document_title: Love, Simon

question_text: when does the love simon soundtrack come out

text: Love, Simon

text: Plot[edit]

text: Simon Spier is a closeted gay high school boy in a suburb of Atlanta, Georgia. He has a close and loving family: parents Emily and Jack, and sister Nora, as well as three best friends: Nick and Leah, whom he has known most of his life, and newcomer Abby.

text: One day, Leah informs Simon about an online confession of a closeted gay student at their high school, known only by the pseudonym "Blue". As "Jacques", Simon begins communicating with him via email. The two confide personal details and form a connection. However, their emails are accidentally discovered by another student, Martin, who is infatuated with Abby. After learning his secret, Martin blackmails Simon by threatening to make his emails public unless he agrees to help Martin win over Abby. Simon begins to suspect that his classmate Bram is Blue.

text: At a Halloween party, Simon attempts to connect with Bram but later walks in on him making out with a female student. Simon lies to Nick, telling him that Abby has a boyfriend in college. Leah walks an inebriated Simon home, where she speaks vaguely about how she feels that she is fated to love one person very intensely; Simon believes she is referring to Nick.

text: Simon meets up with Abby and Martin at a local diner after he convinces them to practice lines together for an upcoming musical. Simon bonds with their server, a classmate named Lyle, and believes that Lyle may be Blue. That night, Simon comes out to Abby and is relieved when she reacts positively.

text: At a school football game, Simon crosses paths with Lyle; before he can summon the courage to ask if Lyle is Blue, he finds out Lyle is interested in Abby. An upset Simon tells a pestering Martin to either "go big or go home" when courting Abby. Martin interrupts the national anthem and publicly declares his feelings for Abby. When Abby admits she does not share his feelings, Martin is humiliated and becomes the subject of intense ridicule.

text: On Christmas Eve, to distract people from his own humiliation, Martin outs Simon by posting his emails on the school gossip site. Simon's sister Nora tries to comfort Simon but he shuts her out and does not return his friends' frantic texts. Simon comes out to his parents on Christmas morning, to their surprise but acceptance.

text: After the holidays, Nick and Abby, now a couple, angrily confront Simon about the lies he told and learn that he had tried to keep them apart due to Martin's blackmail. Leah confesses to Simon that she was in love with him, not Nick, and is upset he came out to Abby first. After being rejected by his friends, Simon receives a final email from Blue, who is upset that their emails have been leaked. Blue tells Simon that they should stop speaking and deletes his email account. Simon is devastated, having lost his friends as well as the mystery pen-pal he has fallen in love with.

text: In the cafeteria, Simon and an openly gay student, Ethan, are mocked by two classmates. Ethan and Simon bond over the difficulties they have faced coming out. After his parents reach out and comfort him, Simon apologizes to Leah. Simon posts a confession on the gossip site apologizing to his friends, seeking out Blue and asking him to meet at the school carnival.

text: After the school musical, Leah, Nick and Abby make amends with Simon and invite him to go to the carnival with them. Waiting for Blue at the carnival, Simon rides the Ferris wheel, drawing a large crowd of peers. When Simon runs out of tickets, Martin, making amends for his behavior, buys him one more ride. Just before the ride begins, Bram sits next to Simon, revealing himself as Blue; the kiss Simon saw with the female student was a drunken misunderstanding. They ride the Ferris wheel together and kiss as their friends cheer them on.

text: Simon's life gradually returns to normal and he begins a relationship with Bram. While picking up his friends and boyfriend for school, Simon suggests that they forgo their usual morning routine and instead "go on a little adventure".

text: Cast[edit]

text:
Nick Robinson as Simon Spier

Bryson Pitts as 10-year-old Simon Spier
Nye Reynolds as 5-year-old Simon Spier

Josh Duhamel as Jack Spier, Simon's father
Jennifer Garner as Emily Spier, Simon's mother
Talitha Bateman as Nora Spier, Simon's sister

Skye Mowbray as 6-year-old Nora Spier

Katherine Langford as Leah Burke, one of Simon's best friends
Alexandra Shipp as Abby Suso, one of Simon's best friends
Jorge Lendeborg Jr. as Nick Eisner, one of Simon's best friends
Keiynan Lonsdale as Abraham "Bram" Greenfeld, one of Simon's classmates
Miles Heizer as Cal Price, one of Simon's classmates
Logan Miller as Martin Addison, one of Simon's classmates who blackmails him
Tony Hale as Mr. Worth, the awkward vice principal of the school Simon attends
Natasha Rothwell as Ms. Albright, Simon's drama teacher
Drew Starkey as Garrett Laughlin, one of Simon's classmates
Clark Moore as Ethan, one of Simon's classmates who is openly gay
Joey Pollari as Lyle, a flirty server at a local diner
Mackenzie Lintz as Taylor Metternich, one of Simon's classmates

text: Production[edit]

text: Principal photography began on March 6, 2017, in Atlanta, Georgia.[5] Filming officially ended on April 23, 2017.[6]

text: Aware of how expensive the cost of the music would be in the film, Berlanti made the decision to end shooting two days early. Of the decision, he said "I did know that a lot of the film was made in homage to movies that had these great soundtracks that, at my age, you’d play the cassette tape over and over again until it would wear out. The soundtrack was the thing that kept you feeling the emotions of the movie. So it was always on my wish list to have a soundtrack that was reflective of that. It was very expensive so everyone wanted to make sure I was doing the right thing. I wanted more money to be put into the music."[7]

text: Soundtrack[edit]

text:
Love, Simon (Original Motion Picture Soundtrack)

Soundtrack album by Various artists

Released
March 16, 2018

Genre

Soundtrack
indie pop

Length
47:24

Label

RCA
Sony

Singles from Love, Simon (Original Motion Picture Soundtrack)

"Alfie's Song (Not So Typical Love Song)"
Released: 16 January 2018
"Love Lies"
Released: 14 February 2018

text: The soundtrack of the film includes music by Bleachers, Troye Sivan, Amy Shark, Brenton Wood, The 1975, Normani and Khalid, among others. The first track released from the soundtrack was "Alfie's Song (Not So Typical Love Song)" by Bleachers.[8][9]

text:
Love, Simon (Original Motion Picture Soundtrack)[9]

No.
Title
Writer(s)
Performed by
Length

1.
"Alfie's Song (Not So Typical Love Song)"

Jack Antonoff
Ilsey Juber
Harry Styles

Bleachers
3:01

2.
"Rollercoaster"

Antonoff
John Hill

Bleachers
3:12

3.
"Never Fall in Love"

Antonoff
Karen Marie Ørsted

Jack Antonoff and MØ

4.
"Strawberries & Cigarettes"

Troye Sivan
Antonoff
Alex Hope

Troye Sivan
3:21

5.
"Sink In"

Ben Berger
Julia Michaels
Ryan McMahon

Amy Shark
4:35

6.
"Love Lies"

Khalid Robinson
Normani
Charlie Handsome
Jamil "Digi" Chammas
Taylor Parks

Khalid and Normani
3:23

7.
"The Oogum Boogum Song"

Alfred Smith

Brenton Wood
3:07

8.
"Love Me"

Adam Hann
George Daniel
Matthew Healy
Ross MacDonald

The 1975
3:42

9.
"I Wanna Dance with Somebody (Who Loves Me)"

George Merrill
Shannon Rubicam

Whitney Houston
4:50

10.
"Someday at Christmas"

Ron Miller
Bryan Wells

Jackson 5
2:44

11.
"Wings"

Nini Fabi
Benjamin Gebert

Haerts
4:58

12.
"Keeping a Secret"

Antonoff
Justin Tranter

Bleachers
3:25

13.
"Wild Heart"

Antonoff
Hill

Bleachers
3:21

text: Charts[edit]

text:
Chart (2018)
Peak
position

Australian Albums (ARIA)[10]
82

Canadian Albums (Billboard)[11]
24

UK Soundtrack Albums (OCC)[12]
11

US Billboard 200[13]
37

text: Other songs that appear in the film but are not included on its soundtrack include "Waterloo Sunset" by The Kinks, "Diamond" by MONAKR, "Feel It Still" by Portugal. The Man, "No" by Meghan Trainor, "As Long as You Love Me" by Justin Bieber, "Add It Up" by Violent Femmes, "Bad Romance" by Lady Gaga (performed by the Michigan Marching Band) and "Shine a Light" by BANNERS.

text: Release[edit]

text: Love, Simon premiered at the Mardi Gras Film Festival on February 27, 2018, and also screened at the Glasgow Film Festival and the Melbourne Queer Film Festival.[14][15] The film was released by 20th Century Fox in the United States and Canada on March 16, 2018, in Australia and New Zealand on March 29, 2018, in Brazil on April 5, 2018, in the United Kingdom and Ireland on April 6, 2018, in Colombia on April 12, 2018, Mexico on April 13, 2018, and is scheduled to be released in other countries on various dates throughout 2018.[16]

text: Following the film's release, several celebrities, including Jennifer Garner, Kristen Bell, Neil Patrick Harris, Joey Graceffa, Matt Bomer, Robbie Rogers, Benj Pasek, Tyler Oakley, Martin Gero, Andrew Rannells, and Jesse Tyler Ferguson, bought out entire theaters so that people could see the film for free because they believed that the film conveyed an important message.[17]

text: Love Simon is the first film by a major Hollywood studio to focus on a gay teenage romance.[18]

text: Home video[edit]

text: The film became available to pre-order on home video on January 17, 2018, was released digitally on May 29, 2018, and was released on 4K Blu-Ray, Blu-ray and DVD on June 12, 2018.[19][20]

text: Reception[edit]

text: Box office[edit]

text: As of June 17, 2018[update], Love, Simon has grossed $40.8 million in the United States and Canada, and $18.5 million in other territories, for a worldwide total of $59.4 million, against a production budget of $17 million.[4] It is the 14th highest-grossing teen romance film since 1980, and the third-highest by 20th Century Fox other than The Fault in Our Stars and Romeo + Juliet.[21]

