document_title: Appendix (anatomy)

question_text: where is the appendix located at in the human body

root

text: Appendix (anatomy)

text: Structure[edit]

text: The human appendix averages 9 cm in length but can range from 2 to 20 cm. The diameter of the appendix is usually between 7 and 8 mm. The longest appendix ever removed was 26 cm long.[1] The appendix is usually located in the lower right quadrant of the abdomen, near the right hip bone. The base of the appendix is located 2 cm beneath the ileocecal valve that separates the large intestine from the small intestine. Its position within the abdomen corresponds to a point on the surface known as McBurney's point.

tag: p

text: The appendix is connected to the mesentery in the lower region of the ileum, by a short region of the mesocolon known as the mesoappendix.[2]

text: Variation[edit]

text: Some identical twins—known as mirror image twins—can have a mirror-imaged anatomy, a congenital condition with the appendix located in the lower left quadrant of the abdomen.[3][4] Intestinal malrotation may also cause displacement of the appendix to the left side.

text: While the base of the appendix is typically located 2 cm below the ileocecal valve, the tip of the appendix can be variably located—in the pelvis, outside the peritoneum or behind the cecum.[5] The prevalence of the different positions varies amongst populations with the retrocecal position being most common in Ghana and Sudan, with 67.3% and 58.3% occurrence respectively, in comparison to Iran and Bosnia where the pelvic position is most common, with 55.8% and 57.7% occurrence respectively.[6][7][8][9]

text: In very rare cases, the appendix may not be present at all (laparotomies for suspected appendicitis have given a frequency of 1 in 100,000).[10]

text: Sometimes there is a semi-circular fold of mucous membrane at the opening of the appendix. This valve of the vermiform appendix is also called Gerlach's valve.[2]

text: Functions[edit]

text: Maintaining gut flora[edit]

text: Although it has been long accepted that the immune tissue surrounding the appendix and elsewhere in the gut—called gut-associated lymphoid tissue—carries out a number of important functions, explanations were lacking for the distinctive shape of the appendix and its apparent lack of specific importance and function as judged by an absence of side effects following its removal.[11] Therefore, the notion that the appendix is only vestigial became widely held.

text: William Parker, Randy Bollinger, and colleagues at Duke University proposed in 2007 that the appendix serves as a haven for useful bacteria when illness flushes the bacteria from the rest of the intestines.[12][13] This proposition is based on an understanding that emerged by the early 2000s of how the immune system supports the growth of beneficial intestinal bacteria,[14][15] in combination with many well-known features of the appendix, including its architecture, its location just below the normal one-way flow of food and germs in the large intestine, and its association with copious amounts of immune tissue. Research performed at Winthrop–University Hospital showed that individuals without an appendix were four times more likely to have a recurrence of Clostridium difficile colitis.[16] The appendix, therefore, may act as a "safe house" for beneficial bacteria.[12] This reservoir of bacteria could then serve to repopulate the gut flora in the digestive system following a bout of dysentery or cholera or to boost it following a milder gastrointestinal illness.[13]

text: Immune and lymphatic system[edit]

text: The appendix has been identified as an important component of mammalian mucosal immune function, particularly B cell-mediated immune responses and extrathymically derived T cells. This structure helps in the proper movement and removal of waste matter in the digestive system, contains lymphatic vessels that regulate pathogens, and lastly, might even produce early defences that prevent deadly diseases. Additionally, it is thought that this may provide more immune defences from invading pathogens and getting the lymphatic system's B and T cells to fight the viruses and bacteria that infect that portion of the bowel and training them so that immune responses are targeted and more able to reliably and less dangerously fight off pathogens.[17] In addition, there are different immune cells called innate lymphoid cells that function in the gut in order to help the appendix maintain digestive health.[18][19]

text: Vestigiality[edit]

text: The human appendix had been proposed to be a vestigial structure, a structure that has lost all or most of its original function or that has evolved to take on a new function. The suggestion was that it is the shrunken remnant of the cecum thought to have been present in a remote ancestor of humans. This notion is still widely held. A 2013 study, however, refutes the idea of an inverse relationship between cecum size and appendix size and presence.[20] Ceca, which occur in the digestive tracts of many herbivores (e.g., ox, horse), house mutualistic bacteria and ingested small stones that help animals digest the cellulose molecules found in plants.[21]

