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Wham! is a 2023 documentary film about the English pop duo Wham! consisting of George Michael and Andrew Ridgeley. The film marks the 40th anniversary of their 1983 debut album Fantastic. Directed by Chris Smith it relies primarily on rare archive footage and audio interviews by the duo, including television appearances, concert footage, private home video, behind-the-scenes outtakes, and family comments all linked together using scrapbooks created by Ridgeley's mother. The film was co-produced by Ventureland / Passion Pictures, Nemperor Production, and Library Films with Altitude Film and Netflix serving as distributors.

Wham! had its world premiere at the Sheffield DocFest on 17–18 June 2023 and given a limited theatrical release in the United Kingdom on 27 June. It was reviewed as a cleverly stitched together film, using audio posthumously of Michael and new audio from Ridgeley. It was released worldwide to stream on 5 July 2023 on Netflix and received generally positive reviews from critics. The film was nominated for a BAFTA Award for Best Documentary.

Synopsis
Wham! begins with Ridgeley and Michael who first met at Bushey Meads School in 1975 when they were 12 and 11 years old, respectively. It covers the journey of the pop duo featuring home videos and never-before-seen archive footage. The film is all framed together using a large series of scrapbooks with articles and photos documented by Ridgeley's mother throughout the film. It discusses how they put together their first demo tape with a full version of "Wham Rap!" and a portion of "Careless Whisper" recorded in Ridgeley's front room, eventually signing a record deal with Innervision Records in March 1982. An important turning point for the band after the release of their first single "Wham Rap! (Enjoy What You Do)" which failed to enter the UK Singles Chart, was an opportunity to appear on Top of the Pops in November 1982 performing "Young Guns (Go for It)" which rose in the chart from 42 eventually reaching number 3. Wham! follow up with a reissue of "Wham Rap!" which becomes a hit charting at number 8 and "Bad Boys" at number 2. "Club Tropicana" see the duo fly to the Spanish island of Ibiza, their first music video shoot abroad. It was filmed at Pikes Hotel with Ridgeley describing it as being more in line with their intended image. The single becomes a chart success in Europe.

They later sign to Epic Records with Simon Napier-Bell as their manager due to a dispute with Innervision. In 1984, the band went to Studio Miraval in Southern France to record their second studio album Make It Big. Wham! discuss the big success of their first number 1 single "Wake Me Up Before You Go-Go" and how Michael was inspired by a note Ridgeley had left on his bedroom door for his mother to wake him up the next morning. In late 1984, Michael describes how he felt attending the event to record Band Aid's "Do They Know It's Christmas?" at Sarm West Studios which would coincide with the release of their own single "Last Christmas", showing outtakes from "Last Christmas" video shoot filmed in Saas-Fee, Switzerland.

It concludes with Ridgeley and Michael reflecting on their sell-out farewell concert the Final on 28 June 1986 at Wembley Stadium. The film ends with unseen alternative music video footage of "I'm Your Man", with the song playing over the credits.

Development
The initial concept for a documentary film was when Ridgeley contacted co-producer Simon Halfon about the idea, around the same time as Ridgeley's 2019 memoir ''Wham! George & Me''. Halfon then pitched the project to Kate Townsend, the VP for original feature documentaries at Netflix and John Battsek. In June 2022, it was announced that a documentary film about the band Wham! was in production and had the official support of Ridgeley, with Chris Smith signed on to direct. The official social media of Ridgeley and Michael announced and asked the public for any footage they may have.

In the early stages of the project, Smith said that he approached it with the possibility of using on-screen interviews, however, during the editing process, Smith had decided to use a variety of archive interviews of Michael throughout the years and a new audio interview from Ridgeley. Smith, Lyons (editor), Halfon (producer), and Black (archive producer) spent a number of days in Ridgeley's studio during the recording. According to Smith, one of the biggest surprises were the scrapbooks (around 50), that Ridgeley's mother put together documenting the entire four years.

Among the tapes of archival material of varying quality discovered and located by the team was a VHS tape of their 1983 Hammersmith Odeon concert from the Club Fantastic Tour owned by Wham! bass player Dave West. This was found not long before the film's completion. Also available were the original demos of "Wham Rap!" and "Careless Whisper" recorded by Paul Mex for their eventual record contract. Finding footage for the Final concert was also an important inclusion.

The film restoration was performed by R3store Studios in London to clean and scan the archive material, with many reels untouched for 40 years. They also restored large portions of Wham! in China, the 1986 documentary film. During the post-production editing process, some material that did not make the final cut was footage of Wham! visiting the United States for the first time in 1983 to perform on television shows.

Music
Composer Tim Atack was in charge of the film's musical score. Studio cut excerpts used and concert footage of the following tracks in order:
 * "Wham Rap! (Enjoy What You Do)"
 * "Young Guns (Go for It)" (Top of the Pops performance)
 * "Bad Boys"
 * "Club Tropicana"
 * "Nothing Looks the Same in the Light"
 * "A Ray of Sunshine"
 * "Good Times" (concert)
 * "Wake Me Up Before You Go-Go"
 * "Freedom"
 * "Careless Whisper" (alternative music video footage)
 * "Everything She Wants" (alternative music video footage)
 * "Last Christmas" (music video outtakes)
 * "Do They Know It's Christmas?" (behind the scenes)
 * "Don't Let the Sun Go Down on Me" (Live Aid in 1985 with Elton John)
 * "The Edge of Heaven"
 * "I'm Your Man" (alternative music video footage)

Release
Wham! held its world premiere at the Crucible Theatre in Sheffield, England for the 30th Sheffield DocFest on 17 June 2023 with a Q&A session after the screening with the film's director Chris Smith and Wham! member Andrew Ridgeley, both via video call. On 18 June it was given another DocFest preview at the Showroom Cinema’s Warner Chappell Production Music screen. An advanced BAFTA screening followed on 20 June 2023 with Smith, Halfon, Battsek, Ridgeley and Wham! backing singer Shirlie Holliman in attendance for a Q&A session hosted Anna Higgs at BAFTA's Piccadilly headquarters in London. Further screenings with Smith in attendance followed in June at the Paris Theater in Manhattan and July at the Bay Theater in Palisades Village, Pacific Palisades, Los Angeles.

Wham! was released theatrically on 27 June 2023, in the United Kingdom by Altitude Film Distribution and was released on Netflix on 5 July 2023.

Marketing
An official trailer was released on 15 June 2023 and featured the songs "Wham Rap! (Enjoy What You Do)" and "Wake Me Up Before You Go-Go". While no official soundtrack for the film has been issued, a compilation album on various formats was released two days after the documentary film The Singles: Echoes from the Edge of Heaven.

Audience viewership
According to Netflix, Wham! was watched by 4.4 million people in its first five days of digital release worldwide in any language and ranked 8th for the most watched TV and film. It was the most-watched film in the United Kingdom debuting at number one for the week 3 July to 9 July 2023. It also reached the top ten most-viewed film list in 23 countries during the same week including Ireland, Greece, Cyprus, Australia, New Zealand, Denmark, Malta, Iceland, Belgium, Netherlands and Canada. The following week 10-16 July 2023, the film was the second most-watched film in the U.K. and Ireland and remained as a top 10 film in eight other countries.

Critical response
Upon its premiere at the 2023 Sheffield DocFest, the film received positive reviews from critics. On Metacritic, the film holds a weighted average score of 73 out of 100 based on 16 critics, indicating "generally favorable reviews".

Screen International film critic Fionnuala Halligan wrote, "The quality is far above the norm for this type of memoir assemblage, even if the substance is full of air bubbles..." In a positive 4/5 star review for the London Evening Standard, El Hunt called it an "illuminating film" with it being "cleverly stitched together and drawing on a vast archive of audio recordings, their narrative does not shy away from reappraising the band's past and even calling themselves out." Wendy Ide from The Guardian gave the film 4 stars out of 5, saying, "The film, which creates a dialogue between recent interviews with Ridgeley and older archive recordings of Michael, pays tribute to the close bond between the two Bushey Meads school friends who found themselves living the dream."

Nick Hilton of The Independent was critical of the film, rating the film two of five stars saying, "Wham! inadvertently becomes a music documentary without much interest in music. Like the band themselves, this is a breezy watch, but if there's profundity beneath the perms and the cut-offs, the film struggles to find it." Robert Moran from The Sydney Morning Herald felt the film was "as bright as the band's short-shorts and as satisfying as their enduring hits."