text: Love, Simon held early preview screenings on March 10 before its official release on March 16, where it grossed $800,000 from 927 theaters, which Deadline Hollywood considered "strong".[22] In the United States and Canada, the film was released alongside Tomb Raider and I Can Only Imagine, and was projected to gross $10–12 million from 2,401 theaters in its opening weekend.[23] The film made $4.6 million on its first day (including $850,000 from Thursday previews at 2,125 theaters).[24] The film went on to debut at $11.8 million, finishing fifth at the box office; 58% of its opening weekend audience was female and 59% was under 25.[2] In its second weekend the film dropped 33% to $7.8 million, finishing 7th,[25] and in its third weekend made $4.8 million, finishing ninth.[26]

text: In the United Kingdom, the film debuted at number four, earning $1.6 million.[27] In Australia, the film debuted at number four, earning $916,697.[28] In Brazil, the film debuted at number four, earning $804,567.[29] In Mexico, the film debuted at number three, earning $982,391.[30]

text: Critical response[edit]

text: On review aggregator website Rotten Tomatoes, the film holds an approval rating of 92%, based on 167 reviews, with an average rating of 7.4/10. The website's critical consensus reads, "Love, Simon hits its coming-of-age beats more deftly than many entries in this well-traveled genre – and represents an overdue, if not entirely successful, milestone of inclusion."[31] On Metacritic, the film has a weighted average score of 72 out of 100, based on 38 critics, indicating "generally favorable reviews".[32] Audiences polled by CinemaScore gave the film an average grade of "A+" on an A+ to F scale, one of fewer than 80 films in the history of the service to earn such a score.[24]

text: Benjamin Lee of The Guardian gave the film 4/5 stars, calling it a "hugely charming crowd-pleaser".[33] Pete Hammond of Deadline Hollywood gave the film 4/5 stars, stating that audiences "are guaranteed to fall in love with this sweet, funny coming-of-age film".[34]

text: Molly Freeman of Screen Rant gave the film 4/5 stars or an Excellent rating, stating that "Love, Simon is a funny, heartfelt, and truly touching teen romantic comedy that instantly becomes a modern classic for today's generation."[35] Josh Winning of GamesRadar+ gave the film 4/5 stars, describing it as a "warm, sensitive and engaging coming-out-of-ager" and "one of the freshest teen-coms in ages".[36]

text: Meredith Goldstein of The Boston Globe gave the film 3.5/4 stars and stated, "Love, Simon is a sweet, modern romantic comedy that manages to channel the teen movie classics of the late John Hughes, but only the good stuff."[37] Colin Covert of the Star Tribune gave the film 3/4 stars and wrote, "If John Hughes had gone on to make a smart LGBT coming-of-age charmer, most likely it would resemble this."[38]

text: Bruce Demara of the Toronto Star also gave it 3/4 stars, stating "The casting is high quality, the script - with a tantalizing mystery at its heart - is particularly well-crafted and the story hits all the right emotional notes in delivering a funny, warm-hearted and life-affirming tale."[39] Brian Truitt of USA Today gave the film 3.5/4 stars and wrote, "Young and old, jocks and nerds, geeks and freaks, and everyone in between should be able to find something to adore in Love, Simon."[40]

text: Joyce Slaton of Common Sense Media gave the film 4/5 stars and described it as "tender, sweet, and affecting", with the film also receiving The Common Sense Seal, which recognizes movies that offer families an exceptional media experience.[41][42] MJ Franklin of Mashable wrote that "Love, Simon feels like an instant classic that you're going to want to watch again and again."[43]

text: Max Weiss of Baltimore gave Love, Simon 3/4 stars, calling it a "sweet, funny, warm-hearted film".[44] Kevin Scott of Exclaim! gave the film a 7 out of 10 score, noting that the film has the "expected amount of sentimentality that effectively tugs at the heartstrings".[45]

text: Peter Debruge of Variety, while stating that the film is average in execution, praised the content as "groundbreaking on so many levels, not least of which is just how otherwise familiar it all seems".[46] Jesse Hassenger of The A.V. Club gave the film a C+ and wrote that the film "is touching as a gesture", but as entertainment "it's nothing Degrassi hasn't done better".[47]

text: Becky Albertalli, the author of the book, watched an early cut and praised the film, stating: "It's funny and relevant and timeless and charming and honest and painful and so romantic. It says exactly what I wanted the book to say."[48][49]

text: Accolades[edit]

text:
Award
Date
Category
Nominee(s)
Result
Ref.

Golden Trailer Awards
May 31, 2018
Best Romance Trailer
Love, Simon
Nominated
[50]
[51]

Best Romance TV Spot
Love, Simon
Nominated

Best Billboard
Love, Simon
Nominated

Best Teaser Campaign
Love, Simon
Won

MTV Movie & TV Awards
June 18, 2018
Best Kiss
Nick Robinson and Keiynan Lonsdale
Won
[52]

Best Musical Moment
Love, Simon
Nominated

Teen Choice Awards
August 12, 2018
Choice Movie – Comedy
Love, Simon
Pending
[53]


document_title: History of field hockey

question_text: where is first hockey club set up in world

root

text: History of field hockey

text: Games similar to hockey outside the West[edit]

text: Stick and ball games with some similarities to field hockey include the Irish game of hurling (and its Scottish cousin shinty). In Inner Mongolia, China, the Daur people have been playing Beikou (a game similar to modern field hockey) for about 1,000 years.[1] European settlers in Chile in the 16th century described a hockey-like game of the Araucano Indians called chueca (or 'the twisted one' from the twisted end of the stick used by players). In Western Australia, early white settlers witnessed Noongar people played a game called dumbung, in which bent sticks were used to hit a ball made of dried sap from the native peartree.[1] (The game is believed to be the source of the name of Dumbleyung, a town near where it was played.)

tag: p

text: Modern hockey[edit]

text: A game called hockey was played in English public schools in the early 19th century. Lord Lytton wrote in 1853 that On the common some young men were playing at hockey. That old-fashioned game, now very uncommon in England, except at schools.... Hockey's popularity increased with that of other team games. A version of the game played in south-east London was rougher than the modern version, played on a very large field (247m by 64m), and used a cube of black rubber and rough planed sticks. The modern game was developed on the other side of London by Middlesex cricket clubs, especially Teddington Hockey Club. The members of these clubs were looking for winter exercise, but did not particularly care for football. In 1870, members of the Teddington cricket club, who had recently moved to play in Bushy Park, were looking for a winter activity. They experimented with a ‘stick’ game, based loosely on the rules of association football. Teddington played the game on the smooth outfield of their cricket pitch and used a cricket ball, so allowing smooth and predictable motion. By 1874 they had begun to draw up rules for their game, including banning the raising of the stick above shoulder height and stipulating that a shot at goal must take place within the circle in front of it. An association was formed in 1875, which dissolved after seven years, but in 1886 the Hockey Association was formed by seven London clubs and representatives from Trinity College, Cambridge. Blackheath were one of the founder members, but refused to accept the rules drawn up by the other clubs and left to found the National Hockey Union. The Union failed, but the Association grew rapidly.

text: They rejected a form of the game that involved a 7oz (200g) rubber cube, catching, marking and scrimmaging, based on rugby football, at the time favoured by the Blackheath club. The Teddington club chose to limit the number per side to eleven, and preferred to play with old cricket balls. They also introduced the idea of the striking circle (‘the dee’ or 'D'), and they played several games in Bushy Park, in the winter of 1871. Clubs were also set up in Richmond and Surbiton in 1874, and inter-club matches were played between them and Teddington. The game grew sporadically, as the clubs did not always agree on the rules!

text: In the late 19th century, largely due to the British Army, the game spread throughout the British Empire, leading to the first international competition in 1895 (Ireland 3, Wales 0). The International Rules Board was founded in 1895, and hockey first appeared at the Olympic Games as a men's competition at 1908 Olympic Games in London, with only three teams: England, Ireland and Scotland. Men's hockey became a permanent fixture at the Olympics at the 1928 Olympic Games, at Amsterdam.

text: The first step towards an international structuring occurred in 1909, when England and Belgium agreed to recognize each other for international competitions, soon joined in by the French federation. In 1924, the International Hockey Federation (FIH, Fédération Internationale de Hockey) was founded in Paris, under the initiative of the French man, Paul Léautey, as a response to hockey's omission from the 1924 Paris Game. The founding members were Austria, Belgium, Czechoslovakia, France, Hungary, Spain, and Switzerland. The development of the FIH owes a lot to the work of Réné George Frank, a Belgian, in the years after the Second World War until the 1970s. Men's hockey united under the FIH in 1970, when the Hockey Association joined and the International Rules Board became part of the FIH's structure.

text: The game had been taken to India by British servicemen, and the first clubs formed there in Calcutta in 1885. The Beighton Cup and the Aga Khan tournament had commenced within ten years. Entering the Olympic Games in 1928, India won all five of its games without conceding a goal, and went on to win in 1932 until 1956, and then in 1964 and 1980. Pakistan won in 1960, 1968, and 1984.

text: Women's hockey[edit]

text: Women's hockey developed separately from men's hockey. Women do not seem to have played hockey widely before the modern era. Women's hockey was first played at British Universities and schools, and the first club, Molesey Ladies Hockey Club, was founded in 1887. The first national association was the Irish Ladies Hockey Union in 1894, and though rebuffed by the Hockey Association, women's hockey grew rapidly around the world. This led to the formation of the International Federation of Women's Hockey Associations (IFWHA) in 1927, though this did not include initially many continental European countries where women played as sections of men's associations and were affiliated to the FIH. The IFWHA held conferences every three years, and the tournaments associated with these were the primary IFWHA competitions. These tournaments were non-competitive until 1975.