text: It is widely present in euarchontoglires (a superorder of mammals that includes rodents and primates), has also evolved independently in the diprotodont marsupials and monotremes and is highly diverse in size and shape.[20][22]

text: A possible scenario for the progression from a fully functional cecum to the current human appendix was put forth by Charles Darwin. He suggested that the appendix was used for digesting leaves as primates. It may be a vestigial organ of ancient humans that has degraded to nearly nothing of its original purpose or evolved to take on a new purpose over the course of evolution. The very long cecum of some herbivorous animals, such as in the horse or the koala, appears to support this theory. The koala's cecum enables it to host bacteria that specifically help to break down cellulose. Human ancestors may have also relied upon this system when they lived on a diet rich in foliage. As people began to eat more easily digested foods, they may have become less reliant on cellulose-rich plants for energy. As the cecum became less necessary for digestion, mutations that were previously deleterious (and would have hindered evolutionary progress) were no longer important, so the mutations survived. It is suggested that these alleles became more frequent and the cecum continued to shrink. After millions of years, the once-necessary cecum degraded to be the appendix of modern humans.[23]

text: Clinical significance[edit]

text: The most common diseases of the appendix (in humans) are appendicitis and carcinoid tumors (appendiceal carcinoid).[24] Appendix cancer accounts for about 1 in 200 of all gastrointestinal malignancies. In rare cases, adenomas are also present.[25]

text: Appendicitis[edit]

text: Appendicitis is a condition characterized by inflammation of the appendix. Pain often begins in the center of the abdomen, corresponding to the appendix's development as part of the embryonic midgut. This pain is typically a dull, poorly localized, visceral pain.[26]

text: As the inflammation progresses, the pain begins to localize more clearly to the right lower quadrant, as the peritoneum becomes inflamed. This peritoneal inflammation, or peritonitis, results in rebound tenderness (pain upon removal of pressure rather than application of pressure). In particular, it presents at McBurney's point, 1/3 of the way along a line drawn from the anterior superior iliac spine to the umbilicus. Typically, point (skin) pain is not present until the parietal peritoneum is inflamed, as well. Fever and an immune system response are also characteristic of appendicitis.[26]

text: Appendicitis usually requires the removal of the inflamed appendix, in an appendectomy either by laparotomy or laparoscopy. Untreated, the appendix may rupture, leading to peritonitis, followed by shock, and, if still untreated, death.[26]

text: Surgery[edit]

text: The surgical removal of the appendix is called an appendectomy. This removal is normally performed as an emergency procedure when the patient is suffering from acute appendicitis. In the absence of surgical facilities, intravenous antibiotics are used to delay or avoid the onset of sepsis. In some cases, the appendicitis resolves completely; more often, an inflammatory mass forms around the appendix. This is a relative contraindication to surgery.

text: The appendix is also used for the construction of an efferent urinary conduit, in an operation known as the Mitrofanoff procedure,[27] in people with a neurogenic bladder.

text: The appendix is also used as a means to access the colon in children with paralysed bowels or major rectal sphincter problems. The appendix is brought out to the skin surface and the child/parent can then attach a catheter and easily wash out the colon (via normal defaecation) using an appropriate solution.[28]

text: History[edit]

text: Dr. Heather F. Smith of Midwestern University and colleagues explained:

text:
Recently ... improved understanding of gut immunity has merged with current thinking in biological and medical science, pointing to an apparent function of the mammalian cecal appendix as a safe-house for symbiotic gut microbes, preserving the flora during times of gastrointestinal infection in societies without modern medicine. This function is potentially a selective force for the evolution and maintenance of the appendix.
Three morphotypes of cecal-appendices can be described among mammals based primarily on the shape of the cecum: a distinct appendix branching from a rounded or sac-like cecum (as in many primate species), an appendix located at the apex of a long and voluminous cecum (as in the rabbit, greater glider and Cape dune mole rat), and an appendix in the absence of a pronounced cecum (as in the wombat). In addition, long narrow appendix-like structures are found in mammals that either lack an apparent cecum (as in monotremes) or lack a distinct junction between the cecum and appendix-like structure (as in the koala). A cecal appendix has evolved independently at least twice, and apparently represents yet another example of convergence in morphology between Australian marsupials and placentals in the rest of the world. Although the appendix has apparently been lost by numerous species, it has also been maintained for more than 80 million years in at least one clade.[22]

