotland, Italy, Serbia, Poland and Austria by the Luther Blissett Three-sided Football League. The first known game played was organized by the London Psychogeographical Association at the Glasgow Anarchist Summer School in 1993. Participants included Richard Essex, Stewart Home and the members of The Workshop for Non-Linear Architecture.

In August 2009 a Three sided football game was played in Alytaus as part of the Art Strike events there. Stewart Home acted as referee.^[1]

From the Pink Film wiki article:

Pink film ( Pinku eiga or Pink eiga^?) is a style of Japanese softcore pornographic theatrical film. Films of this genre first appeared in the early 1960s, and dominated the Japanese domestic cinema from the mid-1960s through the mid-1980s.^[1][2] In the 1960s, the pink films were largely the product of small, independent studios. In the 1970s, some of Japan’s major studios, facing the loss of their theatrical audience, took over the pink film. With their access to higher production-values and talent, some of these films became critical and popular successes.^[3]

The pink film, or “eroduction” as it was first called,^[5] is a cinematic genre without exact equivalent in the West.^[3] Due to the nature of Japanese censorship laws, the display of genitals, and even pubic hair, were long-held taboos in the genre. This restriction forced Japanese filmmakers to develop sometimes elaborate means of avoiding showing the “working parts”, as Richie puts it.^[4] In order to work around this censorship, most Japanese directors positioned props—lamps, candles, bottles, etc.—at strategic locations to block the banned body parts. When this was not done, the most common alternative techniques are digital scrambling, covering the prohibited area with a black box or a fuzzy white spot, known as “fogging“.^[7]

Richie and Harritz both enumerate the fundamental elements of the pink film formula as:

1. The film must have a required minimum quota of sex scenes^[10]
2. The film must be approximately one hour in duration^[11]
3. It must be filmed on 16 mm or 35 mm film within one week^[12]
4. The film must be made on a very limited budget^[13]

Also in 1971, Takashi Itamochi, president of Nikkatsu, Japan’s oldest major film studio, made the decision to take his own company’s high production values and professional talent out of action films and put them into the pink film genre.^[44] Like Toei, Nikkatsu had made some previous films in the sexploitation market, such as Story of Heresy in Meiji Era (1968) and Tokyo Bathhouse (1968), which featured over 30 sex-film stars in cameo appearances.^[45] Nikkatsu launched its Roman Porno series in November 1971 with Apartment Wife: Affair In the Afternoon, starring Kazuko Shirakawa.^[46] The film became a huge hit, inspired 20 sequels within seven years, establishing Shirakawa as Nikkatsu’s first “Queen”, and successfully launched the high-profile Roman porno series. Director Masaru Konuma says that there was essentially no difference between the pink films and Roman Porno except for the studio’s higher budget.^[47] Nikkatsu would make these higher-quality pink films almost exclusively, at an average rate of three per month,^[48] for the next 17 years.  Nikkatsu gave its Roman porno directors a great deal of artistic freedom in creating their films, as long as they met the official minimum quota of four nude or sex scenes per hour.^[49] The result was a series that was popular both with audiences and with critics.^[50] One or two Roman Pornos appeared on the top-ten lists of Japanese critics every year throughout the run of the series.^[51]

From the Coed Report: Yuko’s White Breasts wiki article:

Yuko is an innocent high school girl who has a crush on her gym teacher. She and her friends have a sleep-over party which develops into a sexual dare-game involving eels, and a lesbian orgy. Now sexually-awakened, Yuko decides to seduce her teacher, but is raped in an elevator before she meets her teacher.^[2]

From the Love Hunter wiki article:

Kyōko is a woman with a promiscuous past who is sexually unsatisfied with her marriage. Her frustrations lead her to have hedonistic dreams, such as her mother and grandfather having sex together. Seeking to rejuvinate her marriage, she throws a wild party. The ploy is a success.^[4]

From the Woman on the Night Train wiki article:

Saeko is abnormally attached to her older sister, Yumi. When Yumi becomes engaged to Arikawa, Saeko schemes to separate the two. She seduces Arikawa who then becomes confused over his attraction to both sisters. He approaches their father about his dilemma. The father explains that the two are actually half-sisters, Saeko being the result of his affair with Tomoko, a family maid. After Arikawa explains this to the sisters, Saeko’s obsession with Yumi seems to end. However, when Yumi and Arikawa leave for a vacation together, Saeko follows them on the night train. When she catches up to them, she kills her sister with a razor blade and then kills herself.

From the Indiana Jones and the Temple of Doom wiki article:

Indiana Jones and the Temple of Doom is a 1984 adventure film directed by Steven Spielberg. It is the second film in the Indiana Jones franchise and prequel to Raiders of the Lost Ark (1981). After arriving in India, Indiana Jones is asked by a desperate village to find a mystical stone. He agrees, stumbling upon a Kali Thuggee religious cult plotting child slavery, black magic and ritual human sacrifice.

Producer and co-writer George Lucas decided to make the film a prequel as he did not want the Nazis to be the villains once more. The original idea was to set the film in China, with a hidden valley inhabited by dinosaurs. More rejected plot devices included the Monkey King and a haunted castle in Scotland.