text: By the early 1970s there were 22 associations with women's sections in the FIH and 36 associations in the IFWHA. Discussions were started about a common rule book. The FIH introduced competitive tournaments in 1974, forcing the acceptance of the principle of competitive hockey by the IFWHA in 1973. It took until 1982 for the two bodies to merge, but this allowed the introduction of women's hockey to the 1980 Olympic Games, where, as in the men's game, Australia, Germany, and the Netherlands have been consistently strong.

text: The synthetic revolution[edit]

text: In the early 1970s, the "synthetic grass" fields began to be used for hockey, with the first Olympic Games on this surface being held at the 1976 Montreal edition.

text: Synthetic pitches are now mandatory for all the international tournaments and for most of the national competitions. While hockey is still played on grass fields at some local levels and lesser national divisions, it has been replaced by synthetic turf almost everywhere in the western world.

text: The game, as well as the material used to play it, has taken a definitive turn with the introduction of the synthetic field, gaining in speed, losing, some would say, in skills. What is clear is that the game has deeply evolved. In order to take into account the specificities of this surface, new tactics, new techniques (such as the indian dribble) have been developed and new rules have been settled, often, in order to frame, these new techniques. Regarding the evolution of the hockey player material, the sticks have changed shape, with the bent head at the bottom, which used to be about 15 centimetres long, becoming much stubbier. The extra length was no longer necessary, as the ball travelled much straighter on the flatter synthetic fields. The shorter length made playing the ball with the "backhand" (playing with the head of the stick to the player's left, with the head rotated 180 degrees from its usual position) much easier, increasing the speed with which this tactic, often used for evasive manoeuvres, could be used. It also makes trapping the ball by placing the entire stick on the ground, with the point of the head resting on the ground to the player's left, possible, and this stopping technique is now universal for trapping the ball at penalty corners. The sticks also tend to become more and stiffer as to hit the ball harder. Fibreglass, carbon fibre and kevlar were first applied to the traditional wood core in the early 1970s. Sticks with an aluminium core have been produced but are now prohibited due to the danger they pose when broken. Wooden sticks are less and less common, and players are now playing with sticks entirely made of synthetic composite materials.

text: The goalkeeper equipment has followed the same trend, becoming more and more able to resist to strength of the balls hit by these new generation sticks. Helmets have become compulsory, padding is thicker and of more shock-absorbing (and reflecting) foam material and more areas of the body are padded. The new equipment is very expensive and is often a considerable burden for clubs or individual goalkeepers to purchase. The composition of the hockey ball has also changed, from a leather ball with a seam similar to a cricket ball, to a seamless, usually dimpled hard plastic ball. These plastic balls are cheaper, more durable, more consistent in their behaviour, and are unaffected by water; a key requirement in water-moderated synthetic fields used in elite-level hockey.

text: Ancillary player equipment has also changed. The studded boots for grass fields are banned (and were in any case very uncomfortable) on synthetics, and have been replaced with boots specifically designed for synthetic turf. Shin guards have improved padding. Many players have taken to wearing padded gloves, particularly on their left hand, both to protect against contact and allow them to scrape that hand (while holding the stick) across the synthetic turf without injury. Finally, the wearing of mouthguards to protect the teeth is now compulsory for safety in many countries.

text: Rules[edit]

text: The rules of the game have widely changed. The main issues have been

text:
To adapt the game to the new synthetic fields introduced in the 1980s.
To enhance comprehension from non-players in order to gain TV coverage

tag: ul

text: Some of these rules changes:

text:
The FIH eliminated the offside rule (similar to offside in football) in the mid-1990s in order to increase scoring opportunities.
Constant modifications of the penalty corner rules in order to minimize its importance in the game and its readability.
Limitation of the bow of sticks in order to limit the increasing use and power of drag flicks.

text: Footnotes[edit]

text: Jump up ^ McGrath, Charles (August 22, 2008). "A Chinese Hinterland, Fertile With Field Hockey". New York Times. Retrieved 2008-08-23.

tag: ol


document_title: Hills Like White Elephants

question_text: what is the white elephant in hills like white elephants

text: Hills Like White Elephants

text: Synopsis[edit]

text: The story focuses on a conversation between an American man and a woman at a Spanish train station while waiting for a train to Madrid. The woman compares the nearby hills to white elephants. The pair indirectly discuss an "operation" that the man apparently wants the woman to have, which is implied to be an abortion.[2]

text: Dialogue[edit]

text:
"They look like white elephants," she said.
"I've never seen one," the man drank his beer.
"No, you wouldn't have."
"I might have," the man said. "Just because you say I wouldn't have doesn't prove anything."
The girl looked at the bead curtain. "They've painted something on it," she said. "What does it say?"
"Anis del Toro. It's a drink."
"Could we try it?"

text: The reader must interpret their dialogue and body language to infer their backgrounds and their attitudes with respect to the situation at hand, and their attitudes toward one another. From the outset of the story, the contentious nature of the couple's conversation indicates resentment and unease. Some critics have written that the dialogue is a distillation of the contrasts between stereotypical male and female relationship roles: in the excerpt above, for instance, the woman draws the comparison with white elephants, but the hyper-rational male immediately denies it, dissolving the bit of poetry into objective realism with "I've never seen one." By saying, "No, you wouldn't have" she implies he hadn't had a child before, or hadn't allowed birth in the past. She also asks his permission to order a drink. Throughout the story, the woman is distant; the American is rational.[3] There may be more serious problems with the relationship than the purely circumstantial. While most critics have espoused relatively straightforward interpretations of the dialogue, a few have argued for alternate scenarios.[4]


document_title: Field goal percentage

question_text: what is a good basketball field goal percentage

text: Field goal percentage

text: This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2009) (Learn how and when to remove this template message)

tag: table

text: Field goal percentage in basketball is the ratio of field goals made to field goals attempted. Its abbreviation is FG%. Although three-point field goal percentage is often calculated separately, three-point field goals are included in the general field goal percentage. Instead of using scales of 0 to 100%, the scale .000 to 1.000 is commonly used. A higher field goal percentage denotes higher efficiency. In basketball, a FG% of .500 (50%) or above is considered a good percentage, although this criterion does not apply equally to all positions. Guards usually have lower FG% than forwards and centers. Field goal percentage does not completely tell the skill of a player, but a low field goal percentage can indicate a poor offensive player or a player who takes many difficult shots. In the NBA, Center Shaquille O'Neal has a high career FG% (around .580) because he plays near the basket making many high percentage layups and slam dunks. Guard Allen Iverson often had a low FG% (around .420) because he took the bulk of his team's shot attempts, even with high difficulty shots.

text: The NBA career record for field goal percentage is held by DeAndre Jordan at 0.677. The highest field goal percentage for a single season was set by Wilt Chamberlain with 0.727 in the 1972–73 season.

text: Field goal percentages were substantially lower in the NBA until the mid-to-late 1960s.[1] For this reason, many early NBA stars have low field goal percentages, such as Bob Cousy at .375, and George Mikan, Bob Pettit, and Bill Russell, whose career field goal percentages of .404, .436, and .440, respectively, are much lower than later post players.[2]

text: Three-point field goal percentage is usually kept as additional statistics. Its abbreviation is 3FG%. A 3FG% of .400 and above is a very good percentage.


document_title: Hatch Act of 1887

question_text: what was the purpose of the hatch act of 1887

text: Hatch Act of 1887

text:
Hatch Act of 1887

Long title
An Act to establish agricultural experiment stations in connection with the colleges established in the several States under the provisions of an act approved July second, eighteen hundred and sixty-two, and of the acts supplementary thereto.

Enacted by
the 49th United States Congress

Effective
March 2, 1887

Citations

Statutes at Large
24 Stat. 440, Chapter 314

Codification

Titles amended
7 U.S.C.: Agriculture

U.S.C. sections created
7 U.S.C. ch. 14 § 361a et seq.

Legislative history

Introduced in the House by William H. Hatch (D-MO)
Signed into law by President Grover Cleveland on March 2, 1887

text: The Hatch Act of 1887 (ch. 314, 24 Stat. 440, enacted 1887-03-02, 7 U.S.C. § 361a et seq.) gave federal funds, initially of $15,000 each, to state land-grant colleges in order to create a series of agricultural experiment stations, as well as pass along new information, especially in the areas of soil minerals and plant growth. The bill was named for Congressman William Hatch, who chaired the House Committee of Agriculture at the time the bill was introduced. State agricultural stations created under this act were usually connected with those land-grant state colleges and universities founded under the Morrill Act of 1862, with few exceptions.

text: Many stations founded under the Hatch Act later became the foundations for state cooperative extension services under the Smith-Lever Act of 1914.

text: Congress amended the act in 1955 to add a formula that uses rural and farm population factors to allocate the annual appropriation for agricultural experiment stations among the states. Under the 2002 farm bill (P.L. 107-171, Sec. 7212), states will continue to be required to provide at least 100% matching funds (traditionally, most states have provided more). On average, Hatch Act formula funds constitute 10% of total funding for each experiment station. (7 U.S.C. 361a et seq.).


document_title: Glory (1989 film)

question_text: who won an oscar for the movie glory

question_tokens: who won an oscar for the movie glory

text: Glory (1989 film)

text: Plot[edit]

text: During the American Civil War, Captain Robert Shaw, injured at Antietam, is sent home to Boston on medical leave. Shaw accepts a promotion to colonel commanding the 54th Regiment Massachusetts Volunteer Infantry, one of the first all-black regiments in the Union Army. He asks his friend, Cabot Forbes, to serve as his second in command, with the rank of major. Their first volunteer is another friend, Thomas Searles, a bookish, free African-American. Other recruits include John Rawlins, Jupiter Sharts, Silas Tripp, and a mute teenage drummer boy.

text: The men learn that, in response to the Emancipation Proclamation, the Confederacy has issued an order that all black soldiers will be returned to slavery. Black soldiers found in a Union uniform will be executed as well as their white officers. They are offered, but turn down, a chance to take an honorable discharge. They undergo rigorous training with Sergeant-Major Mulcahy, which Shaw realizes is to prepare them for the challenges they will face.