San Francisco Chronicle's Mick LaSalle wrote that Wham! "tells a sweet story, but also a goofy and entertaining one, because these guys were more '80s than anybody, more even than Miami Vice and Duran Duran", giving it 3 out of 4 marks. Chicago Sun-Times's Richard Roeper wrote that "the end result is a feel-good documentary about a feel-good band who were never destined for a decades-long run but had one hell of a good time dancing at the top of the pop charts for a few crazy years", rating the film three of four stars. Kevin Harley, writing for the Radio Times gave it 3 stars, saying, "While the film can seem somewhat shallow, it works best as a warmly nostalgic celebration of fleeting youth and friendship." Debiparna Chakraborty from Far Out gave it 3.5 out of 5 stars, writing "...the documentary acts as a vehicle for nostalgia, celebrating the effervescence of youth and the mercurial nature of fame." Christy Lemire of RogerEbert.com described it as "a total blast, regardless of your level of fandom. On the most superficial level, it's just a joy to relive this time of pop culture excess and sing along with these insanely catchy tunes."

Synopsis
Wham! begins with Andrew Ridgeley and George Michael who first met at Bushey Meads School in 1975 when they were 12 and 11 years old. It covers the journey of the pop duo featuring private home video and never-before-seen archive footage. The film is all framed together using a large series of scrapbooks with articles and photos documented by Andrew's mother throughout the film. It discusses how they put together their first demo tape with a full version of Wham Rap! and a portion of Careless Whisper recorded in Ridgeley’s front room. Eventually signing a record deal with Innervision Records in March 1982. A turning point for the band after the release of their first single Wham Rap! which stalled in the official UK charts, was an appearance of Top of the Pops in November 1982 performing Young Guns (Go For It) which rose in the charts to number 3. By 1984, Wham! discusses the big success of their first number 1 single "Wake Me Up Before You Go Go" and how Michael was inspired by a note left by Ridgeley on his bedroom door asking to wake him up before he left the house. Andrew wrote "Wake me up up before you go" by mistake, then adding "go go".

In 1982, the best of friends and still teenagers - George Michael and Andrew Ridgeley as WHAM! set out to conquer the world. By June 1986 they played their very last gig at Wembley Stadium having done exactly that. Now for the very first time, told in their own words, the amazing story of how in four years they dominated the charts around the world with timeless and classic pop songs. Hit after hit - Club Tropicana, Wake Me Up Before You Go Go, Freedom, I'm Your Man and of course Last Christmas. Their time in the spotlight was white-hot, becoming the very first western pop act to play in China. It was a time that both encapsulated and epitomised not just their youth, but also those of the many millions of fans that adored them.

The film ends with new alternative music video footage of "I'm Your Man", the song plays over the credits.

Development
The idea of a documentary film project was when producer Simon Halfon put forward the idea whilst having lunch with Andrew Ridgeley in 2019. In June 2022, it was announced that a documentary film about the band Wham! was in production and had the official support of Andrew Ridgeley, with Chris Smith signed on to direct. The official social media of Ridgeley and Michael announced and asked the public for any footage they may have.

In the early stages of the project, Smith said that he approached it with the possibility of using on-screen interviews, however, during the editing process, Smith had decided to use the archival audio of George Michael with a new audio interview from Ridgeley. A number of days were spent in Ridgeley’s studio during the recording. According to Smith, one of the biggest surprises were the scrapbooks (around 50), that Ridgeley’s mother put together documenting the entire four years.

Tapes of archival footage of varying quality were discovered and located by the team included a VHS tape of their 1983 Hammersmith Odeon concert from the Club Fantastic Tour owned by Wham! bass player Dave West. This was found not long before the film’s completion.

Music
Composer Tim Atack was in charge of the film's musical score. Studio cut excerpts used and concert footage of the following tracks in order:
 * "Wham Rap! (Enjoy What You Do)"
 * "A Ray of Sunshine"
 * "Young Guns (Go for It)" (Top of the Pops performance)
 * "Bad Boys"
 * "Club Tropicana"
 * "Nothing Looks the Same in the Light"
 * "Wake Me Up Before You Go-Go"
 * "Freedom"
 * "Last Christmas" (archive music video outtakes)
 * "Careless Whisper" (alternative music video footage)
 * "Everything She Wants" (alternative music video footage)
 * "Don't Let the Sun Go Down on Me" (Live Aid in 1985 with Elton John)
 * "I'm Your Man" (alternative music video footage)

Release
Wham! held its world premiere at the Crucible Theatre in Sheffield, England for the 30th Sheffield DocFest on 17 June 2023 with a Q&A session after the screening with the film's director Chris Smith and Wham! member Andrew Ridgeley, both via video call. On 18 June it was given another DocFest preview at the Showroom Cinema’s Warner Chappell Production Music screen. An advanced BAFTA screening followed on 20 June 2023 with Smith, Halfon, Battsek, Ridgeley and Wham! backing singer Shirlie Holliman in attendance for a Q&A session hosted Anna Higgs at BAFTA's Piccadilly headquarters in London. Further screenings with Smith in attendance followed in June at the Paris Theater in Manhattan and early July at the Bay Theater in Palisades Village, Pacific Palisades, Los Angeles.

Wham! was released theatrically on 27 June 2023, in the United Kingdom by Altitude Film Distribution and was released on Netflix on 5 July 2023.

Marketing
An official trailer was released on 15 June 2023 and featured the songs "Wham Rap! (Enjoy What You Do)" and "Wake Me Up Before You Go-Go".

Critical response
Upon its premiere at the 2023 Sheffield DocFest, the film received positive reviews from critics. On Metacritic, the film holds a weighted average score of 73 out of 100 based on 13 critics, indicating "generally favorable reviews".

Screen International film critic Fionnuala Halligan wrote "The quality is far above the norm for this type of memoir assemblage, even if the substance is full of air bubbles..." In a positive 4/5 star review for the London Evening Standard, El Hunt called it an "illuminating film" with it being "Cleverly stitched together and drawing on a vast archive of audio recordings, their narrative does not shy away from reappraising the band’s past and even calling themselves out." Wendy Ide from The Guardian gave the film 4 stars out of 5, said "The film, which creates a dialogue between recent interviews with Ridgeley and older archive recordings of Michael, pays tribute to the close bond between the two Bushey Meads school friends who found themselves living the dream."

San Francisco Chronicle’s, Mick LaSalle described it "“Wham!” tells a sweet story", he continued "but also a goofy and entertaining one, because these guys were more ’80s than anybody, more even than “Miami Vice” and Duran Duran." giving it 3 out of 4 marks. Chicago Sun-Times's Richard Roeper summed up the film as "The end result is a feel-good documentary about a feel-good band who were never destined for a decades-long run but had one hell of a good time dancing at the top of the pop charts for a few crazy years."; he rated the film three of four stars. Kevin Harley, writing for the Radio Times gave 3 stars, saying "While the film can seem somewhat shallow, it works best as a warmly nostalgic celebration of fleeting youth and friendship." Debiparna Chakraborty from Best of Netflix gave it 3.5 out of 5 stars, writing "...the documentary acts as a vehicle for nostalgia, celebrating the effervescence of youth and the mercurial nature of fame." Christy Lemire of RogerEbert.com wrote, "a total blast, regardless of your level of fandom. On the most superficial level, it’s just a joy to relive this time of pop culture excess and sing along with these insanely catchy tunes."

Mystify
Mystify: Michael Hutchence is a 2019 documentary film about the life of musician, actor and singer-songwriter Michael Hutchence, lead vocalist of the Australian rock band INXS. It is written and directed by Richard Lowenstein and relies primarily on rare archive footage, outtakes, private home video and audio commentary provided by friends, ex-partners, band members, record producers and family. An Australian-British venture, the film was co-produced by Ghost Pictures, Passion Pictures with Madman Entertainment and Dogwoof serving as distributors. It is in association with Baird Films and Film Victoria. Mystify: Michael Hutchence had its world premiere at the Tribeca Film Festival on 25 April 2019, and was theatrically released in Australia on 4 July 2019. The film was released in the United Kingdom on 18 October receiving generally positive reviews from critics.

