document_title: Seat belt legislation

question_text: when did seat belts become law in australia

text: Seat belt legislation

text: National comparisons[edit]

text: Australia[edit]

text: In Australia, after the introduction of mandatory front outboard mounting points in 1964, the use of seat belts by all vehicle passengers was made compulsory in the states of Victoria and South Australia in 1970 and 1971, respectively.[1] By 1973, the use of fitted seat belts by vehicle occupants was made compulsory for the rest of Australia and some other countries during the 1970s and 1980s. The subsequent dramatic decline in road deaths is generally because of seat belt laws and subsequent road safety campaigns.[2][3][4] Seat belts are not required for bus occupants, reversing drivers, and those driving some slow moving vehicles. The laws for these differ depending on the state or territory with jurisdiction.

text: Canada[edit]

text: All provinces in Canada have primary enforcement seat belt laws. In 1976, Ontario was the first province to pass a law which required vehicle occupants to wear seat belts.[5]

text: United Kingdom[edit]

text: In the United Kingdom, seat belts must be worn at all times if they are fitted to a vehicle unless reversing. Passengers may be exempt from wearing a seat belt for different reasons. Since September 18, 2006, children travelling in the UK must also use an appropriate child seat in addition to the standard seat belt, unless they are 12 years old and/or have reached at least 135 centimetres (53 in) in height.[6]

text: In the UK, a requirement for anchorage points was introduced in 1965, followed by the requirement in 1968 to fit three-point belts in the front outboard positions on all new cars and all existing cars back to 1965.[citation needed] Successive UK Governments proposed, but failed to deliver, seat belt legislation throughout the 1970s. Front seat belts were compulsory equipment on all new cars registered in the UK from 1972, although it did not become compulsory for them to be worn until 1983. Rear seat belts were compulsory equipment from 1986 and became compulsory for them to be worn in 1991. However, it has never been a legal requirement for cars registered before those dates to be fitted with seat belts.[7] In one such attempt in 1979 similar claims for potential lives and injuries saved were advanced. William Rodgers, then Secretary of State for Transport in the Callaghan Labour Government (1976–1979), stated: "On the best available evidence of accidents in this country - evidence which has not been seriously contested - compulsion could save up to 1000 lives and 10,000 injuries a year."[8]

text: United States[edit]

text: In the United States, seat belt legislation varies by state. The state of Wisconsin introduced legislation in 1961 requiring seat belts to be fitted to the front outboard seat positions of cars.[9] Seat belts have been mandatory equipment since the 1968 model year per Federal Motor Vehicle Safety Standard 208.

text: New York State passed the first law in the US mandating the use of seat belts in 1984 under the leadership of John D. States, an orthopedic surgeon who dedicated his career to improving automotive safety.[10] Depending on which state a driver is in, not wearing a seat belt in the front seat is either a primary offense or a secondary offense, with the exception of New Hampshire, which does not have a law requiring people over age 18 to wear a seat belt. In the front seat, the driver and each passenger must wear a seat belt, one person per belt. In some states, such as New York, New Hampshire, and Michigan, belts in the rear seats are not mandatory for people over the age of 16, though it is extremely advised. The driver and front-seat passengers aged 16 or older can be fined up to $50 each for failure to buckle up. In California, you must be 15 years or older to accompany the driver in the front seat. Children 14 and younger must sit in the rear seat until they reach the age of 15.Template:DMV.org

text: A primary offense means that a police officer can pull a driver over for the seat belt law violation alone, and secondary offense indicates that one can be punished for a seat belt law violation only if they are already pulled over for another reason. By January 2007 25 states and the District of Columbia had primary seat belt laws, 24 had secondary seat belt laws, and New Hampshire had no laws.[11] In 2009, Public Health Law Research published several evidence briefs summarizing the research assessing the effect of a specific law or policy on public health. One stated, "Safety belt laws work, but there is strong evidence to support that primary enforcement safety belt laws are more effective than secondary enforcement laws in increasing seat belt use and reducing crash injuries."[12]

text: Another found that "there is strong evidence that enhanced seat belt enforcement interventions can substantially increase seat belt use and its associated benefits."[13]

text: Developing countries[edit]

text: In many developing countries, pedestrians, cyclists, rickshaw operators and moped users represent the majority of road users.

text: In India, all cars manufactured after March 25, 1994 are equipped with front seat belts. The rule was extended for rear seats in 2002. The usage of seat belts is to be implemented by the respective states, with most states making seat belt usage for front seat passengers mandatory in 2002. Older vehicles that did not originally have seat belts were exempted. However, enforcement is weak in most parts of the country.

text: In Indonesia, belts are only mandatory for front seats. Many low entry car models are not equipped with rear seat belts.[14]

text: In Malaysia, the first stage of safety belt laws was implemented in 1979. This was expanded in January 2009 to include rear passengers. Passenger vehicles registered prior to January 1, 1995, and those weighing more than 3.5 tons are exempted from this rule. The third and fourth stages, which will deal with baby and child seats and the number of passengers in a vehicle, have not taken effect.[15]

text: In the Philippines, a seat belt law, Republic Act No. 8750, was approved in August 5, 1999. The law took effect in 2000 and requires all public and private vehicles, except motorcycles and tricycles, to have their front seats equipped with seat belts. Front seats as defined by the law includes the first row of seats behind the driver for public utility buses. Those below the age of six are prohibited to occupy the front seats of motor vehicles even if wearing a seat belt. Jeepneys are only required to have lap belts for the front seat passengers and the driver.[16][17]

text: The table below gives an overview of when seat belt legislation was first introduced in different countries. It includes both regional and national legislation.

text:
Country
Compulsory wearing
Compulsory fitting
Source

Cars
Bus passengers
Cars
Buses

Driver
Front passengers
Rear passengers

 Argentina
1994

1994
1994 (First row only, all in school buses)
[18]

 Australia
1970 (Victoria), 1971 (SA, NSW), 1972 (national), 1986 (child restraints)

1969, 1970 (back seat, Victoria) 1971 (back seat)
1983 (≤3.5 tonnes)
[19][20]

 Canada
1976

 Czech Republic
1966 (outside cities)
1990 (all)
1976
1990
2004
1968

[21]

 European Union
1993

[22]

 Finland
1975
1982
1987
2006

 France
1973 (outside cities), 1975 (cities at night), 1979 (all)
1990
2003
1967, 1978 (back seat)
2003
[22]
[23]

 Germany
1976
1984
1999
1970, 1979 (back seat)
1999
Angurtpflicht

 Hungary
1976

1993

[19]

 Hong Kong
1983
1983
1996
2004 (minibuses)
1996 (back seat)
2004 (minibuses)

[24]

 India

1994 (front seats), 2002 (rear seats)

 Ireland
1979

1992

1971 (front seats), 1992 (rear seats)

[25]

 Italy
1989
1990 (where available)‡
2006‡
1988 (new vehicles); 1989 (all*, front seats); 1990 (new vehicles, back seats); 2000 (all*, back seats)
2006
[26]

 Japan
1971† (1985)
1971 (no fines), 1985 (fines on freeway), 1993 (all)
2008
2008
1969

[22]

 Myanmar
2017
2017
2017
2016 (motorway buses enforced)

 Netherlands
1976
1992

1975 (front) 1990 (rear)

 New Zealand
1972
1972 (15 years and over), 1979 (8 years and over)
1989♣

1972 (vehicles registered after 1965), 1975 (after 1955)

[27]

 Philippines
2000 (those below 6 years prohibited to occupy front seats)

2000 (first row beside the driver's seat only)
2000
[28]