text: Tripp goes AWOL and is caught, Shaw orders him flogged in front of the troops. He learns that Tripp left to find shoes to replace his worn ones; his men are being denied supplies. He confronts the base's racist quartermaster on their behalf. Shaw also supports them in a pay dispute, as the Federal government pays black soldiers $10, not the $13 per month white soldiers earn. When the men begin tearing up their pay stubs in protest of the unequal treatment, Shaw tears up his own pay stub in support of their actions. In recognition of his leadership, Shaw promotes Rawlins to the rank of Sergeant-Major.

text: Once the 54th completes its training, they are transferred under the command of General Charles Harker. On the way to South Carolina they are ordered by Colonel James Montgomery to sack and burn Darien, Georgia. Shaw initially refuses to obey an unlawful order, but agrees under threat of having his troops taken away. He continues to lobby his superiors to allow his men to join the fight, as their duties to date have involved manual labor for which they are being mocked. Shaw finally gets the 54th into combat after he confronts Harker and threatens to report the illegal activities he has discovered. In their first battle at James Island, South Carolina, early success is followed by a confrontation with many casualties. The Confederates are defeated and retreat. During the battle, Thomas is wounded but saves Tripp. Shaw offers Tripp the honor of bearing the regimental flag in battle. He declines not believing the war will result in a better life for slaves.

text: General George Strong informs Shaw of a major campaign to secure a foothold at Charleston Harbor. This involves assaulting Morris Island and capturing Fort Wagner, whose only landward approach is a strip of open beach; a charge is certain to result in heavy casualties. Shaw volunteers the 54th to lead the charge. The night before the battle the black soldiers conduct a religious service, and several make emotional speeches to inspire the troops, and to ask for God's help. On their way to the attack, the 54th is cheered by the same Union troops who had scorned them earlier.

text: The 54th leads the charge on the fort suffering heavy casualties. At night the bombardment continues, forestalling progress. Attempting to encourage his men, Shaw is killed. Tripp lifts the flag rallying the soldiers to continue the charge. He is shot but holds up the flag until he dies. Forbes takes charge, and the soldiers are able to break through the fort's outer defenses. However, Charlie Morse is killed and Thomas is wounded. At the end of the battle it is implied that Forbes, Rawlins, Thomas, Jupiter, and the two Color Sergeants were killed by canister shot. The morning after the battle, the beach is littered with bodies of Union soldiers; the Confederate flag is raised over the fort. The dead Union soldiers are buried in single mass grave, with Shaw and Tripp's bodies next to each other.

text: Closing text reveals Fort Wagner was never taken by the Union Army. However, the courage demonstrated by the 54th resulted in the Union accepting thousands of black men for combat, and President Abraham Lincoln credited them with helping to turn the tide of the war.

text: Cast[edit]

text:
Matthew Broderick as Colonel Robert Gould Shaw
Denzel Washington as Private Silas Tripp
Morgan Freeman as Sergeant Major John Rawlins
Cary Elwes as Major Cabot Forbes
Andre Braugher as Corporal Thomas Searles
Jihmi Kennedy as Private Jupiter Sharts
Cliff De Young as Colonel James Montgomery
Alan North as Governor John Albion Andrew
John Finn as Sergeant Major Mulcahy
RonReaco Lee as Mute Drummer Boy
Donovan Leitch as Captain Charles Fessenden Morse
Bob Gunton as General Charles Garrison Harker
Jay O. Sanders as General George Crockett Strong
Raymond St. Jacques as Frederick Douglass
Richard Riehle as Quartermaster
JD Cullum as Henry Sturgis Russell
Christian Baskous as Edward L. Pierce
Peter Michael Goetz as Francis Shaw
Jane Alexander as Sarah Blake Sturgis Shaw (uncredited)

text: Production[edit]

text: Kevin Jarre's inspiration for writing the film came from viewing the monument to Colonel Shaw and the 54th Massachusetts Volunteer Infantry (the first formal unit of the U.S. Army to be made up entirely of African American men) in Boston Common.[3] His screenplay was based on Colonel Shaw's letters and on two books, Lincoln Kirstein's Lay This Laurel and Peter Burchard's One Gallant Rush.[4]

text: Principal filming took place primarily in Massachusetts and Georgia. Opening passages, meant to portray the Battle of Antietam, show volunteer military reenactors filmed at a major engagement at the Gettysburg battlefield. Zwick did not want to turn Glory "into a black story with a more commercially convenient white hero".[5] Actor Morgan Freeman noted: "We didn't want this film to fall under that shadow. This is a picture about the 54th Regiment, not Colonel Shaw, but at the same time the two are inseparable."[5] Zwick hired the writer Shelby Foote as a technical adviser; he later became widely known for his contributions to Ken Burns' popular PBS nine-episode documentary, The Civil War (1990).[5]

text: Glory was the first major motion picture to tell the story of African Americans fighting for their freedom in the Civil War. This came as a revelation to millions of Americans who had no knowledge of their participation.[who?] The 1965 movie Shenandoah, starring James Stewart, also depicted African Americans fighting for the Union, but suggested that the Federal army was integrated.

text: The movie is cited in the episode Def Poety's Society of the popular sitcom The Fresh Prince Of Bel-Air by the teacher and great friend of the protagonist of the series Mr. Fellows (played by actor Jonathan Emerson), pointing out that the great co-star of the film, Denzel Washington, was just great with his interpretation and that the South for him makes a very special reaction that only he can understand.

text: Soundtrack[edit]

text:
Glory: Original Motion Picture Soundtrack

Film score by James Horner

Released
November 1, 1990

Length
43:21

Label
Virgin

text: The film's original motion picture soundtrack was released by the Virgin Records label on January 11, 1990. The score for the film was orchestrated by James Horner in association with the Boys Choir of Harlem.[6] Jim Henrikson edited the film's music, while Shawn Murphy mixed the score.[7]

text: Marketing[edit]

text: Monograph[edit]

text: A nonfiction study of the regiment first appeared in 1965 and was republished, in January 1990, in paperback by St. Martin's Press under the title One Gallant Rush: Robert Gould Shaw and His Brave Black Regiment. It dramatizes the events depicted in the film, expanding on how the 54th Massachusetts developed as battle-ready soldiers.[8] The book summarizes the historical events, and the aftermath of the first Union black regiment influencing the outcome of the war.[8]

text: Reception[edit]

text: Critical response[edit]

text: Vincent Canby, writing in The New York Times, said, "[Broderick] gives his most mature and controlled performance to date....[Washington is] an actor clearly on his way to a major screen career...The movie unfolds in a succession of often brilliantly realized vignettes tracing the 54th's organization, training and first experiences below the Mason-Dixon line. The characters' idiosyncrasies emerge."[4] Roger Ebert in the Chicago Sun-Times called it "a strong and valuable film no matter whose eyes it is seen through".[3] He believed the production design credited to Norman Garwood and the cinematography of Freddie Francis paid "enormous attention to period detail".[3]

text:
Glory is constructed as an inspirational tale, but the inspiration is not forced or false. It is rooted in the characters and the manner in which they overcome obstacles, including, most prominently, their own personal demons.

—James Berardinelli, writing for ReelViews[9]

text: Similarly, Variety staff wrote that the film is "a stirring and long overdue tribute to the black soldiers who fought for the Union cause in the Civil War" and that it "has the sweep and magnificence of a Tolstoy battle tale or a John Ford saga of American history". On Broderick's performance, they felt his "boyishness becomes a key element of the drama, as the film shows him confiding his inadequacies".[10] Desson Howe of The Washington Post, pointed out some flaws including mentioning Broderick as "an amiable non-presence, creating unintentionally the notion that the 54th earned their stripes despite wimpy leadership".[11] The Chicago Reader's Jonathan Rosenbaum called Glory an "always interesting period film, well photographed by English cinematographer Freddie Francis".[12] The film, however, was not without its detractors. Peter Travers of Rolling Stone was not impressed at all with the overall acting, calling Broderick "catastrophically miscast as Shaw".[13] Alternatively, Richard Schickel of Time described the picture by saying, "the movie's often awesome imagery and a bravely soaring choral score by James Horner that transfigure the reality, granting it the status of necessary myth".[14]

text: Writing for Entertainment Weekly, Mark Bernardin said the film's strength "belongs to the powerhouse supporting cast – Morgan Freeman, Andre Braugher (in his first movie role), and Denzel Washington". He added: "The magic of Glory comes from the film itself. It speaks of heroism writ large, from people whom history had made small."[15] James Berardinelli writing for ReelViews, called the film "without question, one of the best movies ever made about the American Civil War," and noted that it "has important things to say, yet it does so without becoming pedantic".[9] Berardinelli also commented: "For a motion picture made on a relatively modest budget, Glory looks great. From a technical standpoint, the movie is a masterpiece, and the verisimilitude of the battle scenes is not in question."[9] Rating the film with four stars, critic Leonard Maltin wrote that it was "grand, moving, breathtakingly filmed (by veteran cinematographer Freddie Francis) and faultlessly performed". He called it "one of the finest historical dramas ever made".[16]

text:
Watching "Glory," I had one reccuring [sic] problem. I didn't understand why it had to be told so often from the point of view of the 54th's white commanding officer. Why did we see the black troops through his eyes — instead of seeing him through theirs? To put it another way, why does the top billing in this movie go to a white actor?