Synopsis
Mystify covers the life of INXS lead singer Michael Hutchence, featuring private home video and archive footage. During the relationship between Minogue and Hutchence, previously unseen privately shot footage shows them in Hong Kong harbour, on board the Orient Express, and at Hutchence’s home in the south of France. In the early 1990s an incident occurred while cycling on holiday in Copenhagen with then girlfriend Helena Christensen, where Hutchence gets shoved to the ground by a taxi driver, hitting his head on the curb and losing consciousness. According to Christensen, Hutchence was rushed to hospital and woke up determined to leave. The injury resulted in Hutchence having permanent loss of sense of smell and taste as discussed by psychologist and cognitive neuroscientist, Rachel Herz. Clips show Yates and Hutchence in a 1985 interview on Channel 4's rock magazine programme The Tube and many years later on The Big Breakfast interview in October 1994. Recollections with voice-overs in the film include Michele Bennett, Kylie Minogue, siblings Rhett and Tina Hutchence, father Kelland Hutchence, stepmother Susie, producer Nick Launay, Bono and INXS band members; composer and keyboardist Andrew Farriss, guitarist Tim Farriss, bassist Garry Gary Beers and drummer Jon Farriss. The film ends with INXS performing at London’s Wembley Stadium and the song "Mystify" plays over the credits.

Development
Plans for a biographical drama film about Michael Hutchence were being developed with a script written by Australian film-maker Richard Lowenstein. Lowenstein had previously collaborated with Hutchence in Dogs in Space and INXS music videos. The film was to feature an actor as Hutchence, however the idea of casting someone proved very difficult and with the announcement of the miniseries INXS: Never Tear Us Apart, it made the director switch to an archival documentary. The documentary film gathered early development funding and support by the Australian Broadcasting Corporation (ABC), Screen Australia and Film Victoria.

A pitch trailer was produced and shown at the 2016 Australian International Documentary Conference in Melbourne where BBC Music took interest. In July 2016, it was announced that a documentary film about the singer-songwriter Michael Hutchence had the official support of INXS band members and manager Chris Murphy, with Richard Lowenstein signed on to direct.

The director conducted the first interview (for the biopic research) in 2010 with U2 lead singer Bono who were on tour in Melbourne. Band members from INXS were then interviewed and filmed in 2011, gradually building up an archive of footage. During the interview process, Lowenstein had decided to record just the audio, having individual interviewees in a dark recording studio. A total of around sixty people were interviewed.

Tapes of archival footage of varying quality were found in the directors attic lost for twenty years. In October 2017, long negotiations began for the rights to use INXS music in the film, but ended with no deal due to a dispute with Murphy of Petrol Records over the documentary’s ownership in return. This lead the director to produce an edit of the film with no music from the INXS catalogue. Eventually, Lowenstein made contact with Hutchence’s daughter Tiger Lily (the daughter of Hutchence and Paula Yates) in London, through Susie Hutchence’s advice. Lowenstein flew to London in October 2018 to meet. After viewing a rough cut of the film, Tiger Lily made contact with the band’s management and record company. A day later, a deal was struck to use nine INXS tracks.

The post-production and supervision of the film were completed by United Finishing Artists with the sound mixing done at Soundfirm, Melbourne.

Music
Composer Warren Ellis was in charge of the film's music and score. The documentary features various digitally-restored tracks which were remixed by Giles Martin in Dolby Atmos supplied by INXS. Music also included are by Hutchence, Max Q with Ollie Olsen, Kylie Minogue, Nick Cave, instrumentals by Ólafur Arnalds and Nils Frahm.

The film includes tracks, such as: "Never Tear Us Apart" and "Sometimes". Lowenstein stated that there has been no official soundtrack album released, however, a complementary album was released on 5 July 2019 titled Mystify: A Musical Journey with Michael Hutchence.

Release
The world premiere of Mystify: Michael Hutchence took place in Manhattan at the Tribeca Film Festival on 25 April 2019, including a live Q&A session with the film’s director after the screening. Over the next few months it played in festivals around Canada, Australia, Czech Republic, Germany and New Zealand, building anticipation: at the Hot Docs in Toronto, Sydney, Munich and New Zealand Film Festivals. Advance screenings with Lowenstein in attendance for special Q&A sessions followed in June, at the Astor Theatre in Melbourne, Ritz Cinema in Sydney and the European premiere held at the Karlovy Vary International Film Festival.

An official trailer was released on 4 June 2019 and featured the songs "Mystify" and "Never Tear Us Apart" by INXS. It was released in cinemas across Australia on 4 July and in New Zealand on 12 September through Madman Entertainment.

Initially the film was screened out of competition during the BFI London Film Festival on 4 October 2019 at the Curzon Mayfair Cinema and then released in the United Kingdom on 18 October through Dogwoof. The Netherlands saw a release on 24 October by Piece of Magic entertainment. In the United States Fathom Events and Shout! Factory will theatrically release the film for one-night-only on 7 January 2020.

Broadcast
In Australia, the documentary was aired by ABC Television during 24 November 2019. Channel BBC Two aired the film in the UK on 28 December.

Home media
It was released on DVD, digital and Blu-ray disc in Australia by Madman Entertainment on 25 November 2019. It contains twelve special features including early days - where they discuss the band’s formation, acting, discussing Prague where three INXS music videos were filmed and Professor of Psychiatry, Steve Ellen’s analyses into Hutchence’s death. Dogwoof released the film in the United Kingdom and Ireland on 9 December. The extra features include an interview with director Richard Lowenstein and producer Chris Thomas, deleted scenes and theatrical trailer. It entered the UK Official DVD Chart at No. 98, the week ending 21 December.

Box office
Mystify: Michael Hutchence grossed A$1.1 million (US$705,044) in Australia and $453,851 in other territories, for a total worldwide gross of $1,158,895.

Australia
In Australia it made A$368,642 (US$257,216) from 114 screens including previews and festival screenings, in its opening weekend, finishing tenth at the box office grossing A$485,825 ($338,979) in the week ending 7 July. It made another A$179,000 ($125,772) from 79 screens in its second weekend with a 51% decrease from the first week; finishing thirteenth and grossing A$761,000 ($534,167) through 11 days. On its third weekend the film made A$83,000 ($58,678) from 55 screens finishing seventeenth grossing a total of A$893,000 (US$628,874). After the fourth week of release, the film shown on 61 screens had a total of A$988,000 crossing the A$1 million mark before the following weekend. On its ninth week at the end of August it was played on 10 screens grossing a total of A$1,141,000.

Other territories
On its first weekend in New Zealand it made US$8,713 across 21 screens. It made another $1,329 from 7 screens on its second weekend. By its fifth week it had grossed a total of $14,699. In the United Kingdom it made £62,776 ($81,453) from 8 cinemas with an average of £7,847 ($10,182) per screen in its opening weekend, finishing twelfth at the box office. It made another £10,146 ($13,021) in its second weekend, with the film added to 3 screens over the previous week for a total of 11; grossing £79,199 ($101,641) through 12 days. In its third weekend it made £4,578 ($5,929) shown on 9 cinemas, and in its fourth weekend the film fell 72% to £1,434 ($1,834) screened at 4 cinemas. On its fifth weekend it made £1,353, a drop of 6% and on its sixth it made £621 on 3 cinemas. On its seventh weekend it made £3,139, a 405% increase of over the previous week to have a U.K. box office total of £110,345 ($142,767).

Critical response
Upon its premiere at the 2019 Tribeca Film Festival, the film received positive reviews from critics. On review aggregator Rotten Tomatoes, the film holds an approval rating of based on  reviews, with an average rating of. The site's critical consensus reads, "Engrossing for casual listeners as well as hardcore fans, Mystify: Michael Hutchence sheds a poignant light on a life and career cut short by tragedy." Metacritic assigned the film a weighted average score of 73 out of 100, based on 8 critics, indicating "generally favorable reviews".

Variety film critic Katherine Turman described it as "While Mystify in many ways amplifies the tragedy of Hutchence's death, it also goes a long way toward explaining and humanizing it." In a positive review for Vogue, Laird Borrelli-Persson wrote "Mystify is proof that Hutchence was, and is, much loved. Also missed, in excess." Graham Fuller of Screen International called the film a "Stand-out documentary" and wrote, "The densely woven and worshipfully presented archival footage of the INXS frontman, on stage and off, is a reminder that in terms of wild talent and Dionysian sexiness, he belongs in the same company as Mick Jagger, Jim Morrison, and Robert Plant." He concludes: "What lifts it above the majority of documentaries about celebrities and artists is its extraordinary intimacy." Harry Windsor, writing for the Hollywood Reporter, said: "It should prove essential viewing for the subject's fans: a tender portrait of the man's highs and lows that sheds new light on the broken years that directly preceded his suicide at 37."

