document_title: Don't Cry for Me Argentina

question_text: when was the song don't cry for me argentina written

question_tokens: when was the song do n 't cry for me argentina written

text: Don't Cry for Me Argentina

text: Background and development[edit]

text: "Don't Cry for Me Argentina" was written by Andrew Lloyd Webber and Tim Rice while they were developing Evita for Broadway in 1976. Both were extremely intrigued by the stories surrounding the life of Eva Perón while researching about her during the mid-1970s.[1] Evita was initially produced as an album, before being adapted for the stage, following a formula that Lloyd Webber and Rice had employed during the production of Jesus Christ Superstar, their previous musical. The duo had written the songs for a female singer with good vocals.[2]

text: Rice and Webber's research showed that Eva had not in reality delivered any major oration on the day of her husband Juan Perón's inauguration ceremony, but not long after becoming Argentina's new First Lady she started making highly emotional speeches, the intensity of which they wanted to capture with "Don't Cry for Me Argentina". The song was composed to appear at the opening and near the end of the show, initially as the spirit of the dead Eva exhorting the people of Argentina not to mourn her, and finally during Eva's speech from the balcony of Casa Rosada.[3] Its melody is similar to the opening song of the musical, "Oh What a Circus", and puts emphasis on Eva's funeral. As "Oh What a Circus" ended with the character Che's sarcastic questioning of the mourning behind Eva's death, "Don't Cry for Me Argentina" started with only few lines being sung, while the rest of the song was reserved for the finale.[3]

text: After the song was composed, Lloyd Webber and Rice were struggling to find a suitable musical actress for the songs and the titular role, since the only one they knew, Yvonne Elliman, had moved to the United States. One day they were watching the British musical television show, Rock Follies, where they noticed actress and singer Julie Covington, who played an aspiring rock musician. Covington had played in London musicals like Godspell, and her acting abilities in Rock Follies convinced Rice and Lloyd Webber to sign her for Evita.[4]

text: Covington was extremely intrigued by their proposal, considering Eva Perón to be a non-commercial idea for a musical. Nevertheless, she thought that the songs were great compositions and signed on for recording them. Lloyd Webber and Rice immediately started recording and the first demos were those of "Don't Cry for Me Argentina", "I'd Be Surprisingly Good for You" and "Buenos Aires", with just piano as an accompaniment. They moved on to sign a deal with MCA Records, to release an album based on the songs, however with extremely poor royalty rates since the record company executives did not expect the album to be a success. In the meantime, singers for all the other roles of the musical were also signed, and the cast moved to Olympic Studios in 1975 to start recording.[4]

text: Recording and composition[edit]

text: Personnel working on the Evita album included recording engineer David Hamilton-Smith, Simon Philips on drums, Mo Foster on bass, Joe Moretti and Ray Russell on guitars and Anne Odell on keyboards. David Snell played the harp while Anthony Bowles conducted the London Philharmonic Orchestra, while another choir called the London Boy Singles was directed by Alan Doggett. Members of The Grease Band, including bassist Alan Spenner and rhythm guitarist Neil Hubbard also played on the album. It took a total of 3–4 months to finish the recording.[4]

text:
"Don't Cry for Me Argentina" (1976)

A 30 second sample of Covington's recording of the song, which illustrates the pizzicato strings, and the flowing tempo introducing the opening lyrics.
Problems playing this file? See media help.

text: The intensity which Rice looked for in the track was not immediately achieved during recording, because it is a sentimental ballad and because of its lyrics.[3] As the delivery date of the recording approached, they got more tense since most of the album was put together. Only this song was left as they could not decide on the final title, and Rice tried out names which did not make sense within the political and dramatic atmosphere of the story. They had initially tried out various lyrics as the main hook and title of the song including "It's Only Your Lover Returning" and "All Through My Crazy and Wild Days" amid fears that mentioning Argentina would reduce the commercial appeal.[5] Rice recalled, "What a crass decision! It was probably the only time (honest) that I had made the mistake of caring more about a lyric's potential outside the show than its importance within it, and as a result both song and show suffered."[3] Covington had already recorded the phrase "Don't Cry for Me Argentina" for using it in the beginning of the show. Shortly before the album was finally mixed, Lloyd Webber suggested to Rice that the line also worked as the title of Eva's speech. As soon as Covington recorded with the new name, the song fit "perfectly" in the mood of the sequence and was included in the album.[3]

text: The title of the song comes from an epitaph on a plaque at Eva Perón's grave in the La Recoleta Cemetery in Buenos Aires. The plaque was presented by the city's taxi drivers' union and roughly translates as: "Don't cry for me Argentina, I remain quite near to you."[6] Roger Ebert of the Chicago Sun-Times wrote "For years I have wondered, during 'Don't Cry for Me, Argentina,' why we were not to cry. Now I understand: We need not cry because (a) Evita got everything out of life she dreamed of, and (b) Argentina should cry for itself. Even poor Juan Peron  [sic] should shed a tear or two; he is relegated...to the status of a 'walker,' a presentable man who adorns the arm of a rich and powerful woman as a human fashion accessory."[7] The song's lyrics are a "string of meaningless platitudes" according to Rice, who felt that it worked as an emotionally intense but empty speech by a "megalomaniac woman" trying to win the favor of the Argentines. It features the lyrics "And as for fortune, and as for fame / I never invited them in / Though it seemed to the world they were all I desired / They are illusions".[3]

text: Webber's orchestral accompaniment added a different level to the track, with its composition consisting of pizzicato strings, and its flowing tempo introducing Covington's opening vocals. The song jumps from being light to heavy and extravagant, with one section of it being hummed by choral voices. As the final lyrics goes, "But all you have to do is look at me to know / That every word is true" is sung, the London Philharmonic Orchestra comes into play with a huge climax and ends.[3] According to the sheet music published by Music Sales Group, the song starts with a sequence of G/D–A7/D–D–Bm/D, changes to E–E/D–A/C♯–E7–A–D, with the chorus featuring a chord progression of A–Bm–Dmaj7–Gmaj7–G–F♯m7.[8] The song is composed in the key of C major with Covington's vocals spanning from the nodes of E3 to G♯5.[9]

text: Release and reception[edit]

text:
"Evita was always intended to be a stage show. And 'Don't Cry for Me Argentina' was very specifically written to be a key moment in the theatre, but the fact it became a hit was incidental. I couldn't really understand how it became such a big hit. It was 6 minutes long, it had a minute instrumental by the London Symphony Orchestra and Julie Covington refused to promote it. It even went to number one in the disco chart, which I just couldn't understand. I asked a friend of mine who was a DJ, why was it so popular—he said, 'Because DJs are playing it to clear the dance floor'."[10]
—Rice talking about the song's success to the Official Charts Company

tag: div

text: Following the completion of the recording of the album, the Evita team switched on to full promotion of the release, with photographer Tony Snowdon shooting the promotional pictures.[11] The single version of "Don't Cry for Me Argentina" was released in the United Kingdom on 12 November 1976,[12] accompanied by national and trade advertising, full-colour posters, display sleeves as well as radio interviews. Another song from the musical, "Rainbow High", was listed as its B-side. MCA marketing manager Stuart Watson explained to Billboard that their chief goal was to "get an explanation of the story of Eva Perón over to the public".[13] The song received critical appreciation, with The Sunday Times calling it a "masterpiece". However, Rice and Lloyd Webber felt that they needed more promotion to reach the general audience who would buy the record. They had initially decided for a number of television show appearances and performances, but Covington was uninterested in the project altogether and refused to promote it further. Her reasons included wanting to perform the song with the same studio orchestra and accompaniments, and she was also against a single release from the album.[14]

text: The song was never performed live on British music show, Top of the Pops, since Covington refused and whenever it was featured on the show, a montage of images of the real Eva was shown in the backdrops. However, during the week it was number one, she appeared in the audience.[15] Rice and Lloyd Webber then targeted BBC Radio 1, which was in its infancy, but still popular among the general crowd. They had a fairly tight selection of songs they aired on their channels, and Radio 1 completely refused to add "Don't Cry for Me Argentina" in their playlists. Rice and Lloyd Webber panicked and were almost on the verge of releasing another track from Evita called "Another Suitcase in Another Hall", recorded by Barbara Dickson, as the second single. But Radio 1 finally relented and started playing the song due to positive response from audiences.[14]

text: "Don't Cry for Me Argentina" debuted at number 37 on the UK Singles Chart on the week ending 25 December 1976. It started climbing up the chart but for 3 weeks it was kept from reaching the top spot by David Soul's "Don't Give Up on Us". On the week ending 12 February 1977, the song reached the top of the charts.[16] It was first certified silver in January 1977, and then certified gold a month later by the British Phonographic Industry (BPI), selling almost one million physical copies in the United Kingdom.[17][18] Together with digital sales since it has sold about 1.01 million copies according to the Official Charts Company.[19] The single also reached the top of the charts in Australia, Belgium, Ireland, New Zealand and Netherlands; in the latter country it sold around 100,000 copies.[20][21] Seeing the success of the single, Rice and Lloyd Webber proceeded with promoting the song in the United States. However, the personnel at MCA Records' US office were not able to come to terms regarding how to promote the adult contemporary oriented track; it was ultimately never sent to Top 40/CHR radio, and did not appear on any US charts.[11]

text: Aftermath and impact[edit]

text: When the cast of the London musical version of Evita was being decided, Rice and Lloyd Webber naturally approached Covington to play the titular role. However she chose not to reprise the role. Producer Hal Prince wanted to cast a relatively unknown actress to play Eva, and thus Elaine Paige was signed for the part.[22][23] In 1977, Rice and Lloyd Webber received the Ivor Novello award in the category of Best Song Musically and Lyrically.[24] During the 1982 Falklands War between the United Kingdom and Argentina, the song was sometimes played sarcastically by British regimental bands as they deployed to the Falklands. They changed the lyrics, singing it as "You don't frighten me Argentina / The truth is we will defeat you / We'll sink your carrier, with our Sea Harrier / And with our Sea Kings subs'll be sinking".[25] At the same time the Covington recording was banned from play on the BBC.[5] The song was also banned in the Philippines during the dictatorship (1972–86) of President Ferdinand Marcos. The life of former First Lady Imelda Marcos, Marcos' wife, is similar to that of Evita Peron. The presentation of the musical Evita was repressed.[26] In the United States, the song is also closely linked with Patti LuPone, who performed the role of Eva in the original Broadway production of the show.[27]

text: Track listing and formats[edit]

text: 7" single[28]

text:
"Don't Cry for Me Argentina" – 5:24
"Rainbow High" – 2:31

tag: ol

text: 7" Double hit single[29]

text:
"Don't Cry for Me Argentina" – 5:23
"I Don't Know How to Love Him" (Performed by Yvonne Elliman) – 3:55

text: 7" Old Gold single[30]

text:
"Don't Cry for Me Argentina" – 5:24
"Another Suitcase in Another Hall" (Performed by Barbara Dickson) – 3:00

text: Credits and personnel[edit]

text:
Julie Covington – vocals
Andrew Lloyd Webber – songwriter, record producer
Tim Rice – songwriter, record producer
David Land – record producer
David Hamilton-Smith – recording engineer
Simon Philips – drums
Mo Foster – bass
Joe Moretti – guitars
Ray Russell – guitars
Anne Odell – keyboards
David Snell – harp
London Philharmonic Orchestra – choir

text: Credits adapted from the 7" single liner notes.[28]

text: Charts and certifications[edit]

text:
Weekly charts

Chart (1977)

