Problem: Background: Paul Bruce Dickinson was born in Worksop, Nottinghamshire. His mother, Sonia, worked part-time in a shoe shop, and his father, Bruce, was a mechanic in the army. Dickinson's birth hurried the young couple, then just teenagers, into marriage. Initially, he was brought up by his grandparents; his grandfather was a coal-face worker at the local colliery and his grandmother was a housewife.
Context: After a six-month break, which Dickinson mostly spent practising fencing, Iron Maiden began writing their next album, Somewhere in Time. Dickinson was disappointed with the effort as he felt that the band needed a more dramatic stylistic departure from past records to remain relevant, despite its introduction of synthesised bass and guitars. He has no writing credits on the release, as his material, based on his own suggestion that the album should be more acoustic-focused, was rejected by the rest of the band. Steve Harris, on the other hand, stated that his material was rejected because it was not good enough, and that Dickinson "was probably more burnt out than anyone at the end of the last tour".  After a subsequent tour, Iron Maiden started working on their next studio effort, Seventh Son of a Seventh Son, which featured more progressive rock elements than the band's previous records. Although it became their second release to top the UK charts, it was also Dickinson's first album with the band that did not achieve platinum status in the US. Unlike Somewhere in Time, Dickinson was much more enthusiastic about this album due to its concept and has several song-writing credits. After the following tour in 1988, the band decided to take a year off.  During the next album's writing stage, Adrian Smith left Iron Maiden, and was replaced by Janick Gers. Iron Maiden's eighth studio release, 1990's No Prayer for the Dying, had a raw sound that, according to AllMusic, did not "hold up well" compared to past efforts, as it was recorded in a barn which Steve Harris owned, with a mobile studio owned by the Rolling Stones. The record featured Dickinson's "Bring Your Daughter... to the Slaughter", originally composed for a film soundtrack, which despite receiving a Golden Raspberry Award for worst original song in 1989, became the band's first and only single to top the UK Singles Chart. By 1992, Harris had converted his barn into a proper studio, and the new album, Fear of the Dark, was recorded there, resulting in a better overall sound than No Prayer for the Dying, although Dickinson still claims it had limitations due to its size.  After the Fear of the Dark Tour, Dickinson decided to leave Iron Maiden to concentrate on his solo career. At that point the band had already booked a following tour in 1993, which Dickinson did not enjoy. Throughout the tour, Dickinson drew a lot of criticism from his bandmates, with Steve Harris in particular saying, "I really wanted to kill him." According to Harris, Dickinson would only perform when the press was there, whereas at other concerts he would only mumble his way through songs. Dickinson has since denied the accusations that he was deliberately under-performing, arguing that it was impossible to give a decent performance some nights because of the atmosphere. His last performance with the band was filmed by the BBC at Pinewood Studios and released as a live video, entitled Raising Hell.
Question: Golden raspberry! Thats funny, any others?
Answer: 

Problem: Background: Carroll Baker was born and raised in Johnstown, Pennsylvania, in a Roman Catholic family, the daughter of Edith Gertrude (nee Duffy) and William Watson Baker, a traveling salesman. She is of Polish descent, which has given rise to a rumor that her birth name was Karolina Piekarski. However, this currently cannot be substantiated by known records. Baker's parents separated when she was eight years old, and she moved with her mother and younger sister, Virginia, to Turtle Creek, Pennsylvania.
Context: Baker portrayed a pacifist Quaker schoolteacher in John Ford's Cheyenne Autumn (1964), and received critical acclaim for the role. She then had a supporting role as Saint Veronica in George Stevens' The Greatest Story Ever Told (1965), and portrayed a cynical, alcoholic movie star in The Carpetbaggers (1964), which brought her a second wave of notoriety in spite of the film's lackluster reviews. The New York Times called the film "a sickly sour distillation" of the source novel, but said Baker's performance "brought some color and a sandpaper personality as the sex-loaded widow." The film was the top moneymaker of that year, with domestic box-office receipts of $13,000,000, and marked the beginning of a tumultuous relationship with the film's producer, Joseph E. Levine.  Based on her Carpetbaggers performance, Levine began to develop Baker as a movie sex symbol, and she appeared posing in the December 1964 issue of Playboy. She was subsequently cast by Levine in the title roles of two 1965 potboilers-- Sylvia, as an ex-prostitute and con artist, and as Jean Harlow in Harlow. Baker appeared on the cover of the Saturday Evening Post on their November 2, 1963, issue dressed as Harlow, promoting the film's upcoming production. In 1965, she became an official celebrity spokesperson for Foster Grant sunglasses and appeared in advertisements for the company. Baker likened this era of her career to "being a beauty contest winner [as opposed to] an actress."  Despite much prepublicity, Harlow received a lukewarm response from critics: Variety referred to Baker's portrayal of Harlow as "a fairly reasonable facsimile, although she lacks the electric fire of the original." Relations between Baker and Levine soured; in a 1965 interview, Baker sardonically commented: "I'll say this about Joe Levine: I admire his taste in leading ladies," which led the press to suspect a rift between the actress and producer. Baker sued Levine over her contract with Paramount Pictures in 1966, and was ultimately fired by Paramount and had her paychecks from Harlow frozen amid the contentious legal dispute; this left Baker hundreds of thousands of dollars in debt (however, she was eventually awarded $1 million in compensation).  In an interview with Rex Reed in his book People Are Crazy Here (1974), Baker revealed that she had felt pressure in both her working relationship with Levine, and her domestic life with her husband, the latter of whom she said wanted to maintain an expensive lifestyle: "We'd been very poor when we started out at the Actors Studio in New York," she told Reed. "I was under contract to Joe Levine, who was going around giving me diamonds and behaving like he owned me. I never slept with him or anything, but everyone thought I was his mistress." In the spring of 1966, Baker returned to theatre, performing in a production of Anna Christie at the Huntington Hartford Theater in Los Angeles. The production was directed by Garfein. The production was heralded as the "theatre event of the week" in Los Angeles, though its reception was middling. Cecil Smith of The Los Angeles Times wrote of the production: "The beautiful Miss Baker's vehicle becomes a hearse." The play was also performed at the Tappan Zee Playhouse in Nyack, New York in June 1966.
Question: Were there other films that considered her a sex symbol?
Answer:
Sylvia,