Leigh Paatsch writing for the Herald Sun gave the film 4/5 stars, saying: "Quite wisely, the new documentary Mystify: Michael Hutchence doesn't concern itself with smoothing out all the erroneous wrinkles that have crumpled the late INXS frontman's life story over time." Karl Quinn of The Age called the film Lowenstein's "slow-burning labour of love." The Australian's David Stratton summed up the film as "a terrific documentary, and as complete a portrait of this talented singer as you could wish." calling it "a detailed and revealing portrait"; he rated the film four out of five stars. Vicky Roach from The Daily Telegraph gave the film 3 out of 5, saying: "While it’s more visually interesting, there are times when this storytelling device results in a kind of emotional disconnect. And although they corroborate Lowenstein’s version of events, the band’s role in Hutchence’s story feels strangely under-amplified — emotionally and musically." She summed up the film as "A measured, personal, densely woven account of the man behind the myth." DM Bradley, writing for the Adelaide Review, said: "Richard Lowenstein’s beautifully sad documentary study of the all-too-short life of his late friend Michael Hutchence is a most moving memorial, and rather more about the man than the music."

Graeme Tuckett from Stuff.co.nz gave the film 3.5 out of 5 stars, saying: "Mystify is unapologetically one for the fans. But, seeing it as someone who thought he didn't particularly care about Hutchence's story, I was moved." Eddie Harrison of The List awarded the film 4 out of 5 stars, remarking that "Mystify can only be a cautionary tale, yet there's plenty of evidence that Hutchence was an electrifying performer in his prime." Time Out’s, Philip De Semlyen described it "As the tragedy unfolds, there's a strange solace in seeing this captivating enigma somehow emerging intact", giving it 4 out of 5 marks. The Sunday Times Edward Porter gave it three out of five stars, wrote "There are insights into the gloomy later years, but it's memorable chiefly for its envy-inducing picture of the upside of being a rock star."

Accolades

 * ASSG Best Sound for a Documentary: Robert Mackenzie - Re-Recording Mixer & Sound Designer, Simon Rosenberg - Dialogue Editor, Mick Boraso - Sound Designer, Lynn-Maree Milburn - Additional Sound Designer.

Voter nominated
The film was nominated for Best Music Film at the NME Awards on 12 February 2020.

84
'Wham! in China: Foreign Skies' is a 1986 documentary film about the English pop duo Wham! consisting of George Michael and Andrew Ridgeley. It follows Wham! on their 10-day visit to China during the 1985 world tour. The film is a British venture produced by Big Boys Overseas Limited and CBS Records, with CBS/Fox Video serving as distributor. Directed by Lindsay Anderson and produced by Jazz Summers, Martin Lewis and Simon Napier-Bell. Wham! made history in China by being the first Western pop act to visit the country. ''Wham! in China: Foreign Skies'' had its world premiere at the farewell concert held at London’s Wembley Stadium on 28 June 1986.

Development
Manager Simon Napier-Bell’s negotiation for the two performances took over 18 months. Napier-Bell used cunning tactics to sabotage the efforts of rock band Queen to be the first to play in China: he made two brochures for the Chinese authorities – one featuring Wham! [Michael] as "wholesome", and one portraying Queen lead singer Freddie Mercury in typically flamboyant poses. The Chinese opted for Wham!.

In December 1984 Wham! set out for their second concert tour, The Big Tour a commercial success, which promoted primarily their second studio album, Make It Big. The concept of filming Foreign Skies began when producer Martin Lewis was busy directing the 1985 documentary about Julian Lennon, titled Stand by Me - A Portrait of Julian Lennon. During a Wham! performance in February 14, 1985 at the Beacon Theatre in New York, he met the duo’s co-manager Jazz Summers and discussed the possibility of filming the China tour. When Lewis had permission for the film, it took two weeks to prepare the 35-member international crew, including transportation of a sound desk and super 16 camera equipment.

British director Lindsay Anderson was engaged to accompany Wham! to China in April 1985. The second leg in East Asia began with two concerts in Hong Kong, before moving to China with a concert at the Workers' Gymnasium in Beijing on 7 April in front of 12,000 people. They also played a concert on 10 April in front of 5,000 in Canton. The two concerts were played without compensation, however Wham's visit to China attracted huge media attention across the world.

Post-production
The film created by Strathford Hamilton and Andy Morahan was shot over two weeks, was then edited over summer and autumn 1985 in London. Anderson called his one-hour and 18 minute film If You Were There. In the final stages of editing, Anderson was dismissed in October 1985 by Wham!'s management, the editing team quit, and the film was entirely re-edited, renamed and released as ''Wham! in China: Foreign Skies''.

Music
The soundtrack used in the film was taken from the albums Fantastic and Make It Big. The documentary features some concert footage and studio cut excerpts of the following tracks:
 * 1) "Bad Boys"
 * 2) "Club Tropicana"
 * 3) "Blue"
 * 4) "Wake Me Up Before You Go-Go"
 * 5) "Ray Of Sunshine"
 * 6) "Young Guns (Go For It)"
 * 7) "Careless Whisper" (concert footage)
 * 8) "Everything She Wants" (concert footage)
 * 9) "Like A Baby"
 * 10) "If You Were There"
 * 11) "Runaway"
 * 12) "Love Machine"

Release
The world premiere of ''Wham! in China: Foreign Skies was shown at London’s Wembley Stadium on large video screens on Saturday 28 June 1986 before The Final'' began. With an audience of 72,000; this set a record for the largest audience at a film premiere.

Home media
It was released on VHS, Betamax and LaserDisc in October 1986. The documentary has yet to be issued on DVD and only one track "Blue (Live In China)" from the film has been officially released on their studio album Music from the Edge of Heaven. In the United States the video retailed at $19.98 and debuted at number 8 on Billboard's Top Music Videocassettes chart, for the week ending 25 October 1986 and climbed to number 4, two weeks later. As the video started to climb up the chart, and for the week ending 6 December 1986, it reached number 1, replacing The #1 Video Hits by Whitney Houston. ''Wham! in China: Foreign Skies'' was the sixteenth best-selling music videocassette for 1986. It was present on the top 20 chart for a total of 17 weeks until February 1987. The video was certified gold in April 1987 by the Recording Industry Association of America (RIAA) for shipment of 50,000 copies.

Credits

 * Executive Producers: Jazz Summers and Simon Napier-Bell
 * Musical Production and Arrangement: George Michael
 * Additional Music: Richard Hartley
 * Supervising Editor: Peter Davies
 * Editor: Nigel Galt
 * Assistant Editors: Peter Culverwell, Len Tremble, Mark Mostyn, Finn Arden
 * Director of Photography: David Myers
 * Photography: Peter Mackay, Paul Goldsmith, Lee Kenower, Dennis Smith, Alvin Allen
 * Assistant Cameramen: George Stephenson, Paul Cameron, Leslie Otis, Bobby Shepherd
 * Camera Technician: Ernest Jew


 * Gaffer: James Sofranko
 * Documentary Lighting Director: Michael Lesser
 * Song Mixing: Chris Porter
 * Sound Editor: Alan Plaey
 * Re-recording Mixer: Dean Humphries
 * Documentary Sound: Paul Rusnak
 * Lighting Designer: Jonathon Smeeton
 * Associate Producer: Michael Owen
 * Post-production Supervisor: Sarah O’Brien
 * Assistant Director: Steven Bull
 * Location Manager: Joel Hinman
 * Make-up: Melanie Panos
 * Wardrobe: Yioda Panos
 * Titles: Optical Film Effects

86
The Final was the farewell concert by English musical duo Wham!. It was held at Wembley Stadium, London on Saturday 28 June 1986. A total of 72,000 people attended the event, which included support artists and special guests, such as Elton John.

Background
Wham! had announced the breakup in 1986. During late February Michael was a guest on the talk show Aspel & Company, he announced that Wham! were to break-up and were to perform one last show.

During production rehearsals for the Wembley concert, Wham! performed two warm-up shows in aid of Capital radio’s “Help a London Child” charity on the 23rd and 24th of June at the Brixton Academy in London.