 Singapore
1973
1973
1993
2008 (small buses)
1973

 Spain
1975

 Sri Lanka
2011
2011

 Sweden
1975
1986
1969 (front) 1970 (rear)
2004
[22][29]

 Thailand
1996
2009

 United Kingdom
1983
1991
2006
1967 (front) 1987 (rear)

[30]

 United States
1984 (New York; seat belt use law is jurisdiction of individual states)

Wisconsin, 1961. Federally, front lap 1965 model year; front shoulder & rear lap 1968; 3-point front 1974

[22]

text:
* - actually only vehicles registered after 15 June 1976; in previous registered vehicles fitting is optional
† - required by the law, but no penalty for violation at the time
‡ - required by the law, but low enforcement
♣ - definitely introduced by this date, possibly earlier

text: Effects[edit]

text: Studies by road safety authorities conclude that seat belt legislation has reduced the number of casualties in road accidents.

text: Experiments using both crash test dummies and human cadavers also indicated that wearing seat belts should lead to reduced risk of death and injury in car crashes.

text: Studies of accident outcomes suggest that fatality rates among car occupants are reduced by between 30 and 50 percent if seat belts are worn. The US National Highway Traffic Safety Administration (NHTSA) estimates that death risks for a driver wearing a lap-shoulder seat belt are reduced by 48 percent. The same study indicated that in 2007, an estimated 15,147 lives were saved by seat belts in the United States and that if seat belt use were increased to 100 percent, an additional 5024 lives would have been saved.[31]

text: An earlier statistical analysis by the NHTSA claimed that seat belts save over 10,000 lives every year in the US.[32]

text: According to a more recent fact sheet produced by the NHTSA:

text: By 2009, despite large increases in population and the number of vehicles, road deaths in Victoria had fallen below 300, less than a third of the 1970 level, the lowest since records were kept, and far below the per capita rate in jurisdictions such as the United States. This reduction was generally attributed to aggressive road safety campaigns beginning with the seat belt laws.[34][35]

text: A 2008 study in the Journal of Health Economics found that mandatory seat belt laws in the U.S. "significantly increased seatbelt use among high school age youths by 45-80%" and "significantly reduced traffic fatalities and serious injuries resulting from fatal crashes by 8 and 9%, respectively."[36] The authors note that these "results suggest that if all states had primary enforcement seatbelt laws then regular youth seatbelt use would be nearly universal and youth fatalities would fall by about 120 per year."[36]

text: Opposition[edit]

text: A number of groups and individuals are opposed to seat belt legislation. The most common grounds for opposition are:

text:
The view that laws requiring the wearing of seat belts are an infringement of individual liberty.
Claims that official estimates of the number of lives saved by seat belts are overstated or fail to take into account additional risks for other road users.

text: Risk compensation and other theories[edit]

text: The most common basis for disputing estimates of the benefits of seat belts is risk compensation and risk homeostasis, advanced by researchers John Adams and Gerald Wilde. The idea of this theory is that, if the risk of death or injury from a car crash is reduced by the wearing of seat belts, drivers will respond by reducing the precautions they take against crashes. Adams accepts the hypothesis that wearing seat belts improves a vehicle occupant’s chances of surviving a crash.[37] In order to explain the disparity between the agreed improvement in crash survival and the observed results, Adams and Wilde argue that protecting someone from the consequences of risky behaviour may tend to encourage greater risk taking. Wilde states, "to compel a person to use protection from the consequences of hazardous driving, as seat belt laws do, is to encourage hazardous driving. A fine for non-compliance will encourage seat belt use, but the fact that the law fails to increase people's desire to be safe encourages compensatory behaviour." [38]

text: Studies and experiments have been carried out to examine the risk compensation theory. In one experiment subjects were asked to drive go-karts around a track under various conditions. It was found that subjects who started driving belted did not drive any slower when subsequently unbelted, but those who started driving unbelted did drive consistently faster when subsequently belted.[39] A study of habitual non-seat belt wearers driving in freeway conditions found evidence that they had adapted to seat belt use by adopting higher driving speeds and closer following distances.[40] In another study, taxi drivers who were habitual non-wearers were timed over a route with passengers who did, and others who did not, insist on the driver wearing a belt. They completed the route faster when belted.[41]

text: In addition to risk compensation, Adams has suggested other mechanisms that may lead to inaccurate or unsupportable predictions of positive benefits from seat belt legislation.

text:
Case-control studies based on voluntary use of safety aids can attribute to the aid benefits that actually come from the risk-averse nature of those likely to use them voluntarily (confounding), particularly early adopters.
Fatality rates are subject to considerable stochastic noise, and comparison of single years or short periods can be misleading.

text: Individual liberty[edit]

text: Opponents have objected to the laws on libertarian principles.[42] Some do so on the grounds that seat belt laws infringe on their civil liberties. For example, in a 1986 letter to the editor of the New York Times, a writer argued that seat belt legislation was "coercive" and that "a mandatory-seat-belt law violates the right to bodily privacy and self-control".[43]

text: A counterpoint to the libertarian view is that by reducing death and serious injury, mandatory seat belt use and enforcement of seat belt laws results in substantial social benefits. For example, an analysis by the Centers for Disease Control and Prevention found that in 2010 non-fatal injuries to motor vehicle occupants cost the United States $48 billion in medical expenses and lost work.[44] An example is an unbelted driver who kills or injures another road user because he/she slides out of proper seating position and cannot regain control of the vehicle during slippery conditions. Another notable scenario is of rear-seated passengers being forced forward in a crash and thus inadvertently harming the driver or front passenger. A University of Wisconsin study demonstrated that car accident victims who had not worn seat belts cost the hospital (and the state, in the case of the uninsured) on average 25% more.[45]

text: Side-effects of seat belts[edit]

text: Neck injuries can be caused by the deceleration from a high speed. The passengers head continues to move forward while the body is restrained, potentially causing paralyzing injuries. A study of such injuries notes, "Seatbelts save lives. However, they may cause injury to adjacent structures and when they malfunction can cause injury to the abdominal viscera, bony skeleton and vascular structures. The motor industry has attempted to reduce these injuries by modification of vehicle design and safety equipment."[46]


document_title: Ragtime

question_text: ragtime is a blend of what two musical styles

root

text: Ragtime

text: History[edit]

text: Origins of Ragtime music[edit]

text: The style has its origins in African-American communities in cities such as St. Louis.[3][4] Ernest Hogan (1865–1909) was a pioneer of ragtime and was the first composer to have his ragtime pieces (or "rags") published as sheet music, beginning with the song "La Pas Ma La", published in 1895. Hogan has also been credited for coining the term ragtime. The term is actually derived from his hometown "Shake Rag" in Bowling Green, Kentucky.[citation needed] Ben Harney, another Kentucky native, has often been credited for introducing the music to the mainstream public. His first ragtime composition, "You've Been a Good Old Wagon But You Done Broke Down", helped popularize the style. The composition was published in 1896, a few months after Ernest Hogan's "La Pas Ma La."[5][6] Ragtime was also a modification of the march style popularized by John Philip Sousa, with additional polyrhythms coming from African music.[7]  Ragtime composer Scott Joplin (ca. 1868–1917) became famous through the publication of the "Maple Leaf Rag" (1899) and a string of ragtime hits such as "The Entertainer" (1902), although he was later forgotten by all but a small, dedicated community of ragtime aficionados until the major ragtime revival in the early 1970s.[8][9] For at least 12 years after its publication, "Maple Leaf Rag" heavily influenced subsequent ragtime composers with its melody lines, harmonic progressions or metric patterns.[10]

tag: p

text: Ragtime fell out of favor as jazz claimed the public's imagination after 1917, but there have been numerous revivals since the music has been re-discovered. First in the early 1940s, many jazz bands began to include ragtime in their repertoire and put out ragtime recordings on 78 rpm records. A more significant revival occurred in the 1950s as a wider variety of ragtime genres of the past were made available on records, and new rags were composed, published, and recorded. In 1971 Joshua Rifkin brought out a compilation of Joplin's work which was nominated for a Grammy Award.[11] In 1973 The New England Ragtime Ensemble (then a student group called The New England Conservatory Ragtime Ensemble) recorded The Red Back Book, a compilation of some of Joplin's rags in period orchestrations edited by conservatory president Gunther Schuller. This also won a Grammy for Best Chamber Music Performance of the year and was named Billboard's Top Classical Album of 1974. Subsequently, the motion picture The Sting (1973) brought ragtime to a wide audience with its soundtrack of Joplin tunes. The film's rendering of "The Entertainer", adapted and orchestrated by Marvin Hamlisch, was a Top 5 hit in 1975.