Peakposition

Australia (Kent Music Report)[20]

1

Austria (Ö3 Austria Top 40)[31]

14

Belgium (Ultratop 50 Flanders)[32]

1

Germany (Official German Charts)[33]

4

Ireland (IRMA)[34]

1

Netherlands (Dutch Top 40)[35]

1

Netherlands (Single Top 100)[36]

1

New Zealand (Recorded Music NZ)[37]

1

Norway (VG-lista)[38]

10

Sweden (Sverigetopplistan)[39]

2

Switzerland (Schweizer Hitparade)[40]

3

UK Singles (Official Charts Company)[16]

1

Year-end charts

Chart (1977)

Position

Australia (Kent Music Report)[20]

1

Belgium (Ultratop 50 Flanders)[41]

13

Netherlands (Single Top 100)[42]

21

New Zealand (Recorded Music NZ)[43]

4

Switzerland (Schweizer Hitparade)[44]

4

UK Singles (Official Charts Company)[45]

3

Certifications

Region

Certification
Certified units/Sales

Netherlands

100,000[21]

United Kingdom (BPI)[17]

Gold

1,010,000[19]

^shipments figures based on certification alone

text: Cover versions[edit]

text: Since its release, "Don't Cry for Me Argentina" has been covered by numerous artists. One of the earliest covers of the song was by The Carpenters in 1977, who recorded the track for their album, Passage. It was coupled with another song from Evita, "On the Balcony of the Casa Rosada".[46] The same year, Olivia Newton-John released the song as a single from her tenth studio album, Making a Good Thing Better.[47] In 1978, Shirley Bassey recorded a slower version of the track for her album, The Magic Is You; she re-recorded it in 1993 on her album Sings the Songs of Andrew Lloyd Webber. Simon Gage from the Daily Express praised the rendition, saying that Bassey "more than covers the ground" with it.[48] Singer Tom Jones' interpretation of the song on his 1979 album, Rescue Me, received negative reviews, with biographer Lucy Ellis describing it as "the most ludicrous massacre on the LP".[49] American disco group Festival released a version in 1979, a single off of an entire LP of disco covers of songs from Evita. Paloma San Basilio performed the song when she played the titular role on the Spanish adaptation of the musical in 1980.[50] Nacha Guevara, who also starred in the musical in 1986, has performed the song live several times.[51]

text: Marti Webb covered the song on her album Won't Change Places (1981) and also included it in 1995 on the album, Music and Songs from Evita. AllMusic's Joe Francis complimented the recording.[52] Singer Sinéad O'Connor recorded "Don't Cry for Me Argentina" on her album Am I Not Your Girl (1992). Her version received mixed response, with Joy Press from Spin who described the rendition as  "a melodramatic, sweeping 'Je ne regrette rien'—style apologia. O’Connor had a calling. Obsessed with purity and truth, she pitched herself somewhere between Christ and the Virgin Mary, as an asexual visionary whose suffering was Inextricably Intertwined with the pain of Ireland and of the world."[53] Released as a CD maxi single, the song reached number 31 in Belgium Flanders and number 44 in Netherlands.[54] An easy listening cover version of the song by The Mike Flowers Pops reached number 30 in the UK singles charts in 1996.[55] A punk rock version was recorded by alternative band Me First and the Gimme Gimmes in 1999 for their second studio album, Are a Drag. Angus Cargill, author of Hang the DJ: An alternative book of music lists was shocked by the complete revamp of the song as punk rock, saying that "there's a dark appeal in here, like the thought of taking a cattle prod to your grandma's".[56]

text: It is covered by Webber's younger brother and cello player Julian on the 2001 album, Lloyd Webber Plays Lloyd Webber.[57] Another version was recorded in 2010 by TV series Glee's actors Lea Michele and Chris Colfer, as the characters Rachel Berry and Kurt Hummel respectively. It was sung as a duet with each singer taking a different stanza and performing before a different audience in a split-scene.[58] Their solo versions were also in Glee: The Music, The Complete Season Two and reached number 67 in the United Kingdom and number 97 in US.[59][60] Multinational quartet Il Divo recorded it on their 2011 album, Wicked Game, and performed it live on tours. The group's voice was considered suitable for musical numbers like "Don't Cry for Me Argentina", by Ben Walsh from The Independent.[61] Nicole Scherzinger performed the song live at the Andrew Lloyd Webber: 40 Musical Years tribute show. Louis Virtel from The Backlot complimented her vocals, saying that the performance "has to be seen to be believed, as Scherzinger’s crystal-clear vocal soars like a glittery javelin".[62]

text: Madonna version[edit]

text:
"Don't Cry for Me Argentina"
Single by Madonnafrom the album EvitaReleased
4 February 1997Format
12"CD singleRecorded
1995; Larrabee North and CTS StudiosGenre
Orchestral popLength
5:34Label
Warner Bros.Songwriter(s)
Andrew Lloyd WebberTim RiceProducer(s)
Nigel WrightAlan ParkerAndrew Lloyd WebberDavid CaddickMadonna singles chronology

"You Must Love Me" (1996)

"Don't Cry for Me Argentina" (1997)

"Another Suitcase in Another Hall" (1997)

text: Background[edit]

text: In 1996, Madonna starred in the film Evita, playing the titular role. For a long time, Madonna had desired to play Eva and even wrote a letter to director Alan Parker, explaining how she would be perfect for the part.[63] After securing the role, she underwent vocal training with coach Joan Lader since Evita required the actors to sing their own parts. Lader noted that the singer "had to use her voice in a way she's never used it before. Evita is real musical theater — its operatic, in a sense. Madonna developed an upper register that she didn't know she had."[64][65] From the moment she was signed in the film, Madonna had expressed interest in recording a dance version of "Don't Cry for Me Argentina". According to her publicist Liz Rosenberg, "since [Madonna] didn't write the music and lyrics, she wanted her signature on that song... I think on her mind, the best way to do it was go in the studio and work up a remix".[66]

text: For this, in August 1996, while still mixing the film's soundtrack, Madonna hired remixers Pablo Flores and Javier Garza. According to Flores, the singer wanted something that "would be dance but faithful to the movie and to Argentina with a latin feel". Madonna herself said she wanted the remix to have a "Latin flavor and elements of Tango music". The mix was completed in two weeks at Miami and Los Angeles. Madonna had to re-record the vocals of the track in English and Spanish, while an Argentinean bandoneon was added to the song's intro.[66] Named the "Miami Mix", it was sent to radio stations and DJs on late December 1996 and was officially released as the soundtrack's second single on 4 February 1997. Barney Kilpatrick, VP of promotion for Warner Bros. Records, said that "the only reason this mix is being done was to accommodate Top 40 radio [...] since we have a two-disc soundtrack, we're interested in selling albums, not singles". Warner Bros wanted to create buzz for the film with the song, not the single remix. There were also talks of releasing an Evita EP, containing remixes of "Buenos Aires", "Don't Cry for Me Argentina" and "Another Suitcase in Another Hall", but it never materialized.[66]

text: Recording and composition[edit]

text:
"Don't Cry for Me Argentina" (Miami Mix)

A 30 second sample from the "Miami Mix" of Madonna's version of the song. Unlike the original, it features elements of tango and Latin music.
Problems playing this file? See media help.

text: Recording sessions for the film's songs and soundtrack began in September 1995, and took place at the CTS Studios in London with Madonna accompanied by co-actors Antonio Banderas and Jonathan Pryce. However, trouble arose as Madonna was not completely comfortable with laying down a "guide vocal" simultaneously with an 84 piece orchestra inside the studio. She was used to singing over a pre-recorded track and not have musicians listen to her. Also, unlike her previous soundtrack releases, she had little to no control over the project; "I'm used to writing my own songs and I go into a studio, choose the musicians and say what sounds good or doesn't [...] To work on 46 songs with everyone involved and not have a big say was a big adjustment", she recalled.[67] An emergency meeting was held between Parker, Lloyd Webber and Madonna where it was decided that the singer would record her part in a more contemporary studio while the orchestration would take place somewhere else. She also had alternate days off from the recording.[68]

text: According to the singer, she was very nervous during the first day of recording. She allegedly found herself "petrified" when it came to doing the song; "I had to sing 'Don't Cry For Me Argentina' in front of Andrew Lloyd Webber [...] I was a complete mess and was sobbing afterward. I thought I had done a terrible job", she recalled.[69] The final version recorded had many similarities to the original version by Covington, although it had a much faster pace and was created as an orchestral pop to cater to the contemporary music scene.[70] According to the sheet music published by Musicnotes.com, Madonna's version of the song is set in common time, with a slow groove tempo of 90 beats per minute. Madonna's vocals on the song span from G3 to C5.[71] The song follows a basic sequence of C–F♭–C when Madonna sings "It won't be easy, you'll think it strange", and changes to G7–C on the second verse.[71]

text: Critical reception[edit]

text: Upon release, the song generally received positive feedback. J. Randy Taraborrelli, author of Madonna: An Intimate Biography, wrote that "As Evita Perón [...] she is supple and strong, and doesn't sound at all out of place".[72] Author Lucy O'Brien wrote in the book, Madonna: Like an Icon, that although Madonna's vocals lacked emotional complexity in the tune, she nevertheless created a "compelling" version, "right up to its grand orchestral finale".[73] Sal Cinquemani from Slant Magazine commented: "Easily one of Madonna's greatest vocal performances to date, the singer's dramatic interpretation of Evita's unofficial theme song was both loyal and bizarrely autobiographical".[74] Writing for the Los Angeles Times, David Gritten opined that "show-stoppers like 'Don't Cry for Me Argentina', which need to be belted out, sound comfortable for her".[75] George Hatza from The Reading Eagle, said that "[Madonna] sings 'Don't Cry For Me Argentina' in a beautiful, soaring, goosebump-inducing contralto".[76] J. D. Considine, from The Baltimore Sun, said it was one of the "big songs" from the soundtrack.[77] In her review of Evita, Janet Maslin from The New York Times commented that the track was "tinglingly sung".[78] Peter Travers from Rolling Stone, wrote: "Madonna, to her credit, puts on quite a show. She sings. She tangos [...] She even belts out 'Don't Cry for Me Argentina' to prove she's just folks".[79] Peter Keough, from the Boston Phoenix, praised Madonna's "stunning delivery" of the track. He wrote: "[Madonna] sings a softly lush soprano that captures Evita's quiet vulnerability. Her full-lipped, precise notes stride across the song's grandiose orchestrations. Webber's songs allow her all the room she needs to be many things; she succeeds at them all".[80] A very positive review came from the  Hartford Courant's Greg Morago, who called the song "a calculated, theatrical triumph of shameless pandering and steely determination that parallels the pop diva's own rise to the top. Madonna makes this song her own; she was born to play the chignon-coiffed, diamond-studded Santa Evita".[81]

