document_title: A Star Is Born (2018 soundtrack)

question_text: jason isbell songs in a star is born

question_tokens: jason isbell songs in a star is born

text: A Star Is Born (2018 soundtrack)

text: Background and development[edit]

text: In March 2015, Warner Bros. announced that Bradley Cooper was in talks to make his directorial debut with A Star Is Born, the fourth remake of the 1937 film of the same name.[2] Lady Gaga was officially attached to the film in August 2016, with the studio green-lighting the project to begin production in early 2017.[3] Cooper plays Jackson Maine, "a veteran country singer who discovers and eventually falls in love with a struggling singer-songwriter named Ally, played by Gaga."[4] Gaga "helped inform Cooper's performance as a musician".[5]

text: Cooper spent two-and-a-half years prepping for the film and determining what kind of musician his character would be. He worked with a number of musicians and vocal coach Roger Love.[6] Cooper said, "by the end he just kind of started developing into his own sort of creation. If I had another year of prep, it would have been complete rock, but now it's some sort of hybrid."[6]

text: Writing and recording[edit]

text: Cooper described the soundtrack "an evolution, like the story."[7] Gaga and Cooper were writing songs for the soundtrack during filming, leading to "so many different incarnations of each song."[7] Cooper added that "the music really became a character in the movie. There is no lyric that's ever in any point of the movie that doesn't have exactly to do with where one of them is or hopes to be or regrets being. That was our launching pad and then it was just about discovering what songs fit in the right places."[7] Jason Isbell wrote a song for Cooper's character, which became "the sword with which a lot of the music spawned from [Cooper]". Isbell sent the song through Dave Cobb, a Nashville-based producer with whom Cooper had been collaborating.[8]

text: Cooper approached Lukas Nelson (son of country music singer Willie Nelson) after seeing him perform at Desert Trip in October 2016 and asked him to work on the film as a music consultant.[9] Nelson said he began "writing songs for the movie, just for the heck of it, and sending them over to the producer, and they started liking them. Then Lady Gaga came by and I met her and we clicked. We became good friends, and we started writing together."[10] Gaga, in turn, provided backing vocals on two tracks on Nelson's self-titled album released in 2017.[11] Nelson and his band, Lukas Nelson & Promise of the Real, appear in the film as Cooper's backing band.[6]

text: Gaga reunited with producer Mark Ronson and songwriter Hillary Lindsey, who had both contributed to her previous studio album Joanne (2016).[6] She worked with recurring collaborator DJ White Shadow on the soundtrack's more pop-oriented numbers performed by her character Ally. Much of the album was recorded live on set, at Gaga's insistence.[1][6]

text: Music and lyrics[edit]

text: Billboard described the soundtrack as "integral to the plotline", adding that "many of the lyrics are about wanting and longing for change, but noting the struggle. Some express the great love and beautiful bond the booze-addled rock star (Jackson Maine, played by Cooper) and neophyte singer-songwriter (Ally, played by Lady Gaga) have for each other", and concluding that "the music stands up, movie or no movie. They are timeless, emotional, gritty and earnest. They sound like songs written by artists who, quite frankly, are supremely messed up but hit to the core of the listener."[12]

text: Release[edit]

text: The soundtrack's track list and release date were announced on August 30, 2018.[4] Interscope Records tweeted that the album "features 19 songs in a wide range of musical styles + 15 dialogue tracks that will take you on a journey that mirrors the experience of seeing the film."[13] Its track "Shallow" was released on September 27 as the album's lead single.[14]

text: Critical reception[edit]

text: Professional ratingsAggregate scoresSourceRatingMetacritic78/100[15]Review scoresSourceRatingAllMusic[16]The Daily Telegraph[17]The Guardian[18]NME[19]Pitchfork7.4/10[20]Rolling Stone[21]Slant Magazine[22]

text: The soundtrack received positive response from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album has an average score of 78, based on 8 reviews, indicating  "generally favorable reviews".[15] In a positive review, The Washington Post called the soundtrack a "five-star marvel" and stated that it is a possible contender to win a Grammy Award.[23] Ben Beaumont-Thomas of The Guardian gave the album a positive review, acknowledging "Bradley Cooper shows he can sing as well as act and direct", but that "it is Lady Gaga’s pop prowess that lifts each track, be it spectacular piano ballads or heart-rending duets"[18]

text: In a positive review, Stephen Thomas Erlewine, writing for AllMusic, said "All the songs make sense narratively and on their own, so they hold together well and would amount to a first-rate soundtrack", but criticized the dialogue included in the album.[16] Rolling Stone's Brittany Spanos gave the soundtrack four stars out of a possible five, saying "The music Gaga helps write for this stretch in Ally’s career...is gorgeous--romantic without being trite and powerful."[21] Nick Reilly of NME complimented the album's "emotionally charged songs that feel entirely appropriate for this heartfelt tale of doomed romance", adding that the album is "one of the best Hollywood soundtracks of recent years."[19]

text: Writing for The Daily Telegraph, Neil McCormick gave the album a moderately positive review, saying the soundtrack was enjoyable, but criticized the "slightly awkward journey from rock balladry to slickly superficial pop" and stated that "there is also a weird disconnect as the soundtrack shifts gear to anodyne modern pop".[17] Jeremy Winograd of Slant Magazine, in a mixed review, was critical of the album, saying "There’s undoubtedly a strong 10-song album lodged at the core of A Star Is Born, but unlike the film, wherein an outsized sense of sentimentality is rendered affecting by the more grounded performances, there’s not nearly enough substance here to justify all the bombast."[22]

text: Commercial performance[edit]

text: A Star Is Born opened atop the US Billboard 200 with 231,000 album-equivalent units, including 162,000 pure album sales. It had the biggest overall sales week for a soundtrack in over three years, and is Gaga's fifth US number-one album as well as Cooper's first. Gaga extended her record as the female artist with the most chart-topping albums during the 2010s, breaking her tie with Taylor Swift. Beside its pure album sales, A Star Is Born earned 37,000 in stream-equivalent units and 32,000 from track-equivalent units.[24] The soundtrack spent a second week at number one there with 143,000 album-equivalent units (86,000 being pure sales), and became Gaga's second album to top the chart for two consecutive weeks after Born This Way (2011).[25] It then held the country's summit for a third week in a row with 109,000 equivalent units (61,000 pure sales), becoming the first soundtrack since High School Musical 2 in 2007 to top the chart for its first three weeks. Additionally it became Gaga's longest running chart-topping album in the country.[26]

text: A Star Is Born entered at number one on the Canadian Albums Chart, selling 18,000 equivalent units, earning the top sales and digital song download honors and the seventh highest on-demand streams for the week. The soundtrack was Gaga's third album to reach the summit in the nation and her first since Born This Way.[27] The soundtrack held the top position for the next week, with another 12,000 equivalent units and was also the top-selling album.[28] It had an 11% increase in sales during the third week and remained atop the charts, selling close to 14,000 equivalent units. Like in the United States, the soundtrack became Gaga's longest running chart-topping album in Canada for Gaga.[29]

text: In the United Kingdom, A Star Is Born faced competition from Twenty One Pilots' fifth studio album, Trench, with the midweek chart suggesting the latter to emerge as the top album. A Star Is Born pulled ahead at the last moment according to Alan Jones from Music Week, and debuted atop the UK Albums Chart with 31,816 units (including 6,178 from stream-equivalent units). It became Gaga's fourth album to reach number one in the nation and first since Artpop (2013), as well as Cooper's first entry on the chart.[30][31] The soundtrack was then displaced by Jess Glynne's Always In Between the following week, and it fell to number two, selling 24,732 equivalent units.[32][33] For the week ending November 1, 2018, the soundtrack moved back atop the chart with 24,982 copies sold (including 6,645 from sales-equivalent streams). "Shallow" also reached the top of the UK Singles Chart that week, making Gaga and Cooper score an Official UK Chart double, this being Gaga's third time to do so.[34][35]

text: A Star Is Born opened at number one in Ireland and Scotland,[36][37] and was Gaga's third number one in the former.[38] During its third week atop the Irish chart, the soundtrack attained its highest sales tally.[39] In France, the soundtrack sold 8,700 units and debuted at number seven on the SNEP Albums Chart, and held the same position the next week with another 8,000 units.[40][41] In Australia, A Star Is Born entered at number three on the ARIA Albums Chart, giving Gaga her seventh top 10 album in the country and her sixth to reach the top three.[42] Two weeks later, the soundtrack reached the top of the charts, becoming Gaga's third album to reach the Australian charts summit after The Fame Monster and Born This Way.[43] The soundtrack debuted at number six in the New Zealand Albums Chart, and after two weeks reached the top.[44]

text: Track listing[edit]