—Roger Ebert, writing in the Chicago Sun-Times[3]

text: Chris Hicks of the Deseret News said the film is "big in scope, powerful in its storytelling drama, yet intimate in its character and relationship development." Referring to Broderick, he found he "does very well as the young officer, and among his troops are two of our finest actors — Morgan Freeman...and Denzel Washington".[17] The staff of TV Guide said of the film: "Richly plotted, alternately inspiring and horrifying, Glory is an enlightening and entertaining tribute to heroes too long forgotten." On the acting merits, they wrote, "Glory also contains especially compelling performances by Broderick, Washington, and Freeman."[18] Film critic Gene Siskel of the Chicago Tribune gave the film a thumbs up review, saying, "like Driving Miss Daisy, this is another admirable film that turns out to be surprisingly entertaining". He thought the film took on "some true social significance" and felt the actors portrayed the characters as "more than simply black men". He explained: "They're so different, that they become not merely standard Hollywood blacks, but true individuals."[19]

text: American Civil War historian James M. McPherson also lauded the film, saying that it "accomplished a remarkable feat in sensitizing a lot of today's black students to the role that their ancestors played in the Civil War in winning their own freedom".[20]

text: On Rotten Tomatoes, the film holds an approval rating of 93% based on 41 reviews, and an average rating of 7.9/10. The site's consensus reads: "Bolstered by exceptional cinematography, powerful storytelling, and an Oscar-winning performance by Denzel Washington, Glory remains one of the finest Civil War movies ever made."[21]

text: Accolades[edit]

text: The film was nominated and won several awards in 1989–90.[22][23] A complete list of awards the film won or was nominated for are listed below.

text:
Award
Category
Nominee
Result

62nd Academy Awards[24]
Best Actor in a Supporting Role
Denzel Washington
Won

Best Art Direction
Norman Garwood, Garrett Lewis
Nominated

Best Cinematography
Freddie Francis
Won

Best Film Editing
Steven Rosenblum
Nominated

Best Sound
Donald O. Mitchell, Gregg Rudloff, Elliot Tyson, Russell Williams
Won

41st ACE Eddie Awards[25]
Best Edited Feature Film
————
Won

44th British Academy Film Awards[26]
Best Cinematography
Freddie Francis
Nominated

British Society of Cinematographers Awards 1990[27]
Best Cinematography
Freddie Francis
Won

Casting Society of America Artios Awards 1990[28]
Best Casting for Feature Film, Drama
Mary Colquhoun
Nominated

47th Golden Globe Awards[29]
Best Motion Picture – Drama
Freddie Fields
Nominated

Best Supporting Actor – Motion Picture
Denzel Washington
Won

Best Director
Edward Zwick
Nominated

Best Screenplay
Kevin Jarre
Nominated

Best Original Score
James Horner
Nominated

33rd Grammy Awards[30]
Best Instrumental Composition Written for a Motion Picture or for Television
James Horner
Won

Kansas City Film Critics Circle Awards 1989[31]
Best Film
————
Won

Best Director
Edward Zwick
Won

Best Supporting Actor
Denzel Washington
Won

NAACP Image Awards 1992[32][33]
Outstanding Motion Picture
————
Won

Outstanding Supporting Actor in a Motion Picture
Denzel Washington
Won

1989 National Board of Review of Motion Pictures Awards[34]
Best Picture
————
Nominated

1989 New York Film Critics Circle Awards[35]
Best Supporting Actor
Denzel Washington
Nominated

1990 Political Film Society Awards[36]
Human Rights
————
Nominated

Writers Guild of America Awards 1989[37]
Best Adapted Screenplay
Kevin Jarre
Nominated

text: American Film Institute Lists

text:
AFI's 100 Years...100 Movies - Nominated
AFI's 100 Years...100 Thrills - Nominated
AFI's 100 Years...100 Heroes and Villains:

Trip - Nominated Hero

AFI's 100 Years of Film Scores - Nominated
AFI's 100 Years...100 Cheers - #31
AFI's 100 Years...100 Movies (10th Anniversary Edition) - Nominated

text: Box office[edit]

text: The film premiered in cinemas on December 14, 1989, in limited release within the US. During its limited opening weekend, the film grossed $63,661 in business showing at 3 locations. Its official wide release began in theaters on February 16, 1990.[2] Opening in a distant 8th place, the film earned $2,683,350 showing at 801 cinemas. The film Driving Miss Daisy soundly beat its competition during that weekend opening in first place with $9,834,744.[38] The film's revenue dropped by 37% in its second week of release, earning $1,682,720. For that particular weekend, the film remained in 8th place screening in 809 theaters not challenging a top five position. The film Driving Miss Daisy, remained in first place grossing $6,107,836 in box office revenue.[39] The film went on to top out domestically at $26,828,365 in total ticket sales through a 17-week theatrical run.[2] For 1989 as a whole, the film would cumulatively rank at a box office performance position of 45.[40]

text: Home media[edit]

text: Following its release in theaters, the film was released on VHS video format on June 22, 1990.[41] The Region 1 DVD widescreen edition of the film was released in the US on January 20, 1998. Special DVD features include: interactive menus, scene selections, widescreen 1.85:1 color anamorphic format, along with subtitles in English, Italian, Spanish and French.[42]

text: A special repackaged version of Glory was also officially released on DVD on January 2, 2007. It includes two discs featuring: widescreen and full screen versions of the film; Picture-in-Picture video commentary by director Ed Zwick and actors Morgan Freeman and Matthew Broderick; a director's audio commentary; and a documentary entitled, The True Story of Glory Continues narrated by Morgan Freeman. Also included are: an exclusive featurette entitled, Voices of Glory, an original featurette, deleted scenes, production notes, theatrical trailers, talent files, and scene selections.[43]

text: The Blu-ray disc version of the film was released on June 2, 2009. Special features include: a virtual civil war battlefield, interactive map, The Voice Of Glory feature, The True Story Continues documentary, the making of Glory, director's commentary, and deleted scenes.[44] The film is displayed in widescreen 1.85:1 color format in 1080p screen resolution. The audio is enhanced with Dolby TrueHD sound and is available with subtitles in English, Spanish, French, and Portuguese.[44] A UMD version of the film for the Sony PlayStation Portable was also released on July 1, 2008. It features dubbed, subtitled, and color widescreen format viewing options.[45]


document_title: List of largest church buildings

question_text: where is the largest church in the world located

text: List of largest church buildings

text: Scope[edit]

text: The term church is open to interpretation and debate. In this article, it means any building that was built for the primary purpose of Christian worship. The list does include at least one building—the Hagia Sophia—that was originally a church but later became a mosque and is now a museum.

text: Measurements[edit]

text: Whilst claims are made about the relative size of churches many of these claims are not easily substantiated. "Largest" is at best a vague term, which is often not qualified by claimants. Accepted measures of largeness could include area, volume, length, width, height, and/or capacity, although the last is far more subjective. It is important to note therefore that churches may claim to be "the largest" based on only one of these measurements; and thus that there may be several churches that have equal claim to be "the largest church". Since there is no official body governing these claims, there is no generally accepted criterion for being "the largest church".

text: The list below attempts to rank churches by different (more-or-less) objective criteria, and thus may generate different orders depending on the measure used. Churches for which claims are made but dimensions cannot be found are not included on the below lists.

text: For length, width and height, there is usually a definitive statistic for each church, which can easily be compared. However, for area and volume, the situation is often more complex. It is often possible to find multiple values quoted for the area/volume of a church in references. Many values appear to be estimates or approximations (especially for volume), or may have been calculated by multiplying lengths, widths and heights. In the latter case, the exact dimensions used (internal vs. external, etc.) may give very different figures. Therefore, although area and volume are the most common 'largeness' measures, they are also apt to be the least reliable. This should be borne in mind when comparing church sizes.

text:
Area (m²)
Gross volume (m³)
Name
Built
City
Country
Denomination
Comment

15,160 (interior)[1][2]
21,095 (exterior)[1]
5,000,000[3]
St. Peter's Basilica
1506–1626
Vatican City
  Vatican City
Catholic (Roman Rite)
Area can be verified on a plan printed as 205% size in 1:1000 scale to match a 41.47 m dome internal diameter

12,000
1,200,000[4]
Basilica of the National Shrine of Our Lady of Aparecida
1955–80
Aparecida
 Brazil
Catholic (Roman Rite)
Church dimensions 173×168 m yielding a maximum area of 29,000 m²[5]

11,700 (interior) [6]
440,000 [7]
Milan Cathedral
1386–1965
Milan
 Italy
Catholic (Ambrosian Rite)
The largest Gothic cathedral in the world

11,520[8]
500,000 +
Seville Cathedral
1401–1528
Seville
 Spain
Catholic (Roman Rite)
Burial site of Christopher Columbus[9]

11,200[3]
480,000[10]
Cathedral of Saint John the Divine
1892–present
New York City
 United States
Anglican (Episcopal Church in the U.S.)
Unfinished, lacking transepts among other components

9,717 (interior)[11]

Abbey of Santa Giustina
1501–1606[12]
Padua
 Italy
Catholic (Roman Rite)

10,090
300,000[13]
Basilica of Our Lady of Licheń
1994–2004
Licheń Stary
 Poland
Catholic (Roman Rite)
9,240 m²[13] or 10,090 m²

9,687[14]
450,000 +
Liverpool Cathedral
1904–78
Liverpool
 United Kingdom
Anglican (Church of England)

8,700[15]
130,000
Church of the Most Holy Trinity
2004-07
Fátima
 Portugal
Catholic (Roman Rite)
Area given as 12,000m²[4]

8,515

Basilica of Saint Paul Outside the Walls
IV–1823
Rome
 Italy
Catholic (Roman Rite)
One nave & four aisles by 80 columns

8,318[16]

Basilica-Cathedral of Our Lady of the Pillar
1681–1872
Zaragoza
 Spain
Catholic (Roman Rite)

8,300

Florence Cathedral
1296–1436
Florence
 Italy
Catholic (Roman Rite)
Largest brick and mortar dome in the world

8,260 (6,029 interior)
190,000
Ulm Minster
1377–1890
Ulm
 Germany
Lutheran
World's tallest and one of the largest brick churches

8,000

Basilica of the Sacred Heart
1905–70
Koekelberg (Brussels)
 Belgium
Catholic (Roman Rite)

8,167

Basilica of Our Lady of Guadalupe
1974–76
Mexico City
 Mexico
Catholic (Roman Rite)
Circular base of 102 m in diameter[17]

8,000[18]

Cathedral of Our Lady
1352–1521
Antwerp
 Belgium
Catholic (Roman Rite)

8,000

Rio de Janeiro Cathedral
1964-76
Rio de Janeiro
 Brazil
Catholic (Roman Rite)
External diameter is 106 meters

7,989 (interior)
30,000 (exterior)[19]

Basilica of Our Lady of Peace
1985–89
Yamoussoukro
 Ivory Coast
Catholic (Roman Rite)
The enclosed area approximately 8,000 m²[20]

7,960
255,800 [21]
Hagia Sophia
532–537
Istanbul
 Turkey
Orthodox (Ecumenical Patriarchate)
Was the largest church in the world for a millennium, now a museum.