text: The Huffington Post's Matthew Jacobs placed it at number 26 of his list "The Definitive Ranking Of Madonna Singles". Calling it one of Madonna's most important songs, Jacobs considered the track a "stand-in for the transition from Sexy Madonna to Adult Madonna".[82] Similarly, Spin's Annie Zaleski wrote that the "nuanced but proud" rendition of the song "marked the start of Madonna’s Serious Phase, one where she balanced youthful coquettishness with a more mature, introspective outlook".[83] AllMusic's Jose F. Promis praised the "Miami Mix" version of the song; "['Don't Cry For Me Argentina'] was transformed into a passionate, flowing dance number", highlighting Madonna's "truly impassioned performance which infuriated musical purists but delighted her fans and public alike".[84] In 2017, Billboard ranked the "Miami Mix" as the 95th greatest pop song of 1997; Andrew Unterberger wrote that "Pablo Flores and Javier Garza's Miami Mix is just as responsible for the song's chart success as Madonna's Celine Dion vocal ambitions, taking the song from the balcony to the dance floor and giving it back to the people".[85] In his review of Madonna's second greatest hits album, GHV2 (2001), Stephen Thomas Erlewine from AllMusic gave a more critical reception, as he felt the track was out of place among other Madonna songs; "the very presence of 'Don't Cry for Me Argentina' [...] simply does not feel comfortable next to the rest of the savvy, modern music".[86] A negative review came from NME's Alex Needham, who wrote; "by 1996 Madonna was fast turning into the pop equivalent of Sunset Boulevard's Norma Desmond, croaking, 'I'm still big! It's just the Top 40 that got small!", and that "'Don't Cry For Me Argentina' stank then, stinks now".[87] Robert Christgau called it a "dismal track" and criticized its mixing.[88]

text: Chart performance[edit]

text: In the United States, the popularity of the "Miami Mix" version of the song enabled it to become the song with the most radio adds, and jumped to number 18 on the Hot 100 Airplay chart. Demand for the song continued to increase forcing Warner Bros. to release the CD single, and the song becoming eligible to chart.[66] It debuted on the Billboard Hot 100 at number 17 the week of 22 February 1997.[89] The single ultimately peaked at number 8 the week of 1 March 1997.[90] "Don't Cry for Me Argentina" reached number 1 on the European Hot 100 Singles, the week of 8 February 1997.[91] The track also ranked within the top 20 of Billboard's Adult Contemporary and Adult Top 40 charts while the "Miami Mix" reached the top of the Billboard Hot Dance Club Songs chart.[92][93][94] It ranked at number 87 on the year end chart for 1997.[95] In Canada, the song debuted on the RPM Top Singles chart at number 34, the week of 10 March 1997.[96] It ultimately reached a peak of number 11, the week of 7 April 1997.[97] In the United Kingdom, the song reached number 3 on the week of 28 December 1996, and was present on the top 100 for a total of 13 weeks.[98] It was certified gold by the British Phonographic Industry (BPI) on 1 January 1997 for shipments of 400,000 copies.[99][100] In Italy, it reached the second position of the FIMI Singles Chart.[101] On the year-end Italian charts, it was ranked at number 21.[102] In Australia, "Don't Cry for Me Argentina" peaked at number 9 on the ARIA Singles Chart, staying on this position for one week and a total of 13 weeks on the chart.[103] On the year-end ARIA charts, the song ranked at number 56.[104] In France, it topped the SNEP Singles Chart for one month.[105] In Ireland, the song peaked at number 8, the week of 19 December 1996.[106] The single also proved to be a commercial success in other countries such as Belgium, Germany, Spain and the Netherlands, where it managed to have top 5 placement.[103][107]

text: Promotion and live performances[edit]

text: No official video was shot for the song. Instead, the scene from the movie, where Eva performs the song at the balcony of the Casa Rosada, was used.[108] In 1993, 2 years before being cast in Evita, Madonna performed an impromptu version of the song during her first visit to Argentina, as part of her Girlie Show World Tour.[109] Eight years later, on her 2001 Drowned World Tour, an instrumental version of the song was used as an interlude, featuring several dancers doing a Tango number.[110] The performance on 26 August 2001, at The Palace of Auburn Hills, outside of Madonna's hometown of Detroit was recorded and released in the live video album, Drowned World Tour 2001.[111] On the Buenos Aires stop of her Sticky & Sweet Tour, in December 2008, after performing "You Must Love Me", Madonna also performed "Don't Cry for Me Argentina" as scenes from Evita played on the backdrop screens.[112] The performances of both songs in the city were recorded in the live CD-DVD titled, Sticky & Sweet Tour (2010).[113] The singer once again performed the song in Argentina during The MDNA Tour, in 2012. For the performance, she had the word "Eva" painted across her back.[114] Madonna also did a "passionate rendition" of "Don't Cry for Me Argentina" during the Miami stop of her Rebel Heart Tour on 23 January 2016, accompanied by acoustic guitar.[115]

text: Track listings[edit]

text:
UK CD single[116]
"Don't Cry for Me Argentina" (performed by Madonna) – 5:31
"Santa Evita" (performed by Orchestra/John Mauceri) – 2:30
"Latin Chant" (performed by Orchestra/John Mauceri) – 2:11
UK "The Dance Mixes" CD single / AU CD single / DE 12" single[117][118][119]
"Don't Cry for Me Argentina" (Miami Mix Edit) – 4:31
"Don't Cry for Me Argentina" (Miami Spanglish Mix Edit) – 4:29
"Don't Cry for Me Argentina" (Miami Mix) – 6:51
"Don't Cry for Me Argentina" (album version) – 5:31

US 12" / CD Maxi-single (1997)[120][121]
"Don't Cry for Me Argentina" (Miami Mix Alternative Ending) – 7:59
"Don't Cry for Me Argentina" (Miami Spanglish Mix) – 6:57
"Don't Cry for Me Argentina" (Miami Mix Edit) – 4:29
"Don't Cry for Me Argentina" (Miami Dub Mix) – 6:23
"Don't Cry for Me Argentina" (Miami Mix Instrumental Version) – 6:55
"Don't Cry for Me Argentina" (Miami Spanglish Mix Edit) – 4:28

text: Charts and certifications[edit]

text:
Weekly charts

Chart (1997)

Peakposition

Australia (ARIA)[103]

9

Austria (Ö3 Austria Top 40)[122]

3

Belgium (Ultratop 50 Flanders)[123]

5

Belgium (Ultratop 50 Wallonia)[124]

2

Canada Top Singles (RPM)[97]

14

Canada Adult Contemporary (RPM)[125]

3

Czech Republic (IFPI)[126]

1

Denmark (IFPI Denmark)[127]

6

Eurochart Hot 100 (Music & Media)[91]

1

Finland (Suomen virallinen lista)[128]

8

France (SNEP)[105]

1

Germany (Official German Charts)[129]

3

Hungary Singles (Mahasz)[130]

1

Iceland (Íslenski Listinn Topp 40)[131]

2

Ireland (IRMA)[106]

9

Italy (FIMI)[101]

2

Netherlands (Dutch Top 40)[132]

3

Netherlands (Single Top 100)[133]

4

New Zealand (Recorded Music NZ)[134]

6

Norway (VG-lista)[135]

9

Scotland (Official Charts Company)[136]

3

Spain (PROMUSICAE)[107]

1

Sweden (Sverigetopplistan)[137]

9

Switzerland (Schweizer Hitparade)[138]

4

UK Singles (Official Charts Company)[98]

3

US Billboard Hot 100[90]

8

US Adult Contemporary (Billboard)[92]

21

US Adult Top 40 (Billboard)[93]

14

US Dance Club Songs (Billboard)[94]

1

US Mainstream Top 40 (Billboard)[139]

7

US Rhythmic (Billboard)[140]

11

Year-end charts

Chart (1997)

Position

Australia (ARIA)[104]

56

Belgium (Ultratop 50 Flanders)[141]

36

Belgium (Ultratop 50 Wallonia)[142]

18

Canada Top Singles (RPM)[143]

92

Canada Adult Contemporary (RPM)[144]

34

France (SNEP)[145]

14

Germany (Official German Charts)[146]

22

Italy (FIMI)[102]

21

Netherlands (Dutch Top 40)[147]

46

Netherlands (Single Top 100)[148]

80

Sweden (Sverigetopplistan)[149]

54

Switzerland (Schweizer Hitparade)[150]

22

US Billboard Hot 100[95]

87

US Hot Dance Club Songs (Billboard)[95]

10

Certifications

Region

Certification
Certified units/Sales

Australia (ARIA)[151]

Gold

35,000^

France (SNEP)[152]

Gold

250,000*

Germany (BVMI)[153]

Gold

250,000^

Switzerland (IFPI Switzerland)[154]

Gold

25,000^

United Kingdom (BPI)[99]

Gold

400,000^

*sales figures based on certification alone^shipments figures based on certification alone


document_title: Vietnam War casualties

question_text: how many us troops died in the vietnam war

root

text: Vietnam War casualties

text: Total number of deaths[edit]

text:
Deaths in Vietnam War (1965–1974) per Guenter Lewy

Allied military deaths
47,000

NVA/VC military deaths
444,000

Civilian deaths (North and South Vietnam)
627,000

Total deaths
1,118,000

tag: table

text: Estimates of the total number of deaths in the Vietnam War vary widely. The wide disparity among the estimates cited below is partially explained by the different time periods of the Vietnam War covered by the studies and whether or not casualties in Cambodia and Laos were included in the estimates.

tag: p

text: Guenter Lewy in 1978 estimated 1,353,000 total deaths in North and South Vietnam during the period 1965–1974 in which the U.S. was most engaged in the war. Lewy reduced the number of Viet Cong and North Vietnamese battle deaths claimed by the U.S. by 30 percent (in accordance with the opinion of United States Department of Defense officials), and assumed that one third of the battle deaths of the VC/NVA were actually civilians. His estimate of total deaths is reflected in the table.[1]

text: A 1995 demographic study in Population and Development Review calculated 791,000–1,141,000 war-related Vietnamese deaths, both soldiers and civilians, for all of Vietnam from 1965–75. The study came up with a most likely Vietnamese death toll of 882,000, which included 655,000 adult males (above 15 years of age), 143,000 adult females, and 84,000 children. Those totals include only Vietnamese deaths, and do not include American and other allied military deaths which amounted to about 64,000.[2] The study has been criticized for its small sample size, the imbalance in the sample between rural and urban areas, and the possible overlooking of clusters of high mortality rates.[3]

text: Also in 1995, the Vietnamese government released its estimate of war deaths for the more lengthy period of 1955–75. According to the Vietnamese, Communist battle deaths totaled 1.1 million and civilian deaths of Vietnamese totaled 2.0 million. These estimates probably include battle deaths of Vietnamese soldiers in Laos and Cambodia, but do not include deaths of South Vietnamese and allied soldiers which would add nearly 300,000 for a grand total of 3.4 million military and civilian dead.[4]

text: A 2008 study by the BMJ (formerly British Medical Journal) came up with a higher toll of 3,812,000 dead in Vietnam between 1955–2002. For the period of the Vietnam War the totals are 1,310,000 between 1955 and 1964, 1,700,000 between 1965–74 and 810,000 between 1975 and 1984. (The estimates for 1955–64 are much higher than other estimates). The sum of those totals is 3,091,000 war deaths between 1955–75.[3]

text: Uppsala University in Sweden maintains the Armed Conflict Database. Their estimates for conflict deaths in Vietnam are 164,923 from 1955–64 and 1,458,050 from 1965–75 for a total of 1,622,973. The database also estimates combat deaths in Cambodia for the years 1967–75 to total 259,000. Data for deaths in Laos is incomplete.[5]

text: R. J. Rummel's mid-range estimate in 1997 was that the total deaths due to the Vietnam conflict totaled 2,450,000 from 1954–75. Rummel calculated communist war deaths at 1,062,000 and South Vietnamese and allied war deaths of 741,000, both totals including civilians inadvertently killed. He estimated that victims of democide (deliberate killing of civilians) included 214,000 by the communists and 98,000 by South Vietnam and its allies. Deaths in Cambodia and Laos were estimated at 273,000 and 62,000 respectively.[6]

text:
Deaths in Vietnam War (1954–75) per R. J. Rummel (except where otherwise noted)[6]

Low estimate of deaths
Middle estimate of deaths
High estimate of deaths
Notes and comments

North Vietnam/Viet Cong military and civilian war dead
533,000
1,062,000
1,489,000
includes an estimated 50,000/65,000/70,000 civilians killed by U.S/SVN bombing/shelling[7]

South Vietnam/U.S./South Korea war military and civilian war dead
429,000
741,000
1,119,000
includes 360,000/391,000/720,000 civilians[8]

Democide by North Vietnam/Viet Cong
131,000
214,000
302,000
25,000/50,000/75,000 killed in North Vietnam, 106,000/164,000/227,000 killed in South Vietnam

Democide by South Vietnam
57,000
89,000
284,000
Democide is the murder of persons by or at the behest of governments.