text: Standard version[45]No.TitleWriter(s)Producer(s)Length1."Intro"  0:202."Black Eyes" (performed by Bradley Cooper)CooperLukas NelsonCooperNelsonLady Gaga[a][b]3:033."Somewhere Over the Rainbow" (dialogue; featuring Lady Gaga)Harold ArlenE.Y. HarburgClaire Louise Whittleston[46] 0:424."Fabulous French" (dialogue; featuring Bradley Cooper, Lady Gaga, Anthony Ramos and D.J. "Shangela" Pierce)  0:195."La Vie en rose" (performed by Lady Gaga)LouiguyÉdith PiafGagaBrian Newman2:596."I'll Wait for You" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:197."Maybe It's Time" (performed by Bradley Cooper)Jason IsbellCooperBenjamin RiceGaga[a]2:398."Parking Lot" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:319."Out of Time" (performed by Bradley Cooper)CooperNelsonCooperNelson2:5210."Alibi" (performed by Bradley Cooper)GagaCooperNelsonGagaCooperNelson3:0311."Trust Me" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:32[e]12."Shallow" (performed by Lady Gaga and Bradley Cooper)GagaMark RonsonAnthony RossomandoAndrew WyattGagaRice3:3513."First Stop, Arizona" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:1014."Music to My Eyes" (performed by Lady Gaga and Bradley Cooper)GagaNelsonNelson3:1915."Diggin' My Grave" (performed by Lady Gaga and Bradley Cooper)Paul KennerleyGagaNelson3:5716."I Love You" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:1917."Always Remember Us This Way" (performed by Lady Gaga)GagaNatalie HembyHillary LindseyLori McKennaDave CobbGaga3:3018."Unbelievable" (dialogue; featuring Lady Gaga and Rafi Gavron)  0:2819."How Do You Hear It?" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:1420."Look What I Found" (performed by Lady Gaga)GagaMark Nilan Jr.Nick MonsonPaul "DJWS" BlairNelsonAaron RaitiereGagaNilanMonsonBlair2:5521."Memphis" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:2422."Heal Me" (performed by Lady Gaga)GagaNilanMonsonBlairJulia MichaelsJustin TranterGagaNilanMonsonBlair3:1623."I Don't Know What Love Is" (performed by Lady Gaga and Bradley Cooper)GagaNelsonGaga[c]NelsonNilan[b]Monson[b]2:5724."Vows" (dialogue; featuring Lady Gaga)  0:1725."Is That Alright?" (performed by Lady Gaga)GagaNilanMonsonBlairRaitiereGagaNilanMonsonBlair3:1126."SNL" (dialogue; featuring Alec Baldwin, Donald King, Michael Mancini and Gena Rositano)  0:1327."Why Did You Do That?" (performed by Lady Gaga)GagaDiane WarrenNilanMonsonBlairGagaNilanMonsonBlair3:0428."Hair Body Face" (performed by Lady Gaga)GagaNilanMonsonBlairGagaNilanMonsonBlairRice[d]3:2229."Scene 98" (dialogue; featuring Bradley Cooper and Lady Gaga)  0:35[f]30."Before I Cry" (performed by Lady Gaga)GagaNilanMonsonBlairGagaNilanMonsonBlair4:1831."Too Far Gone" (performed by Bradley Cooper)CooperNelsonCooperNelson1:2632."Twelve Notes" (dialogue; featuring Lady Gaga and Sam Elliott)  1:0333."I'll Never Love Again" (film version) (performed by Lady Gaga and Bradley Cooper)GagaHembyLindseyRaitiereGagaRice4:4134."I'll Never Love Again" (extended version) (performed by Lady Gaga)GagaHembyLindseyRaitiereGagaRice5:28Total length:70:01[g]

text: showVersion without dialogue[47]No.TitleLength1."Black Eyes"3:032."La Vie en rose"2:593."Maybe It's Time"2:394."Out of Time"2:525."Alibi"3:036."Shallow" (radio edit)3:377."Music to My Eyes"3:198."Diggin' My Grave"3:579."Always Remember Us This Way"3:3010."Look What I Found"2:5511."Heal Me"3:1612."I Don't Know What Love Is"2:5713."Is That Alright?"3:1114."Why Did You Do That?"3:0415."Hair Body Face"3:2216."Before I Cry"4:1817."Too Far Gone"1:2618."I'll Never Love Again" (film version) (radio edit)4:4119."I'll Never Love Again" (extended version) (radio edit)5:28Total length:63:37

text: Notes

text:
^[a]  – additional vocal production
^[b]  – additional production
^[c]  – main and additional production
^[d]  – vocal production
^[e]  – 0:31 on clean version of the album
^[f]  – 0:34 on clean version of the album
^[g]  – 69:59 for clean version of the album

text: Charts[edit]

text:
Chart (2018)

Peak position

Argentinian Albums (CAPIF)[48]

3

Australian Albums (ARIA)[49]

1

Austrian Albums (Ö3 Austria)[50]

2

Belgian Albums (Ultratop Flanders)[51]

4

Belgian Albums (Ultratop Wallonia)[52]

4

Canadian Albums (Billboard)[53]

1

Croatia International Albums (HDU)[54]

3

Czech Albums (ČNS IFPI)[55]

1

Dutch Albums (MegaCharts)[56]

3

Estonian Albums (IFPI)[57]

1

Finnish Albums (Suomen virallinen lista)[58]

12

French Albums (SNEP)[59]

7

German Albums (Offizielle Top 100)[60]

5

Greek Albums (IFPI Greece)[61]

4

Hungarian Albums (MAHASZ)[62]

15

Icelandic Albums (Tonlist)[63]

4

Irish Albums (OCC)[64]

1

Italian Albums (FIMI)[65]

4

New Zealand Albums (RMNZ)[44]

1

Norwegian Albums (VG-lista)[66]

2

Polish Albums (ZPAV)[67]

32

Portuguese Albums (AFP)[68]

2

Scottish Albums (OCC)[37]

1

Slovak Albums (ČNS IFPI)[69]

1

South African Albums (RiSA)[70]

18

South Korean Albums (Gaon)[71]

37

South Korean International Albums (Gaon)[72]

1

Spanish Albums (PROMUSICAE)[73]

2

Swedish Compilation (Sverigetopplistan)[74]

1

Swiss Albums (Schweizer Hitparade)[75]

1

UK Albums (OCC)[76]

1

UK Soundtrack Albums (OCC)[77]

1

US Billboard 200[78]

1

US Soundtrack Albums (Billboard)[79]

1

US Top Tastemaker Albums (Billboard)[80]

1

text: Release history[edit]

text:
Region

Date

Format

Label

Ref.

Various

October 5, 2018

Digital download
Streaming
CD
LP

Interscope

[81]

Japan

November 7, 2018

CD
LP

[82]


document_title: List of Olympic Games host cities

question_text: when did the united states host the last olympics

root

text: List of Olympic Games host cities

text: Olympic Games host cities[edit]

text:
City
Country
Continent
Summer (Olympiad)
Winter
Year
Opening Ceremony
Closing Ceremony

Athens
 Greece
Europe
S005I

1896
000000002018-04-06-0000April 6
000000002018-04-15-0000April 15

Paris
 France
Europe
S005II

1900
000000002018-05-14-0000May 14
000000002018-10-28-0000October 28

St. Louis[a]
 United States
North America
S005III

1904
000000002018-07-01-0000July 1
000000002018-11-23-0000November 23

London[c]
 United Kingdom
Europe
S005IV

1908
000000002018-04-27-0000April 27
000000002018-10-31-0000October 31

Stockholm
 Sweden
Europe
S005V

1912
000000002018-05-05-0000May 5
000000002018-07-22-0000July 22

Berlin
 Germany
Europe
S006VI

1916
Cancelled due to WWI[4]

Antwerp[d]
 Belgium
Europe
S007VII

1920
000000002018-04-20-0000April 20
000000002018-09-12-0000September 12[5]

Chamonix
 France
Europe

W001I
1924
000000002018-01-25-0000January 25
000000002018-02-04-0000February 4[6]

Paris
 France
Europe
S008VIII

000000002018-05-04-0000May 4
000000002018-07-27-0000July 27[7]

St. Moritz
  Switzerland
Europe

W002II
1928
000000002018-02-11-0000February 11
000000002018-02-19-0000February 19[8]

Amsterdam
 Netherlands
Europe
S009IX

000000002018-05-17-0000May 17
000000002018-08-12-0000August 12[9]

Lake Placid
 United States
North America

W003III
1932
000000002018-02-04-0000February 4
000000002018-02-15-0000February 15[10]

Los Angeles
 United States
North America
S010X

000000002018-07-30-0000July 30
000000002018-08-14-0000August 14[11]

Garmisch-Partenkirchen
 Nazi Germany
Europe

W004IV
1936
000000002018-02-06-0000February 6
000000002018-02-16-0000February 16[12]

Berlin
 Nazi Germany
Europe
S011XI

000000002018-08-01-0000August 1
000000002018-08-16-0000August 16[13]

Sapporo
Garmisch-Partenkirchen[e]
 Empire of Japan
 Nazi Germany
Asia
Europe

W005aV
1940
Cancelled due to WWII[4]

Tokyo
Helsinki[f]
 Empire of Japan
 Finland
Asia
Europe
S012XII

Cortina d'Ampezzo
 Italy
Europe

W005bV
1944

London
 United Kingdom
Europe
S013XIII

St. Moritz
  Switzerland
Europe

W005cV
1948
000000002018-01-30-0000January 30
000000002018-02-08-0000February 8

London
 United Kingdom
Europe
S014XIV

000000002018-07-29-0000July 29
000000002018-08-14-0000August 14

Oslo
 Norway
Europe

W006VI
1952
000000002018-02-14-0000February 14
000000002018-02-25-0000February 25

Helsinki
 Finland
Europe
S015XV

000000002018-07-19-0000July 19
000000002018-08-03-0000August 3

Cortina d'Ampezzo
 Italy
Europe

W007VII
1956
000000002018-01-26-0000January 26
000000002018-02-05-0000February 5

Melbourne
Stockholm[g]
 Australia
 Sweden
Oceania
Europe
S016XVI

000000002018-11-22-0000November 22
000000002018-06-10-0000June 10
000000002018-12-08-0000December 8
000000002018-06-17-0000June 17

Squaw Valley
 United States
North America

W008VIII
1960
000000002018-02-18-0000February 18
000000002018-02-28-0000February 28

Rome
 Italy
Europe
S017XVII

000000002018-08-25-0000August 25
000000002018-09-11-0000September 11

Innsbruck
 Austria
Europe

W009IX
1964
000000002018-01-29-0000January 29
000000002018-02-09-0000February 9

Tokyo
 Japan
Asia
S018XVIII

000000002018-10-10-0000October 10
000000002018-10-24-0000October 24

Grenoble
 France
Europe

W010X
1968
000000002018-02-06-0000February 6
000000002018-02-18-0000February 18

Mexico City
 Mexico
North America
S019XIX

000000002018-10-12-0000October 12
000000002018-10-27-0000October 27

Sapporo
 Japan
Asia

W011XI
1972
000000002018-02-03-0000February 3
000000002018-02-13-0000February 13

Munich
 West Germany
Europe
S020XX

000000002018-08-26-0000August 26
000000002018-09-11-0000September 11

Innsbruck
 Austria
Europe

W012XII
1976
000000002018-02-04-0000February 4
000000002018-02-15-0000February 15

Montreal
 Canada
North America
S021XXI

000000002018-07-17-0000July 17
000000002018-08-01-0000August 1

Lake Placid
 United States
North America

W013XIII
1980
000000002018-02-12-0000February 12
000000002018-02-24-0000February 24