Synopsis
The first ever public viewing of the Wham! in China: Foreign Skies documentary film was shown on large screens on either side of the stage. This set a record for the largest audience at a film premiere.

At 7.35pm an eight-minute introduction to "Everything She Wants" began from behind a huge black curtain which had "The Final" on it in huge white letters. It opens to reveal Michael - dressed in leather, black jeans, wearing sunglasses and dancing in sync with two other dancers. Ridgeley, Shirley and Pepsi come to the stage. Ridgeley took off his long black coat and strolled up the walkways to take off his black gloves. "Club Tropicana" then follows. "This is the best thing I've ever looked at". Michael explains, "We've got four years of thank-yous to say this evening... and I know we're going to enjoy saying them. So let's get started!". "Heartbeat" and "Battlestations" was performed.

Afterwards, it was "Bad Boys", Pepsi and Shirlie made a brief appearance wearing bouffant wigs, included was "If You Were There". A large white piano was wheeled on stage, Elton John was dressed in Ronald McDonald make-up and costume, a shiny red wig, a red nose, a stripey red t-shirt and yellow dungarees. Guitarist David Austin joins and "The Edge of Heaven" begins. Michael splits the audience into three groups and gets each group to sing a section. They perform John’s 1973 hit "Candle In The Wind". "Credit Card Baby", "Like A Baby", "Love Machine", "Where Did Your Heart Go?" all followed in quick succession. Pausing before a cover of Carly Simon’s "Why" is performed. Wham! begin their festive single "Last Christmas". Michael got the audience to do the "Wave" and everyone holds up the orange side of their programmes. It transfers into "Wham! Rap". After the ballad "A Different Corner" and "Freedom" end, they disappear for a short while and come back for "Careless Whisper" and "Young Guns". George ran around the stage and then it is "Wake Me Up Before You Go-Go". Wham! come back to do the encore, their last song, "I'm Your Man". They are alone on stage. Michael then takes off his black jacket and Ridgeley is in suede with denim flies. Lights flash around, Elton John joined again and this time has a pink mohican. Simon Le Bon (of Duran Duran) made a surprise entrance on stage. Wham! embrace, the moment is captured on the large screens.

Opening acts

 * Gary Glitter
 * Nick Heyward

Set list
21. "I'm Your Man" (ft. Elton John / Simon Le Bon)
 * 1) "Everything She Wants"
 * 2) "Club Tropicana"
 * 3) "Heartbeat"
 * 4) "Battlestations"
 * 5) "Bad Boys"
 * 6) "If You Were There"
 * 7) "The Edge of Heaven"
 * 8) "Candle in the Wind" (ft. Elton John)
 * 9) "Credit Card Baby"
 * 10) "Like A Baby"
 * 11) "Love Machine"
 * 12) "Where Did Your Heart Go?"
 * 13) "Why"
 * 14) "Last Christmas"
 * 15) "Wham Rap! (Enjoy What You Do)"
 * 16) "A Different Corner"
 * 17) "Freedom"
 * 18) "Careless Whisper"
 * 19) "Young Guns (Go For It)"
 * 20) "Wake Me Up Before You Go-Go"
 * Encore

Date
Source:

Personnel
Guests
 * George Michael - Lead vocals
 * Andrew Ridgeley - Guitar
 * Helen "Pepsi" DeMacque - Backing vocals
 * Shirlie Holliman - Backing vocals
 * Sir Elton John
 * Simon Le Bon

Whamamerica 85
Whamamerica! (also promoted as Make It Big Tour ‘85) was a concert tour by English musical duo Wham!. The tour was launched following the success of their 1984 certified multi-platinum studio album Make It Big, which sold four million copies in the United States by the end of the year. The tour spanned nineteen days between August and September 1985, comprising nine shows across the United States and Canada.

Overview
The Whamamerica! tour began in late August 1985. It travelled around the United States, opening at Poplar Creek Music Theater in Illinois in the Midwest, then heading across the border to Canada and all the way down the West Coast to northern and Southern California, south to Texas and then back east to Philadelphia and Detroit. Michael’s look had changed with his hair cut to a shorter length and the colour being close to his natural darker shade. He also had a new designer stubble and larger earrings, a yellow fringed jacket and leather gloves. Their last ever live US performance was at the Pontiac Silverdome in Detroit. They had played to over 302,568 fans.

Opening acts

 * Katrina and the Waves (Los Angeles, Houston, Oakland, Miami and Philadelphia)
 * The Pointer Sisters (Toronto, Oakland, Miami)
 * Chaka Khan (Los Angeles, Philadelphia)

Set list
Philadelphia


 * 1) "Everything She Wants"
 * 2) "Credit Card Baby"
 * 3) "Blue (Armed with Love)"
 * 4) "If You Were There"
 * 5) "The Edge of Heaven"
 * 6) "Like a Baby"
 * 7) "Wham Rap! (Enjoy What You Do)"
 * 8) "Heartbeat"
 * 9) "Where Did Your Heart Go?"
 * 10) "Love Machine"
 * 11) "Wake Me Up Before You Go-Go"
 * 12) "Freedom"
 * 13) "Careless Whisper"
 * 14) "Good Times"
 * 15) "Everything She Wants"

Personnel

 * George Michael – lead vocals
 * Andrew Ridgeley – guitar

84-85
The Big Tour was the second concert tour by English musical duo Wham!, launched in support of their multi-platinum second studio album Make It Big with over six million units sold in the US alone. The tour spanned 4 months between December 1984 and April 1985, comprising 39 shows across the UK, Ireland, Japan, Australia, United States, Hong Kong and China. Wham! made history in China and achieved worldwide publicity by being the first Western pop act to visit the country.

Overview
The Big Tour opened at Whitley Bay Ice Rink on 4 December. The venue was small due to no other venues being available in the north east, they were booked for two more shows between concerts in Glasgow, Dublin and Leeds. Just as the UK portion of the tour was in its stride, George Michael hurt his back during a performance and the band had to cancel five consecutive shows which were put back until February and March. They continued the UK leg with shows in Wembley Arena during the Christmas period to around 50,000 fans during which “Last Christmas” reached number two in the UK Singles Chart.

The new year began the tour in Japan performing in the Fukuoka Sunpalace with other dates in Osaka, Nagoya, Tokyo and Yokohama. In Australia, five shows followed in Melbourne and Sydney before continuing in the United States, with a sellout concert at the Palladium in front of 4,400 in February 1985. Wham! returned to the United Kingdom with earlier dates having been rescheduled.

Following a month break, the tour resumed in Hong Kong on 2 April 1985. The 10-day visit to China was the first by a Western pop group. The excursion was a publicity scheme devised by Simon Napier-Bell (one of their two managers—Jazz Summers being the other). It began with a concert at the Peoples' Gymnasium in Beijing (then Peking) in front of 13,000 people. They also played a concert in front of 5,000 in Canton. The two concerts were played without compensation. Wham!'s visit to China attracted huge media attention across the world. Napier-Bell later admitted that he used cunning tactics to sabotage the efforts of British rock band Queen to be the first to play in China: he made two brochures for the Chinese authorities – one featuring Wham! fans as pleasant middle-class youngsters, and one portraying Queen lead singer Freddie Mercury in typically flamboyant poses. The Chinese opted for Wham!.

""The first feeling was of failure, there was no way we could communicate. And when we actually found out what had gone on [with people being told not to dance] I was just furious. Obviously, I felt responsibility at the time to represent my generation from the west in a good light and pop music in a good light.""

- George Michael reflecting on the China visit in 1986

Recordings
A documentary film was shot over two weeks in April and edited over summer and autumn 1985 in London. The whole China visit was documented by British film director Lindsay Anderson and producer Martin Lewis in their film Wham! in China: Foreign Skies released in 1986. The first ever public viewing of Foreign Skies was shown on large video screens on Saturday 28 June 1986 at the farewell show "The Final".