Democide by the United States
4,000
6,000
10,000
Democide is the murder of persons by or at the behest of governments.

Democide by South Korea
3,000
3,000
3,000
Rummel does not give a medium or high estimate.

Subtotal Vietnam
1,156,000
2,115,000
3,207,000

Cambodians
273,000
273,000
273,000
Rummel estimates 212,000 killed by Khmer Rouge (1967–1975), 60,000 killed by U.S. and 1,000 killed by South Vietnam (1967–73). No estimate given for deaths caused by Viet Cong/North Vietnam (1954–75).[9]

Laotians
28,000
62,000
115,000
Source:[3]

Grand total of war deaths: Vietnam, Cambodia, and Laos (1954–75)
1,450,000
2,450,000
3,595,000

text: Major incidents[edit]

text:
1968 Tet Offensive – Hanoi failed in its most ambitious goal of producing a general uprising in the South, it suffered more than 45,267 (mainly Viet Cong) deaths but gained a propaganda, political and strategic victory.[10][11]
1972 Easter Offensive – This saw 50,000 to 75,000 North Vietnamese combatants killed plus their loss of over 250–700 tanks and APCs. The attack was broken up mainly by US air power.[12]

tag: ul

text: Civilian deaths in the Vietnam War[edit]

text: Lewy estimates that 40,000 South Vietnamese civilians were assassinated by the Viet Cong/North Vietnamese; 250,000 were killed as a result of combat in South Vietnam, and 65,000 were killed in North Vietnam. He suggests that another 222,000 civilians were counted as military deaths by the U.S. in compiling its "body count." His estimated total of civilian deaths is 587,000.[13][14][15] It was difficult to distinguish between civilians and military personnel on the Viet Cong side as many persons were part-time guerrillas or impressed laborers who did not wear uniforms.[16][17][18]

text: Deaths caused by North Vietnam/VC forces[edit]

text: R. J. Rummel estimated that NVA/VC forces killed around 164,000 civilians in democide between 1954 and 1975 in South Vietnam, from a range of between 106,000 and 227,000, plus another 50,000 killed in North Vietnam.[19] Rummel's summary has a mid-level estimate of 17,000 South Vietnamese civil servants (ARVN's local millitia) killed by North Vietnamese forces (including the Viet Cong). In addition, at least 36,000 Southern civilians were executed for various reasons in the period 1967–1972.[20] About 130 American and 16,000 South Vietnamese POWs died in captivity.[21] During the peak war years, Lewy attributed almost a third of civilian deaths to the Viet Cong.[22]

text: Deaths caused by South Vietnam[edit]

text: From 1964 to 1975, an estimated 1,500 people died during the forced relocations of 1,200,000 civilians, another 5,000 prisoners died from ill-treatment and about 30,000 suspected communists and fighters were executed. 6,000 civilians died in the more extensive shellings. In Quảng Nam province 4,700 civilians were killed in 1969. This totals, from a range of between 16,000 and 167,000 deaths caused by South Vietnam (Diệm-era), and 42,000 and 118,000 deaths caused by South Vietnam (post Diệm-era), excluding North Vietnamese forces killed by the ARVN in combat.[23]

text: Deaths caused by the American military[edit]

text: Rummel estimated that American forces committed around 5,500 democidal killings between 1960 and 1972, from a range of between 4,000 and 10,000.[24] Estimates for the number of North Vietnamese civilian deaths resulting from US bombing range from 50,000–65,000.[2] Although information is sparse, American bombing in Cambodia is estimated to have killed between 40,000 and 150,000 civilians and combatants.[25][26]

text: 18.2 million gallons of Agent Orange (Dioxin) was sprayed by the U.S. military over more than 10% of Southern Vietnam,[29] as part of the U.S. herbicidal warfare program, Operation Ranch Hand, during the Vietnam War from 1961 to 1971. Vietnam's government claimed that 400,000 people were killed or maimed as a result of after effects, and that 500,000 children were born with birth defects.[30]

text:
German historian Bernd Greiner mentions the following war crimes reported, and/or investigated by the Peers Commission and the Vietnam War Crimes Working Group, among other sources:[31]
– Seven massacres officially confirmed by the American side. My Lai (4) and My Khe (4) claimed the largest number of victims with 420 and 90 respectively, and in five other places altogether about 100 civilians were executed.
– Two further massacres were reported by soldiers who had taken part in them, one north of Đức Pho in Quảng Ngãi Province in the summer of 1968 (14 victims), another in Bình Định Province on 20 July 1969 (25 victims).
– Tiger Force, a special operations force, murdered hundreds, possibly over a thousand, civilians.
– In the course of large-scale operations an unknown number of non-combatants were killed either accidentally or deliberately – with the Army Inspector General estimating that more than 5,000 died in the course of Operation Speedy Express. Excluding deaths from artillery and air attacks, the total number of dead may have reached tens of thousands during the entire war.
– According to the 'Information Bureau of the Provisional Revolutionary Government of South Vietnam' (PRG), between April 1968 and the end of 1970 American ground troops killed about 6,500 civilians in the course of twenty-one operations either on their own or alongside their allies. Three of the massacres reported on the American side were not mentioned on the PRG list.

text: Nick Turse, in his 2013 book, Kill Anything that Moves, argues that a relentless drive toward higher body counts, a widespread use of free-fire zones, rules of engagement where civilians who ran from soldiers or helicopters could be viewed as Viet Cong, and a widespread disdain for Vietnamese civilians led to massive civilian casualties and endemic war crimes inflicted by U.S. troops.[32] One example cited by Turse is Operation Speedy Express, an operation by the 9th Infantry Division, which was described by John Paul Vann as, in effect, "many My Lais".[32] In more detail,

text: Air force captain, Brian Wilson, who carried out bomb-damage assessments in free-fire zones throughout the delta, saw the results firsthand. "It was the epitome of immorality...One of the times I counted bodies after an air strike—which always ended with two napalm bombs which would just fry everything that was left—I counted sixty-two bodies. In my report I described them as so many women between fifteen and twenty-five and so many children—usually in their mothers' arms or very close to them—and so many old people." When he later read the official tally of dead, he found that it listed them as 130 VC killed.[33]

text: Deaths caused by the South Korean military[edit]

text: 2nd Marine Brigade purportedly massacred Binh Tai citizens on 9 October 1966.[35] In December 1966, Blue Dragon Brigade massacred Bình Hòa citizens.[36] Second Marine Brigade massacred Phong Nhị citizens on 12 February 1968.[37][38] South Korean Marines purportedly massacred Hà My citizens on 25 February 1968.[39]

text: Army of the Republic of Vietnam[edit]

text: The Army of the Republic of Vietnam suffered 254,256 recorded combat deaths between 1960 and 1974, with the highest number of recorded deaths being in 1972, with 39,587 combat deaths.[40] According to Lewy, ARVN suffered between 171,331 and 220,357 deaths during the war.[13][41] R.J. Rummel estimated that ARVN lost between 219,000 and 313,000 deaths during the war.[19]

text:
Year
1960
1961
1962
1963
1964
1965
1966
1967
1968
1969
1970
1971
1972
1973
1974
Total (1960-1974)

ARVN combat deaths[42]
2,223
4,004
4,457
5,665
7,457
11,242
11,953
12,716
27,915
21,833
23,346
22,738
39,587
27,901
31,219
254,256

text: North Vietnamese and Viet Cong Military deaths[edit]

text: Rummel reviewed the many casualty data sets, and this number is in keeping with his mid-level estimate of 1,011,000 North Vietnamese combatant deaths.[43] The official US Department of Defense figure was 950,765 communist forces killed in Vietnam from 1965 to 1974. Defense Department officials believed that these body count figures need to be deflated by 30 percent. In addition, Guenter Lewy assumes that one-third of the reported "enemy" killed may have been civilians, concluding that the actual number of deaths of communist military forces was probably closer to 444,000.[13]

text: According to the Vietnamese government in 2012, there were 849,018 North Vietnamese Army and Viet Cong military personnel deaths or missing during the Vietnam War (including combat death and non-combat death)[44]. One third of the deaths of the VC/NVA were non-combat deaths.

text: The Phoenix Program, a counterinsurgency program executed by the United States Central Intelligence Agency (CIA), United States special operations forces, and the Republic of Vietnam's security apparatus, killed 26,369 suspected NLF operatives and informants.[45][46]

text: For historian Christian Appy, "search and destroy was the principal tactic; and the enemy body count was the primary measure of progress" in Westmoreland's war of attrition. Search and destroy was coined as a phrase in 1965 to describe missions aimed at flushing the Viet Cong out of hiding, while the body count was the measuring stick for the success of any operation. Competitions were held between units for the highest number of Vietnamese killed in action, or KIAs. U.S. Army and marine officers knew that promotions were largely based on confirmed kills. The pressure to produce confirmed kills resulted in massive fraud. One of the most thorough studies found that American commanders exaggerated body counts by 100 percent.[47]

text: United States armed forces[edit]

text: Casualties as of 11 September 2017:

text:
58,318 KIA or non-combat deaths (including the missing & deaths in captivity)[48]

1,602 MIA (originally 2,646)[49]