Moscow
 Soviet Union
Europe[h]
S022XXII

000000002018-07-19-0000July 19
000000002018-08-03-0000August 3

Sarajevo
 Yugoslavia
Europe

W014XIV
1984
000000002018-02-07-0000February 7
000000002018-02-19-0000February 19

Los Angeles
 United States
North America
S023XXIII

000000002018-07-28-0000July 28
000000002018-08-12-0000August 12

Calgary
 Canada
North America

W015XV
1988
000000002018-02-13-0000February 13
000000002018-02-28-0000February 28

Seoul
 South Korea
Asia
S024XXIV

000000002018-09-17-0000September 17
000000002018-10-02-0000October 2

Albertville
 France
Europe

W016XVI
1992
000000002018-02-08-0000February 8
000000002018-02-23-0000February 23

Barcelona
 Spain
Europe
S025XXV

000000002018-07-25-0000July 25
000000002018-08-09-0000August 9

Lillehammer
 Norway
Europe

W017XVII
1994
000000002018-02-12-0000February 12
000000002018-02-27-0000February 27

Atlanta
 United States
North America
S026XXVI

1996
000000002018-07-19-0000July 19
000000002018-08-04-0000August 4

Nagano
 Japan
Asia

W018XVIII
1998
000000002018-02-07-0000February 7
000000002018-02-22-0000February 22

Sydney
 Australia
Oceania
S027XXVII

2000
000000002018-09-15-0000September 15
000000002018-10-01-0000October 1

Salt Lake City
 United States
North America

W019XIX
2002
000000002018-02-08-0000February 8
000000002018-02-24-0000February 24

Athens
 Greece
Europe
S028XXVIII

2004
000000002018-08-13-0000August 13
000000002018-08-29-0000August 29

Torino
 Italy
Europe

W020XX
2006
000000002018-02-10-0000February 10
000000002018-02-26-0000February 26

Beijing[i]
 China
Asia
S029XXIX

2008
000000002018-08-08-0000August 8
000000002018-08-24-0000August 24

Vancouver
 Canada
North America

W021XXI
2010
000000002018-02-12-0000February 12
000000002018-02-28-0000February 28

London
 United Kingdom
Europe
S030XXX

2012
000000002018-07-27-0000July 27
000000002018-08-12-0000August 12

Sochi
 Russia
Europe[h]

W022XXII
2014
000000002018-02-07-0000February 7
000000002018-02-23-0000February 23

Rio de Janeiro
 Brazil
South America
S031XXXI

2016
000000002018-08-05-0000August 5
000000002018-08-21-0000August 21

Pyeongchang
 South Korea
Asia

W023XXIII
2018
000000002018-02-09-0000February 9
000000002018-02-25-0000February 25

Tokyo
 Japan
Asia
S032XXXII

2020
000000002018-07-24-0000July 24
000000002018-08-09-0000August 9

Beijing
 China
Asia

W024XXIV
2022
000000002018-02-04-0000February 4
000000002018-02-20-0000February 20

Paris
 France
Europe
S033XXXIII

2024
000000002018-07-26-0000July 26
000000002018-08-11-0000August 11

TBD
TBD

W025XXV
2026
(TBD)

Los Angeles
 United States
North America
S034XXXIV

2028
000000002018-07-21-0000July 21
000000002018-08-06-0000August 6

tag: table

text: Host cities for multiple Summer and Winter Olympic Games[edit]

text:
List of cities that hosted multiple editions of the Olympic Games

City
Country
Continent
Summer Olympics
Winter Olympics
Total

London
 United Kingdom
Europe
3 (1908, 1948, 2012)
0
3

Paris
 France
Europe
3 (1900, 1924, 2024)
0

Los Angeles
 United States
North America
3 (1932, 1984, 2028)
0

Athens
 Greece
Europe
2 (1896, 2004)
0
2

Tokyo
 Japan
Asia
2 (1964, 2020)
0

Beijing
 China
Asia
1 (2008)
1 (2022)

St. Moritz
  Switzerland
Europe
0
2 (1928, 1948)

Innsbruck
 Austria
Europe
0
2 (1964, 1976)

Lake Placid
 United States
North America
0
2 (1932, 1980)

text: The 1906 Intercalated Games are not officially recognized by the IOC as an official Olympic Games.

tag: ul

text: Number of Olympic Games by country[edit]

text:
List of countries ranked by the number of times they hosted the Olympic Games

Rank
Country
Continent
Summer Olympics
Winter Olympics
Total

1
 United States
North America
5 (1904, 1932, 1984, 1996, 2028)
4 (1932, 1960, 1980, 2002)
9

2
 France
Europe
3 (1900, 1924, 2024)
3 (1924, 1968, 1992)
6

3
 Japan
Asia
2 (1940, 1964, 2020)
2 (1940, 1972, 1998)
4

4
 United Kingdom
Europe
3 (1908, 1944, 1948, 2012)
0
3

 Canada
North America
1 (1976)
2 (1988, 2010)

 Italy
Europe
1 (1960)
2 (1944, 1956, 2006)

 German Empire/ Nazi Germany/ West Germany/ Germany
Europe
2 (1916, 1936, 1972)
1 (1936, 1940)

8
 China
Asia
1 (2008)
1 (2022)
2

 South Korea
Asia
1 (1988)
1 (2018)

 Soviet Union/ Russia
Europe
1 (1980)
1 (2014)

 Greece
Europe
2 (1896, 2004)
0

 Australia
Oceania
2 (1956, 2000)
0

 Norway
Europe
0
2 (1952, 1994)

 Austria
Europe
0
2 (1964, 1976)

  Switzerland
Europe
0
2 (1928, 1940, 1948)

 Sweden
Europe
2 (1912, 1956 (equestrian events only))
0

17
 Brazil
South America
1 (2016)
0
1

 Spain
Europe
1 (1992)
0

 SFR Yugoslavia/ Bosnia and Herzegovina
Europe
0
1 (1984)

 Mexico
North America
1 (1968)
0

 Finland
Europe
1 (1940, 1952)
0

 Netherlands
Europe
1 (1928)
0

 Belgium
Europe
1 (1920)
0

text: Number of Olympic Games by continent[edit]

text:
Rank
Continent
Summer Olympics
Winter Olympics
Total

1
Europe
17 (1896, 1900, 1908, 1912, 1920, 1924, 1928, 1936, 1940, 1944, 1948, 1952, 1960, 1972, 1980, 1992, 2004, 2012, 2024)
14 (1924, 1928, 1936, 1940, 1944, 1948, 1952, 1956, 1964, 1968, 1976, 1984, 1992, 1994, 2006, 2014)
31

2
North America
7 (1904, 1932, 1968, 1976, 1984, 1996, 2028)
6 (1932, 1960, 1980, 1988, 2002, 2010)
13

3
Asia
4 (1940, 1964, 1988, 2008, 2020)
4 (1940, 1972, 1998, 2018, 2022)
8

4
Oceania
2 (1956, 2000)
0
2

5
South America
1 (2016)
0
1

6
Africa
0
0
0

text: Unsuccessful cities[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2018) (Learn how and when to remove this template message)

text:
Country
City
Bids

 United States
Detroit
7

 Hungary
Budapest
6

 Turkey
Istanbul
5

 Spain
Madrid
4

 Argentina
Buenos Aires
4

  Switzerland
Lausanne
4

 United States
Philadelphia
5

 United States
Chicago
4

 United States
Minneapolis
3

 Cuba
Havana
3

 Belgium
Brussels
3

 Azerbaijan
Baku
2

 Qatar
Doha
2

 Spain
Seville
2

 Yugoslavia
Belgrade
2

 Puerto Rico
San Juan
1

 Australia
Brisbane
1

 Slovakia
Poprad
1

 United States
Boston
1


document_title: Courtney Matthews

question_text: on general hospital who is spencer cassadine mother

text: Courtney Matthews

text: Casting[edit]

text: In September 2001, General Hospital released a casting call for Courtney, described to be in her early 20s and "sexy, vibrant and dynamic."[2] The character was speculated to be the sister of Sonny Corinthos, played by Maurice Benard. Benard had hinted at a recent fan club event that Sonny's sister would be brought on canvas.[2] Alicia Leigh Willis was cast in the role of Courtney in December 2001. Casting director Mark Teschner fought for her to be hired in the role, and coached her before her callback with the show's executive producer at the time Jill Farren Phelps.[3] Years later, Teschner spoke highly of his experience with Willis, "She nailed it and she got the role and four years later, she was one of the most successful additions on the show. That's also very gratifying when you fight for somebody and they do you right by doing a great job with the role."[3]

tag: p

text: In 2006, Willis chose not to renew her contract. She was written off the show, but at her goodbye party on set, Jill Farren Phelps asked if she would stay on and wrap up her character's pregnancy storyline, to which Willis agreed.[4] As the story played out, Willis voiced her opinion on Soap Talk on her character's future, "I love playing Courtney and to see someone else come in, it's like, 'It's my character!' I don't want to see someone else come in, but if they do, I wish them all the luck."[4] Although the network had initially announced recasting the role,[5] it was later confirmed that the character would in fact be killed off.[6] Willis last appeared on February 21, 2006.

text: Storylines[edit]

text: Soon after her arrival in Port Charles, Courtney falls in love and marries A. J. Quartermaine. A.J. uses her to get to his biological son Michael Corinthos III, the illegally adopted child of Courtney's half-brother Sonny Corinthos. When Courtney defends A.J. to his family, he realizes he truly loves her, and stops trying to trade Courtney for Michael. The Quartermaine family freezes A.J.'s bank account, leading him further into his alcoholism. After being blackmailed into stripping due to A.J.'s drunk driving accident,[7] A.J. becomes verbally abusive and has Courtney purposely stalked by Coleman Ratcliffe, the strip club's owner, so that he can finally feel like a hero and rescue her.

text: Courtney finds out what A.J. is doing and asks for a divorce, which he presumably complies with. Meanwhile, Courtney had turned to Sonny's enforcer Jason Morgan for help with the stalker, and develops feelings for him. Courtney falls in love with Jason, which causes tension between Jason and Sonny. After many trials, they finally marry in a private ceremony in France. However, Courtney miscarries their child, which causes strain on their relationship. She also feels that Jason's lifestyle makes her act in ways she never had before, including shooting officer Brian Beck. Although Brian knows Courtney had shot him, he frames Zander Smith, because he has fallen in love with Courtney. During a fire at the Port Charles Hotel, Detective Capelli mortally wounds Brian, who dies in the hospital with Courtney at his side. Courtney eventually decides that due to the dangerous nature of Jason's lifestyle, she would rather leave him than watch him die for the mob, and they divorce.