text: In a more recent paper, the appendix was found to have evolved at least 32 times (and perhaps as many as 38 times) and to have been lost no more than six times.[20] This suggests that the cecal appendix has a selective advantage in many situations and argues strongly against its vestigial nature. This complex evolutionary history of the appendix, along with a great heterogeneity in its evolutionary rate in various taxa, suggests that it is a recurrent trait.[29]

text: Such a function may be useful in a culture lacking modern sanitation and healthcare practice, where diarrhea may be prevalent. Current epidemiological data on the cause of death in developed countries collected by the World Health Organization in 2001 show that acute diarrhea is now the fourth leading cause of disease-related death in developing countries (data summarized by The Bill and Melinda Gates Foundation). Two of the other leading causes of death are expected to have exerted limited or no selection pressure.[30][31]

text: Additional images[edit]

text:
Illustration depicting the location of the appendix in a child

Normal location of the appendix relative to other organs of the digestive system (frontal view)

Vermiform appendix

Ileo-cecal valve and vermiform appendix

Mucinous adenocarcinoma of the appendix tip

Cross section of the appendix with Enterobius with H&E stain

Histology of vermiform appendix

tag: ul


document_title: Over the Hedge (film)

question_text: who played the turtle in over the hedge

question_tokens: who played the turtle in over the hedge

text: Over the Hedge (film)

text: Plot[edit]

text: While scavenging for food, RJ the raccoon enters the cave of Vincent the bear, who has a wagon full of human food taken from a nearby rest stop. RJ accidentally wakes Vincent from his hibernation, and in a race to escape, causes the stash to roll out onto the nearby highway and get run over by a large truck. To avoid being eaten himself, RJ promises Vincent that he will completely replace the stash within the week.

text: RJ heads towards a recently built suburban housing development in Chesterton, Indiana, separated from a forest glade by a large hedge. There he discovers a pack of animals recently awoken from their hibernation, led by Verne the turtle; the others include squirrel Hammy, skunk Stella, porcupines Penny and Lou, along with their triplet sons, Spike, Bucky and Quillo; and opossum Ozzie and his daughter Heather. The animals are scared, as the development had been built during their hibernation and they fear they will be unable to forage for food in the small glade. RJ shows them the amount of food humans consume and waste and suggests they forage from the humans. Verne is hesitant but the other animals acquiesce. They make bold attempts to steal food directly from the humans, with RJ secretly guiding them to help collect the food he needs to replace Vincent's stash.

text: When the animals raid the trash cans of the homeowners-association chairwoman Gladys Sharp, she calls an animal exterminator named Dwayne LaFontant, who offers to install in her backyard an illegal, lethal trap called the "Depelter Turbo". Verne sees this and tries to warn the others, but RJ insists they will be okay. Fearing for the safety of the pack, Verne attempts to return what they stole; he and RJ argue, causing a small rampage through the development and destroying the stash RJ had collected for Vincent. After a brief argument, RJ and Verne make up and RJ rallies the others to raid Gladys' home directly on the night before a large party. With Stella disguised as a cat to distract Gladys' own cat, Tiger, the others enter Gladys' home and collect all the food. RJ inadvertently reveals his duplicity to the animals, just as they are discovered by Gladys who calls Dwayne. RJ escapes with the food for Vincent but leaves the other animals to be captured by Dwayne.

text: As RJ returns the food to Vincent, he sees Dwayne's truck drive by and, consumed by remorse, uses the food to knock the truck off the road, enraging Vincent. Dwayne is knocked out while the animals get free, and Spike, Bucky and Quillo use skills they learned from a videogame to drive the truck back to the development. RJ pleads to be let in the truck as Vincent tries to catch him, but the others, angry at his treachery, refuse. Verne convinces the group to forgive RJ since he came back to save them. They return the truck to the development, crashing through Gladys' home, and the animals flee into the hedge. Gladys and Dwayne converge on the animals from one side with a String trimmer and a Cattle prod respectively, while Vincent tries to swipe at them from the other. To escape, RJ gives Hammy a caffeinated beverage, allowing the hyperactive squirrel to move incredibly fast. Hammy is able to manipulate Dwayne into capturing Vincent, causing Vincent, Gladys, and Dwayne to be trapped by the Depelter Turbo while the animals escape. The police and animal control arrive, and Vincent is sent to the Rocky Mountains while Gladys is arrested for using the Depelter Turbo. Dwayne escapes when Gladys gets arrested only to get bitten by Nugent.