153,303 WIA (excluding 150,332 persons not requiring hospital care)[50]
766–778 POW (652–662 freed/escaped*,[51][52] 114–116 died in captivity)[51][53]

text: During the Vietnam War, 30% of wounded service members died of their wounds.[54]

text: Note: *One escapee died of wounds sustained during his rescue 15 days later.[55]

text: Disproportion of African American casualties[edit]

text: Blacks suffered disproportionately high casualty rates at the beginning of the Vietnam War but were 12.5% of casualties for the entire conflict, in line with proportion of population. In 1965 alone they comprised almost one out of every four combat deaths.[56][57] In October 1966, Defense Secretary Robert McNamara initiated Project 100,000 which further lowered military standards for 100,000 additional draftees per year. McNamara claimed this program would provide valuable training, skills and opportunity to America's poor – a promise that was never carried out. Many black men who had previously been ineligible could now be drafted, along with many poor and racially intolerant white men from the southern states.[58][59] The number of US military personnel in Vietnam jumped from 23,300 in 1965 to 465,600 by the end of 1967. Between October 1966 and June 1969, 246,000 soldiers were recruited through Project 100,000, of whom 41% were black, while blacks only made up about 11% of the population of the US.[58] Of the 27 million draft-age men between 1964 and 1973, 40% were drafted into military service, and only 10% were actually sent to Vietnam. This group was made up almost entirely of either work-class or rural youth. College students who did not avoid the draft were generally sent to non-combat and service roles or made officers, while high school drop-outs and the working class were sent into combat roles. Blacks often made up a disproportionate 25% or more of combat units, while constituting only 12% of the military.[56][60]

text: Civil rights leaders including Martin Luther King Jr., Malcolm X, John Lewis, Muhammad Ali, and others, criticized the racial disparity in both casualties and representation in the entire military, prompting the Pentagon to order cutbacks in the number of African Americans in combat positions. Commander George L. Jackson said, "In response to this criticism, the Department of Defense took steps to readjust force levels in order to achieve an equitable proportion and employment of Negroes in Vietnam." The army instigated myriad reforms, addressed issues of discrimination and prejudice from the post exchanges to the lack of black officers, and introduced "Mandatory Watch And Action Committees" into each unit. The proportion of black casualties began to decrease, and by late 1967, black casualties had fallen to 13%, and were below 10% in 1970 to 1972.[58][61] Upon the war's completion, black casualties made up 12.5% of US combat deaths, approximately equal to percentage of draft-eligible black men, though still slightly higher than the 10% who served in the military.[61]

text: Specific incidents[edit]

text:
2,800–6,000 civilians were killed by the Viet Cong and North Vietnamese forces in the Massacre at Huế throughout February 1968.[64]
66 civilians were killed by South Korean forces in Binh Tai Massacre on October 9, 1966.[65]
430 civilians were killed by South Korean forces in Bình Hòa massacre between December 3 and December 6, 1966.[36]
79 civilians were killed by South Korean forces in Phong Nhị and Phong Nhất massacre on February 12, 1968.
135 civilians were killed by South Korean forces in Hà My massacre on February 25, 1968.
More than 500 civilians were killed by an American Army company during the My Lai Massacre on March 16, 1968.[62][66]
19 civilians killed by American Forces Feb. 8, 1968 in Quảng Nam Province.[67]
80–90 civilians killed by American Forces March 16, 1968, at My Khe.[68]
A Newsweek journalist claimed an unnamed official told him that an estimated 5,000 civilians died as "collateral damage" from the American military during Operation Speedy Express.[69]
Almost 252 Degar civilians were killed by the Viet Cong in the Đắk Sơn massacre on December 5, 1967.[70]
More than 25,000 South Vietnamese civilians were killed and almost a million become temporary refugees, with over 600,000 interned in South Vietnamese Government camps as a result of North Vietnam's 1972 Easter Offensive.[71]
At least 81 civilians were killed by American Forces, Tiger Force 101st Airborne Division, during the Song Ve Valley and Operation Wheeler military campaigns.[72]

text: Aftereffects[edit]

text: Unexploded ordnance especially bombs dropped by the United States, continue to detonate and kill people today. The Vietnamese government claims that Unexploded ordnance has killed some 42,000 people since the war officially ended.[73][74] In 2012 alone, unexploded bombs and other ordnance claimed 500 casualties in Vietnam, Laos and Cambodia, according to activists and government databases. The United States has spent over $65 million since 1998 in an attempt to make Vietnam safe.[75]

text: Agent Orange and similar chemical substances, have also caused a considerable number of deaths and injuries over the years, including the US Air Force crew that handled them. The government of Vietnam says that 4 million of its citizens were exposed to Agent Orange, and as many as 3 million have suffered illnesses because of it; these figures include the children of people who were exposed.[76] The Red Cross of Vietnam estimates that up to 1 million people are disabled or have health problems due to contaminated Agent Orange.[77]

text: On 9 August 2012, the United States and Vietnam began a cooperative cleaning up of the toxic chemical on part of Da Nang International Airport, marking the first time Washington has been involved in cleaning up Agent Orange in Vietnam. Da Nang was the primary storage site of the chemical. Two other cleanup sites the United States and Vietnam are looking at is Biên Hòa, in the southern province of Đồng Nai – a 'hotspot' for dioxin – and Phù Cát airport in the central province of Bình Định, says U.S. Ambassador to Vietnam David Shear. According to the Vietnamese newspaper Nhân Dân, the U.S. government is providing $41 million to the project, which will reduce the contamination level in 73,000 m3 of soil by late 2016.[78]

text: Other nations' casualties[edit]

text: Cambodian Civil War

text: 240,000–300,000 killed[79][80][81]

text: Laotian Civil War

text: 20,000–62,000 killed[3]

text: Military[edit]

text: South Korea

text:
5,099 KIA
14,232 WIA
4 MIA[82]

text: Australia

text:
426 KIA, 74 died of other causes[83]
3,129 WIA[83]
6 MIA (all accounted for and repatriated)[84]

text: Thailand

text:
351 KIA[82][85]
1,358 WIA

text: New Zealand

text:
37 KIA + 2 Civilians[86][87]
187 WIA

text: Philippines

text:
9 KIA[88]
64 WIA[88]

text: Republic Of China (Taiwan)

text: 25 KIA

text: People's Republic Of China

text: 1,446 KIA[citation needed]

text: Soviet Union


question_text: where was lara croft cradle of life filmed

text: Plot[edit]

text: On Santorini island, Greece, a strong earthquake uncovers the Luna Temple. The temple was built by Alexander the Great to house his most prized treasures. Among these treasures is a glowing orb with a pattern resembling a code etched into it. Lara Croft (Angelina Jolie) finds this orb; but crime lord Chen Lo (Simon Yam) attacks her group, kills her two companions and takes the orb. Lara escapes with a strange medallion.

text: MI6 approaches Lara with information about Pandora's box, an object from ancient legends that supposedly contains a deadly plague (the companion to the origin of life itself). The box, hidden in the mysterious Cradle of Life, can only be found with a magical sphere that serves as a map. The sphere is the same orb that was stolen by Chen Lo, who plans to sell it to Jonathan Reiss (Ciarán Hinds) - a Nobel Prize winning scientist turned bio-terrorist.

text: After the MI6 reveals that the sphere must be kept away from Reiss, Lara agrees to help them, with the condition that they release her old flame Terry Sheridan (Gerard Butler), who is familiar with Chen Lo's criminal operation. Together, Terry and Lara infiltrate Chen Lo's lair, where he is smuggling the Terracotta Soldiers. Lara defeats him in a fight and learns that the orb is in Hong Kong.

text: Retrieving the orb in a laboratory housed in a Hong Kong mall, Lara and Terry take refuge in a yacht. The next day, Lara uses the orb and learns the location of the mysterious Cradle of Life; Tanzania in Africa. After Lara sends returns information to Bryce back at Croft Manor, Reiss and his men infiltrated the mansion and capture him and Hillary. Lara and Terry travel to Tanzania then meet up with Kosa (Djimon Hounsou), the former's longtime African friend. They question a local tribe about the Cradle of Life, wherein the chief states that the Cradle of Life is in a crater protected by the "Bigfoots".

text: As they set out on an expedition, Reiss' men ambush them and kill the tribesmen. Outnumbered, Lara surrenders. Using her companions as hostages, Reiss forces Lara to lead him to the Cradle of Life. At the crater, they encounter the Bigfoots, cryptid apes that appear in and out of wet patches on dead trees. The creatures kill most of Reiss' men. Lara manages to find the "key hole" and drops the Orb in it. The Bigfoots melt and the entrance to the Cradle of Life opens.

text: Lara and Reiss are drawn into the Cradle, a labyrinth made of a strange crystalline substance where normal laws of physics do not apply. Inside, they find a pool of highly corrosive black acid (linking back to one of the myths about Pandora's box), in which the box floats. Terry arrives, frees the hostages and catches up to Lara.

text: Lara fights Reiss, and knocks him into the acid pool, which kills and dissolves him. Terry then announces the intention to take the box for himself. When he refuses to back down, Lara regretfully shoots him dead, replaces the box in the pool and leaves.

text: Cast[edit]

text:
Angelina Jolie as Lara Croft
Gerard Butler as Terry Sheridan
Ciarán Hinds as Jonathan Reiss
Chris Barrie as Hillary
Noah Taylor as Bryce
Djimon Hounsou as Kosa
Til Schweiger as Sean
Simon Yam as Chen Lo
Terence Yin as Xien

text: Production[edit]

text: The budget for the film was $95 million (less than the first film's $115 million budget), and like the first film, it was financed through Tele München Gruppe. The picture was also distributed internationally by Japanese company Toho-Towa.[3]

text: Filming lasted for three and a half months, which included six-day shoots on location in Hong Kong, Santorini, Llyn Gwynant in North Wales[4] (doubling for mainland China), and a two-week stint in Kenya for shooting at Amboseli and Hell's Gate, with the remainder of the picture filmed on soundstages in the United Kingdom.[5]  One scene in the film was set in Shanghai, but it was shot on a set and not on location.

text: The film also featured the new 2003 Jeep Wrangler Rubicon, first seen when Lara parachutes into the moving vehicle in Africa and takes over the wheel from Kosa. As part of Jeep's advertising campaign, it was specially customised for the film by Jeep's design team along with the film's production designers, with three copies constructed for filming.[6] 1,001 limited-run Tomb Raider models were produced—available only in silver like the film version and minus its special customisations—and put on the market to coincide with the release of the film. Jeep vice president Jeff Bell explained, "[The ad campaign] is more than just a product placement ... the Jeep Wrangler Rubicon is the most capable Jeep ever built, so the heroic and extreme environment in which Lara Croft uses her custom Wrangler Rubicon in Tomb Raider is accurate."[7] In the end, Lara's Rubicon had less than two total minutes of screen time in the finished film.

text: Release[edit]

text: Critical reception[edit]

text: Lara Croft: Tomb Raider – The Cradle of Life holds a 25% rating out of 171 reviews on Rotten Tomatoes,[8] and a 43/100 rating on Metacritic.[9] Salon described it as a "highly enjoyable summer thrill ride."[10] Roger Ebert gave the film 3 out of 4 stars, stating that the film was "better than the first one, more assured, more entertaining ... it uses imagination and exciting locations to give the movie the same kind of pulp adventure feeling we get from the Indiana Jones movies."[11] David Rooney of Variety praised Jolie for being "hotter, faster and more commanding than last time around as the fearless heiress/adventuress, plus a little more human."[12]

text: The film was nonetheless heavily panned. Rene Rodriguez of The Miami Herald called it "another joyless, brain-numbing adventure through lackluster Indiana Jones territory";[9] James Berardinelli of ReelViews said "The first Tomb Raider was dumb fun; Cradle of Life is just plain dumb ... the worst action movie of the summer."[13] Wesley Morris of The Boston Globe wrote, "It's a bullet-riddled National Geographic special [that] produces a series of dumb, dismal shootouts that are so woefully choreographed there's reason to believe Debbie Allen may be behind them." He then said of director De Bont, "He has yet to meet a contraption he couldn't use to damage your hearing."[14] Jolie earned a Golden Raspberry Award nomination for Worst Actress for her performance in the film.

text: Box office performance[edit]

text: The film debuted in fourth place with a take of $21.8 million.[15] In the United Kingdom, the film opened at number three, earning £1.5 million in its first three days.[16] The film finished with a domestic gross of $65 million.