text: 2005–06, 2015[edit]

text: Months later, Courtney declares her independence and begins a foundation for underprivileged children. Jasper "Jax" Jacks signs on to lend credibility to her new endeavor. Courtney also takes in a foster child, 17-year-old Diego, who she finds out is the son of weapons dealer Lorenzo Alcazar. She tries to protect Diego from the truth but eventually tells him.[8] Meanwhile, Jax and Courtney continue to bond. Jax bets Courtney $10 million that he can seduce her in three months. Courtney accepts, believing beating Jax at his own game will be a breeze. Jax proves more difficult to resist than she bargained for. The two slowly fall in love and Jax eventually proposes to Courtney. A.J. returns to town and announces his divorce with Courtney was never final, but is presumed dead shortly thereafter. Courtney and Jax marry on June 3, 2005 in a ceremony in the park.

text: The newlyweds decide to have a surrogate child, as Courtney was left barren from her miscarriage. When Jax begins bonding with their surrogate mother, Elizabeth Spencer, it marks the beginning of the demise of their relationship. During this time, Courtney finds friendship and solace in Nikolas Cassadine, who is married to Emily Quartermaine, which quickly turns into an adulterous affair. Courtney miraculously becomes pregnant. Jax changes the DNA results to say he is the father, but Courtney and Nikolas still choose to fight Jax for custody. However, Courtney sees Nikolas and his ex-wife Emily together, and breaks up with Nikolas, thinking that Nikolas and Emily belong together.

text: In early January 2006, Courtney leaves town to have her baby in peace. She returns in February 2006, and contracts the Encephalitis virus plaguing Port Charles. She sees Nikolas, and the two renew their love and get engaged. Faced with the choice between her life or her baby's, Courtney chooses her son's life over her own.[9] After the birth, Courtney suggests that Jax names the baby John, after his father. Jax finally admits to Courtney that Nikolas is the father. Though upset with him for lying, she forgives him, and asks to see Nikolas. However, Nikolas arrives too late, and Courtney dies before she can tell Nikolas he is the father.[9] Jax hides the truth after her death and raises her baby as his own, naming him John Michael Jacks.[9] The truth is eventually revealed to Nikolas a few months later by Robin Scorpio, and Nikolas subsequently changes John's name to Spencer Cassadine.

text: In May 2015, Courtney appears to her son Spencer to help him realize that he is not disfigured from the fire he was injured months earlier, as well as helping him to become a better person. Before leaving, Courtney assures Spencer that she loves him and that she is always with him.


document_title: Tempo

question_text: which of the following is the slowest tempo indication adagio andante allegro vivace

text: Tempo

text: Measurement[edit]

text:
A 120 BPM click track

Problems playing this file? See media help.

text: While tempo is described or indicated in many different ways, including with a range of words (e.g., "Slowly", "Adagio" and so on), it is typically measured in beats per minute (bpm or BPM). For example, a tempo of 60 beats per minute signifies one beat per second, while a tempo of 120 beats per minute is twice as rapid, signifying one beat every 0.5 seconds. The note value of a beat will typically be that indicated by the meter signature. For instance, in 44 the beat will be a crotchet, or quarter note.

text: This measurement and indication of tempo became increasingly popular during the first half of the 19th century, after Johann Nepomuk Maelzel invented the metronome. Beethoven was one of the first composers to use the metronome; in the 1810s he published metronomic indications for the eight symphonies he had composed up to that time.[1]

text: With the advent of modern electronics, bpm became an extremely precise measure. Music sequencers use the bpm system to denote tempo.[citation needed] Instead of beats per minute, some 20th-century composers (e.g., Béla Bartók, Alberto Ginastera, and John Cage) specify the total playing time for a piece, from which the performer can derive tempo.[citation needed] Tempo is as crucial in contemporary music as it is in classical. In popular music genres such as electronic dance music, accurate knowledge of a tune's bpm is important to DJs for the purposes of beatmatching.[citation needed] The speed of a piece of music can also be gauged according to measures per minute (mpm) or bars per minute, the number of measures of the piece performed in one minute. This measure is commonly used in ballroom dance music.[2]

text: Choosing speed[edit]

text: In different musical contexts, different instrumental musicians, singers, conductors, bandleaders, music directors or other individuals will select the tempo of a song or piece. In a popular music or traditional music group or band, the bandleader or lead singer may select the tempo. In popular and traditional music, whoever is setting the tempo often counts out one or two bars in tempo. In some songs or pieces in which a singer or solo instrumentalist begins the work with a solo introduction (prior to the start of the full group), the tempo they set will provide the tempo for the group. In an orchestra or concert band, the conductor normally sets the tempo. In a marching band, the drum major may set the tempo. In a sound recording, in some cases a record producer may set the tempo for a song (although this would be less likely with an experienced bandleader).

text: Musical vocabulary[edit]

text: In classical music it is customary to describe the tempo of a piece by one or more words, most commonly in Italian, in addition to or instead of a metronome mark in beats per minute. Italian is typically used because it was the language of most composers during the time these descriptions became commonplace.[3] Some well-known Italian tempo indications include "Allegro", "Andante" and "Presto".This practice developed during the 17th and 18th centuries, the baroque and classical periods. In the earlier Renaissance music, performers understood most music to flow at a tempo defined by the tactus (roughly the rate of the human heartbeat).[4] The mensural time signature indicated which note value corresponded to the tactus.

text: In the Baroque period, pieces would typically be given an indication, which might be a tempo marking (e.g. Allegro), or the name of a dance (e.g. Allemande or Sarabande), the latter being an indication both of tempo and of metre. Any musician of the time was expected to know how to interpret these markings based on custom and experience. In some cases, however, these markings were simply omitted. For example, the first movement of Bach's Brandenburg Concerto No. 3 has no tempo or mood indication whatsoever. Despite the increasing number of explicit tempo markings, musicians still observe conventions, expecting a minuet to be at a fairly stately tempo, slower than a Viennese waltz; a perpetuum mobile quite fast, and so on. Genres imply tempos. Thus, Ludwig van Beethoven wrote "In tempo d'un Menuetto" over the first movement of his Piano Sonata Op. 54, though that movement is not a minuet.

text: Many tempo markings also indicate mood and expression. For example, presto and allegro both indicate a speedy execution (presto being faster), but allegro also connotes joy (from its original meaning in Italian). Presto, on the other hand, simply indicates speed. Additional Italian words also indicate tempo and mood. For example, the "agitato" in the Allegro agitato of the last movement of George Gershwin's piano concerto in F has both a tempo indication (undoubtedly faster than a usual Allegro) and a mood indication ("agitated").

text: Often, composers (or music publishers) name movements of compositions after their tempo (or mood) marking. For instance, the second movement of Samuel Barber's first String Quartet is an Adagio.[5]

text: Often a particular musical form or genre implies its own tempo, so composers need place no further explanation in the score.[citation needed] Popular music charts use terms such as bossa nova, ballad, and Latin rock in much the same way.[original research?] Lead sheets and fake book music for jazz or popular music may use several terms, and may include a tempo term and a genre term, such as "slow blues", "medium shuffle" or "fast rock".

text: Basic tempo markings[edit]

text: Here follows a list of common tempo markings. The beats per minute (bpm) values are very rough approximations for 44 time.

text: These terms have also been used inconsistently through time and in different geographical areas. One striking example is that Allegretto hastened as a tempo from the 18th to the 19th century: originally it was just above Andante, instead of just below Allegro as it is now.[6] As another example, a modern largo is slower than an adagio, but in the Baroque period it was faster.[7]

text: From slowest to fastest:

text:
Larghissimo – very, very slow (24 bpm and under)
Adagissimo – very slowly
Grave – very slow (25–45 bpm)
Largo – broadly (40–60 bpm)
Lento – slowly (45–60 bpm)
Larghetto – rather broadly (60–66 bpm)
Adagio – slowly with great expression[8] (66–76 bpm)
Adagietto – slower than andante (72–76 bpm) or slightly faster than adagio (70–80 bpm)
Andante – at a walking pace (76–108 bpm)
Andantino – slightly faster than andante (although, in some cases, it can be taken to mean slightly slower than andante) (80–108 bpm)
Marcia moderato – moderately, in the manner of a march[9][10] (83–85 bpm)
Andante moderato – between andante and moderato (thus the name) (92–112 bpm)
Moderato – at a moderate speed (108–120 bpm)
Allegretto – by the mid 19th century, moderately fast (112–120 bpm); see paragraph above for earlier usage
Allegro moderato – close to, but not quite allegro (116–120 bpm)
Allegro – fast, quickly, and bright (120–156 bpm) (molto allegro is slightly faster than allegro, but always in its range)
Vivace – lively and fast (156–176 bpm)
Vivacissimo – very fast and lively (172–176 bpm)
Allegrissimo or Allegro vivace – very fast (172–176 bpm)
Presto – very, very fast (168–200 bpm)
Prestissimo – even faster than presto (200 bpm and over)

text: Additional terms[edit]

text:
A piacere – the performer may use his or her own discretion with regard to tempo and rhythm; literally "at pleasure"[11]
Con moto – Italian for "with movement"; can be combined with a tempo indication, e.g., Allegro con moto
Assai – (very) much
A tempo – resume previous tempo
L'istesso, L'istesso tempo, or Lo stesso tempo – at the same speed; L'istesso is used when the actual speed of the music has not changed, despite apparent signals to the contrary, such as changes in time signature or note length (half notes in 44 could change to whole notes in 22, and they would all have the same duration)[12][13]
Ma non tanto - but not so much; used in the same way and has the same effect as Ma non troppo (see immediately below) but to a lesser degree
Ma non troppo - but not too much; used to modify a basic tempo to indicate that the basic tempo should be reined in to a degree, for example Adagio ma non troppo to mean Slow but not too slow, Allegro ma non troppo to mean Fast but not too fast
Molto – very
Poco – a little
Subito – suddenly
Tempo comodo – at a comfortable (normal) speed
Tempo di... – the speed of a ... (such as Tempo di valzer (speed of a waltz, . ≈ 60 bpm), Tempo di marcia (speed of a march,  ≈ 120 bpm))
Tempo giusto – at a consistent speed, at the 'right' speed, in strict tempo
Tempo semplice – simple, regular speed, plainly
Tempo primo – resume the original (first) tempo