text: Ragtime – with Joplin's work at the forefront – has been cited as an American equivalent of the minuets of Mozart, the mazurkas of Chopin, or the waltzes of Brahms.[12] Ragtime also influenced classical composers including Erik Satie, Claude Debussy and Igor Stravinsky.[13][14]

text: Historical context[edit]

text: Ragtime originated in African American music in the late 19th century and descended from the jigs and march music played by African American bands, referred to as "jig piano" or "piano thumping".[15][16] By the start of the 20th century, it became widely popular throughout North America and was listened and danced to, performed, and written by people of many different subcultures. A distinctly American musical style, ragtime may be considered a synthesis of African syncopation and European classical music, especially the marches made popular by John Philip Sousa.

text: Some early piano rags are entitled marches, and "jig" and "rag" were used interchangeably in the mid-1890s.[15] Ragtime was also preceded by its close relative the cakewalk. In 1895, black entertainer Ernest Hogan composed two of the earliest sheet music rags, one of which ("All Coons Look Alike to Me") eventually sold a million copies. The other composition was  called La Pas Ma La which was also a hit.[17] As fellow black musician Tom Fletcher said, Hogan was the "first to put on paper the kind of rhythm that was being played by non-reading musicians."[18] While the song's success helped introduce the country to ragtime rhythms, its use of racial slurs created a number of derogatory imitation tunes, known as "coon songs" because of their use of racist and stereotypical images of blacks. In Hogan's later years he admitted shame and a sense of "race betrayal" for the song while also expressing pride in helping bring ragtime to a larger audience.[19]

text:
Maple Leaf Rag

Problems playing this file? See media help.

tag: table

text: The emergence of mature ragtime is usually dated to 1897, the year in which several important early rags were published. In 1899, Scott Joplin's "Maple Leaf Rag" was published and became a great hit and demonstrated more depth and sophistication than earlier ragtime. Ragtime was one of the main influences on the early development of jazz (along with the blues). Some artists, such as Jelly Roll Morton, were present and performed both ragtime and jazz styles during the period the two styles overlapped. He also incorporated the Spanish Tinge in his performances, which gave a habanera or tango rhythm to his music.[20] Jazz largely surpassed ragtime in mainstream popularity in the early 1920s, although ragtime compositions continue to be written up to the present, and periodic revivals of popular interest in ragtime occurred in the 1950s and the 1970s.

text: The heyday of ragtime occurred before sound recording was widely available. Like classical music, and unlike jazz, classical ragtime had and has primarily a written tradition, being distributed in sheet music rather than through recordings or by imitation of live performances. Ragtime music was also distributed via piano rolls for player pianos. A folk ragtime tradition also existed before and during the period of classical ragtime (a designation largely created by Scott Joplin's publisher John Stillwell Stark), manifesting itself mostly through string bands, banjo and mandolin clubs (which experienced a burst of popularity during the early 20th century) and the like.

text: A form known as novelty piano (or novelty ragtime) emerged as the traditional rag was fading in popularity. Where traditional ragtime depended on amateur pianists and sheet music sales, the novelty rag took advantage of new advances in piano-roll technology and the phonograph record to permit a more complex, pyrotechnic, performance-oriented style of rag to be heard. Chief among the novelty rag composers is Zez Confrey, whose "Kitten on the Keys" popularized the style in 1921.

text: Ragtime also served as the roots for stride piano, a more improvisational piano style popular in the 1920s and 1930s. Elements of ragtime found their way into much of the American popular music of the early 20th century. It also played a central role in the development of the musical style later referred to as Piedmont blues; indeed, much of the music played by such artists of the style as Reverend Gary Davis, Blind Boy Fuller, Elizabeth Cotten, and Etta Baker could be referred to as "ragtime guitar."[21]

text: Although most ragtime was composed for piano, transcriptions for other instruments and ensembles are common, notably including Gunther Schuller's arrangements of Joplin's rags. Ragtime guitar continued to be popular into the 1930s, usually in the form of songs accompanied by skilled guitar work. Numerous records emanated from several labels, performed by Blind Blake, Blind Boy Fuller, Lemon Jefferson, and others. Occasionally ragtime was scored for ensembles (particularly dance bands and brass bands) similar to those of James Reese Europe or as songs like those written by Irving Berlin. Joplin had long-standing ambitions of synthesizing the worlds of ragtime and opera, to which end the opera Treemonisha was written. However its first performance, poorly staged with Joplin accompanying on the piano, was "disastrous" and it was never to be fully performed again in Joplin's lifetime.[22] In fact the score was lost for decades, then rediscovered in 1970, and a fully orchestrated and staged performance took place in 1972.[23] An earlier opera by Joplin, A Guest of Honor, has been lost.[24]

text: Musical form[edit]

text: The rag was a modification of the march made popular by John Philip Sousa, with additional polyrhythms coming from African music.[7] It was usually written in 2/4 or 4/4 time with a predominant left-hand pattern of bass notes on strong beats (beats 1 and 3) and chords on weak beats (beat 2 and 4) accompanying a syncopated melody in the right hand. According to some sources the name "ragtime" may come from the "ragged or syncopated rhythm" of the right hand.[2] A rag written in 3/4 time is a "ragtime waltz."

text: Ragtime is not a "time" (meter) in the same sense that march time is 2/4 meter and waltz time is 3/4 meter; it is rather a musical style that uses an effect that can be applied to any meter. The defining characteristic of ragtime music is a specific type of syncopation in which melodic accents occur between metrical beats. This results in a melody that seems to be avoiding some metrical beats of the accompaniment by emphasizing notes that either anticipate or follow the beat ("a rhythmic base of metric affirmation, and a melody of metric denial"[25]). The ultimate (and intended) effect on the listener is actually to accentuate the beat, thereby inducing the listener to move to the music. Scott Joplin, the composer/pianist known as the "King of Ragtime", called the effect "weird and intoxicating." He also used the term "swing" in describing how to play ragtime music: "Play slowly until you catch the swing...".[26] The name swing later came to be applied to an early style of jazz that developed from ragtime. Converting a non-ragtime piece of music into ragtime by changing the time values of melody notes is known as "ragging" the piece. Original ragtime pieces usually contain several distinct themes, four being the most common number. These themes were typically 16 bars, each theme divided into periods of four four-bar phrases and arranged in patterns of repeats and reprises. Typical patterns were AABBACCC′, AABBACCDD and AABBCCA, with the first two strains in the tonic key and the following strains in the subdominant. Sometimes rags would include introductions of four bars or bridges, between themes, of anywhere between four and 24 bars.[2]

text: Related forms and styles[edit]

text: Ragtime pieces came in a number of different styles during the years of its popularity and appeared under a number of different descriptive names. It is related to several earlier styles of music, has close ties with later styles of music, and was associated with a few musical "fads" of the period such as the foxtrot. Many of the terms associated with ragtime have inexact definitions, and are defined differently by different experts; the definitions are muddled further by the fact that publishers often labelled pieces for the fad of the moment rather than the true style of the composition. There is even disagreement about the term "ragtime" itself; experts such as David Jasen and Trebor Tichenor choose to exclude ragtime songs from the definition but include novelty piano and stride piano (a modern perspective), while Edward A. Berlin includes ragtime songs and excludes the later styles (which is closer to how ragtime was viewed originally). The terms below should not be considered exact, but merely an attempt to pin down the general meaning of the concept.