text: Paramount blamed the failure of the film on the poor performance of the then-latest installment of the video game series, Tomb Raider: The Angel of Darkness.[17] After numerous delays, Angel of Darkness was rushed to shelves just over a month before the release of the movie, despite the final product being unfinished and loaded with glitches. It spawned mediocre sales while garnering mixed reviews from critics,[18] and former Eidos Interactive senior executive Jeremy Heath-Smith, who was also credited as an executive producer in the film, resigned days after the game was released.[17]

text: Music[edit]

text: Soundtrack[edit]

text:
Lara Croft: Tomb Raider – The Cradle of Life (Original Motion Picture Soundtrack)Soundtrack album by Various artistsReleased
July 22, 2003[19]Genre
Alternative rockelectronicLength
69:39Label
HollywoodWarner Bros.

text: As with the original movie, the sequel opted to separate its soundtrack onto two CDs: the first, with tracks contributed by various artists; the second with Alan Silvestri's original score for the movie.

text: Original Motion Picture SoundtrackNo.TitleArtist(s)Length1."Heart Go Faster"Davey Brothers3:302."The Only Way (Is the Wrong Way)"Filter5:153."Bad Girl"Alexandra Slate3:354."Satellite" (Oakenfold Remix)P.O.D.4:525."The Last High"The Dandy Warhols4:466."Time"Saliva5:197."Leave You Far Behind"Lunatic Calm3:138."Jam for the Ladies" (Jason Nevins Remix)Moby4:019."Starting Over"The Crystal Method5:4910."You Can't Look Away"Sloth3:4711."I Hate This"Nadirah "Nadz" Seid3:3512."Reason Is Treason"Kasabian3:4513."Into Hell Again"3rd Strike3:1114."Tears from the Moon" (Stateside West Chillout Mix)Conjure One featuring Sinéad O'Connor6:0615."Flight to Freedom"David A. Stewart3:3116."Pandora's Box"Alan Silvestri5:24

text: The track "Did My Time" by Korn was supposed to appear on the soundtrack, but due to problems with Korn's record company, this did not happen. The song still appears during the films end credits.

text: Score[edit]

text: This section  possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (September 2015) (Learn how and when to remove this template message)

text: The neutrality of this section is disputed. Relevant discussion may be found on the talk page. Please do not remove this message until conditions to do so are met. (September 2015) (Learn how and when to remove this template message)

text:
Lara Croft: Tomb Raider – The Cradle of Life (Original Motion Picture Score)Soundtrack album by Alan SilvestriReleased
July 25, 2003[20]Genre
Film scoreorchestraLength
117 minutesLabel
Varèse Sarabande[20]

text: Original Motion Picture ScoreNo.TitleLength1."Opening"1:392."The Luna Temple"7:433."Shark Attack"3:184.""I Need Terry Sheridan""5:405."Arrival In China"1:466."Captured By the Shay Ling"5:597."Escape from Chen"4:198."Flower Pagoda Battle"5:429."Skydive Getaway"2:1110."Orb Transmission"1:4211."Journey to the Cradle of Life"6:2312."The Cradle of Life"6:3313."Pandora's Box"5:2414.""Not Meant to Be Found""0:4515."Lara Croft - Tomb Raider"0:52

text:
Composed by Alan Silvestri
Performed by London Symphony Orchestra
Conducted by Alan Silvestri

text: Home media[edit]

text: Lara Croft Tomb Raider: The Cradle of Life was released on DVD and VHS on November 18, 2003; a Blu-Ray release followed on October 8, 2013.[21] A 4K UHD Blu-Ray version was released on February 27, 2018.[22]

text: Cancelled sequel[edit]

text: In March 2004, producer Lloyd Levin said that The Cradle of Life had earned enough internationally for Paramount to bankroll a second sequel, but any hopes of it going into production were soon quelled by Jolie's announcement that she had no desire to play Lara Croft a third time: "I just don't feel like I need to do another one. I felt really happy with the last one. It was one we really wanted to do."[23]


document_title: List of Grace and Frankie episodes

question_text: grace and frankie season 4 has how many episodes

text: List of Grace and Frankie episodes

text: Series overview[edit]

text:
Season
Episodes
Originally released

1
13
May 8, 2015 (2015-05-08)

2
13
May 6, 2016 (2016-05-06)

3
13
March 24, 2017 (2017-03-24)

4
13
January 19, 2018 (2018-01-19)

text: Episodes[edit]

text: Season 1 (2015)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original release date

1
1
"The End"
Tate Taylor
Marta Kauffman & Howard J. Morris
May 8, 2015 (2015-05-08)

Grace Hanson and Frankie Bergstein are brought to dinner by their lawyer husbands, Robert and Sol, under the assumption that the men are going to announce they are retiring, but the women are shocked when their husbands reveal they are actually leaving them, for each other, and want to get married now that same-sex marriage is legal. The men also reveal that they have been having an affair with each other for more than 20 years. The news quickly spreads to their horrified children. Despite their stark personality differences, Grace and Frankie strike up a bond when they both seek escape at the beach house the couples share.

2
2
"The Credit Cards"
Scott Winant
Marta Kauffman & Howard J. Morris
May 8, 2015 (2015-05-08)

Grace and Frankie are adjusting to living with each other, but the discovery that Robert and Sol have cut off their credit cards leaves them fuming. Frankie contemplates moving back to her home, since Sol is living with Robert, but eventually decides to stay with Grace at the beach house so they can continue supporting one another. Grace and Robert's daughter Mallory is caught between her parents when she picks up some things from Robert's for Grace, and later she bumps into Frankie and Sol's son, Coyote, with whom she has a troubled history.

3
3
"The Dinner"
Bryan Gordon
Nancy Fichman & Jennifer Hoppe-House
May 8, 2015 (2015-05-08)

Robert and Sol host a dinner party for their children, but they object to having to keep it a secret from Grace and Frankie. Meanwhile, the women have decided to take their minds off the impending divorce by returning to work; unfortunately, Grace and Robert's daughter Brianna, who now operates Grace's cosmetics company, refuses to let her return for fear of being overshadowed, and Frankie's attempt to apply for an art teacher position is derailed due to a misunderstanding. Mallory has to come to terms with being in the same room as Coyote but they eventually decide to put their troubles behind them.

4
4
"The Funeral"
Tim Kirkby
Alexa Junge
May 8, 2015 (2015-05-08)

When Robert and Sol's law partner dies, both they and Grace and Frankie attend the funeral, which is the first function in which Robert and Sol have are to be an out and about couple together. Frankie is upset when Grace ditches her to spend time with Lydia, Robert's sister, and later Grace fears that Frankie has overheard her say that she is 'stuck with her.' Robert is surprised to find that he misses Grace almost as much as Sol misses Frankie.

5
5
"The Fall"
Betty Thomas
Billy Finnegan
May 8, 2015 (2015-05-08)

Sometime after the funeral, Brianna visits with the intention of having Grace set up an online dating profile, but winds up getting high with Frankie. They convince Grace to take them to get frozen yogurt, where Grace takes a nasty fall and breaks her hip. A series of comical and concerning events follow at the hospital, culminating in Grace's realization of how much Frankie means to her.

6
6
"The Earthquake"
Tristram Shapeero
Jacquelyn Reingold
May 8, 2015 (2015-05-08)

A minor earthquake sets off Frankie's seismophobia, prompting Sol to drop everything to comfort her. Frankie questions how things with Sol started, and it is obvious there are still unresolved feelings between them. Grace goes on an online date but takes a face to one of Frankie's troublesome students when the date goes disastrously wrong. Meanwhile, Coyote attempts to give Mallory a gift, but bumps into Mallory's aggressive husband Mitch, who is far from thrilled to see him.

7
7
"The Spelling Bee"
Tim Kirkby
Julieanne Smolinski
May 8, 2015 (2015-05-08)

Frankie and Sol are both excited to watch the national spelling bee, but are disappointed to find that Grace and Robert aren't interested. Grace is saved from a disastrous date by Guy, an old friend of Robert's who is looking to give up his life of adventure. Brianna gets a dog as an escape from her disastrous dating life, but finds herself with the hots for the dog's foster owner.

8
8
"The Sex"
Dennie Gordon
David Budin & Brendan McCarthy
May 8, 2015 (2015-05-08)

Grace is ready to take things to the next level with Guy, but finds herself uncomfortable with the idea of being intimate after years of (not) sleeping with Robert. However, Frankie is on hand with her homemade organic lube. Frankie realizes her friend Jacob is flirting with her. Sol and Robert clear out Brianna's old room but Sol is terrified of Brianna. Bud and Coyote have a brotherly talk.

9
9
"The Invitation"
Matt Shakman
Billy Finnegan
May 8, 2015 (2015-05-08)

Frankie is upset when Grace gets an invitation to Sol and Robert's wedding and she doesn't, but soon realizes that she needs to set boundaries with her ex-husband. Robert discovers Grace and Guy are dating and gatecrashes an afternoon golfing. Looking for a new angle for her business, Brianna discovers Frankie's homemade lube and, after making all her colleagues experiment with it, realizes its potential.

10
10
"The Elevator"
Miguel Arteta
Laura Jacqmin
May 8, 2015 (2015-05-08)

Frankie, Grace, Sol, Robert and Bud become trapped in an elevator after signing their divorce papers, and remember a pivotal weekend spent at the beach house five years previously. Sol and Robert attempt to tell Grace and Frankie about their affair but are interrupted by the arrival of the kids, including a heavily pregnant Mallory and a Coyote in the height of his drug addiction. As events escalate, Mallory gives birth, Grace decides Brianna should take over her business, and Bud discovers his father's relationship with Robert but decides to keep quiet.

11
11
"The Secrets"
Andrew McCarthy
Nancy Fichman & Jennifer Hoppe-House
May 8, 2015 (2015-05-08)

Grace is thrown when coming face to face with the student of Frankie's who she kissed during the earthquake, and confides in Frankie, but is upset when Frankie tells Sol, who tells Robert, and then Guy finds out. Sol is furious to discover that Robert slept with another man 10 years ago when they had stopped seeing each other. Brianna gets closer with her co-worker but their date is gatecrashed by Coyote and Bud.

12
12
"The Bachelor Party"
Julie Anne Robinson
Jacquelyn Reingold
May 8, 2015 (2015-05-08)

Coyote and Bud enlist Brianna and Mallory's help with arranging a bachelor party for Robert and Sol but there are differing opinions on what they would like. Things get worse when Robert's conservative old boss arrives. Grace and Frankie hit the town for a "yes night" in an attempt to cheer Frankie up during her Sol purge.

13
13
"The Vows"
Dean Parisot
Marta Kauffman & Howard J. Morris & Alexa Junge
May 8, 2015 (2015-05-08)

It's the week before Robert and Sol's wedding, and Robert is struggling to write vows that match Sol's natural emotive words. Frankie is forced to break her purge from Sol to help him clear out their old house, but old memories reemerge and they end up sleeping with each other. Grace is furious with Sol when she finds out and orders him to tell Robert. She comforts Frankie, who finally recognizes her marriage is over. Meanwhile, Grace realizes she needs to break up with Guy, but runs into unexpected difficulties in doing so. The episode ends with Grace and Frankie walking down the beach together wrapped in a blanket comforting each other and Sol going home, but it's not clear whether he tells Robert.

text: Season 2 (2016)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original release date

14
1
"The Wish"
Dean Parisot
Marta Kauffman & Howard J. Morris
May 6, 2016 (2016-05-06)

Robert is rushed to hospital after having a heart attack, stopping Sol's plans to tell him about his affair with Frankie. With life-threatening surgery looming, Robert convinces Sol to marry him, and Grace and Frankie are forced to help, despite their own guilt about the infidelity. It's not long before the children find out as well. Mallory reveals some big news.