Support acts

 * DJ Gary Crowley
 * Pepsi & Shirlie

Set list
Japan


 * 1) "Wake Me Up Before You Go-Go"
 * 2) "Club Tropicana"
 * 3) "Blue"
 * 4) "Heartbeat"
 * 5) "Credit Card Baby"
 * 6) "If You Were There"
 * 7) "Like a Baby"
 * 8) "Wham Rap! (Enjoy What You Do?)"
 * 9) "Freedom"
 * 10) "Careless Whisper"
 * 11) "Young Guns (Go for It!)"
 * Encore
 * 1) "Wake Me Up Before You Go-Go"
 * 2) "Last Christmas"

Beijing, China
 * 1) "Bad Boys"
 * 2) "Club Tropicana"
 * 3) "Blue"
 * 4) "Wake Me Up Before You Go-Go"
 * 5) "A Ray of Sunshine"
 * 6) "Young Guns (Go for It!)"
 * 7) "Careless Whisper"
 * 8) "Everything She Wants"
 * 9) "Like a Baby"
 * 10) "If You Were There"
 * 11) "Love Machine"

Tour dates
Tour dates as printed in the official Big Tour 1984-85 tour programme.

Personnel

 * George Michael & Andrew Ridgeley
 * Gary Crowley - Crowd DJ (Guest Star)
 * Tommy Eyre - M.D. & Keyboards
 * Trevor Murrell - Drums
 * Deon Estus - Bass
 * Hugh Burns - Guitars
 * Mark Fisher - Keyboards
 * Danny Cummings - Percussion
 * Paul Spong - Trumpet
 * Dave ‘Baps’ Baptiste - Saxophone
 * Raul D’Oliviera - Trumpet
 * Leroy Osbourne - Vocals
 * Janey Hallett - Vocals
 * Janet Mooney - Vocals
 * Shirlie Holliman - Dancer
 * Pepsi DeMacque - Dancer
 * Simon Napier-Bell - Management
 * Jazz Summers - Management


 * Jake Duncan - Tour Manager
 * Ken Watts - Production Manager
 * Dave Davis - Guitars & Keyboards
 * Dick Jones - Drums & Percussion
 * Tony Blanc - Sound Engineer
 * John Roden - Monitor Engineer
 * John ‘Judge’ Loudon - Lighting Engineer
 * Ross Balfour - Staging
 * Russell Sparks - Staging
 * Lesley Morrall - Wardrobe
 * Melanie Panayiotou - Wardrobe
 * Yioda Panayiotou - Make-up & Hairdressing
 * Dave Moulder - Personal Security
 * Ronnie Franklin - Personal Security
 * Connie Filippello - Press & P.R.
 * Mike Putland - Photographer
 * Mr & Mrs. Panos
 * Mrs. Jenny Ridgeley
 * Mrs. Tommy Eyre
 * Ms. Debbie Sweeny

83
Club Fantastic Tour (also advertised as Club Fantastic ‘83 Tour) was the debut concert tour by English musical duo Wham!, launched in support of their first studio album Fantastic (1983). It was sponsored by Fila sportswear and spanned two months from October to late November, comprising 30 sold out shows across England, Scotland and Wales.

Background
Wham! announced a tour in August. Their co-manager Simon Napier-Bell had a plan to raise some revenue; if little money was to be made from records, then it was time for the duo to get on the road, with a 30-date tour of the UK. He managed to get a £50,000 sponsorship deal with the sportswear manufacturer Fila, with George Michael and Andrew Ridgeley wearing the company's clothing on stage throughout the tour.

Halfway through the tour Michael lost his voice and had to cancel ten consecutive shows with concerts pushed back and rescheduled.

Concert synopsis
The show started with Michael entering the stage right-side in yellow Fila sports gear, and Ridgeley entering the stage left-side in red Fila sports gear while the band played "Bad Boys". Pepsi and Shirlie, backing singers and dancers, ran on stage for "Club Tropicana".

Ridgeley then announced the next song, "Blue", a slow love ballad. He held a plectrum in his mouth and shook hands. They then sang "Wham Rap!", dancing as a foursome. They continued with "A Ray Of Sunshine", which ended the first part of the set.

During the break a screen appeared and the crowd were shown family photos such as Ridgeley in pyjamas, and a young Michael in glasses. A mixed compilation of the group's music videos was played.

Then Michael sang "Careless Whisper" to a backing track on his own. He and Ridgeley changed into white Wham! singlet T-shirts and sang "Bad Boys". "Love Machine" followed, then "Nothing Looks The Same In The Light". "Come On" ended the set, with the two playing a mock game of badminton, occasionally whacking a shuttlecock out to the crowd.

The encore was "Young Guns" with the duo wearing camp cowboy outfits, "Wham Rap!" with them wearing white, and finally Chic's 1979 disco hit "Good Times".

Opening acts
The group decided to go back to their clubbing roots and had Gary Crowley (of Capital Radio) as the opening DJ act. Also included were some body poppers called Eklypse who did dance routines for over an hour before the show.

Set list
The first set saw the band play most of the hits from the Fantastic album before George Michael was on stage alone singing tracks like "Careless Whisper", an unreleased track.

The average set list was as follows: Break
 * 1) "Young Guns (Go for It)"
 * 2) "Club Tropicana"
 * 3) "Blue"
 * 4) "Wham Rap! (Enjoy What You Do)"
 * 5) "A Ray of Sunshine"
 * 1) "Careless Whisper"
 * 2) "Bad Boys"
 * 3) "Love Machine" (The Miracles cover)
 * 4) "Nothing Looks the Same in the Light"
 * 5) "Come On!"
 * 6) "Young Guns (Go for It!)"
 * 7) "Wham Rap! (Enjoy What You Do)"
 * 8) "Good Times"

Tour dates
Tour dates as printed in the official Club Fantastic 1983 tour programme.

Personnel

 * Andrew Ridgeley
 * George Michael
 * Shirlie Holliman
 * Pepsi DeMacque

Musicians
 * Tommy Eyre — keyboards
 * Deon Estus — bass guitar
 * Trevor Morrell — drums
 * Robert Ahwaii — guitar
 * David "Babs" Baptiste — saxophone
 * Paul Spong — trumpet
 * Colin Graham — trumpet
 * Janey Hallet — backing vocals
 * Gee — backing vocals
 * Jenny — backing vocals

Sponsor
 * Danny Cummings — percussion
 * Barry Mead — tour manager
 * Ken — production manager
 * Glenn — chaperone
 * Wendy — wardrobe
 * Lesley — wardrobe assistant
 * Mel — hair & makeup
 * Promoter — Harvey Goldsmith Entertainments
 * Management — 'Simon Napier Bell & Jazz Summers
 * Personal security — Dave Moulder
 * Concert Publishing Co. — programme & merchandising
 * FILA — sportswear

Comments
Gary Crowley – "Some of my bestest bestest memories will always include my stint as Wham!'s warm-up man on their debut Club Fantastic UK tour, 1983. The nearest I’ll ever get to being in the Beatles’ A Hard Day's Night." – December 26, 2016

2016
The 2016 Australian census was the seventeenth national population census held in Australia. The census was officially conducted with effect on Tuesday, 9 August 2016. The total population of the Commonwealth of Australia was counted as 23,401,892 – an increase of 8.8 per cent or 1,894,175 people since the. Norfolk Island joined the census for the first time in 2016, adding 1,748 to the population.

The ABS annual report revealed that there were $24 million additional expenses accrued due to the outage on the census website.

Results from the 2016 census were available to the public on 11 April 2017, from the Australian Bureau of Statistics website, two months earlier than for any previous census. The second release of data occurred on 27 June 2017 and a third data release was from 17 October 2017. Australia's next census is scheduled for 2021.

Collection methods
The 2016 census had a response rate of 95.1% and a net undercount of 1.0%, with 63% of people completing the Census online.

In the period leading up to census date the Australian Government decided that the retention period for names and addresses would be increased to up to four years, from 18 months in the 2006 and 2011 censuses, leading to concerns about privacy and data security. As such, some Australian Senate crossbenchers (from the Greens, Nick Xenophon Team and Jacqui Lambie Network) said they would not complete those specific sections of the census, despite the fines associated with incorrect completion of the census.

According to the Australian Bureau of Statistics the first release of census data became available to the public on the ABS website on 11 April 2017, two months earlier than for any previous census. The second release of data occurred on 27 June 2017 and a third data release was from 17 October 2017.