text:
Cakewalk – a pre-ragtime dance form popular until about 1904. The music is intended to be representative of an African-American dance contest in which the prize is a cake. Many early rags are cakewalks.
Characteristic march – a march incorporating idiomatic touches (such as syncopation) supposedly characteristic of the race of their subject, which is usually African-Americans. Many early rags are characteristic marches.
Two-step – a pre-ragtime dance form popular until about 1911. A large number of rags are two-steps.
Slow drag – another dance form associated with early ragtime. A modest number of rags are slow drags.
Coon song – a pre-ragtime vocal form popular until about 1901. A song with crude, racist lyrics often sung by white performers in blackface. Gradually died out in favor of the ragtime song. It was strongly associated with ragtime in its day.
Ragtime song – the vocal form of ragtime, more generic in theme than the coon song. Though this was the form of music most commonly considered "ragtime" in its day, many people today prefer to put it in the "popular music" category. Irving Berlin was the most commercially successful composer of ragtime songs, and his "Alexander's Ragtime Band" (1911) was the single most widely performed and recorded piece of this sort, even though it contains virtually no ragtime syncopation. Gene Greene was a famous singer in this style.
Folk ragtime – ragtime that originated from small towns or assembled from folk strains, or at least sounded as if they did. Folk rags often have unusual chromatic features typical of composers with non-standard training.
Classic rag – the Missouri-style ragtime popularized by Scott Joplin, James Scott, and others.
Fox-trot – a dance fad that began in 1913. Fox-trots contain a dotted-note rhythm different from that of ragtime, but which nonetheless was incorporated into many late rags.
Novelty piano – a piano composition emphasizing speed and complexity, which emerged after World War I. It is almost exclusively the domain of white composers.
Stride piano – a style of piano that emerged after World War I, developed by and dominated by black East-coast pianists (James P. Johnson, Fats Waller and Willie 'The Lion' Smith). Together with novelty piano, it may be considered a successor to ragtime, but is not considered by all to be "genuine" ragtime. Johnson composed the song that is arguably most associated with the Roaring Twenties, "Charleston." A recording of Johnson playing the song appears on the compact disc James P. Johnson: Harlem Stride Piano (Jazz Archives No. 111, EPM, Paris, 1997). Johnson's recorded version has a ragtime flavor.

tag: ul

text: American, pre-1940, ragtime composers[edit]

text: By far the most famous ragtime composer[note 1] was Scott Joplin. Joseph Lamb, James Scott, and Joplin are, together, acknowledged as the three most sophisticated ragtime composers. Other leading ragtime composers include Jelly Roll Morton, Eubie Blake, Charles L. Johnson, Tom Turpin, May Aufderheide, Lyons and Yosco, Mike Bernard, George Botsford, Zez Confrey, Sidney L. Perrin, Ben Harney, Luckey Roberts, Irving Jones, James P. Johnson, Paul Sarebresole, Joe Jordan, Fred S. Stone and Wilbur Sweatman.

text: Influence on European composers[edit]

text: This section is written like a personal reflection or opinion essay that states a Wikipedia editor's personal feelings about a topic. Please help improve it by rewriting it in an encyclopedic style. (November 2012) (Learn how and when to remove this template message)

text: European Classical composers were influenced by the form. The first contact with ragtime was probably at the Paris Exposition in 1900, one of the stages of the European tour of John Philip Sousa. The first notable classical composer to take a serious interest in ragtime was Antonín Dvořák.[27] French composer Claude Debussy emulated ragtime in three pieces for piano. The best-known remains the Golliwog's Cake Walk (from the 1908 Piano Suite Children's Corner). He later returned to the style with two preludes for piano: Minstrels, (1910) and General Lavine-excentric (from his 1913 Preludes),[13] which was inspired by a Médrano circus clown.

text: Erik Satie, Arthur Honegger, Darius Milhaud and the other members of The Group of Six in Paris never made any secret of their sympathy for ragtime, which is sometimes evident in their works. Consider, in particular, the ballet of Satie, Parade (Ragtime du Paquebot), (1917) and La Mort de Monsieur Mouche, an overture for piano for a drama in three acts, composed in the early 1900s in memory of his friend J.P. Contamine de Latour. In 1902 the American cakewalk was very popular in Paris and Satie two years later wrote two rags, La Diva de l'empire and Piccadilly. Despite the two Anglo-Saxon settings, the tracks appear American-inspired. La Diva de l'empire, a march for piano soloist, was written for Paulette Darty and initially bore the title Stand-Walk Marche; it was later subtitled Intermezzo Americain when Rouarts-Lerolle reprinted it in 1919. Piccadilly, another march, was initially titled The Transatlantique; it presented a stereotypical wealthy American heir sailing on an ocean liner on the New York–Europe route, going to trade his fortune for an aristocratic title in Europe.[28] There is a similar influence in Milhaud's ballets Le boeuf sur le toite and Creation du Monde, which he wrote after a trip to Harlem during his trip in 1922. Even the Swiss composer Honegger wrote works in which the influence of African American music is pretty obvious. Examples include Pacific 231, Prélude et Blues and especially the Concertino for piano and orchestra.

text: Igor Stravinsky wrote a solo piano work called Piano-Rag-Music in 1919 and also included a rag in his theater piece L'histoire du soldat (1918).[29]

text: Maurice Ravel is said to have heard Jimmie Noone and his group perform in Chicago. Despite the imprecise anecdote, Ravel's involvement with jazz is unquestionable, as it influenced many of his important works, for example the fox-trot of L'enfant et les sortilèges, the blues of the Sonata for violin and piano, Concerto in G and the Concerto for the left hand, both composed for piano in 1931.[citation needed]

text: From the 1960s on, composers from Sweden are producing ragtime, chief among them are Peter Lundberg, Sune "Sumpen" Borg, Peter Andersson, Ragnar Hellspong, Oscar Janner, Oleg Mezjuev,  Joakim  Stenshäll, Kimo Viklund, and Kjell Waltman.[citation needed]

text: Revivals[edit]

text: In the early 1940s, many jazz bands began to include ragtime in their repertoire, and as early as 1936 78 rpm records of Joplin's compositions were produced.[30] Old numbers written for piano were rescored for jazz instruments by jazz musicians, which gave the old style a new sound. The most famous recording of this period is Pee Wee Hunt's version of Euday L. Bowman's "Twelfth Street Rag."

text: A more significant revival occurred in the 1950s. A wider variety of ragtime styles of the past were made available on records, and new rags were composed, published, and recorded. Much of the ragtime recorded in this period is presented in a light-hearted novelty style, looked to with nostalgia as the product of a supposedly more innocent time. A number of popular recordings featured "prepared pianos," playing rags on pianos with tacks on the hammers and the instrument deliberately somewhat out of tune, supposedly to simulate the sound of a piano in an old honky tonk.