7,920
258,000
San Petronio Basilica[22]
1390–1479
Bologna
 Italy
Catholic (Roman Rite)
World's largest Gothic brick church

7,914
407,000[23]
Cologne Cathedral
1248–1880
Cologne
 Germany
Catholic (Roman Rite)
Gross volume without buttresses

7,875[2]

St Paul's Cathedral
1677–1708
London
 United Kingdom
Anglican (Church of England)

7,712[24]

Washington National Cathedral
1907–90
Washington, DC
 United States
Anglican (Episcopal Church in the U.S.)

7,700[25]
200,000 (interior only)
Amiens Cathedral
1220–70
Amiens
 France
Catholic (Roman Rite)
Gross volume slightly below 400,000

7,097 (interior)
12,069 (exterior)[26]

Basilica of the National Shrine of the Immaculate Conception
1919–61
Washington, DC
 United States
Catholic (Roman Rite)
Completed Trinity Dome in 2017

6,968

Cathedral of La Plata
1884-1932
La Plata
 Argentina
Catholic (Roman Rite)
Largest church in Argentina

6,825
660,000
Saint Joseph's Oratory
1904–67
Montreal
 Canada
Catholic (Roman Rite)
Exterior dome rises 263 m above sea level; highest point in Montreal

6,732

Mexico City Metropolitan Cathedral
1573-1813
Mexico City
 Mexico
Catholic (Roman Rite)

6,655
160,000 (interior)
Palma Cathedral
1220-1346
Palma, Majorca
 Spain
Catholic (Roman Rite)
With the largest rosette Gothic world

6,650

Reims Cathedral
1211–75
Reims
 France
Catholic (Roman Rite)
The longest church in France; 149.17 m

6,044

Strasbourg Cathedral
1015–1439
Strasbourg
 France
Catholic (Roman Rite)
World's tallest building 1647-1874

6,038

Cathedral of Our Lady of the Angels
1998–2002
Los Angeles
 United States
Catholic (Roman Rite)

6,020[27]
43,300
De Hoeksteen, Barneveld
2007–08
Barneveld
 Netherlands
Calvinist

6,000

Padre Pio Pilgrimage Church
1991-2004
San Giovanni Rotondo
 Italy
Catholic (Roman Rite)
Vaulted church holding 6,500 seats

5,900

Bourges Cathedral
1195-1230
Bourges
 France
Catholic (Roman Rite)

5,660

Esztergom Basilica
1822–69
Esztergom
 Hungary
Catholic (Roman Rite)
World's largest altarpiece painting on a single canvas

5,500

Notre Dame de Paris
1163–1345
Paris
 France
Catholic (Roman Rite)

5,400

Sagrada Familia
1882–present
Barcelona
 Spain
Catholic (Roman Rite)
Will be the tallest church in the world when finished (172,5m)

5,300

São Paulo Cathedral
1913-1954
São Paulo
 Brazil
Catholic (Roman Rite)
Capacity for 8,000 people

5,300

Primate Cathedral of Bogotá
1807-23
Bogotá
 Colombia
Catholic (Roman Rite)

5,240

Cathedral of Christ the Saviour
1839–83
Moscow
 Russia
Orthodox (Moscow Patriarchate)
Rebuilt during 1995-2000

5,200

Chartres Cathedral
1145-1220
Chartres
 France
Catholic (Roman Rite)
Ground area 10,875 square meters

5,170

New Cathedral, Linz
1862–1924
Linz
 Austria
Catholic (Roman Rite)

5,017

Westminster Cathedral
1895–1910
London
 United Kingdom
Catholic (Roman Rite)

5,000
185,000–190,000
St. Mary's Church[28]
1343–1502
Gdańsk
 Poland
Catholic (Roman Rite)
One of the largest Gothic brick churches north of the Alps

5,000
137,000
Holy Trinity Cathedral
1995–2004
Tbilisi
 Georgia
Orthodox (Patriarchate of Georgia)
Description see[29]

4,968[30]

Winchester Cathedral
1079–1525
Winchester
 United Kingdom
Anglican (Church of England)
The longest Gothic Cathedral in Europe.

4,800

Dresden Cathedral
1739-55
Dresden
 Germany
Catholic (Roman Rite)
Largest church in all of Saxony

4,500

Basilica of St. Thérèse, Lisieux
1929-54
Lisieux
 France
Catholic (Roman Rite)

4,320[31]

Basilica de San Martin de Tours (Taal)
1856–78
Taal, Batangas
 Philippines
Catholic (Roman Rite)

4,273[32]

Ely Cathedral, Cambridgeshire
1083–1375
Ely
 United Kingdom
Anglican (Church of England)
Third-largest medieval Cathedral in the United Kingdom

4,188
185,000–190,000[33]
Frauenkirche
1468–1525
Munich
 Germany
Catholic (Roman Rite)
One of the largest Gothic brick churches north of the Alps and the largest hall church

4,130

Cathedral Basilica of Saint Louis (St. Louis)
1907-14
St. Louis
 United States
Catholic (Roman Rite)
7,700 square meters, largest mosaic collection in the world

4,000

Saint Isaac's Cathedral
1818–58
Saint Petersburg
 Russia
Orthodox (Moscow Patriarchate)

3,822

Saint Gregory the Illuminator Cathedral, Yerevan
1997–2001
Yerevan
 Armenia
Armenian Apostolic Church

3,500[34]
170,000[34]
Church of Saint Sava
1935–89
Belgrade
 Serbia
Orthodox (Serbian Orthodox Church)
The largest church in Southeastern Europe.

3,170[35]

Alexander Nevsky Cathedral
1882–1912
Sofia
 Bulgaria
Orthodox (Patriarchate of Bulgaria)

2,972

Westminster Abbey
960-18c
London
 United Kingdom
Anglican (Church of England)

2,800[36]

Medak Cathedral
1914–26
Medak
 India
Anglican (Church of South India)

2,300

Our Lady of Dolours Syro-Malabar Catholic Basilica
1929-2005
Our Lady of Dolours Syro-Malabar Catholic Basilica
 India
Catholic (East Syrian Rite)
It has the 3rd tallest tower in Asia

2,135
64,040[37]
Basilica of St. John the Baptist
1839–55
St. John's
 Canada
Catholic (Roman Rite)
The largest church in eastern Canada

2,025

Myeongdong Cathedral
1892-1898
Seoul
 Korea
Catholic (Roman Rite)
In 1898, largest building in Seoul

1,760
32,162[38]
All Saints Cathedral, Halifax
1907–10
Halifax
 Canada
Anglican (Church of Canada)
The largest Anglican cathedral church in Canada

text: By height[edit]

text: By length[edit]


document_title: Spinal nerve

question_text: what are the nerves called that emerge from the thoracic region of the spinal cord

text: Spinal nerve

text: Structure[edit]

text: Each spinal nerve is formed from the combination of nerve fibers from its dorsal and ventral roots. The dorsal root is the afferent sensory root and carries sensory information to the brain. The ventral root is the efferent motor root and carries motor information from the brain. The spinal nerve emerges from the spinal column through an opening (intervertebral foramen) between adjacent vertebrae. This is true for all spinal nerves except for the first spinal nerve pair (C1), which emerges between the occipital bone and the atlas (the first vertebra). Thus the cervical nerves are numbered by the vertebra below, except spinal nerve C8, which exists below vertebra C7 and above vertebra T1. The thoracic, lumbar, and sacral nerves are then numbered by the vertebra above. In the case of a lumbarized S1 vertebra (aka L6) or a sacralized L5 vertebra, the nerves are typically still counted to L5 and the next nerve is S1.

text: Outside the vertebral column, the nerve divides into branches. The dorsal ramus contains nerves that serve the posterior portions of the trunk carrying visceral motor, somatic motor, and somatic sensory information to and from the skin and muscles of the back (epaxial muscles). The ventral ramus contains nerves that serve the remaining anterior parts of the trunk and the upper and lower limbs (hypaxial muscles) carrying visceral motor, somatic motor, and sensory information to and from the ventrolateral body surface, structures in the body wall, and the limbs. The meningeal branches (recurrent meningeal or sinuvertebral nerves) branch from the spinal nerve and re-enter the intervertebral foramen to serve the ligaments, dura, blood vessels, intervertebral discs, facet joints, and periosteum of the vertebrae. The rami communicantes contain autonomic nerves that serve visceral functions carrying visceral motor and sensory information to and from the visceral organs.

text: Some anterior rami merge with adjacent anterior rami to form a nerve plexus, a network of interconnecting nerves. Nerves emerging from a plexus contain fibers from various spinal nerves, which are now carried together to some target location. Major plexuses include the cervical, brachial, lumbar, and sacral plexuses.

text: Regional nerves[edit]

text: Cervical nerves[edit]

text: The cervical nerves are the spinal nerves from the cervical vertebrae in the cervical segment of the spinal cord. Although there are seven cervical vertebrae (C1-C7), there are eight cervical nerves C1–C8. All cervical nerves except C8 emerge above their corresponding vertebrae, while the C8 nerve emerges below the C7 vertebra. Elsewhere in the spine, the nerve emerges below the vertebra with the same name.

text: The posterior distribution includes the suboccipital nerve (C1), the greater occipital nerve (C2) and the third occipital nerve (C3). The anterior distribution includes the cervical plexus (C1-C4) and brachial plexus (C5-T1).