Online
For the first time, the ABS significantly favoured internet submission of census forms over the traditional paper forms, claiming it expected more than 65% of Australians would complete the census online. Reflecting this new preference, the tagline of the ad campaign for the census was the rhyming slogan "Get online on August 9". Across many regions, paper forms were no longer delivered by default to homes, and households that wished to complete a paper census had to order such forms via an automated hotline. Letters were sent to each dwelling with unique code numbers that people would need to either login to the census website, or order a paper form if they preferred. By census night, many households had still not received such a letter. Contrary to previous years where censuses were both delivered and retrieved from households by dedicated census employees, in 2016 most of the paperwork relating to the census was delivered from and to the ABS by Australia Post.

The 2016 census was met by a significant controversy, which meant that many Australians could not complete the census online on the designated census day. The ABS census website shut down at about 7:30 pm AEST on the night the census was to be completed. According to the ABS, throughout 9 August the census website received four denial-of-service attacks. At 7:30 pm, when the site was being heavily used, a software failure meant that the ABS was unable to keep blocking the denial-of-service attacks, leading to the failure of a router. As a result, the ABS decided to close down the system as a precaution. The 15th Chief Statistician, David Kalisch stated that no census data were compromised. The Australian Signals Directorate assisted the ABS to bring the infrastructure back online more than 24 hours after the closure. The census website was restored at 2:30 pm on 11 August.

On the same day Australian Prime Minister Malcolm Turnbull stated his unhappiness over the event, which had "been a failure of the ABS", with his expectation that "heads will roll" once a review was complete. Leader of the opposition Bill Shorten said that the 2016 census had been the "worst-run ... in the history of Australia". The ABS blamed service provider IBM for the failure in the online census, saying that IBM had advised on the preparedness and resilience to DDoS attacks and had not offered any further protections that could be employed. On 31 August, Parliament initiated an inquiry into the 2016 census. It released its findings on 24 November and found that no individual party was responsible but it was shared between the government, IBM, and the sub-contractors.

The census forms were able to be submitted online until 23 September. Once collection was complete, the ABS issued an announcement which confirmed that in spite of the initial online problems, there was a preliminary response rate of more than 96%. This consisted of 4.9 million (over 58%) online submissions and 3.5 million paper forms. The preliminary response rate was similar to the previous two census response rates of 95.8% in 2006 and 96.5% in 2011.

An independent panel established by the Australian Statistician to quality assure the data from the 2016 census found it was fit for purpose, comparable to previous Australian and international censuses and can be used with confidence. ""The Independent Assurance Panel I established to provide extra assurance and transparency of Census data quality concluded that the 2016 Census data can be used with confidence.""

- David Kalisch, Chief Statistician.

Census questions
The Census form had 51 questions relating to the characteristics of individuals, plus an extra nine questions relating to households. Of the sixty questions, the following two questions were optional:
 * What is the person's religion?
 * Does each person agree to his/her name and address and other information on this form being kept by the National Archives of Australia and then made publicly available after 99 years?

Population and dwellings
The population counts for Australian states and territories were that New South Wales remains the most populous state, with 7,480,228 people counted, ahead of Victoria (5,926,624) and Queensland (4,703,193). Australian Capital Territory (ACT) experienced the largest population growth of any state or territory over the past five years, with an increase of 11.2% while Tasmania had the smallest growth at 3.0% since the last census in 2011. Persons count based on place of usual residence on Census night.

Other Territories
The inclusion of Norfolk Island in Other Territories is new for 2016, following an amendment to the Acts Interpretation Act, 1901. In the 2016 Census, there were 1,748 people, compared with a population of 1,796 in 2011 (Norfolk Island Government Census). Of these 46.8% were male and 53.2% were female. The enumeration of Norfolk Island was an area of special attention for the ABS.

Country of birth
Of all residents over two thirds (66.7% or 15,614,835) were born in Australia. Over a quarter of the population (26.3% or 6,163,667 persons) said they were born overseas, plus 1.6 million did not state any response. The proportion of overseas-born people from Asia has increased from 33% in 2011 to 40%, while Europe has declined from 40% in 2011 to 34% in 2016.

However, England (907,572 or 3.9% of Australia's population) remains the most common country of birth, followed by New Zealand (518,466 or 2.2%). It was question 12 on the 2016 Census Household Paper Form.

Ancestries
The top reported ancestries in Australia and for the external territory of Norfolk Island as a percentage of population. Results of the ABS Census of Population and Housing, 2016 are as follows.

External territories

 * Australian Aboriginals and Torres Strait Islanders

There were 649,171 Indigenous Australians, who made up 2.8% of Australia's population.

Language

 * 80.7% spoke only English at home.
 * 19.3% spoke a language other than English at home. The most common of these were:
 * Mandarin Chinese
 * Italian
 * Arabic
 * Cantonese Chinese
 * Greek
 * Vietnamese
 * 2% of the population could not speak English at all.

Homelessness
The number of homeless people in Australia jumped by more than 14,000 — or 14 per cent — in the five years to 2016, according to census data. The Australian Bureau of Statistics (ABS) said 116,000 people were homeless on census night in 2016, representing 50 homeless people per 10,000. The majority of homeless people in Australia were male. In addition, Indigenous Australians and recent migrants were over-represented among the homeless.

1899
The 1899 Puerto Rico Census (or Porto Rico as it was then commonly called), was the first national population census held in Porto Rico under U.S. control by the U.S. Census Bureau for the U.S. War Department. It is also the tenth-census combined with the previous censuses taken by Spain. The day used for the census, was Friday November 10, 1899. The total population of the island of Puerto Rico was counted as 953,243 - an increase of 154,678 people or 16% since the previous 1887 Census by the Spanish government.

Population schedule
The population schedule used in the census, translated into English and reduced in size is as follows: Situation Relationship Personal description Nativity Citizenship Occupation Instruction Sanitary conditions
 * Street.
 * Number of house.
 * Number of house or building in the order of visitation.
 * Number of family in the order of visitation.
 * Name of every person residing with this family or in this house
 * Relationship of each person to the head of the family.
 * Color.
 * Sex.
 * Age at last birthday.
 * Status.
 * Native country of this person.
 * Cuban, Spaniard, or in suspense.
 * Occupation, trade or profession of every person 10 years of age and over.
 * Months of attendance at school during the last school year.
 * Can read. (primary)
 * Can write. (primary)
 * Higher.
 * Source of water used.
 * Disposition of garbage.
 * Latrine system.

Method of Tabulation
It was taken that to save time, the tabulation should be done by machine and not by the old hand-tally system. As the machines invented by Mr Herman Hollerith were successfully used in the earlier eleventh and were to be used for the twelfth U.S. census, it was adopted.

Birthplace
The number of foreign-born returned by the census is 13,872 or about 1.5% of the total population. There were few regions in the western hemisphere in which the proportion of natives is so high and that of the foreign-born so low. Of the total number of foreigners 5,935 or 43 per cent were found in the three cities of San Juan, Ponce and Mayagüez. Of the total foreign-born 7,690 or 55 per cent were born in Spain.

Race
With reference to race, the population of Porto Rico is divided by the census into two main classes - those who are and those who are not pure whites, or Caucasians. The number belonging to each of these classes is as follows: The colored in the table includes very few (75) Chinese and many persons of mixed white and Black African blood as well as pure Black. Somewhat more than three-fifths of the population of Porto Rico are white and nearly two-fifths are partly or entirely negro or Black. By the 1899 census five-sixths (83.6 per cent) of the total colored were returned as of mixed blood.

1911
The 1911 Australian census was the first national population census held in Australia. The day used for the census, was taken for the night between the 2 and 3 April 1911. The total population of the Commonwealth of Australia was counted as 4,455,005 - an increase of 681,204 people, 18.05% over the 1901 "Federation" Census.

The Census Volumes II and III were published on 30 September 1914. At that time it was intended to issue shortly thereafter Volume 1.

Collection method
The first Commonwealth Statistician was George Handley Knibbs. He began his career as a licensed surveyor in government service. On Monday 3 April 1911, census collectors set out all over Australia under mostly clear skies to begin gathering in Australia's first national census forms. They covered suburbs to rural towns and the outback. They travelled by bike or horse where they had the transport that was needed to cover large areas, however, most travelled by foot. Some in Northern Queensland had to find their way through a flooded landscape while others in South Australia had difficulties finding water and fodder for their horses due to droughts. They had distributed the forms prior to the census day.

There was a permanent staff of the ‘Bureau of Census and Statistics’ which consisted of the Statistician (Knibbs) and many assistants, some young men working as clerks as well as a couple of messenger boys. A female typist had joined soon after. They worked in the old Rialto Building in Collins Street, Melbourne.