text: French tempo markings[edit]

text: Several composers have written markings in French, among them baroque composers François Couperin and Jean-Philippe Rameau as well as Claude Debussy, Olivier Messiaen, Maurice Ravel and Alexander Scriabin. Common tempo markings in French are:

text:
Au mouvement – play the (first or main) tempo.
Grave – slowly and solemnly
Lent – slowly
Modéré – at a moderate tempo
Moins – less, as in Moins vite (less fast)
Rapide – fast
Très – very, as in Très vif (very lively)
Vif – lively
Vite – fast

text: Erik Satie was known to write extensive tempo (and character) markings by defining them in a poetical and literal way, as in his Gnossiennes.[14]

text: German tempo markings[edit]

text: Many composers have used German tempo markings. Typical German tempo markings are:

text:
Kräftig – vigorous or powerful
Langsam – slowly
Lebhaft – lively (mood)
Mäßig – moderately
Rasch – quickly
Schnell – fast
Bewegt – animated, with motion[15]

text: One of the first German composers to use tempo markings in his native language was Ludwig van Beethoven. The one using the most elaborate combined tempo and mood markings was probably Gustav Mahler. For example, the second movement of his Symphony No. 9 is marked Im Tempo eines gemächlichen Ländlers, etwas täppisch und sehr derb, indicating a slowish folk-dance-like movement, with some awkwardness and much vulgarity in the execution. Mahler would also sometimes combine German tempo markings with traditional Italian markings, as in the first movement of his sixth symphony, marked Allegro energico, ma non troppo. Heftig, aber markig (Energetically quick, but not too much. Violent, but vigorous[16]).

text: English tempo markings[edit]

text: English indications, for example quickly, have also been used, by Benjamin Britten and Percy Grainger, among many others. In jazz and popular music lead sheets and fake book charts, terms like "fast", "laid back", "steady rock", "medium", "medium-up", "ballad", "brisk", "up", "slowly", and similar style indications may appear. In some lead sheets and fake books, both tempo and genre are indicated, e.g., "slow blues", "fast swing", or "medium Latin". The genre indications help rhythm section instrumentalists to use the correct style of playing. For example, if a song indicates "medium shuffle", the drummer will know to play a shuffle drum pattern. Similarly, if another song is labeled "fast boogie-woogie", then the piano player will know to play a boogie-woogie bassline.

text: Tom Lehrer's anthology Too Many Songs by Tom Lehrer, uses fake English tempo markings to humorous effect. For example, Lehrer specifies that the song "National Brotherhood Week" should be played "fraternally" or "We Will All Go Together" be played "eschatologically" (and "Masochism Tango" be played "painstakingly").

text: Variation through a piece[edit]

text: Tempo is not necessarily fixed. Within a piece (or within a movement of a longer work), a composer may indicate a complete change of tempo, often by using a double bar and introducing a new tempo indication, often with a new time signature and/or key signature.

text: It is also possible to indicate a more or less gradual change in tempo, for instance with an accelerando (speeding up) or ritardando (rit., slowing down) marking. Indeed some compositions chiefly comprise accelerando passages, for instance Monti's Csárdás, or the Russian Civil War song Echelon Song.

text: On the smaller scale, tempo rubato refers to changes in tempo within a musical phrase, often described as some notes 'borrowing' time from others.

text: Terms for change in tempo[edit]

text: Composers may use expressive marks to adjust the tempo:

text:
Accelerando – speeding up (abbreviation: accel.)
Allargando – growing broader; decreasing tempo, usually near the end of a piece
Calando – going slower (and usually also softer)
Doppio movimento / doppio più mosso – double-speed
Doppio più lento – half-speed
Lentando – gradually slowing, and softer
Meno mosso – less movement; slower
Meno moto – less motion
Più mosso – more movement; faster
Mosso – movement, more lively; quicker, much like più mosso, but not as extreme
Precipitando – hurrying; going faster/forward
Rallentando – a gradual slowing down (abbreviation: rall.)
Ritardando – slowing down gradually; also see rallentando and ritenuto (abbreviations: rit., ritard.) sometimes replaces allargando.
Ritenuto – slightly slower, but achieved more immediately than rallentando or ritardando; a sudden decrease in tempo; temporarily holding back.[17] (Note that the abbreviation for ritenuto can also be rit. Thus a more specific abbreviation is riten. Also, sometimes ritenuto does not reflect a tempo change but rather a 'character' change.)
Rubato – free adjustment of tempo for expressive purposes, literally "theft"—so more strictly, to take time from one beat to slow another
Stretto – in a faster tempo, often used near the conclusion of a section. (Note that in fugal compositions, the term stretto refers to the imitation of the subject in close succession, before the subject is completed, and as such, suitable for the close of the fugue.[18] Used in this context, the term is not necessarily related to tempo.)
Stringendo – pressing on faster, literally "tightening"
Tardando – slowing down gradually (same as ritardando)[19]

text: While the base tempo indication (such as Allegro) typically appears in large type above the staff, adjustments typically appear below the staff or, in the case of keyboard instruments, in the middle of the grand staff.

text: They generally designate a gradual change in tempo; for immediate tempo shifts, composers normally just provide the designation for the new tempo. (Note, however, that when Più mosso or Meno mosso appears in large type above the staff, it functions as a new tempo, and thus implies an immediate change.) Several terms, e.g., assai, molto, poco, subito, control how large and how gradual a change should be (see common qualifiers).

text: After a tempo change, a composer may return to a previous tempo in two ways:

text:
a tempo – returns to the base tempo after an adjustment (e.g. ritardando ... a tempo undoes the effect of the ritardando).
Tempo primo or Tempo Io – denotes an immediate return to the piece's original base tempo after a section in a different tempo (e.g. Allegro ... Lento ... Moderato ... Tempo Io indicates a return to the Allegro). This indication often functions as a structural marker in pieces in binary form.

text: These terms also indicate an immediate, not a gradual, tempo change. Although they are Italian, composers tend to employ them even if they have written their initial tempo marking in another language.

text: Modern classical music[edit]

text: 20th-century classical music introduced a wide range of approaches to tempo, particularly thanks to the influence of modernism and later postmodernism.

text: While many composers have retained traditional tempo markings, sometimes requiring greater precision than in any preceding period, others have begun to question basic assumptions of the classical tradition like the idea of a consistent, unified, repeatable tempo. Graphic scores shows tempo and rhythm in a variety of ways. Polytemporal compositions deliberately utilise performers playing at marginally different speeds. John Cage's compositions approach tempo in diverse ways. For instance 4′33″ has a defined duration, but no actual notes, while As Slow as Possible has defined proportions but no defined duration, with one performance intended to last 639 years.

text: Electronic music[edit]

text: Extreme tempo[edit]

text: More extreme tempos are achievable at the same underlying tempo with very fast drum patterns, often expressed as drum rolls. Such compositions often exhibit a much slower underlying tempo, but may increase the tempo by adding additional percussive beats. Extreme music subgenres such as speedcore and grindcore often strive to reach unusually fast tempo. The use of extreme tempo was very common in the fast bebop jazz from the 1940s and 1950s. A common jazz tune such as "Cherokee" was often performed at quarter note equal to or sometimes exceeding 368 bpm. Some of Charlie Parker's famous tunes ("Bebop", "Shaw Nuff") have been performed at 380 bpm plus.[citation needed]

text: Beatmatching[edit]

text: In popular music genres such as disco, house music and electronic dance music, beatmatching is a technique that DJs use that involves speeding up or slowing down a record (or CDJ player, a speed-adjustable CD player for DJ use) to match the tempo of a previous or subsequent track, so both can be seamlessly mixed. Having beatmatched two songs, the DJ can either seamlessly cross fade from one song to another, or play both tracks simultaneously, creating a layered effect.

text: DJs often beatmatch the underlying tempos of recordings, rather than their strict bpm value suggested by the kick drum, particularly when dealing with high tempo tracks. A 240 bpm track, for example, matches the beat of a 120 bpm track without slowing down or speeding up, because both have an underlying tempo of 120 quarter notes per minute. Thus, some soul music (around 75–90 bpm) mixes well with a drum and bass beat (from 150–185 bpm). When speeding up or slowing down a record on a turntable, the pitch and tempo of a track are linked: spinning a disc 10% faster makes both pitch and tempo 10% higher. Software processing to change the pitch without changing the tempo, or vice versa, is called time-stretching or pitch-shifting. While it works fairly well for small adjustments (± 20%), the result can be noisy and unmusical for larger changes.[citation needed]


document_title: Dominion Day

question_text: when did dominion day changed to canada day

text: Dominion Day

text: Canada[edit]

text: Dominion Day was the name of the holiday commemorating the formation of Canada as a Dominion on 1 July 1867. It became an official public holiday in 1879.[1] The holiday was renamed to Canada Day by Act of Parliament on 27 October 1982.

text: Newfoundland[edit]

text: Dominion Day was the name of the holiday commemorating the formation of Newfoundland as a Dominion on 26 September 1907 (same day as New Zealand) and was celebrated until it entered into confederation with Canada in 1949.[citation needed]

text: New Zealand[edit]

text: Dominion Day was occasionally celebrated in New Zealand to commemorate the anniversary of the granting of dominion status (26 September 1907). It was never a public holiday, although the first Dominion Day was a day off for public servants.[2] Dominion Day soon "faded away as a public event" – there were occasional celebrations in the first few years after 1907, but they were mainly formal events that did not capture the attention of the public.[3] There has been support in some quarters[4] for the day to be revived as an alternative New Zealand Day, instead of renaming Waitangi Day, New Zealand's current national day.


