IN: The Midnight Express was a professional wrestling tag team of changing members, mostly under the management of Jim Cornette. The group started in the early 1980s with Dennis Condrey and Randy Rose (and originally Norvell Austin). The late 1980s saw a new incarnation, consisting of Bobby Eaton and Stan Lane, compete in JCP and WCW and shortly feuding with "The Original Midnight Express" of Condrey and Rose. In the 1990s, the World Wrestling Federation (WWF) combined Bob Holly and Bart Gunn as "The New Midnight Express".

When Bobby Eaton was sent to Mid-South Wrestling under promoter Bill Watts as a part of a talent trade it was decided that he should be part of the new version of the Midnight Express. Eaton teamed with former rival Dennis Condrey under the management of Jim Cornette to form a new version of the Midnight Express. The Express had up until this point been a group of wrestlers, but once Eaton and Condrey joined together the Midnight Express worked exclusively as a two-man team. To complement "Loverboy" Dennis Condrey, Eaton was nicknamed "Beautiful Bobby", a nickname he still uses. The Express was first booked in a storyline with the Mid-South Tag Team champions Magnum T.A. and Mr. Wrestling II. The highlight of the angle saw Eaton and Condrey tarring and feathering Magnum TA in the middle of the ring. Condrey and Eaton won their first tag team championship when Mr. Wrestling II turned on Magnum TA and attacked him during a match, allowing The Midnight Express to walk away with the titles without much opposition. Collectively Dennis Condrrey and Bobby Eaton hold the record for the most Tag Team Titles in all of professional wrestling with 51 together; earning the right to be called the most decorated Tag Team of all time. See Title History below.  With Mr. Wrestling II and Magnum TA splitting up, the Midnight Express needed a new team to defend their newly won title against. This team was The Rock 'n' Roll Express (Ricky Morton and Robert Gibson), whom they started a long-running series of matches that would run well into the 1990s and span several wrestling promotions. The two Expresses had a series of matches which differed so much from the way tag team wrestling was traditionally presented at the time, that it gathered a lot of attention both locally and nationally. The two teams feuded throughout 1984 in Mid-South Wrestling before the Midnight Express left the promotion to work elsewhere. The Midnight Express versus Rock 'n' Roll Express series of matches was so well received by the fans that independent promoters all over the United States still book that match today, 30 years after the rivalry started.  The Midnight Express had a short stay in World Class Championship Wrestling in Texas where they feuded mainly with The Fantastics (Bobby Fulton and Tommy Rogers). When opportunities in WCCW looked to go nowhere the Midnight Express signed with Jim Crockett Promotions (JCP) in 1985, giving them national exposure through JCP's television shows that were broadcast on SuperStation TBS. Shortly after joining JCP, the Midnight Express reignited their feud with the Rock 'n' Roll Express from whom they won the NWA World Tag team titles in February 1986. Eaton and Condrey lost the titles back to the Rock 'n' Roll Express six months later. Besides feuding with the Rock 'n' Roll Express, Eaton and Condrey also had long-running feuds with The New Breed (Chris Champions and Sean Royal) as well as The Road Warriors (Animal and Hawk). The feud with the Road Warriors included a high profile Scaffold Match at Starrcade 1986, which the Midnight Express lost.
QUESTION: What did Dennis Condrey do?
IN: Thomas Cowperthwait Eakins (July 25, 1844 - June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important artists in American art history. For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy.

Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists.  In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector.  After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism.  An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired.  The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
QUESTION:
What else made Eakins pursue photography?