Collectors had to supply their own transport and cover any associated costs such as fodder and petrol. They were paid according to their method of transport. Collectors on foot were paid ten shilling a day, those on bicycle fifteens shillings a day and those on horse 20 shillings a day. Police were used in the days immediately following the census to get travellers, swagmen and campers to provide their information. Train conductors and ships' captains were also used as collectors in the 1911 census and several subsequent censuses, to cover people travelling overnight on census night.

Census questions
For Every Person present in the Night from 2 to 3 April 1911, or returning on 3rd April (if not included elsewhere).
 * Name in full (Underline Surname.)
 * Sex - {Write M for Male}, {Write F for Female}
 * Date of Birth: Day
 * If married, write M. If widowed, write W. If divorced, write D. If never married, write N. M.
 * Date of existing Marriage: Year.................
 * Number of Children (living and dead) from existing Marriage .....................
 * (a) Number of Children: (living and dead) from previous Marriage ...............
 * Relation to Head of Household
 * State if Blind or Deaf and Dumb ................
 * Country (or Australian State) where born
 * If a British subject by parentage. write P.
 * If a British subject by Naturalization. write N.
 * Race -
 * If born outside Commonwealth, state length of residence therein
 * (a) Date of Arrival in Commonwealth
 * Religion
 * Education
 * (a) At present receiving Education
 * Profession or Occupation (If engaged in more than one occupation. underline principal occupation.)
 * (a) State if Employer or Employee, &c
 * (b) If out of work, state period
 * (c) Occupation of Employer (if any).

Population and dwellings
Population counts for Australian states and territories had 4,455,005 and 19,939 full-Aboriginals (counted separately) for a total population of 4,474,944. Note: All figures are for the census usually resident population count.

Birthplace
At the Census of the 3rd April, 1911, each person was asked to state on a " personal" card, the" Country or Australian State where born," and to state on a "personal" card, the Country or Australian State where born," and from the replies to this query, taken in conjunction with the other data furnished, the tables contained in Part II.

Race
At the first Australian census in 1911 only those "aboriginal natives" living near European settlements were enumerated, and the main population tables included only those of half or less Aboriginal descent. Details of those "full-blood" Aborigines enumerated were included in separate tables.

Religion
According to these figures it appears that of the 4,455,005 people in Australia on census day (April 3. 1911) 4,274,414 were Christians, 36,785 non-Christians, 14,673 are described as indefinite, 10,016 were of no religion, 83,003 objected to state to what faith, if any, they belonged, and the remaining 36,114 were unspecified.

1911
The 1911 New Zealand census was New Zealand's fifteenth national census. The day used for the census was Sunday, 2 April 1911.

The total population of the Dominion of New Zealand was counted as 1,058,313 – an overall increase of 122,004 people or 13.03% over the 1906 census figure. The Māori census counted a total of 49,844, of whom 26,475 were males and 23,369 females, another 2,877 in the general census which made up 5 percent of the total night population. The total enumerated in the European (general) census was 1,008,468 of whom 531,910 were Males and 476,558 Females. The Māori census was held in March, while the general census was held in April.

The Census and Statistics Act 1910 created the Office of the Government Statistician within the Registrar General's Office. The Act (as in the 1911 census report) reiterated the penalties for those who refuse to fill out their census schedules and collectors who disclose the content of individual census schedules.

Population and dwellings
The principal natural divisions in New Zealand are the North, South, and Stewart Islands. The "Distribution of European populations" of the various provincial districts are as follows:

The Maori population of the Dominion (not included above), according to the result of a separate census taken in April 1911, amounted to 49,844. Of these, 46,632 persons were found to be in the North Island, 2,681 persons in the South Island, 63 at Stewart Island, and 219 Maoris and Morioris at the Chatham Islands. There were 249 Maori wives of European husbands enumerated in the European census.

The total population of the Dominion (including Maoris and residents of the Cook and other Pacific Islands) in April 1911, was: Persons, 1,070,910; males, 564,834; females, 506,076; of these, 2,630 were Chinese—2,542 males, 88 females. The population of the Cook and other Pacific Islands now included within the boundaries of the Dominion was 12,598 persons, of whom 180 were whites or half-castes living as whites. There were also 513 Natives of these islands absent on ships or at the guano islands.

Māori census
The census of the Māori population—that is, full-blooded Maoris, with all half-castes living as members of Native tribes—was taken under the supervision of the officers of the Native Department in April 1911. Notes: (excludes half-Māori counted in the separate European census) The pure-blood Moriori are practically extinct, and those now claiming to be Morioris are half-caste Moriori-Maoris.

Besides the half-castes (living as Members of Maori Tribes) included in the above table, there were 2,877 half-castes (males, 1,475; females, 1,402) living with and enumerated as Europeans in the other census.

Birthplace
The figures show that of the total population of specified birthplace had New Zealand-born at 69.74% and 30.26% were born-overseas.

1916
The 1916 New Zealand census was the sixteenth national population census. The day used for the census was Sunday, 15 October 1916. The census of the Dominion of New Zealand revealed a total population of 1,149,225 - an overall increase of 90,981 or 8.59% over the 1911 census figure.

Enumeration
In 1916 a new departure was made in connection with the enumeration of Māori. The Māori census counted 49,776 (excludes Māori counted in the European census) for a total of 52,997, fewer than 1,900 reside in the South Island. It was decided to enumerate the (South Island) Māori with the enumeration of the European population, the same schedules being used and the work done by the same Enumerators and Sub-Enumerators as for the European population. The North Island Māori census, however, was also taken in October.

Cost
The census of 1916 witnessed an important innovation in respect of the mode of distribution and collection of the census schedules, resulting in a considerable saving of expense. This was the substitution of the machinery of the Post Office for the old system of special Enumerators.

Not only was the work performed more economically (the cost of collection was approximately £20,600 in 1911 and £17,500 in 1916), but the schedules were in much better condition than at any previous census, the proportion of incomplete entries being infinitesimal, and the necessity for queries being reduced to practically nil. A point in connection with the 1916 census was the increase in the number of Enumerators' districts—ninety-five, as compared with fifty-nine in 1911—and it is probable that the consequential reduction in the average size of the districts made for increased efficiency.

Summary
The results of the census covered these topics: (Separate Volumes) (published 1920) Appendix A Maori Census Appendix B Population of Cook and Other Annexed Pacific Islands* Appendix C Religious Denominations (Places of Worship etc.) and Libraries Appendix D Census of Industrial Manufacture* Appendix E Poultry and Bees
 * Part I Population (published 1918)
 * Part II Ages (published 1918)
 * Part III Birthplaces and Length of Residence (published 1918)
 * Part IV Religions (published 1918) (20pp)
 * Part V Education (published 1918)
 * Part VI Infirmity (published 1918)
 * Part VII Conjugal Condition (published 1918)
 * Part VIII Fertility (published 1919)
 * Part IX Occupations and Unemployment (published 1919)
 * Part X Race Aliens (published 1919)
 * Part XI Dwellings (published 1919)
 * Part XII Households (published 1920)

Population and dwellings
The principal natural divisions in New Zealand are the North, South, and Stewart Islands. These contain nearly the whole population of European descent, the Cook and other annexed islands being inhabited almost solely by Natives. The populations of the various provincial districts are as follows:

Distribution
$a$ European, (Māori living as Europeans) and others. (excluding Māori and residents of Cook and other Pacific islands). $b$ Includes 3,529 half-castes living as Māoris.

Notes: † Includes 112 soldiers in camp in New Zealand.

Birthplace
Question 8 on the census form asked the question: (a.) Country where born... (not county, town or subdivision.) If born outside the British Empire or if born at sea, add "P." if a British subject by parentage, add "N". if a British subject by nationalization. The figures show that of the total population of specified birthplace (1,097,841), 1,077,808, or 98.17 per cent., were born on British soil, 1.70 per cent, on foreign soil, and 0.13 per cent, at sea. For the overseas-born census usually resident population:

Race
The census form asked the question (a.) Country where born... (b.) Race. )

Religion
Members of Christian denominations formed 95.71 per cent. of those who made answer to the inquiry at the last census; non-Christian sects were 0.44 per cent.; and those who described themselves as of no religion 0.39 per cent.; whilst "indefinite" religions constituted 1.12 per cent.