document_title: List of Back to the Future characters

question_text: who played the sister in back to the future

text: List of Back to the Future characters

text: Main characters[edit]

text: Marty McFly[edit]

text: Martin Seamus "Marty" McFly (portrayed by Michael J. Fox in the films and voiced by David Kaufman in the animated series and AJ LoCascio in Back to the Future: The Game) is the son of George McFly and Lorraine Baines McFly. Marty travels between the past and the future, encountering his ancestors and descendants. Marty and his friend Doc Brown help restore the space-time continuum while encountering Biff Tannen (or members of the Tannen clan) at various points in time.

text: Emmett "Doc" Brown[edit]

text: Doctor Emmett Lathrop "Doc" Brown (portrayed by Christopher Lloyd in the films and Back to the Future: The Game, and voiced by Dan Castellaneta in the animated series) is the inventor of the DeLorean time machine. At various points in time, Doc helps Marty restore the space-time continuum and reverse the changes that were caused by time travel.

text: In 2008, the character was selected by film magazine Empire as one of The 100 Greatest Movie Characters of All Time, ranking at #20.[1]

text: Biff Tannen[edit]

text: Biff Howard Tannen (portrayed by Thomas F. Wilson in the films and animated series and voiced by Kid Beyond in Back to the Future: The Game) is the main antagonist of the first 2 films and a local bully who harassed George McFly and has once altered history in the second film. He comes from a long line of bullies in Hill Valley, most of whom harassed members of the McFly family.  Biff is also a descendant of Buford Tannen (also portrayed by Wilson), who is one of Hill Valley's outlaws during the 1880s.

text: McFly family[edit]

text: George McFly[edit]

text: George Douglas McFly (portrayed by Crispin Glover in Back to the Future and by Jeffrey Weissman in Back to the Future Part II and Back to the Future Part III and voiced by Michael X. Sommers in Back to the Future: The Game) is the father of Marty, Linda and Dave from the union with his wife Lorraine Baines McFly. Although he is one of the main characters in the first movie, George only makes cameos in Back to the Future Part II and Back to the Future Part III.

text: In the first film, George is portrayed as weak and the main target of Biff Tannen's bullying. The novelization of the film expounds on George's history of weakness, describing two incidents in which he is unable to stand up for himself.  In 1955, in contrast with Marty, George did not have any friends for support and was targeted not only by Biff and his gang but also other kids in school.  He has a penchant for science fiction, and writes some of his own but never allows himself to share them with anyone due to his fear of rejection. In 1955, with Marty's help, he gets the courage to stand up to Biff, knocking him unconscious. As a result, he and Lorraine fall in love and George becomes popular in school for defeating Biff in a fight. In the new future, they are both happily married with George working as a college professor and being a successful writer who orders Biff around. In the alternate timeline in Part II, George was murdered by Biff in 1973.

text: George's character was greatly reduced in the sequels, and the role was recast to Jeffrey Weissman.[2] Weissman wore prosthetics to resemble Glover and imitated Glover's rendering of McFly, and his scenes were spliced with shots of Glover from Back to the Future.[3] The result was so convincing that many people were fooled by it.[3] Glover did not appreciate this, and sued. The lawsuit resulted in the adoption of stricter rules by the Screen Actors Guild to prevent this situation from occurring again.[3]

text: Lorraine Baines-McFly[edit]

text: Lorraine Baines-McFly (portrayed by Lea Thompson and voiced by Aimee Miles in Back to the Future: The Game) is the wife of George McFly and the mother of Marty, Linda and Dave.  She is the eldest daughter of Sam (George DiCenzo) and Stella (Frances Lee McCain) Baines, and sister of Milton (Jason Hervey), Sally (Maia Brewton), Toby, and Joey.

text: In Back to the Future, Lorraine is initially portrayed in 1985 as middle-aged and unhappy. After Marty changes the timeline, she is shown to be fit and happily married to George in 1985.  In Part II, she is still happily married to George in 2015, but in the dystopian alternate 1985 timeline she is widowed and married to Biff.

text: Dave McFly[edit]

text: David "Dave" McFly (portrayed by Marc McClure) is the eldest child of George and Lorraine McFly.  In 1985 before Marty went to 1955, Dave works at Burger King, but in the post-time travel 1985 he wears a suit as a nondescript white-collar worker for an accounting firm.  In a deleted scene from Part II, the alternate 1985 timeline shows that Dave is an alcoholic and a gambling addict following George's death and Lorraine's second marriage to Biff.

text: Linda McFly[edit]

text: Linda McFly (portrayed by Wendie Jo Sperber) is the middle child and only daughter of George and Lorraine McFly. In 1985 before Marty went to 1955, Linda is having boy trouble and it is unknown if she is in college or has a job. In 1985 after Marty went to 1955, Linda works in a boutique and has gained the attention of many boys.

text: Seamus and Maggie McFly[edit]

text: Seamus and Maggie McFly (portrayed by Michael J. Fox and Lea Thompson) are Irish immigrants and the paternal great-great-grandparents of Marty McFly. In Part III, Marty is befriended by Seamus and Maggie. While Maggie does not trust the "strange young man", Seamus has a familiar feeling about him and believes that helping him is the right thing to do. They have a son named William (Marty's great-grandfather).  Much like his descendants, Seamus is harassed by a member of the Tannen family, Buford Tannen.

text: Maggie McFly is played by Lea Thompson, who also plays Marty's mother Lorraine, even though Maggie is not an ancestor of Lorraine; in a DVD commentary track for Part III, Bob Gale states that the creative team considered it important to include Thompson in the film, and he imagines that McFly men are simply "genetically predisposed" to be attracted to women who look like her.

text: Marty Jr. and Marlene McFly[edit]

text: Marty Jr. and Marlene McFly (both portrayed by Michael J. Fox) are Marty McFly and Jennifer Parker's future fraternal twin son and daughter in Part II.

text: Originally Marty Jr. was to be arrested and sentenced to fifteen years in prison for joining a robbery initiated by Griff and his gang. Marlene attempted to help Marty Jr. break out of jail but failed and was sentenced to twenty years in a woman's prison. Doc and Marty prevented the event from ever happening.

text: Brown family[edit]

text: Clara Clayton[edit]

text: Clara Clayton (portrayed by Mary Steenburgen in both Back to the Future Part III and the animated series) is the wife of Doc Brown and mother of Jules and Verne Brown.

text: Clara moved to Hill Valley and originally died in an accident when her wagon plummeted into Shonash Ravine, which was renamed Clayton Ravine in her memory.  The animated series reveals that Clara, along with the rest of the family, moves to the early 1990s and lives in a farmhouse outside of Hill Valley. She then becomes a teacher at Hill Valley Elementary School.

text: Jules and Verne Brown[edit]

text: Jules Eratosthenes Brown and Verne Newton Brown (portrayed by Todd Cameron Brown and Daniel Evans in Back to the Future Part III and voiced by Josh Keaton and Troy Davidson in the animated series) are the two children of Doc Brown and his wife, Clara, who named them after their favorite author Jules Verne.

text: The characters had minor, non-speaking roles in Back to the Future Part III but were further developed in the animated series. Jules, an introvert, mostly imitates his father's interests and mannerisms while Verne appears to be more outgoing and extroverted. Several plot points of the animated series revolve around either Jules or Verne altering history and the steps necessary to correct the damage.

text: Copernicus[edit]

text: Copernicus is Doc's dog from 1955.  Like his other dogs, Copernicus was used in many of Doc's experiments. When Copernicus died, he was replaced by Einstein.

text: Einstein[edit]

text: Einstein (portrayed by Tiger in the first film and Freddie in the other two and voiced by Danny Mann in the animated series) is Doc Brown's pet Catalan sheepdog. He later becomes one of the main characters in the animated series as the Brown family's dog.

text: In the first film, Doc successfully tests his time machine by placing Einstein in it and sending him one minute into the future. In the animated series, Einstein becomes anthropomorphic and smarter, helping Doc with his inventions for traveling to the past and the future.

text: Tannen family[edit]

text: Irving "Kid" Tannen[edit]

text: Kid Tannen is Biff's father who only appears in the Back to the Future game. Kid is a gangster who runs a local speakeasy in the 1930s Hill Valley.  He, like the rest of the Tannen family, bullies the McFly family forcing Marty's grandfather Arthur to do his accounting. Kid is brought down with the help of Marty, a young version of Doc, and Arthur McFly. He later marries Edna Strickland and reforms from his criminal ways with her help.

text: Buford "Mad Dog" Tannen[edit]

text: Buford Tannen (portrayed by Thomas F. Wilson in Back to the Future Part III) is the main antagonist of the third film. He is the great-grandfather of Biff Tannen and the local town outlaw in 1885 Hill Valley. He was nicknamed "Mad Dog" by a newspaper reporter, due to his violent temper and propensity for drooling, a nickname Tannen greatly despises. Buford is cruel, homicidal, rude, and emotionally unstable. He displays a need for control and is brought down to childlike tantrums when he is humiliated or makes mistakes, whether it be something that happens to him or something he says or does. He is often accompanied by his gang (played by Christopher Wynne, Sean Sullivan and Mike Watson), and developed a feud with Marshal James Strickland and his deputies.

text: Griff[edit]

text: Griff (portrayed by Thomas F. Wilson in both Back to the Future Part II and in the animated series) is a grandson of Biff. He is part of a gang that also consists of "Data", "Spike", and "Whitey" (portrayed by Ricky Dean Logan, Darlene Vogel, and Jason Scott Lee).

text: In the animated series, Griff makes a brief cameo appearance in the episode "Solar Sailors" where his grandson, Ziff (also voiced by Wilson), is detained after he attempts to sabotage Marta McFly's space cruiser due to his hatred towards her family.

text: Griff's last name is never mentioned in the movies, which means he could either be the son of Biff's son Biff Jr, or the son of Biff's daughter, Tiffaney. However, in the animated series, Ziff refers that both he and Griff are Tannens.

text: Biff Tannen, Jr.[edit]

text: In the animated series, Biff Jr. is the son of Biff Tannen.  Like his father and paternal relatives, he likes to bully and steal from children around him including Jules and Verne Brown with whom he developed a feud with. In addition, Biff Jr. delights vandalizing other people's properties. Biff Jr. lives with his father with whom he has an abusive relationship. He is voiced by Benji Gregory.