text: Four events brought forward a different kind of ragtime revival in the 1970s. First, pianist Joshua Rifkin brought out a compilation of Scott Joplin's work, Scott Joplin: Piano Rags, on Nonesuch Records, which was nominated for a Grammy Award in the "Best Classical Performance – Instrumental Soloist(s) without Orchestra" category[11] in 1971. This recording reintroduced Joplin's music to the public in the manner the composer had intended, not as a nostalgic stereotype but as serious, respectable music. Second, the New York Public Library released a two-volume set of "The Collected Works of Scott Joplin," which renewed interest in Joplin among musicians and prompted new stagings of Joplin's opera Treemonisha.[23][31] Next came the release and Grammy Award for The New England Ragtime Ensemble's recording of Joplin's Red Back Book. Finally, with the release of the motion picture The Sting in 1973, which had a Marvin Hamlisch soundtrack of Joplin tunes originally edited by Gunther Schuller, ragtime was brought to a wide audience. Hamlisch's rendering of Joplin's 1902 rag "The Entertainer" won an Academy Award,[32] and was an American Top 40 hit in 1974, reaching #3 on 18 May.[33]

text: Significant ragtime composers of the mid- to late-20th century include Max Morath, William Bolcom, Trebor Tichenor,  David Thomas Roberts, and Reginald Robinson.[citation needed]

text: In 1998, an adaption of E. L. Doctorow's historical novel Ragtime was produced on Broadway. With music by Stephen Flaherty and lyrics by Lynn Ahrens, the show featured several rags as well as songs in other musical styles.

text: Many modern musicians have again begun to find ragtime and incorporate it into their musical repertoires.[citation needed] Such acts include Jay Chou, Curtains for You, Baby Gramps and Bob Milne.[34]


document_title: Why Don't We

question_text: when did why dont we release their first song

text: Why Don't We

text: Career

text: The band originally formed on September 27, 2016, and announced it the next day via their YouTube account.[1] Since then, the band has released three EPs and five singles.

text: On October 7, 2016, the group released their debut single "Taking You", a track from their debut EP, Only the Beginning, which was released on November 25 of the same year. Their second EP, Something Different, was released on April 21, 2017. Its title track was released as the lead single the same day. They released their third EP, Why Don't We Just, on June 2, 2017.[citation needed] They finished their "Something Different" tour around the United States. Another single, "These Girls" was released on August 29, 2017.

text: They have appeared in vlogs from YouTuber and friend, Logan Paul.[citation needed]  The band has currently been working with YouTube vlogger and friend, Logan Paul. Logan has currently directed three music videos for Why Don't We, one involving their collaboration "Help Me Help You." The band has made various appearances on Logan Paul's daily vlogs. They have also helped Logan Paul on a diss track about Jake Paul called "The Fall of Jake Paul". On November 23, 2017, they released a holiday EP called A Why Don’t We Christmas.

text: Discography

text: Albums

text: 8 Letters (2018)[2]

text: Extended plays

text:
List of extended plays, with selected details, chart positions and sales

Title

Extended play details

Peaks

US[3]

USHeat[4]

NZHeat[5]

Only the Beginning

Released: November 25, 2016
Label: Signature
Format: Digital download

—
—
—

Something Different

Released: April 21, 2017
Label: Signature
Format: Digital download

—
6
—

Why Don't We Just

Released: June 2, 2017
Label: Signature
Format: Digital download

—
1
—

Invitation[6]

Released: September 26, 2017
Label: Signature
Format: Digital download

113
2
7

A Why Don't We Christmas[7]

Released: November 23, 2017
Label: Signature
Format: Digital download

—
—
—

"—" denotes releases that did not chart or were not released in that territory.

text: Singles

text: As lead artist

text:
List of singles as lead artist, with selected chart positions, showing year released and album

Title

Year

Peak chart positions

Album

USBub.[8]

USPop[9]

CAN[10]

NZHeat.[11]

"Taking You"

2016

—
—
—
—

Only the Beginning

"Nobody Gotta Know"

—
—
—
—

"Just to See You Smile"

—
—
—
—

"Free"

—
—
—
—

"You and Me at Christmas"

—
—
—
—

Non-album single

"Something Different"

2017

22
33
—
—

Something Different

"Why Don't We Just"

—
—
—
—

Why Don't We Just

"These Girls"

4
—
82
—

Non-album single

"Trust Fund Baby"[12]

2018

20
30
—
—

8 Letters

"Hooked"

22
—
—
8

"Talk"[13]

18
—
—
—

text: As a featured artist

text:
Title

Year

Peak chart positions

Album

USBub.[8]

AUS[14]

"Help Me Help You"(Logan Paul featuring Why Don't We)

2017

5
90

Non-album single

text: Promotional singles

text:
Title

Year

Album

"The Fall of Jake Paul" (Logan Paul featuringWhy Don't We)

2017

Non-album single

text: Music videos

text:
Song

Year

Other artist(s)

Director

Ref

"Taking You"

2016

None

Steven Taylor

[15]

"Nobody Gotta Know"

2017

Logan Paul

[16]

"Something Different"

[17]

"Help Me Help You"

Logan Paul

[18]

"The Fall of Jake Paul"

Sebastian A. Guerra

[19]

"These Girls"

None

Eli Sokhn & Logan Paul

[20]

"Trust Fund Baby"

2018

Jason Koenig

[21]

"Hooked"

2018

Eli Sokhn

[22]


document_title: Field of Dreams

question_text: who plays john kinsella in field of dreams

text: Field of Dreams

text: Plot[edit]

text: Ray Kinsella is a novice Iowa farmer who lives with his wife, Annie, and daughter, Karin. In the opening narration, he explains how he had a troubled relationship with his father, John Kinsella, who had been a devoted baseball fan. While walking through his cornfield one evening, he hears a voice whispering, "If you build it, he will come." He continues hearing this before finally seeing a vision of a baseball diamond in his field. Annie is skeptical, but she allows him to plow the corn under in order to build a baseball field. As he builds, he tells Karin the story of the 1919 Black Sox Scandal. Months pass and nothing happens; his family faces financial ruin until, one night, Karin spots a uniformed man on the field. Ray recognizes him as Shoeless Joe Jackson, a deceased baseball player idolized by John. Thrilled to be able to play baseball again, he asks to bring others to the field to play. He later returns with the seven other players banned as a result of the 1919 scandal.

text: Ray's brother-in-law, Mark, can't see the players and warns him that he will go bankrupt unless he replants his corn. While in the field, Ray hears the voice again, this time urging him to "ease his pain."

text: Ray attends a PTA meeting at which the possible banning of books by radical author Terence Mann is discussed. He decides the voice was referring to Mann. He comes across a magazine interview dealing with Mann's childhood dream of playing for the Brooklyn Dodgers. After Ray and Annie both dream about him and Mann attending a baseball game together at Fenway Park, he convinces her that he should seek out Mann. He heads to Boston and persuades a reluctant, embittered Mann to attend a game with him at Fenway Park. While there, he hears the voice again, this time urging him to "go the distance." At the same time, the scoreboard "shows" statistics for a player named Archibald "Moonlight" Graham, who played one game for the New York Giants in 1922, but never had a turn at bat. After the game, Mann eventually admits that he, too, saw it.