When George Lucas first approached Steven Spielberg for Raiders of the Lost Ark, Spielberg recalled, “George said if I directed the first one then I would have to direct a trilogy. He had three stories in mind. It turned out George did not have three stories in mind and we had to make up subsequent stories.”^[7] Spielberg and Lucas attributed the film’s tone, which was darker than Raiders of the Lost Ark, to their personal moods following the breakups of their relationships (Spielberg with Amy Irving, Lucas with Marcia).^[8] In addition Lucas felt “it had to have been a dark film. The way Empire Strikes Back was the dark second act of the Star Wars trilogy.”^[4]

Lucas made the film a prequel as he did not want the Nazis to be the villains once more.^[8] Spielberg originally wanted to bring Marion Ravenwood back,^[7] with Abner Ravenwood being considered as a possible character.^[4] Lucas created an opening chase scene that had Indiana Jones on a motorcycle on the Great Wall of China. In addition Indiana discovered a “Lost World pastiche with a hidden valley inhabited by dinosaurs“. Chinese authorities refused to allow filming,^[2] and Lucas considered the Monkey King as the plot device.^[8] Lucas wrote a film treatment that included a haunted castle in Scotland, but Spielberg felt it was too similar to Poltergeist. The haunted castle in Scotland slowly transformed into a demonic temple in India.^[4]

Lucas came up with ideas that involved a religious cult devoted to child slavery, black magic and ritual human sacrifice. Lawrence Kasdan of Raiders of the Lost Ark was asked to write the script. “I didn’t want to be associated with Temple of Doom,” he reflected. “I just thought it was horrible. It’s so mean. There’s nothing pleasant about it. I think Temple of Doom represents a chaotic period in both their [Lucas and Spielberg] lives, and the movie is very ugly and mean-spirited.”^[2]

Controversy over portrayal of India and Hinduism

Before filming could begin in India, filmmakers had to have the script approved by the Indian government. The government found the script racist and demanded that many changes be made. Eventually, filmmakers decided to instead film in Sri Lanka.

The film’s depiction of Hindus caused controversy in India, and brought it to the attention of the country’s censors, who placed a temporary ban on it.^[27] Shashi Tharoor has condemned the film and pointed to numerous offensive and factually inaccurate portrayals. ^[28] Yvette Rosser has criticized the film for contributing to racist stereotypes of Indians in Western Society, writing “[it] seems to have been taken as a valid portrayal of India by many teachers, since a large number of students surveyed complained that teachers referred to the eating of monkey brains.”^[29]

Reflection from cast and crew

Despite the film’s success (including winning an Academy Award), some of the cast and crew of the film retrospectively view the film in an unfavorable light.

Kate Capshaw called her character “not much more than a dumb screaming blonde.”^[9] Capshaw, who is a feminist, was annoyed by the criticism she received of her portrayal.^[7]

Steven Spielberg said in 1989, “I wasn’t happy with Temple of Doom at all. It was too dark, too subterranean, and much too horrific. I thought it out-poltered Poltergeist. There’s not an ounce of my own personal feeling in Temple of Doom.” He later added during the “Making of Indiana Jones and the Temple of Doom” documentary, “Temple of Doom is my least favorite of the trilogy. I look back and I say, ‘Well the greatest thing that I got out of that was I met Kate Capshaw. We married years later and that to me was the reason I was fated to make Temple of Doom.”^[1]

From the Anti-Tank Dogs wiki page:

Anti-tank dogs (Russian: Собаки-истребители танков or Противотанковые собаки; German: Panzerabwehrhunde or Hundeminen, “dog-mines”) were dogs taught to carry explosives to tanks, armored vehicles and other military targets. They were actively trained by the Soviet and Russian military forces in 1930–1996 and used in 1941–1942 against German tanks in World War II. Although the original dog training routine was to leave the bomb and retreat so that the bomb would be detonated by the timer, this routine failed and was replaced by the impact detonation procedure which killed the dog in the process. The U.S. military trained anti-tank dogs in 1943 for use against fortifications, but never deployed them. Dogs strapped with explosives were unsuccessfully used by Iraqi insurgents in 2005.

Deployment by the Soviet Union

The use of anti-tank dogs was escalated during 1941–1942, when every effort was made by the Soviet Army to stop the German advance at the Eastern Front of World War II. In that period, the dog training schools were mostly focused on producing anti-tank dogs. About 40,000 dogs were deployed for various tasks in the Soviet Army at the Western, South-West, North-West, North, South and Baltic Fronts.^[6]

The first group of anti-tank dogs arrived at the frontline at the end of the summer of 1941 and included 30 dogs, 40 trainers, 6 cooks, 6 drivers and 10 miners. Their deployment revealed serious problems — to save fuel and ammunition, dogs had been trained on tanks which stood still and did not fire their guns. In the field, dogs refused to dive under moving tanks. Some persistent dogs ran near the tanks, waiting for them to stop, but got shot in the process. Gunfire from the tanks scared away many of the dogs. They would run back to the trenches, often detonating the charge upon jumping in, injuring Soviet soldiers. To prevent that, the returning dogs had to be shot, often by the people who had sent them. This made the trainers unwilling to work with new dogs. Some went so far as to say that the army did not stop with sacrificing people to the war and went on to slaughter dogs too; those were prosecuted by the military police^[3]. Out of the first group of 30 dogs, only four managed to detonate their bombs near the German tanks, inflicting an unknown amount of damage. Six exploded upon returning to the Soviet trenches, killing and injuring soldiers.^[3] Three dogs were shot by the Germans and taken away, despite furious attempts of the Soviets to prevent it. This gave away all details of the detonation mechanism to the Germans. A captured German officer later reported that they learned of the anti-tank dog design from the collected killed animals and considered the program desperate and inefficient. A massive German propaganda campaign sought to discredit the Soviet Army, saying that Soviet soldiers refuse to fight and therefore the Soviets used dogs instead.^[3]