15
2
"The Vitamix"
Rebecca Asher
Alexa Junge
May 6, 2016 (2016-05-06)

Grace and Frankie agree to go to Robert and Sol's house ahead of them coming home, but it brings up bitter memories for both of them. Brianna, Mallory and Bud help Sol deal with Robert's health insurance, while Mallory breaks the news to her father that she is pregnant with twins.

16
3
"The Negotiation"
Trent O'Donnell
Billy Finnegan
May 6, 2016 (2016-05-06)

Negotiations between Frankie and Brianna over her Yam lube get tough, while Frankie also reconnects with her former flame Jacob. Grace competes with her rival granny for Mallory's children's affection.

17
4
"The Road Trip"
Arlene Sanford
Nancy Fichman & Jennifer Hoppe-House
May 6, 2016 (2016-05-06)

Frankie convinces Grace to track down her former flame, Phil, who Grace had an affair with many years earlier. However, the reunion doesn't go well. Sol is racked with guilt as he continues to lie to Robert.

18
5
"The Test"
Andy Ackerman
John Hoffman
May 6, 2016 (2016-05-06)

Frankie struggles with trying and failing to pass her driving test. Grace attempts to reconnect with old friends, but realizes that she has moved on from that part of her life now.

19
6
"The Chicken"
Jann Turner
Julie Durk
May 6, 2016 (2016-05-06)

Unable to keep his lie any longer, Sol admits to Robert that he slept with Frankie, and the latter furiously throws his new husband out. Grace coaches a young bartender in trying to get her a job at Brianna's business. Frankie is conflicted over Jacob's desire for romance.

20
7
"The Boar"
Michael Showalter
Julieanne Smolinski
May 6, 2016 (2016-05-06)

When Sol turns up at the beach house having been kicked out by Robert, Frankie instead turns to Jacob and opens up about how she feels. Grace is panicked when she gets a message from Phil, despite their bad reunion.

21
8
"The Anchor"
Melanie Mayron
David Budin & Brendan McCarthy
May 6, 2016 (2016-05-06)

Frankie takes a furious stand against Brianna and her non-eco-friendly plans for her Yam lube. Phil and Grace go for lunch, but he drops the bombshell that he is still married, though his wife is very ill. Robert continues to reject a despairing Sol.

22
9
"The Goodbyes"
Jason Ensler
Nancy Fichman & Jennifer Hoppe-House
May 6, 2016 (2016-05-06)

Coyote's birth mother arrives in town, and a family lunch with Frankie and Sol goes disastrously wrong. Grace is adamant she can't be with a married Phil, but her desire gets the better of her. Robert meets a new friend at the dog park.

23
10
"The Loophole"
Lee Rose
Billy Finnegan
May 6, 2016 (2016-05-06)

Grace and Phil enjoy a passionate night together, but complications arise as his wife goes missing. When Grace is forced to face the woman she has betrayed more than once, it becomes too much for her and she ends things. Sol and Robert square off against each other when they get involved in Frankie and Brianna's lube battle.

24
11
"The Bender"
Alex Hardcastle
Brooke Wied & Alex Burnett
May 6, 2016 (2016-05-06)

Grace goes on a massive bender after her painful breakup with Phil, and crosses a line when Frankie tries to help her. Coyote and Bud meet Jacob. Frankie is reunited with Babe, an old friend, but she drops a bombshell; she has terminal cancer. Robert and Sol discuss how to move forward now that they are back together.

25
12
"The Party"
Wendey Stanzler
Alexa Junge
May 6, 2016 (2016-05-06)

Grace is shocked when Frankie reveals Babe has asked her to help her die after a party to end all parties. Can a dying Babe reunite the warring women? Sol and Robert decide to sell their house to start afresh.

26
13
"The Coup"
Rebecca Asher
Marta Kauffman & Howard J. Morris
May 6, 2016 (2016-05-06)

Gifts from a departed Babe prompt Grace and Frankie to reevaluate their lives. After a disastrous birthday party for Bud when they are once again faced with their ex-husbands' incompetence, they announce they are going into business making vibrators - much to the horror of their children.

text: Season 3 (2017)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original release date

27
1
"The Art Show"
Marta Kauffman
Marta Kauffman & Howard J. Morris
March 24, 2017 (2017-03-24)

Grace and Frankie have trouble applying for a business loan. Robert and Sol provide a tour of their new house to their children. Frankie is nervous that her paintings will not sell from her art show. Sol shows up at Frankie's art show, with Frankie less than pleased. Bud bring his new date to the art show, and his siblings make fun of her eccentricity. Brianna and Barry discuss their own intentions and interpretations of their relationship. A special guest also shows up to Frankie's art show.

28
2
"The Incubator"
Arlene Sanford
Billy Finnegan
March 24, 2017 (2017-03-24)

Grace and Frankie head to a business incubator in an attempt to get funding for their new venture. However, Frankie obtains the funding from an unknown source. Robert and Sol ponder the thought of retirement.

29
3
"The Focus Group"
Ken Whittingham
Wil Calhoun
March 24, 2017 (2017-03-24)

Robert and Sol have conflicting ideas about retirement. Both are persuaded to audition for a local play, with mixed results. Grace and Frankie host an open house to introduce their product, but they come across a particular clientele.

30
4
"The Burglary"
Alex Hardcastle
Brendan McCarthy & David Budin
March 24, 2017 (2017-03-24)

Grace and Frankie come home from a night out, only to find they have been robbed. The ladies take a class to better protect themselves. Sol is upset that he is not invited to happy hour with Robert and his theater friends. Robert compromises and hosts an awkward happy hour at their home.

31
5
"The Gun"
Rebecca Asher
Julie Durk
March 24, 2017 (2017-03-24)

Frankie learns the truth about Grace owning a gun. Sharing her displeasure, Frankie wants the gun removed from the house. Robert discusses his plans of coming out to his mother. Mallory and Brianna go out clubbing, and Brianna picks up a guy. Grace finds out the truth about the source of their business venture.

32
6
"The Pot"
Andy Ackerman
Julieanne Smolinski
March 24, 2017 (2017-03-24)

Grace is upset at Brianna over providing the business loan to Frankie. Frankie and Coyote barge in on Bud and Allison. Robert and Sol attempt to have an intimate night together, but Robert is haunted by his mother. Grace and Frankie's children reunite the women to try and patch things up between the two.

33
7
"The Floor"
Rebecca Asher
Alexa Junge
March 24, 2017 (2017-03-24)

Coyote informs Bud that he is looking for a place of his own. Grace and Frankie injure themselves and put their business meeting in jeopardy. Robert discusses the vision of his mother with Sol and his friend John.

34
8
"The Alert"
Melanie Mayron
John Hoffman
March 24, 2017 (2017-03-24)

Grace and Frankie are excited about the website launch for their new product. Bud brings a questionable gift to Grace and Frankie, after their recent injury. Grace and Frankie conduct a business meeting with one of Grace's longtime friends. Brianna and Mallory have dinner out, and they encounter Brianna's escort. Brianna finds out more about her escort's personal life. Sol and his secretary have a more in depth talk about retirement, only to find out it's more of a two-way conversation about the subject at hand.

35
9
"The Apology"
Ken Whittingham
Alex Kavallierou & Sara Lohman
March 24, 2017 (2017-03-24)

Robert and Sol begin to enjoy their retirement together with various activities. Robert gets news about his mother. Frankie entertains Jacob by cooking dinner. Jacob shares news about his future plans, which upsets Frankie. Brianna and Mallory discuss the reason why Mallory cancelled her getaway vacation with Mitch.

36
10
"The Labels"
Arlene Sanford
Alex Burnett & Brooke Wied
March 24, 2017 (2017-03-24)

Coyote celebrates his sobriety birthday with his family present. Allison brings over a surprise to Bud to enhance their relationship. Grace and Frankie's business is taking off, and they recruit their ex-husbands for assistance. The ladies encounter a possible competitor on the market. Frankie is nervous when it comes to telling Grace about going to Santa Fe with Jacob in the future.

37
11
"The Other Vibrator"
Rebecca Asher
Billy Finnegan
March 24, 2017 (2017-03-24)

Grace is not handling Frankie's revelation well. Robert and Sol each encounter an anti-LGBT protest outside the theater where Robert is performing. However, each has a different experience. Grace is going to meet with a business competitor who she feels is trying to rip off her product. Robert is nervous over opening night. Frankie accuses Grace of moving on without her, and before she can share all her thoughts, she is unable to speak.

38
12
"The Musical"
Arlene Sanford
Wil Calhoun
March 24, 2017 (2017-03-24)

Opening night has arrived for Robert's theater performance, but the protestors make their way inside to disrupt the show. However, Frankie's medical episode has caused her family to leave during the show. Frankie eventually goes to the hospital where she learns her diagnosis. Allison reveals some surprising news to Bud.

39
13
"The Sign"
Rebecca Asher
Marta Kauffman & Howard J. Morris
March 24, 2017 (2017-03-24)

Grace shares her concerns to Frankie about her health. Grace receives news that she's being served from her competitor, but she finds an ulterior motive behind the papers. Robert and Sol have conflicting ideas about handling anti-LGBT protestors. Brianna travels to Baltimore to win back her ex Barry. Frankie makes a decision about moving to Santa Fe with Jacob. Mallory announces her separation from Mitch.

text: Season 4 (2018)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original release date

40
1
"The Lodger"
Alex Hardcastle
Marta Kauffman & Howard J. Morris
January 19, 2018 (2018-01-19)

Frankie returns from Santa Fe to find Grace lodging with manicurist Sheree (Lisa Kudrow). Sol is upset when Robert wants to stop attending rallies for gay rights with him. Bud and Allison throw a party to find out the sex of their unborn child.

41
2
"The Scavengender Hunt"
Ken Whittingham
Marta Kauffman & Howard J. Morris
January 19, 2018 (2018-01-19)

Frankie admits how unhappy she is in Santa Fe as her jealousy towards Sheree concerns Grace. A 'scavengender' hunt to find out the sex of Bud's baby goes awry.

42
3
"The Tappys"
Rebecca Asher
Billy Finnegan
January 19, 2018 (2018-01-19)

Grace and Frankie break into Sheree's former home to help prove her claim of ownership. Sol encourages Robert to use an award acceptance speech as a platform for activism.

43
4
"The Expiration Date"
Alex Hardcastle
John Hoffman
January 19, 2018 (2018-01-19)

Grace has to deal with her newfound relationship with Nick. Frankie goes to the bank and has an unpleasant surprise.

44
5
"The Pop-Ups"
Rebecca Asher
Julia Durk
January 19, 2018 (2018-01-19)

Declared legally dead, Frankie begins to think about where her life has taken her. Grace worries about how her age might affect her relationship with Nick, with surprising results. When Sol and Robert meet their eccentric next door neighbors, they disagree about the best course of action.

45
6
"The Hinge"
Ken Whittingham
Julieanne Smolinksi
January 19, 2018 (2018-01-19)

Frankie tries to reconnect with her estranged sister. Grace wants to fix a broken window in the house. Robert invites Sol to a folk music cruise. Bud wants Coyote and Allison to be friends.

46
7
"The Landline"
Randall Keenan Winston
Michael Platt & Barry Safchik
January 19, 2018 (2018-01-19)

Sol and Frankie team up to try and get Frankie declared "undead" as Grace faces some realities about herself and her life after attending a friend's funeral with Robert.