text: Ray and Mann then travel to Chisholm, Minnesota where they learn that Graham had become a doctor and had died sixteen years earlier. During a late night walk, Ray finds himself back in 1972 and encounters the then-living Graham, who states that he had moved on from his baseball career. He also says that the greater disappointment would have been not having a medical career. He declines Ray's invitation to fulfill his dream; however, during the drive back home, Ray picks up a young hitchhiker who introduces himself as Archie Graham. While Archie sleeps, Ray reveals to Mann that John had wanted him to live out his dream of being a baseball star. He stopped playing catch with him after reading one of Mann's books at 14. At 17, he had denounced Shoeless Joe as a criminal to John and that was the reason for the rift between them. Ray expresses regret that he didn't get a chance to make things right before John died. When they arrive back at Ray's farm, they find that enough players have arrived to field two teams. A game is played and Archie finally gets his turn at bat.

text: The next morning, Mark returns and demands that Ray sell the farm. Karin says that they will not need to because people will pay to watch the ballgames. Mann agrees, saying that "people will come" in order to relive their childhood innocence. Ray, after much thought, refuses and a frustrated Mark scuffles with him, during which Karin is accidentally knocked off the bleachers. The young Graham runs from the field to help, becoming old Graham, complete with Gladstone bag, the instant he steps off of it, and saves Karin from choking (she had been eating a hot dog when she fell). Ray realizes that Graham sacrificed his young self in order to save her. After reassuring Ray that his true calling was medicine and being commended by the other players, Graham leaves, disappearing into the corn. Suddenly, Mark is able to see the players and urges Ray not to sell the farm.

text: After the game, Shoeless Joe invites Mann to enter the corn; he accepts and disappears into it. Ray is angry at not being invited, but Shoeless Joe rebukes him: if he really wants a reward for having sacrificed so much, then he had better stay on the field. Shoeless Joe then glances towards a player at home plate, saying "If you build it, he will come." The player then removes his mask, and Ray recognizes him to be John as a young man. Shocked, Ray realizes that "ease his pain" referred to John, and believes that Shoeless Joe was the voice all along; however, Joe implies that the voice was Ray himself. Joe then disappears into the corn.

text: Ray introduces John to Annie and Karin. As he heads towards the corn, Ray asks him if he wants to play a game of catch. They begin to play and Annie happily watches. Meanwhile, hundreds of cars can be seen approaching the baseball field, fulfilling Karin and Mann's prophecy that people will come to watch baseball.

text: Cast[edit]

text:
Kevin Costner as Ray Kinsella
Amy Madigan as Annie Kinsella
James Earl Jones as Terence Mann
Timothy Busfield as Mark
Kelly Coffield Park as Dee
Frank Whaley as Archie Graham
Gaby Hoffmann as Karin Kinsella
Dwier Brown as John Kinsella
Fern Persons as Annie's mother
Ray Liotta as Shoeless Joe Jackson
Burt Lancaster as Archibald "Moonlight" Graham
Art LaFleur as Chick Gandil
Michael Milhoan as Buck Weaver
Steve Eastin as Eddie Cicotte
Charles Hoyes as Swede Risberg

text: Production[edit]

text: Phil Alden Robinson read Shoeless Joe in 1981 and liked it so much that he brought it to producers Lawrence Gordon and Charles Gordon. Lawrence Gordon worked for 20th Century Fox, part of the time as its president, and repeatedly mentioned that the book should be adapted into a film. The studio, however, always turned down the suggestion because they felt the project was too esoteric and noncommercial. Meanwhile, Robinson went ahead with his script, frequently consulting W. P. Kinsella, the book's author, for advice on the adaptation. Lawrence Gordon left Fox in 1986 and started pitching the adaptation to other studios. Universal Studios accepted the project in 1987 and hired USC coach Rod Dedeaux as baseball advisor. Dedeaux brought along World Series champion and USC alumnus Don Buford to coach the actors.[6]

text: The film was shot using the novel's title; eventually, an executive decision was made to rename it Field of Dreams. Robinson did not like the idea saying he loved Shoeless Joe, and that the new title was better suited for one about dreams deferred. Later, Kinsella told Robinson that his originally chosen title for the book had been The Dream Field and that the title Shoeless Joe had been imposed by the publisher.[7]

text: Casting[edit]

text: Robinson and the producers did not originally consider Kevin Costner for the part of Ray because they did not think that he would want to follow Bull Durham with another baseball film. He, however, did end up reading the script and became interested in the project, stating that he felt it would be "this generation's It's a Wonderful Life". Since Robinson's directing debut In the Mood had been a commercial failure, Costner also said that he would help him with the production. Amy Madigan, a fan of the book, joined the cast as Ray's wife, Annie. In the book, the writer Ray seeks out is real-life author J.D. Salinger. When Salinger threatened the production with a lawsuit if his name was used, Robinson decided to rewrite the character as reclusive Terence Mann. He wrote with James Earl Jones in mind because he thought it would be fun to see Ray trying to kidnap such a big man. Robinson had originally envisioned Shoeless Joe Jackson as being played by an actor in his 40s, someone who would be older than Costner and who could thereby act as a father surrogate. Ray Liotta did not fit that criterion, but Robinson thought he would be a better fit for the part because he had the "sense of danger" and ambiguity which Robinson wanted in the character. Burt Lancaster had originally turned down the part of Moonlight Graham, but changed his mind after a friend, who was also a baseball fan, told him that he had to work on the film.[6]

text: Filming[edit]

text: Filming began on May 25, 1988. The shooting schedule was built around Costner's availability because he would be leaving in August to film Revenge. Except for some weather delays and other time constraints, production rolled six days a week. The interior scenes were the first ones shot because the cornfield planted by the filmmakers was taking too long to grow. Irrigation had to be used to quickly grow the corn to Costner's height. Primary shot locations were in Dubuque County, Iowa; a farm near Dyersville was used for the Kinsella home; an empty warehouse in Dubuque was used to build various interior sets. Galena, Illinois served as Moonlight Graham's Chisholm, Minnesota.[6] One week was spent on location shots in Boston, most notably Fenway Park.[8]

text: Robinson, despite having a sufficient budget as well as the cast and crew he wanted, constantly felt tense and depressed during filming. He felt that he was under too much pressure to create an outstanding film, and that he was not doing justice to the original novel. Lawrence Gordon convinced him that the end product would be effective.[6]

text: During a lunch with the Iowa Chamber of Commerce, Robinson broached his idea of a final scene in which headlights could be seen for miles along the horizon. The Chamber folks replied that it could be done and the shooting of the final scene became a community event. The film crew was hidden on the farm to make sure the aerial shots did not reveal them. Dyersville was then blacked out and local extras drove their vehicles to the field. In order to give the illusion of movement, the drivers were instructed to continuously switch between their low and high beams.

text: Field[edit]

text: Scenes of the Kinsella farm were taken on the property of Don Lansing; some of the baseball field scenes were shot on the neighboring farm of Al Ameskamp. Because the shooting schedule was too short for grass to naturally grow, the experts on sod laying responsible for Dodger Stadium and the Rose Bowl were hired to create the baseball field. Part of the process involved painting the turf green. [6]

text: After shooting, Ameskamp again grew corn on his property; Lansing maintained his as a tourist destination.[6] He did not charge for admission or parking, deriving revenue solely from the souvenir shop. By the film's twentieth anniversary, approximately 65,000 people visited annually.[9] In July, 2010, the farm containing the "Field" was listed as for sale.[10] It was sold on October 31, 2011, to Go The Distance Baseball, LLC, for an undisclosed fee, believed to be around $5.4 million.[11]

text: Music[edit]

text: At first, James Horner was unsure if he could work on the film due to scheduling restrictions. Then he watched a rough cut and was so moved that he accepted the job of scoring it. Robinson had created a temp track which was disliked by Universal executives. When the announcement of Horner as composer was made, they felt more positive because they expected a big orchestral score, similar to Horner's work for An American Tail. Horner, in contrast, liked the temporary score, finding it "quiet and kind of ghostly." He decided to follow the idea of the temp track, creating an atmospheric soundtrack which would "focus on the emotions".[6] In addition to Horner's score, portions of several pop songs are heard during the film. They are listed in the following order in the closing credits:

text:
"Crazy", written by Willie Nelson and performed by Beverly D'Angelo
"Daydream", written by John Sebastian and performed by The Lovin' Spoonful
"Jessica", written by Dickey Betts and performed by The Allman Brothers Band
"China Grove", written by Tom Johnston and performed by The Doobie Brothers
"Lotus Blossom", written by Billy Strayhorn and performed by Duke Ellington

text: Historical connections[edit]

text: The character played by Burt Lancaster and Frank Whaley, Archibald "Moonlight" Graham, is based on an actual baseball player with the same name. His character is largely true to life except for a few factual liberties taken for artistic reasons. For instance, the real Graham's lone major league game occurred in June 1905,[12] rather than on the final day of the 1922 season. The real Graham also died in 1965, as opposed to 1972 as the film depicts. In the film, Terence Mann interviews a number of people about Graham. The DVD special points out that the facts they gave him were taken from articles written about the real one.

text: Release and reception[edit]

text: This section needs expansion. You can help by adding to it. (July 2017)

text: Universal scheduled the film to open in the U.S. on April 21, 1989. It debuted in just a few theaters and was gradually released to more screens so that it would have a spot among the summer blockbusters. It ended up playing until December.[6]

text: As of June 2017, review aggregator Rotten Tomatoes rates the film 86%, based on 57 reviews with an average score of 7.9 out of 10. The consensus states: "Field of Dreams is sentimental, but in the best way; it's a mix of fairy tale, baseball, and family togetherness."[13]

text: Honors[edit]

text: In June 2008, after having polled over 1,500 people in the creative community, AFI revealed its "Ten Top Ten" — the best ten films in ten "classic" American film genres. The film was acknowledged as the sixth best one in the fantasy genre.[14][15]

text:
AFI's 100 Years...100 Movies—nominated[16]
AFI's 100 Years...100 Movie Quotes:

"If you build it, he will come."—#39

AFI's 100 Years of Film Scores—nominated[17]
AFI's 100 Years...100 Cheers—#28
AFI's 100 Years...100 Movies (10th Anniversary Edition)—nominated[18]
AFI's 10 Top 10—#6 Fantasy Film


document_title: Will Swenson (actor)

question_text: who does will swenson play in the greatest showman

text: Will Swenson (actor)

text: Career[edit]

text: Swenson was born in Provo, Utah. He is known among Mormons for his role as Jonathan Jordan in the LDS Cinema movie The Singles Ward (2002) and its sequel, The Singles 2nd Ward (2007).[1] Swenson co-wrote, directed and acted in the LDS Cinema feature film, Sons of Provo (2004).

text: A grandson of Nathan and playwright and actress Ruth Hale,[2] Will Swenson was born in Utah and moved around a lot throughout the United States during his childhood. He attended Brigham Young University and later served as a Mormon missionary in Ecuador. However, as of 2008 he was no longer a practicing Mormon.[3]

text:
Swenson appeared on Broadway in Lestat, 110 in the Shade and Brooklyn.  Off-Broadway, he played the role of Stacee Jaxx in the musical Rock of Ages but did not go on to perform the role on Broadway because he was offered the starring role of Berger in the Broadway revival of Hair. He played Sir Sagramore in Camelot at Lincoln Center and Chris in the second
national tour of Miss Saigon.

text: He played the role of Berger in the Off-Broadway 40th Anniversary Concert of Hair opposite Karen Olivo.  In 2008, Swenson was again cast as Berger in The Public Theater's revival of the show in Central Park. He went on to reprise the role when the production moved to Broadway in March 2009.[4] He received critical acclaim for his performance on Broadway and was nominated for a Tony Award for Best Performance by a Featured Actor in a Musical. He played the role of Berger again in the West End revival of Hair which began performances on April 1, 2010,[5] and ended his limited engagement on May 29, 2010.[6] Audra McDonald and Swenson reprised their roles in a two-week fundraising production of 110 in the Shade at the Hale Center Theater in Orem, Utah.[7]

text: On October 8, 2009, Swenson appeared as in the guest cameo slot for the extension performance of Katie Thompson's R.R.R.E.D.: A Secret Musical, as part of the 2009 New York Musical Theatre Festival.  In 2010, Swenson played the lead role of "Tick"/"Mitzi" in the pre-Broadway North American company of Priscilla: Queen of the Desert in Toronto, Canada.[8]

text: In October 2013, Swenson was cast as Inspector Javert in the 2014 Broadway revival of Les Misérables, which opened in March 2014 at New York's Imperial Theatre, where the musical had previously run for 13 years.[9]

text: In 2018, Swenson played Satan in the New Group's off-Broadway production of "Jerry Springer: The Opera."

text: Personal life[edit]

text: Swenson met his first wife Amy (née Westerby) while they were both in one of his grandmother's comedies, Hopsville Holiday. The couple have two sons, Bridger and Sawyer, but have since divorced.

text: Swenson and actress Audra McDonald became engaged in January 2012[10] and were married on October 6, 2012. [11] In October 2016, McDonald and Swenson welcomed their first child, Sally.

text: Theatre credits[edit]

text:
Year

Show

Role

Category

2002

Miss Saigon

Chris Scott

US National Tour

2004

Brooklyn

Vocalist; u/s Street Singer; u/s Taylor Collins

Broadway

2005

Two Gentleman of Verona

Ensemble

Off-Broadway

2006

Lestat

Ensemble; u/s Armand; u/s Lestat

Broadway

2007

Adrift in Macao

Rick Shaw

Off-Broadway

2007

110 in the Shade

Cody Bridger; u/s Bill Starbuck

Broadway

2008

The Slug Bearers of Kayrol Island

Psychiatrist

Off-Broadway

2008

Hair

Berger

Off-Broadway

2008

Rock of Ages

Stacee Jaxx

Off-Broadway

2009

Hair

Berger

Broadway

2010

West End

2010

Priscilla, Queen of the Desert

Tick (Mitzi)

Toronto

Broadway

2013

Murder Ballad

Tom

Off-Broadway

2013

Little Miss Sunshine

Richard Hoover

Off-Broadway

2014

Les Misérables

Javert

Broadway

2016

Pericles

Cleon

Theatre for a New Audience

2017

Waitress

Earl

Broadway

2018

Jerry Springer - The Opera

Satan

Off-Broadway

text: Filmography[edit]

text: Film[edit]

text:
Year

Title

Role

Notes

1996

Treasure Chest

Thor

Short film

2002

The Singles Ward

Jonathan Jordan

2003

The R.M.