text: Strickland family[edit]

text: Gerald Strickland[edit]

text: Gerald Strickland[4] (portrayed by James Tolkan) is the strict principal of Hill Valley High School. He is the grandson of Chief Marshal James Strickland of Hill Valley 1885.

text: There is a reference from Verne Brown that there is another Strickland who works at Hill Valley Elementary School as its vice principal.[episode needed]

text: James Strickland[edit]

text: James Strickland (portrayed by James Tolkan in Back to the Future Part III) is the chief marshal of Hill Valley in 1885 and the grandfather of Mr. Strickland. He also has an unnamed son (portrayed by Kaleb Henley), who will become Gerald Strickland's father.

text: Edna Strickland[edit]

text: Edna Strickland, in Back to the Future: The Game, is the sister of Gerald Strickland. She is somewhat nicer than her brother, but still set in her ways towards upholding strong morals and abolishing crime and laziness. After Marty alters her original timeline, Edna marries Kid Tannen who becomes the father of Biff Tannen.

text: Other characters[edit]

text: Jennifer Parker[edit]

text: Jennifer Jane Parker is the girlfriend (and, in 2015 in Back to the Future Part II, the wife) of Marty McFly.

text: The character was played by Claudia Wells in Back to the Future. However, Wells was not available to film the sequels for personal reasons, and the role was recast to Elisabeth Shue although Wells reprised her role as Jennifer in Back to the Future: The Game as a punk rock version of her character. Consequently, the opening scene of Back to the Future Part II was re-shot with Shue taking Wells' place, rather than using the ending of Back to the Future.  In the spin-off Back to the Future: the Animated Series, Jennifer was voiced by Cathy Cavadini.

text: In 1985, Jennifer attends Hill Valley High School, along with her boyfriend Marty.  In the animated series, Jennifer is enrolled to Hill Valley College with Marty after graduating high school and working part-time as a tutor. She lives with her family on a ranch, the deed to which was owned by Biff Tannen, after one of his ancestors forced Jennifer's great-great-grandfather to sign it over by holding Jennifer's great-great-grandmother hostage. In the episode "A Friend in Deed", Marty travels back in time to 1875 and sabotages the deal with help from Jules and Verne.[5]

text: In the future witnessed in Back to the Future Part II, Jennifer and Marty had two children, Marlene and Marty Jr. (both played by Michael J. Fox)

text: Douglas J. Needles[edit]

text: Douglas J. Needles (portrayed by Flea in Back to the Future Part II and Back to the Future Part III) is an acquaintance of Marty McFly and Jennifer Parker from Hill Valley High School.  Like his school's alumnus, Biff Tannen, Needles also has his own gang (portrayed by Christopher Wynne, J.J. Cohen, and Ricky Dean Logan) and develops a rivalry with Marty. Needles often goads Marty into doing reckless things such as a street race that leads Marty to crash into a Rolls Royce and an illegal transaction which results in his firing in 2015.

text: Goldie Wilson[edit]

text: Goldie Wilson (played by Donald Fullilove in part 1) is a young man working at Lou's Cafe in 1955 who goes on to become the first black Mayor of Hill Valley in the 1980s. A campaign poster shows the name Goldie in quotation marks, suggesting Goldie is a nickname, presumably in reference to his gold tooth. He would also have a grandson, Goldie Wilson III (also played by Fullilove) in Part II, who works as a car salesman.

text: Match, Skinhead, and 3-D[edit]

text: Match (portrayed by Billy Zane), Skinhead (portrayed by Jeffrey Jay Cohen), and 3-D (portrayed by Casey Siemaszko) are the three high school boys who make up Biff Tannen's gang in 1955. Their nicknames are only given in the films' novels, screenplays, and credits. Only one of their real names is mentioned in the movies – Biff refers to Skinhead as Joey in one of the 1955 scenes in Back to the Future Part II, while outside of the "Enchantment Under the Sea" dance.

text: In the alternate 1985, the three work in Biff's casino as his bodyguards.  Each gets his nickname from a distinctive character trait. Match often has a match sticking out of his mouth; Skinhead has very short, close-cropped hair; 3-D is always wearing a pair of anaglyphic 3-D glasses (a reference to the 3-D movies that were popular in the 1950s).


document_title: Sausage Party

question_text: who does the voice of the bagel in sausage party

text: Sausage Party

text: Plot[edit]

text: A supermarket called Shopwell's is filled with anthropomorphic grocery items that worship the human shoppers as gods who take groceries to a utopia known as the "Great Beyond" when they are purchased. Among the groceries in the store is a sausage named Frank, who has dreams of living with his hot dog bun girlfriend, Brenda, in the Great Beyond, where they can finally consummate their relationship.

text: After Frank and Brenda's packages are chosen by a woman named Camille Toh to leave Shopwell's, a returned jar of Bickle's Honey Mustard tries to warn the groceries that the Great Beyond is a lie; nobody listens except for Frank. Honey Mustard calls on Frank to seek out a bottle of liquor named Firewater, and then falls to his death. This creates an accidental cart collision that causes Frank, Brenda, and several groceries to fall out, including an agressive Douche who gets his nozzle bent, and plots revenge against Frank and Brenda.

text: Seeking to verify Honey Mustard's warning, Frank leads Brenda, a lavash named Kareem Abdul Lavash, and a bagel named Sammy Bagel Jr. to the store's liquor aisle under the guise of taking a shortcut to their proper aisles. There, he smokes cannabis out of a kazoo and learns from Firewater that he and other non-perishable foods invented the story of the Great Beyond as a noble lie to assuage past foods' fears of being eaten by shoppers. Frank, vowing to reveal the truth to the groceries, is encouraged to travel beyond the store's freezer section to find proof. While waiting for Frank, Brenda and the others are led into the Mexican aisle by a bottle of Tequila, where they meet Teresa, a taco who falls in love with Brenda on sight.

text: Meanwhile at Camille's house, Frank's friends Carl and deformed sausage Barry are horrified as they witness the other purchased foods being cooked and eaten by Camille, shown from the foods' perspective as a brutal murder. Carl and Barry attempt to escape out a window, but Carl is killed when he is sliced in half by Camille. Barry manages to escape and stumbles across a human druggie, who becomes able to communicate with his groceries after he injects himself with bath salts. After sobering up and attempting to cook Barry, the druggie is decapitated in a domestic accident.

text: After Frank separates from his friends, who disapprove of his skepticism of the Great Beyond, he discovers a cookbook behind the freezer section and reveals its contents to the rest of Shopwell's groceries. Initially panicking, the groceries choose not to believe Frank out of fear of losing their sense of purpose, prompting Frank to lash out at them for their blind belief. Barry and other groceries from the druggie's home return to the store with the druggie's severed head, revealing that the humans can be killed. The groceries are able to drug the human shoppers and employees using toothpicks laced with bath salts. When the drugged humans begin attacking the groceries, Frank convinces everyone to listen to him and join the fight against the shoppers, and a store-wide battle ensues.

text: After absorbing the contents of liquor bottles, Douche becomes a wild monster and takes control of Darren, the store manager, by inserting himself into his anus and yanking on his scrotum to puppeteer his actions. Once they caught Frank, Douche gets revenge by biting on Frank's torso. Barry and the other foods launch a rocket at Douche and Darren made from propane tanks and a garbage bin used to dispose of expired foods. Brenda rescues Frank from Douche and Darren just as the rocket hits them, killing them both. With the battle over, the foods celebrate their victory in a massive orgy.

text: Afterwards, Frank, Brenda, Barry, Kareem, Sammy and Teresa meet with Firewater and Gum, a Stephen Hawking-esque wad of chewing gum, who have had a psychedelic experience and discovered that their world is not real, and they are merely cartoons voiced by famous actors in another dimension. Gum has constructed a portal to this dimension, and the groceries decide to travel there to meet their creators.

text: Voice cast[edit]

text:
Seth Rogen as Frank Wienerton, a sausage who sets out to discover and expose the truth of his and his fellow groceries existence.[7][12][13]
Kristen Wiig as Brenda Bunson, a hot dog bun from an 8-bun package of Glamour Buns (net weight 340 grams) who is Frank's girlfriend.[13][14]
Jonah Hill as Carl, a sausage who is friends with Frank and Barry.[7][12][13]
Bill Hader as Firewater, an old Native American bottle of liquor and the leader of the immortal Non-Perishables.[13]
Michael Cera as Barry, a deformed sausage who is one of Frank's friends.[7][13][14]
James Franco as the Druggie, a drug-addled pot-bellied human who is the first one to see the foods as sentient beings after injecting himself with bath salts.
Danny McBride as a jar of Bickle's Honey Mustard who is returned to his Shopwell's shelf upon the shopper mistaking him for actual mustard and tries to warn Frank and the other products of the reality of the "Great Beyond".[15]
Craig Robinson as Mr. Grits, a box of grits who is one of the immortal Non-Perishables.
Paul Rudd as Darren, the manager of Shopwell's who is nicknamed the "Dark Lord" as he disposes of expired food and spilled items.[15]
Nick Kroll as a literal and figurative douche who seeks revenge on Frank for breaking his nozzle and preventing him from reaching the "Great Beyond".[13][14]
David Krumholtz as Kareem Abdul Lavash, a Middle Eastern lavash who has a rivalry with Sammy Bagel Jr.[7][13][14]
Edward Norton as Sammy Bagel Jr., a Jewish Woody Allen-esque bagel who has an on and off rivalry with Lavash.[7][13][14]
Salma Hayek as Teresa del Taco, a Mexican lesbian taco shell who has a crush on Brenda.[13][16]

text: Rogen has an additional minor role in the film as Sgt. Pepper, a red pepper sergeant. Hader similarly has two additional roles as a bottle of Sigueme Tequila and a guacamole gangster named El Guaco.[13] Both Rogen and Norton also appear as the uncredited live-action heads of themselves at the end of the film. Anders Holm voices Troy, one of the sausages who picks on Barry. Rogen's wife Lauren Miller voices Camille Toh, a woman who purchases Frank and Brenda's packages, and a tampon who absorbs Darren's spilled blood. Harland Williams voices Baba Ganoush, a drug dealer that the Druggie gets the bath salts from, and a bottle of ketchup that tries to comfort Honey Mustard upon his return. Directors Conrad Vernon and Greg Tiernan have various cameo appearances throughout the film: Vernon as an Ed Wynn-esque roll of toilet paper, an Adolf Hitler-esque sauerkraut, a catcalling sausage, a grape, a beer can, and a pop bottle; and Tiernan as an Irish potato and a can of noodle soup. Storyboard artist Scott Underwood plays Gum, a Stephen Hawking-esque wad of chewing gum; Twink, a homosexual Twinkie who is one of the Non-Perishables; and two groceries owned by the druggie: a bag of Krinkler's Potato chips and a half-eaten slice of pizza.