47
8
"The Lockdown"
Gail Lerner
David Budin & Brendan McCarthy
January 19, 2018 (2018-01-19)

After multiple false alarms, Allison decides to have an at home water birth and wants Frankie(to Bud's horror) to deliver the baby. Robert and Sol agree to let Grace stay with them while she recovers from knee surgery. The past is confronted when the former couples (along with Robert and Sol's new neighbors)are forced into lockdown when a local zoo orangutan escapes.

48
9
"The Knee"
Rebecca Asher
Gretchen Enders
January 19, 2018 (2018-01-19)

Grace undergoes knee surgery and Nick wants to show her his ability to care for people in need. Frankie is enjoying her new role as a grandmother, but Jacob is feeling tired of coming in second in her life and makes a startling revelation.

49
10
"The Death Stick"
Ken Whittingham
Brooke Wied
January 19, 2018 (2018-01-19)

Robert and Sol begin therapy. Grace and Frankie gets a surprise when they bring gifts to a fan of their vibrators. Brianna's nemesis makes an offer.

50
11
"The Tub"
Rebecca Asher
Alex Burnett
January 19, 2018 (2018-01-19)

Grace is looking for a contractor to fix the house after the bathtub accident. Sol meets with his folk music cruise friend, Roy. Frankie takes Faith on a car ride.

51
12
"The Rats"
Alan Poul
Sara Lohman & Alex Kavallierou
January 19, 2018 (2018-01-19)

Grace and Frankie discover that in addition to having their pipes stolen they have a rat infestation. Bud has doubts whether Frankie should be allowed to babysit again. Robert's musical opens.

52
13
"The Home"
Marta Kauffman
Melissa DiNicola & Billy Finnegan
January 19, 2018 (2018-01-19)

The children suggest Grace and Frankie should live in an assisted living community. Sol and Robert realize something about their relationship.


document_title: Renal glucose reabsorption

question_text: where does primary active transport of sodium occur in the proximal convoluted tubule cells

text: Renal glucose reabsorption

text: Renal glucose reabsorption is the part of kidney (renal) physiology that deals with the retrieval of filtered glucose, preventing it from disappearing from the body through the urine.

text: If glucose is not reabsorbed by the kidney, it appears in the urine, in a condition known as glucosuria. This is associated with diabetes mellitus.[1]

text: Firstly, the glucose in the proximal tubule is co-transported with sodium ions into the proximal convoluted tubule walls via the SGLT2 cotransporter. Some (typically smaller) amino acids are also transported in this way. Once in the tubule wall, the glucose and amino acids diffuse directly into the blood capillaries along a concentration gradient. This blood is flowing, so the gradient is maintained. Lastly, sodium/potassium ion active transport pumps remove sodium from the tubule wall and the sodium is put back into the blood. This maintains a sodium concentration gradient in the proximal tubule lining, so the first step continues to happen.

text: Gliflozins such as canagliflozin inhibit renal glucose reabsorption,[2] and are used in diabetes mellitus to lower blood glucose.

text: Overview table[edit]

text:
Characteristics of glucose reabsorption

Characteristic

Proximal tubule

Loop of Henle

Distal convoluted tubule

Collecting duct system

S1

S2

S3

Reabsorption (%)

98[3]

Beyond the distal convoluted tubule: 2%[3]

Reabsorption (mmol/day)

Concentration

Apical transport proteins

SGLT2[3]

SGLT1[3]

Basolateral transport proteins

GLUT2[3]

GLUT1[3]

Other reabsorption features


document_title: Task-oriented and relationship-oriented leadership

question_text: when is task focused leader behavior most important

text: Qualities of task-oriented leadership[edit]

text: Task-oriented leaders focus on getting the necessary task, or series of tasks, in hand in order to achieve a goal. These leaders are typically less concerned with the idea of catering to employees and more concerned with finding the step-by-step solution required to meet specific goals. They will often actively define the work and the roles required, put structures in place, and plan, organize, and monitor progress within the team.[2]

text: The advantage of task-oriented leadership is that it ensures that deadlines are met and jobs are completed, and it's especially useful for team members who don't manage their time well. Additionally, these types of leaders tend to exemplify a strong understanding of how to get the job done, focusing on the necessary workplace procedures and delegating work accordingly to ensure that everything gets done in a timely and productive manner.[3]

text: However, because task-oriented leaders don't tend to think much about their team's well-being, this approach can suffer many of the flaws of autocratic leadership, including causing motivation and retention problems.

text: Qualities of relationship-oriented leadership[edit]

text: Relationship-oriented leaders are focused on supporting, motivating and developing the people on their teams and the relationships within. This style of leadership encourages good teamwork and collaboration, through fostering positive relationships and good communication. Relationship-oriented leaders prioritize the welfare of everyone in the group, and will place time and effort in meeting the individual needs of everyone involved. This may involve offering incentives like bonuses, providing mediation to deal with workplace or classroom conflicts, having more casual interactions with team members to learn about their strengths and weaknesses, creating a non-competitive and transparent work environment, or just leading in a personable or encouraging manner.[2]

text: The benefits of relationship-oriented leadership is that team members are in a setting where the leader cares about their well-being. Relationship-oriented leaders understand that building positive productivity requires a positive environment where individuals feel driven. Personal conflicts, dissatisfaction with a job, resentment and even boredom can severely drive down productivity, so these types of leaders put people first to ensure that such problems stay at a minimum. Additionally, team members may be more willing to take risks, because they know that the leader will provide the support if needed.[3]

text: The downside of relationship-oriented leadership is that, if taken too far, the development of team chemistry may detract from the actual tasks and goals at hand.

text: The term "people-oriented" is used synonymously, whilst in a business setting, this approach may also be referred to as "employee-oriented".[2]

text: Task-oriented vs. relationship-oriented leadership[edit]

text: In the 1940s, research in leadership began straying away from identifying individual leadership traits, to analyzing the effects of certain leadership behaviors – predominantly task-oriented and relationship-oriented leadership.[4]

text: The table below compares task-oriented and relationship-oriented leadership styles side-by-side:

text:
Task-Oriented
Relationship-Oriented

Emphasis on work facilitation
Emphasis on interaction facilitation

Focus on structure, roles and tasks
Focus on relationships, well-being and motivation

Produce desired results is a priority
Foster positive relationships is a priority

Emphasis on goal-setting and a clear plan to achieve goals
Emphasis on team members and communication within

Strict use of schedules and step-by-step plans, and a punishment/incentive system
Communication facilitation, casual interactions and frequent team meetings

text: Mixed conclusions have risen from studies that try to determine the effects of task-oriented and relationship-oriented leadership: some show that relationship-oriented leadership produces greater productivity,[5][6] while some show that task-oriented leaders create greater group efficacy.[7]

text: However, a common finding is that relationship-oriented leadership will generate greater cohesion within groups, as well as greater team learning.[5][7][8] It is also supported that relationship-oriented leadership has stronger individual impact, and a positive effect on self-efficacy.[9]

text: A meta-analysis (Burke et al., 2006) conducted in 2006 integrated a wide spectrum of theoretical and empirical studies, and looked at the effects of leadership behaviors through multiple dimensions, including breaking down the specifics of task-oriented and relationship-oriented leadership into subgroups such as "initiating structure", "consideration", and "empowerment". Its main set of analyses investigated the relationship between task-oriented and relationship-oriented leadership behaviors on the following outcomes: perceived team effectiveness, team productivity, and team learning/growth. Results concluded that task-oriented leadership and relationship-oriented leadership produce a relatively similar perceived team effectiveness, however actual team productivity was higher for relationship-oriented led teams than for task-oriented teams (measured increase of 8% and 4% respectively).[8]

text: It has also been theorized that groups who perceive their leaders as more task-oriented achieve higher levels of task accomplishment.[7]

text: Leadership substitution theory[edit]

text: In Forsyth, the leadership substitute theory is defined as "a conceptual analysis of the factors that combine to reduce or eliminate the need for a leader."[1] A leader may find that behaviors focusing on nurturing interpersonal relationships, or coordinating tasks and initiating structure, are not required in every situation. A study by Kerr and Jermier found that some contextual factors may negate the need for either task oriented or relationship oriented leadership behaviors, such as specific characteristics of group members, the task, or the organization.[10]

text: Groups composed of members who have a "professional" orientation or members who do not necessarily value group rewards, can neutralize or negate both task and relationship oriented leadership. Also, individuals who are highly trained and capable, or those who have a need for independence, may not require that their leader focus on task coordination.[10]

text: When the task is clear and routine, "methodologically invariant," or involves automatic feedback about accomplishment, task oriented leadership may be unnecessary. Furthermore, a task that is intrinsically satisfying can remove the need for relationship oriented leadership behaviors.[10]

text: Finally, task oriented leadership can be neutralized/negated by several organizational characteristics; a formal environment, inflexible structure, specific staff functions, cohesive work groups, organized rewards outside of the leaders control, and physical distance between the leader and members. The characteristics of organized rewards, cohesive work groups, and physical distance have also been shown to negate the need for relationship oriented leadership styles.[10]

text: Fiedler contingency model[edit]

text: The Fiedler contingency model argues that three situational components can determine whether task-oriented or relationship-oriented leadership is the better fit for the situation:

text:
Leader-Member Relations, referring to the degree of mutual trust, respect and confidence between the leader and the subordinates.
Task Structure, referring to the extent to which group tasks are clear and structured.
Leader Position Power, referring to the power inherent in the leader's position itself.

text: When there is a good leader-member relation, a highly structured task, and high leader position power, the situation is considered a "favorable situation." Fiedler found that low-LPC leaders are more effective in extremely favourable or unfavourable situations, whereas high-LPC leaders perform best in situations with intermediate favourability.[11]

text: The table below shows a breakdown of the theory:

text:
Leader-Member Relations
Task Structure
Leader's Position Power
Most Effective Leader

Good
Structured
Strong
Task-oriented

Good
Structured
Weak
Task-oriented

Good
Unstructured
Strong
Task-oriented

Good
Unstructured
Weak
Relationship-oriented

Poor
Structured
Strong
Relationship-oriented

Poor
Structured
Weak
Relationship-oriented

Poor
Unstructured
Strong
Relationship-oriented

Poor
Unstructured
Weak
Task-oriented

text: Relevant studies[edit]

text: An experiment was conducted in 1972 with a total of 128 United States Military cadets in 4-man groups, to test the predictive validity of Fiedler's contingency model of leadership effectiveness. The experiment, which involved strong manipulation and specification of variables affecting situational favorableness, produced strong support for the contingency model.[12]

text: A study was conducted that determined if basketball athletes of different age groups (lower high school to university level) preferred training and instruction (task-oriented) behavior or social support (relationship-oriented) behavior. Analyses and results revealed a quadratic trend for preference in task-oriented behavior that progressively decreased lower high school through junior to senior levels, and increased at the university level. A linear trend was seen for preference in relationship-oriented behavior, which progressively increased as age went up.[13]

text: Situational leadership theory[edit]

text: In the 1950s, management theorists from Ohio State University and the University of Michigan published a series of studies to determine whether leaders should be more task- or relationship-oriented.[14] The research concluded that there is no single "best" style of leadership, and thus led to the creation of the situational leadership theory, which essentially argues that leaders should engage in a healthy dose of both task-oriented and relationship-oriented leadership fit for the situation, and the people being led.[2]

text: The Blake Mouton Managerial Grid, also known as managerial grid model, serves as a framework to determine how one can balance task-oriented and relationship-oriented leadership. It plots the degree of task-centeredness versus relationship-centeredness and identifies five combinations as distinct leadership styles.[15]