text: The cervical nerves innervate the sternohyoid, sternothyroid and omohyoid muscles.

text: A loop of nerves called ansa cervicalis is part of the cervical plexus.

text: Thoracic nerves[edit]

text: The thoracic nerves are the twelve spinal nerves emerging from the thoracic vertebrae. Each thoracic nerve T1 -T12 originates from below each corresponding thoracic vertebra. Branches also exit the spine and go directly to the paravertebral ganglia of the autonomic nervous system where they are involved in the functions of organs and glands in the head, neck, thorax and abdomen.

text: Anterior divisions: The intercostal nerves come from thoracic nerves T1-T11, and run between the ribs. At T2 and T3, further branches form the intercostobrachial nerve. The subcostal nerve comes from nerve T12, and runs below the twelfth rib.

text: Posterior divisions: The medial branches (ramus medialis) of the posterior branches of the upper six thoracic nerves run between the semispinalis dorsi and multifidus, which they supply; they then pierce the rhomboid and trapezius muscles, and reach the skin by the sides of the spinous processes. This sensitive branch is called the medial cutaneous ramus.

text: The medial branches of the lower six are distributed chiefly to the multifidus and longissimus dorsi, occasionally they give off filaments to the skin near the middle line. This sensitive branch is called the posterior cutaneous ramus.

text: Lumbar nerves[edit]

text: The lumbar nerves are the five spinal nerves emerging from the lumbar vertebrae. They are divided into posterior and anterior divisions.

text: Posterior divisions: The medial branches of the posterior divisions of the lumbar nerves run close to the articular processes of the vertebrae and end in the multifidus muscle.

text: The laterals supply the erector spinae muscles.

text: The upper three give off cutaneous nerves which pierce the aponeurosis of the latissimus dorsi at the lateral border of the erector spinae muscles, and descend across the posterior part of the iliac crest to the skin of the buttock, some of their twigs running as far as the level of the greater trochanter.

text: Anterior divisions: The anterior divisions of the lumbar nerves (rami anteriores) increase in size from above downward. They are joined, near their origins, by gray rami communicantes from the lumbar ganglia of the sympathetic trunk. These rami consist of long, slender branches which accompany the lumbar arteries around the sides of the vertebral bodies, beneath the psoas major. Their arrangement is somewhat irregular: one ganglion may give rami to two lumbar nerves, or one lumbar nerve may receive rami from two ganglia.

text: The first and second, and sometimes the third and fourth lumbar nerves are each connected with the lumbar part of the sympathetic trunk by a white ramus communicans.

text: The nerves pass obliquely outward behind the psoas major, or between its fasciculi, distributing filaments to it and the quadratus lumborum.

text: The first three and the greater part of the fourth are connected together in this situation by anastomotic loops, and form the lumbar plexus.

text: The smaller part of the fourth joins with the fifth to form the lumbosacral trunk, which assists in the formation of the sacral plexus. The fourth nerve is named the furcal nerve, from the fact that it is subdivided between the two plexuses.

text: Sacral nerves[edit]

text: The sacral nerves are the five pairs of spinal nerves which exit the sacrum at the lower end of the vertebral column. The roots of these nerves begin inside the vertebral column at the level of the L1 vertebra, where the cauda equina begins, and then descend into the sacrum.[2][3]

text: There are five paired sacral nerves, half of them arising through the sacrum on the left side and the other half on the right side. Each nerve emerges in two divisions: one division through the anterior sacral foramina and the other division through the posterior sacral foramina.[4]

text: The nerves divide into branches and the branches from different nerves join with one another, some of them also joining with lumbar or coccygeal nerve branches. These anastomoses of nerves form the sacral plexus and the lumbosacral plexus. The branches of these plexus give rise to nerves that supply much of the hip, thigh, leg and foot.[5][6]

text: The sacral nerves have both afferent and efferent fibers, thus they are responsible for part of the sensory perception and the movements of the lower extremities of the human body. From the S2, S3 and S4 arise the pudendal nerve and parasympathetic fibers whose electrical potential supply the descending colon and rectum, urinary bladder and genital organs. These pathways have both afferent and efferent fibers and, this way, they are responsible for conduction of sensory information from these pelvic organs to the central nervous system (CNS) and motor impulses from the CNS to the pelvis that control the movements of these pelvic organs.[7]

text: Coccygeal nerve[edit]

text: The coccygeal nerve is the 31st pair of spinal nerves. It arises from the conus medullaris, and its anterior root helps form the coccygeal plexus. It does not divide into a medial and lateral branch. It is distributed to the skin over the back of the coccyx.

text: Function[edit]

text:
Actions of the spinal nerves edit

Level
Motor function

C1–C6
Neck flexors

C1–T1
Neck extensors

C3, C4, C5
Supply diaphragm (mostly C4)

C5, C6
Move shoulder, raise arm (deltoid); flex elbow (biceps)

C6
externally rotate (supinate) the arm

C6, C7
Extend elbow and wrist (triceps and wrist extensors); pronate wrist

C7, C8
Flex wrist; supply small muscles of the hand

T1–T6
Intercostals and trunk above the waist

T7–L1
Abdominal muscles

L1–L4
Flex thigh

L2, L3, L4
Adduct thigh; Extend leg at the knee (quadriceps femoris)

L4, L5, S1
abduct thigh; Flex leg at the knee (hamstrings); Dorsiflex foot (tibialis anterior); Extend toes

L5, S1, S2
Extend leg at the hip (gluteus maximus); flex foot and flex toes

text: Clinical significance[edit]

text: The muscles that one particular spinal root supplies are that nerve's myotome, and the dermatomes are the areas of sensory innervation on the skin for each spinal nerve. Lesions of one or more nerve roots result in typical patterns of neurologic defects (muscle weakness, abnormal sensation, changes in reflexes) that allow localization of the responsible lesion.

text: There are several procedures used in sacral nerve stimulation for the treatment of various related disorders.

text: Sciatica is generally caused by the compression of lumbar nerves L4, or L5 or sacral nerves S1, S2, or S3, or by compression of the sciatic nerve itself.

text: Additional Images[edit]

text:
A portion of the spinal cord, showing its right lateral surface. The dura is opened and arranged to show the nerve roots.

Distribution of the cutaneous nerves. Ventral aspect.

Distribution of the cutaneous nerves. Dorsal aspect.

The spinal cord with dura cut open, showing the exits of the spinal nerves.

The spinal cord showing how the anterior and posterior roots join in the spinal nerves.

A longer view of the spinal cord.

Projections of the spinal cord into the nerves (red motor, blue sensory).

Projections of the spinal cord into the nerves (red motor, blue sensory).

Schematic diagram of cervical plexus.

text:
Dissection images

Cerebrum. Inferior view. Deep dissection.

Cerebrum. Inferior view. Deep dissection.

Spinal nerves. Spinal cord and vertebral canal. Deep dissection.


document_title: The Mask (film)

question_text: who played the masked dorian in the mask

text: The Mask (film)

text: Plot[edit]

text: Stanley Ipkiss is a shy and unlucky bank clerk working at the local Edge City bank. He is frequently ridiculed by everyone around him, except for his Jack Russell Terrier Milo, and his co-worker and best friend Charlie Schumaker. Meanwhile, gangster Dorian Tyrell, owner of the Coco Bongo nightclub, plots to overthrow his boss Niko. One day, Tyrell sends his singer girlfriend Tina Carlyle into Stanley's bank to record its layout, in preparation to rob the bank.

text: Stanley is attracted to Tina, and she seems to reciprocate. Unable to enter the Coco Bongo to watch Tina perform, Stanley finds a wooden mask near the city's harbor. Placing it on his face transforms him into a green-faced, zoot-suited, bizarre, wisecracking trickster known as the Mask, who is able to cartoonishly alter himself and his surroundings at will. Stanley exacts revenge on his tormentors and scares off a street gang that attempts to rob him by turning a balloon into a Tommy gun.

text: The next morning, Stanley encounters detective Lieutenant Kellaway and newspaper reporter Peggy Brandt investigating the Mask's activity of the previous night. To attend Tina's performance, he again becomes the Mask to raid the bank, inadvertently foiling Tyrell's plan in the process. At the Coco Bongo, Stanley dances exuberantly with Tina, whom he ends up kissing. Following a confrontation with Tyrell for disrupting the bank robbery, Stanley flees leaving behind a scrap of cloth from his suit that transforms back into his pajamas, while Tyrell and his men are arrested by Kellaway and his partner Doyle.

text: Based on the piece of cloth, Kellaway suspects Stanley to be the bank robber. Stanley later consults a psychiatrist who has recently published a book on masks and is discovered that the object may be a depiction of Loki, the Norse god of darkness and mischief. The same night, Stanley meets Tina at a local park as the Mask, but the meeting is interrupted by Kellaway, who attempts to capture him. Stanley tricks a large group of police officers into joining him in a mass-performance of the Desi Arnaz song "Cuban Pete" and flees with Peggy, but she betrays him to Tyrell for a $50,000 bounty. Using the mask, Tyrell becomes a malevolent green-faced monster. Tyrell's henchmen ends up in the possession of the stolen money after Stanley is forced to reveal its location; and they turn Stanley in to the police.

text: When Tina visits Stanley in the station, he urges her to flee the city. Tina thanks Stanley for his generosity and tells him that she knew he was the Mask all along. She attempts to leave the city, but is captured by Tyrell's men and forcibly taken to a charity ball at the Coco Bongo hosted by Niko and attended by the city's elite, including Mayor Tilton. Upon arrival, the masked Tyrell kills Niko and prepares to destroy both the club and Tina with dynamite. Milo helps Stanley escape from the station, and Stanley brings Kellaway as a cover and hostage in a desperate attempt to stop Tyrell.