text: Production[edit]

text: Rogen has stated that he worked for eight years to get the film made; however, the content worried most film studios and they thus did not pick it up.[17] Noting that the film came from "an innocent place", Rogen stated "'What would it be like if our food had feelings?' We very quickly realized that it would be f*cked up."[18] Goldberg revealed the project to Indiewire in July 2010, stating it was a "top secret super project". Initially, Indiewire was skeptical that the project was real and not a hoax on Goldberg's part, but after vetting, it did confirm that it was in the works.[12] In November 2010, Hill independently confirmed to MTV News that he was working on an R-rated 3D animated film.[19]

text: The film was formally announced in September 2013 as a partnership between Sony Pictures Entertainment, Annapurna Pictures and Point Grey Pictures.[20] On May 29, 2014, it was announced that the film would be released on June 3, 2016,[21] but in early 2016, the release date was revised to August 12, 2016. In January 2014, Rogen, Hill, James Franco and Kristen Wiig were announced as the leads in the film. The other cast includes Edward Norton, Michael Cera, David Krumholtz and Nick Kroll.[14] On April 9, 2014, Salma Hayek was set to lend her voice to the film as Teresa the Taco.[16] It was also announced that Paul Rudd, Danny McBride and Anders Holm would voice characters in the film.[15]

text: The film received an R rating for strong crude sexual content, pervasive language and drug use. When Rogen initially submitted the film to the MPAA, however, they assigned it with an NC-17 rating due to the visibility of pubic hair on Lavash's scrotum. In order to be assigned an R rating, the pubic hair was removed.[22][23][24][25]

text: Music[edit]

text: Soundtrack[edit]

text:
Sausage Party

Film score by Alan Menken and Christopher Lennertz

Released
August 5, 2016

Recorded
2016

Genre
Film score

Length
74:49

Label
Madison Gate Records
Sony Music Masterworks

Producer
Alan Menken
Christopher Lennertz

Alan Menken film scores chronology

Mirror Mirror
(2012)Mirror Mirror2012
Sausage Party
(2016)
Beauty and the Beast
(2017)Beauty and the Beast2017

Christopher Lennertz chronology

The Boss
(2016) The Boss2016
Sausage Party
(2016) Sausage Party2016
Smurfs: The Lost Village
(2017) Smurfs: The Lost Village2017

text: The film’s score was composed by Alan Menken and Christopher Lennertz. The soundtrack was released on August 5, 2016 by Madison Gate Records and Sony Music Masterworks.

text: Track listing[edit]

text: All music composed by Alan Menken and Christopher Lennertz, except as noted.

text:
[show]Track listing

No.
Title
Length

1.
"The Great Beyond" (performed by Sausage Party Cast)
3:13

2.
"Darren, the Dark Lord"
0:55

3.
"Chosen"
1:50

4.
"I'd Do Anything for Love (But I Won't Do That)" (performed by Meat Loaf)
5:14

5.
"The Crash"
2:34

6.
"Douche Loses It"
2:16

7.
"Wake Me Up Before You Go-Go" (performed by Wham!)
3:50

8.
"Our Heroes"
2:31

9.
"He's Coming"
1:47

10.
"Food Massacre"
3:15

11.
"Hungry Eyes" (performed by Eric Carmen)
3:47

12.
"True" (performed by Spandau Ballet)
5:31

13.
"The Spooge"
3:46

14.
"Magical Sausage"
1:40

15.
"Gone" (performed by JR JR)
3:46

16.
"We're Home"
3:29

17.
"The Cookbook"
1:26

18.
"I Have Proof"
3:06

19.
"Big Speech"
3:04

20.
"The Big Fight"
2:37

21.
"Final Battle"
4:04

22.
"It's Your Thing" (performed by The Isley Brothers)
2:46

23.
"Finale"
2:24

24.
"Joy to the World" (performed by Three Dog Night)
3:14

25.
"The Great Beyond Around the World" (performed by Sausage Party Cast)
2:44

Total length:
74:49

text: Release[edit]

text: Premiere and theatrical release[edit]

text: A rough cut of the film was shown at the South by Southwest Film Festival on March 14, 2016.[11] The final cut of the film screened at Just for Laughs on July 30, 2016.[26] The film was theatrically released in the United States and Canada on August 12, 2016.[27] The film was released in the United Kingdom on September 2, 2016.[28]

text: Home media[edit]

text: Sausage Party was released by Sony Pictures Home Entertainment on Blu-ray, DVD and digital download on November 8, 2016.[29]

text: Video game[edit]

text: Frank and Brenda, two main characters from the film, make guest appearances in the mobile fighting game Sausage Legend, released by Milkcorp for iOS and Android, as part of a limited special event, running from March 6, 2017 through July 31, 2017. [30][31] As this game involves dueling with sausages, players in this game can unlock and control Brenda, who swings Frank around to battle other sausages.[32]

text: Reception[edit]

text: Box office[edit]

text: Sausage Party grossed $97.7 million in North America and $42.8 million in other territories for a worldwide total of $140.4 million, against a budget of $19 million.[6] The film is the most commercially successful R-rated animated film of all time, replacing South Park: Bigger, Longer & Uncut (which held the record for 17 years),[33] and made a net profit of $47.06 million, when factoring together all expenses and revenues.[34]

text: In the United States and Canada, Sausage Party was released on August 12, 2016, alongside Pete's Dragon and Florence Foster Jenkins, and was initially projected to gross $15–20 million from 2,805 theaters in its opening weekend.[4] However, after grossing $3.3 million from Thursday night previews (more than the $1.7 million made by Rogen's Neighbors 2: Sorority Rising in May) and $13.5 million on its first day, weekend projections were increased to $30–35 million. The film ended up grossing $33.6 million in its opening weekend, finishing second at the box office, behind Suicide Squad.[35]

text: Outside North America, the biggest markets are the United Kingdom, Australia, Spain, Germany, Russia and Israel, where the film grossed $10.2 million, $6.8 million, $4.1 million, $3.5 million $2.6 million and $2 million respectively.[36]

text: Critical response[edit]

text: On review aggregation website Rotten Tomatoes the film has an approval rating of 82% based on 192 reviews, with an average rating of 6.8/10. The site's critical consensus reads, "Sausage Party is definitely offensive, but backs up its enthusiastic profanity with an impressively high laugh-to-gag ratio – and a surprisingly thought-provoking storyline."[37] On Metacritic, the film has a score of 66 out of 100, based on 39 critics, indicating "generally favorable reviews".[38] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.[39]

text: Vince Mancini of Uproxx wrote "Sausage Party's most charming quality is that it feels exactly like a group of 13-year-olds trying to entertain themselves, with excessive C-bombs and constant groan-worthy food puns."[40] Richard Roeper gave the film three out of four stars, saying, "Despite all the cursing and envelope-pushing and bat-bleep crazy sexual stuff, Sausage Party isn't mean-spirited. It's just … stupid. But also pretty smart. And funny as hell."[41] Lindsey Bahr of Associated Press gave the film a positive review and wrote: "There is no one out there making comedies quite like Rogen and Goldberg. They are putting their definitive stamp on the modern American comedy one decency-smashing double entendre at a time."[42]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s)
Result
Ref(s)

Annie Awards
February 4, 2017
Outstanding Achievement, Editorial in an Animated Feature Production
Kevin Pavlovic
Nominated
[43]

Central Ohio Film Critics Association
January 6, 2017
Best Animated Feature Film
Sausage Party

Hollywood Music in Media Awards
November 17, 2016
Best Original Song – Animated Film
"The Great Beyond" – Alan Menken, Glenn Slater, Seth Rogen and Evan Goldberg
[44][45]

Houston Film Critics Society
January 6, 2017
Best Animated Feature Film
Sausage Party
[46][47]

Indiana Film Journalists Association
December 19, 2016
Best Animated Feature Film
Runner-up
[48]

Best Vocal/Motion Capture Performance
Nick Kroll
2nd Place

2017 MTV Movie & TV Awards
May 7, 2017
Best Comedic Performance
Seth Rogen
Nominated
[49]

Village Voice Film Poll
January 6, 2017
Best Animated Feature
Sausage Party
5th Place
[50]

Washington D.C. Area Film Critics Association
December 5, 2016
Best Animated Feature
Greg Tiernan and Conrad Vernon
Nominated
[51]

text: Controversy[edit]

text: Work conditions[edit]

text: After release, controversy emerged after anonymous comments attributed to the animators on a Cartoon Brew article suggested that the animators at Nitrogen Studios worked under poor conditions and were forced by director Greg Tiernan to work overtime without pay.[52] A total of 36 of the 83 animators were blacklisted and went uncredited in the film, believed to be due to their complaints; comments made in anonymous interviews by some of the animators involved in the project by Variety, The Washington Post, and The Hollywood Reporter alleged that the comments were accurate. All the animators in the film were reportedly told outright that they would be blacklisted if they did not work overtime without pay.[52][53][54]

text: Rating in France[edit]

text: The film was granted a −12 certificate by France's classification commission. Jean-Frédéric Poisson, the President of the Christian Democratic Party, criticized the decision and said, "An orgy scene for 12-year-olds! Everything remains to be done to combat early exposure to pornography".[55]

text: Sequel[edit]

text: Rogen has expressed interest in making a Sausage Party 2 and more animated films aimed for adults. When asked about a sequel, Rogen stated: "It's something we talk about, yeah. That's one of the reasons why we took away the [original] ending[56] because we thought, well, if that was the first scene of the next movie it's probably not what you would want it to be, with them just seeing us and finding us basically. But the idea of a live-action/animated movie, like a Who Framed Roger Rabbit-style hybrid, is also very exciting, mostly because Who Framed Roger Rabbit is one of my favorite movies of all time."[57]