Kori Swenson

2004

Sons of Provo

Will Jensen

Dear John

Tyson

Short film

2007

The Singles 2nd Ward

Jonathan Jordan

2010

The Switch

Actor on stage

2013

Gods Behaving Badly

Ares

Unreleased

2014

This Is Where I Leave You

Young Mort Altman

2017

The Greatest Showman

Philo Barnum

text: Television[edit]

text:
Year

Title

Role

Notes

2002

All My Children

Purse-snatcher

Episode: August 14, 2002

2006

As the World Turns

Vanya

Episode: December 18, 2006

2007

Six Degrees

Photoshoot man

Episode: "Slings and Arrows"; uncredited

2008

Live from Lincoln Center

Sir Sagramore

Episode: "Camelot"

2009

Law & Order: Criminal Intent

Joe Lazar

Episode: "Rock Star"

Late Show with David Letterman

Berger

Episode: April 30, 2009

2012

The Good Wife

Justin Varney

Episode: "Pants on Fire"

Pzazz 101

Will

Episode: "Method Acting"

2016

Law & Order: Special Victims Unit

Mitch Hampton

Episode: "Broken Rhymes"

2016–17

No Tomorrow

Pete

2 episodes

text: Web series[edit]

text:
Year

Title

Role

Notes

2014

Submissions Only

Fred Planer

Episode: "Having Foresight"

text: Awards and nominations[edit]

text:
Year

Award

Category

Work

Result

2009

Tony Award

Best Performance by a Featured Actor in a Musical

Hair

Nominated

Drama Desk Award

Outstanding Actor in a Musical

Nominated


document_title: Baby Did a Bad Bad Thing

question_text: who sings i did a bad bad thing

question_tokens: who sings i did a bad bad thing

text: Baby Did a Bad Bad Thing

text:
"Baby Did a Bad Bad Thing"

Single by Chris Isaak

from the album Forever Blue

Released
1996 (original single)
1999 (remix)

Genre
Rock'n'roll, rockabilly

Length
2:55

Label
Warner Bros. Records

Songwriter(s)
Chris Isaak

Producer(s)
Erik Jacobsen

Chris Isaak singles chronology

"Go Walking Down There"
(1995)
"Baby Did a Bad Bad Thing"
(1996)
"Think of Tomorrow"
(1996)

"Go Walking Down There"
(1995)
"Baby Did a Bad Bad Thing"
(1996)
"Think of Tomorrow"
(1996)

text: "Baby Did a Bad Bad Thing" is a song by American rock and roll artist Chris Isaak, released as the first track to the 1995 album Forever Blue. Filled with sensuality and erotic imagery, the song was described by Isaak as a declaration to "somebody who is so evil and twisted and bad, and yet, you still want them”. The title evokes how "That’s a bad bad thing" is used by both parents scolding misbehaving children and adults during sexual intercourse.[1]

text: Similar to how Isaak's "Wicked Game" only became a success following its inclusion in Wild at Heart (1990), the song got most of its mainstream recognition after being featured in the 1999 Stanley Kubrick film Eyes Wide Shut, starring Tom Cruise and Nicole Kidman. Kubrick heard the song as Kidman listened to Isaak's music to liven up during rehearsals.[2] Isaak was asked for his approval as he prepared to perform on The Tonight Show, and immediately agreed once he was told it was for Kubrick,[1] who Isaak declared "hasn't done a film I didn't like". The singer said he always considered "Baby Did a Bad Bad Thing" ripe for soundtracks due to being "kind of a strange piece of work, with a really driving beat and a manic energy that I thought would probably work well for some visuals".[3] David Kahne remixed the track for the Eyes Wide Shut trailers and television spots, and the redone version was released as a radio single on June 22, 1999.[4] Isaak has approved of the remix, feeling it was "more rocking and everything sounds louder".[3]

text: It peaked at #9 in September 1999 on the Australian ARIA Singles Chart, although it was only #27 when it was originally released in 1996.[5] In the United States, the 1999 reissue reached 29 on the Billboard Adult Top 40 chart.[6]

text: The song was also used at the beginning of the Cold Case episode "Dog Day Afternoons", Psych season 5 episode “Dual Spires” as well as the end of the CSI: Miami episode "Curse Of The Coffin". It was also used in the trailer for the film Sorority Row.

text: Music video[edit]

text: The music video of the song was commissioned after its inclusion on Eyes Wide Shut, and directed by Herb Ritts, who also did the video for Isaak's "Wicked Game". It features French model Laetitia Casta videotaped in a motel room gyrating sexually being watched by Isaak. Casta was dressed in lingerie and wore a black wig throughout the video. In July 1999, VH1 aired two versions of the music video, the censored version was played before 9 p.m. and the uncensored version was played after 9 p.m. The video was initially regarded as too steamy by the network.[7] The video was ranked #28 on VH1's 50 Sexiest Video Moments.


document_title: List of states and union territories of India by area

question_text: which is the smallest state in india 2017

text: List[edit]

text:
Rank
State / Territory
Area (km2)
Region
National Share (%)
Country of comparable size
Ref

1
Rajasthan
342,239
Northern
10.41
 Republic of the Congo

2
Madhya Pradesh
308,245
Central
9.37
 Oman

3
Maharashtra
307,713
Western
9.36
 Oman

4
Uttar Pradesh
240,928
Central
7.33
 Uganda

5
Jammu and Kashmir
222,236
Northern
6.76
 Guyana
[note 1]

6
Gujarat
196,024
Western
5.96
 Senegal

7
Karnataka
191,791
Southern
5.83
 Senegal

8
Andhra Pradesh
162,968
Southern
4.87
 Tunisia

9
Odisha
155,707
Eastern
4.73
 Bangladesh

10
Chhattisgarh
135,191
Central
4.11
 Greece

11
Tamil Nadu
130,058
Southern
3.95
 Nicaragua

12
Telangana
112,077
Southern
3.49
 Honduras

13
Bihar
94,163
Eastern
2.86
 Hungary

14
West Bengal
88,752
Eastern
2.70
 Serbia

15
Arunachal Pradesh
83,743
Northeastern
2.54
 Austria

16
Jharkhand
79,714
Eastern
2.42
 Czech Republic

17
Assam
78,438
Northeastern
2.38
 Czech Republic

18
Himachal Pradesh
55,673
Northern
1.70
 Croatia

19
Uttarakhand
53,483
Northern
1.62
 Costa Rica

20
Punjab
50,362
Northern
1.53
 Costa Rica

21
Haryana
44,212
Northern
1.34
 Denmark

22
Kerala
38,863
Southern
1.18
 Bhutan

23
Meghalaya
22,429
Northeastern
0.68
 Djibouti

24
Manipur
22,327
Northeastern
0.68
 Belize

25
Mizoram
21,081
Northeastern
0.64
 El Salvador

26
Nagaland
16,579
Northeastern
0.50
 Swaziland

27
Tripura
10,486
Northeastern
0.31
 Lebanon

28
Sikkim
7,096
Northeastern
0.21
 French Southern and Antarctic Lands

29
Goa
3,702
Western
0.11
 French Polynesia

UT1
Andaman and Nicobar Islands
8,249
Bay of Bengal
0.25
 Puerto Rico

NCT
Delhi
1,484
Northern
0.04
 Faroe Islands

UT2
Puducherry
492
Southern
0.01
 Andorra

UT3
Dadra and Nagar Haveli
491
Western
0.01
 Andorra

UT4
Chandigarh
114
Northern
0.003
 Wallis and Futuna

UT5
Daman and Diu
112
Western
0.003
 Montserrat

UT6
Lakshadweep
32
Arabian Sea
0.001
 Macau

**
Disputed area (between states)
23

0.0007
 Nauru
[note 2]
[note 3]

India
3,287,263[a]

100

text: Source:Area of states[3]

text: The area figures of states and union territories do not add up to area of India because:

text:
The shortfall of 7 km2. area of Madhya Pradesh and 3 km2. area of Chhattisgarh is yet to be resolved by the Survey of India.[3]
Disputed area of 13 km2. between Puducherry and Andhra Pradesh is neither included in Puducherry nor in Andhra Pradesh.[3]
Area figures includes the area under occupation by Pakistan and China. The area includes 13,297+64,817 = 78,114  km2. of disputed area under occupation of Pakistan, 5,180  km2. of disputed area handed over by Pakistan to China and 37,555  km2 of disputed area under occupation of China 5,180+37,555=42,735 sq km .[3]