text: After locking Kellaway in his car, Stanley enters the club and manages to enlist the help of Charlie, but is soon after discovered and captured. Tina tricks Tyrell into taking off the mask, which is recovered and donned by Milo, who fights Tyrell's men, while Stanley fights Tyrell, himself. After recovering the mask, Stanley uses its special powers to rescue Tina by swallowing Tyrell's bomb and flushing Tyrell down the drain of the club's ornamental fountain. The police arrive and arrest Tyrell's remaining henchmen and attempt to capture Stanley once again. However, Tilton tells Kellaway to release Stanley because Tyrell was the Mask the whole time and Tilton calls Stanley a hero for his actions.

text: As the sun rises the following day, all charges against Stanley are dropped. To avoid getting involved with the police again, Stanley decides to return the mask back to the harbor. Tina throws the mask into the water, and she and Stanley kiss. Charlie then jumps in the water to retrieve the mask for himself, only to find Milo swimming away with it.

text: Cast[edit]

text:
Jim Carrey as Stanley Ipkiss / The Mask. Carrey commented that he characterized Stanley after his own father: "a nice guy, just trying to get by".[citation needed] Carrey was paid $450,000 for starring in the film, which was a huge bargain for New Line Cinema at the time.
Cameron Diaz as Tina Carlyle, Dorian Tyrell's girlfriend and lounge singer at the Coco Bongo who later becomes Stanley's love interest. This role marked the feature film debut for Cameron Diaz. Before Diaz was cast, the studio considered casting Anna Nicole Smith, Vanessa Williams and Kristy Swanson. After Diaz auditioned twelve times for the role, she was finally cast only a week before filming began.[citation needed]
Peter Greene as Dorian Tyrell, a mobster who wants to take over the city's underworld. Greene was cast after the studio's top choice, Gary Kemp, turned it down.
Richard Jeni as Charlie Schumaker, Stanley's best friend and colleague.
Peter Riegert as Lt. Mitch Kellaway, a cynical police detective who hunts the Mask, as well as Tyrell and Niko. Before Riegert was cast, the studio considered Richard Gere for the role.
Jim Doughan as Det. Doyle, Lt. Kellaway's dim-witted partner.
Amy Yasbeck as Peggy Brandt, a reporter with a crush on Stanley. In a deleted scene, Peggy is killed by Tyrell shortly after he first puts the mask on.
Orestes Matacena as Niko, a Greek mafia boss and Tyrell's nemesis.
Eamonn Roche as Mr. Dickey, the son of the Bank President who is Stanley and Charlie's superior.
Nancy Fish as Mrs. Peenman, Stanley's grumpy land-lady.
Tim Bagley as Irv Ripley, a mechanic who rips off Stanley.
Johnny Williams as Burt Ripley, a mechanic and Irv's brother.
Reginald E. Cathey as Freeze (called The Doctor in the film), Dorian Tyrell's trusted lieutenant and friend whose death, inadvertently caused by The Mask, drives Tyrell into a personal vendetta against Ipkiss.
Denis Forest as Sweet Eddy, one of Tyrell's henchmen. Before Forest was cast, the studio considered Chris Elliott for the role.
Nils Allen Stewart as Orlando, another of Tyrell's henchmen.
Ivory Ocean as Mayor Mitchell Tilton, the mayor of Edge City.
Joely Fisher as Maggie, another one of Stanley's colleagues.
Ben Stein as Dr. Arthur Neuman, Stanley's psychologist. He is the only character to appear in both The Mask and its sequel Son of the Mask.
Royal Crown Revue as themselves / The Coco Bongo Band

text: Production[edit]

text: In 1989, Mike Richardson and Todd Moyer (who was Executive Vice President of Dark Horse Comics) first approached New Line Cinema about adapting the comic The Mask into a film, after having seen other offers. The main character went through several transformations, and the project was stalled a couple of times.[3]

text: One unused "Mask" idea, according to Mike Richardson, was to transform the story into one about a mask-maker who took faces off of corpses to put them on teens and turn them into zombies.[4]

text: Initially intended to become a new horror franchise, New Line Cinema offered the job of directing the film to Chuck Russell.[5] However, Russell found the violence of the comic to be off-putting, and wanted the film be less grim and more fun than the source material.[6]

text: Mike Werb says Chuck Russell tapped him after reading his script for Curious George for Imagine. The two decided to turn The Mask into a wild romantic comedy.[7] Mike Werb wrote his first draft of The Mask in less than six weeks, and less than two months later it was green-lit.[8]

text: According to Mike Verheiden, they had a first draft screenplay for a film version done back in 1990. Verheiden then wrote the second draft in early 1991, adding more humor, and that ended up being the only work he did on The Mask. After that the film went into development hell.[9]

text: There were a lot of VFX scenes that had to be cut for budget.[10]

text: Visual effects[edit]

text: The Mask's visual effects were handled by Industrial Light & Magic (ILM) and Digital Domain. The sequences in the film which involved computer animation were supervised by ILM animation director Wes Takahashi.[11]

text: Release[edit]

text: Box office[edit]

text: The film was a box-office success, grossing $119 million domestically and over $350 million worldwide,[2] becoming the second-highest grossing superhero movie at that time, behind Batman. The film also received positive reviews from critics, including Roger Ebert of the Chicago Sun-Times, who gave the film 3 out of 4 stars, noting Jim Carrey for his "joyful performance."[12] The Mask is one of three films featuring Carrey (the others being Ace Ventura: Pet Detective and Dumb and Dumber) released in 1994 that helped launch the actor to superstardom, though The Mask was the most successful of these three films both critically and commercially. The film is also notable for immediately establishing Diaz – previously a complete unknown – as a major star in Hollywood as well. The film is also considered a cult classic.[citation needed]

text: Critical reception[edit]

text: It currently holds a 77% "Certified Fresh" rating on review aggregator website Rotten Tomatoes, with the consensus stating "It misses perhaps as often as it hits, but Carrey's manic bombast, Diaz's blowsy appeal, and the film's overall cartoony bombast keep The Mask afloat."[13] On the television program Siskel & Ebert & the Movies, the critics gave the film "two thumbs up". Metacritic, which assigns a normalized rating out of 100 to reviews from film critics, gave The Mask a rating score of 56, indicating "mixed or average reviews" based on 12 reviews.

text: The film was nominated for Best Visual Effects at the 67th Academy Awards, but lost to Forrest Gump. In addition, Carrey was nominated for a Golden Globe. Conversely, he was also nominated for a Razzie Award for "Worst New Star".

text: The film is also recognized by American Film Institute in these lists:

text:
2005: AFI's 100 Years...100 Movie Quotes:

Stanley Ipkiss: "Somebody stop me!" – Nominated[14]

2008: AFI's 10 Top 10:

Nominated Fantasy Film[15]

text: Soundtracks[edit]

text: Original soundtrack[edit]

text: The Mask: Music From the Motion Picture was released on July 26, 1994 on Chaos Records through Sony Music Entertainment. It features music from Xscape, Tony! Toni! Toné!, Vanessa Williams, Harry Connick Jr., Carrey himself and more.

text:
The Mask: Music from the Motion Picture

Soundtrack album by Various artists

Released
July 26, 1994 (1994-07-26)

Genre
Swing, retro swing, pop rock, R&B, new jack swing

Label
Chaos/Columbia

text: Track listing[edit]

text:
"Cuban Pete" (C & C Pop Radio Edit) – Jim Carrey
"Who's That Man?" – Xscape
"This Business of Love" – Domino
"Bounce Around" – Tony! Toni! Toné!
"(I Could Only) Whisper Your Name" – Harry Connick Jr.
"You Would Be My Baby" – Vanessa Williams
"Hi De Ho" – K7
"Let the Good Times Roll" – Fishbone
"Straight Up" – The Brian Setzer Orchestra
"Hey! Pachuco!" – Royal Crown Revue
"Gee, Baby, Ain't I Good to You" – Susan Boyd
"Cuban Pete" (Arkin Movie Mix) – Jim Carrey

text: The record label Epic Soundtrax released an orchestral score soundtrack to The Mask shortly after the original soundtrack's release. The score was composed and conducted by Randy Edelman and performed by the Irish Film Orchestra.

text: Orchestral score track listing[edit]

text:
Opening – The Origin of the Mask
Tina
Carnival
Transformation
Tango In The Park
Lovebirds
Out of the Line of Fire
A Dark Night
The Man Behind the Mask
Dorian Gets a New Face
Looking for a Way Out
The Search
Forked Tongue
Milo to the Rescue
The Mask Is Back
Finale

text: Charts[edit]

text:
Chart
Position

Billboard 200
80

text: Home video[edit]

text: The film was released on VHS and Laserdisc on January 18, 1995, (and later on DVD) by New Line Home Video. The VHS version included an interview between Jim Carrey and Space Ghost, as a promotion for their corporate sibling Cartoon Network's Space Ghost Coast to Coast after the film. It also had a trailer for Jim Carrey's then-upcoming film, Dumb and Dumber, and ads for the soundtrack to the film, and for what was then branded as Betty Crocker Pop Secret. It was later released on Blu-ray Disc on December 9, 2008.[16] It has an aspect ratio of 1.85:1 and is encoded in 1080p/VC-1. Its audio is a 5.1 Dolby TrueHD encoded at a 16 bit / 48 kHz sample rate. Special features include additional scenes, production details and two commentary tracks, one by director Chuck Russell and the other by the rest of the production crew.

text: Adaptations[edit]

text: An animated television series was made, The Mask: Animated Series, and a video game for the Super Nintendo, The Mask, were both based on the film.

text: Sequel[edit]

text: After the success of the original, a sequel was planned, with magazine Nintendo Power offering readers a chance, via sweepstakes, to win a cameo role in the film.[17] However Jim Carrey eventually bailed on the project forcing, amongst other things, for Nintendo Power to give the winner of the contest the equivalent cash value instead.[17] A critically panned sequel, Son of the Mask, not featuring Carrey, was eventually released in 2005.

text: Possible third film[edit]

text: On the possibility of a third film, Mike Richardson has said, "We've been talking about reviving The Mask, both in film and in comics. We've had a couple of false starts."[18]