text: RJ and Verne apologize to each other, and RJ is brought into the group, as is Tiger, who became infatuated with Stella even after learning she was a skunk. Verne realizes they have not had a chance to forage for food until Hammy reveals that while sped up, he had been able to collect enough nuts for them all to last the year.

text: Cast[edit]

text:
Bruce Willis as RJ, a raccoon who is funny, amazing, and extremely intelligent. Despite his hard outer shell, he is revealed to have a sensitive personality, developing feelings of guilt over using his new-found companions to his own ends.
Garry Shandling as Verne, a naturally cynical ornate box turtle, the leader of the foragers. He has his own ways of doing the daily tasks, but his world is turned upside-down when RJ introduces his free-spirited lifestyle into the mix. Though Verne genuinely cares for his family, he tends to condescend to them. A couple of running gags throughout the film are everyone calling him an amphibian and him correcting them with reptile (though Dwayne already knew he was a reptile, but first mistook him as an amphibian), as well as his shell constantly falling off.
Steve Carell as Hammy, a hyperactive American red squirrel, whose mouth moves as fast as his feet and loves cookies. He is naïve and childish in nature, with an extremely short attention span. The double entendre of Hammy's constantly trying to find his nuts is a third running gag in the film.
Wanda Sykes as Stella, a short-tempered, sassy striped skunk who is constantly being told by the other foragers that she needs a man in her life.
Eugene Levy as Lou, a North American porcupine father and family patriarch with an overly friendly and optimistic attitude.
Catherine O'Hara as Penny, the porcupine family mother and matriarch; she serves as a ground between their family and the other animals.
Shane Baumel, Sami Kirkpatrick, and Madison Davenport as Spike, Bucky and Quillo, Lou and Penny′s three identical children. They're big on video games and are the most enthusiastic about exploring the world beyond the hedge.

text:
William Shatner and Avril Lavigne as Ozzie and Heather, a Virginia opossum father and daughter who see the world from different points of view; Ozzie often embarrasses Heather when he feigns death to get away from danger.
Omid Djalili as Tiger, a Persian cat whose sense of smell has faded to nothing after years of his "beautiful" evolution, and his full Persian name is "Prince Tigerius Mahmoud Shabazz."[6] He falls in love with Stella, who's disguised as a cat for distracting him while the group steals food from Gladys' house, and comes to live with her at the end of the film.
Nick Nolte as Vincent, an American black bear whom RJ owes food and whose barbaric behavior intimidates him. He used to be friends with RJ until he had tried to steal his food and then losing it in traffic. He makes a cameo in Bee Movie.[7]
Allison Janney as Gladys Sharp, a human and president of the Camelot Estates Home Owners Association. She is disgusted by animals and is strict on H.O.A. rules. At the end, Gladys is arrested for using an illegal animal trap called a Depelter Turbo.
Thomas Haden Church as Dwayne LaFontant,[8][9] an over-zealous human pest exterminator hired by Gladys. He is often fooled by plastic garden flamingos, but has an innate sense of the animals surrounding him by sniffing and then killing them. Through this, he can detect the species of any animal that has recently been in the area. He spoofs the Terminator.
Brian Stepanek as Nugent, a playful Rottweiler whose only intelligible word is "Play!", other than barking.

text: Two minor human characters, appearing during the dog chase scene, were voiced by Lee Bienstock and Sean Yazbeck, two participants on The Apprentice 5 as part of a reward for winning a task.[10]

text: In July 2002, Jim Carrey announced he would co-star with Shandling in Over the Hedge.[11] In October 2004, however, he left the project and was replaced with Willis.[12]

text: Reception [edit]

text: Box office[edit]

text: On opening weekend, the film was in second place to The DaVinci Code,[13] but its gross of $38,457,003 did not quite live up to DreamWorks Animation's other titles released over the past few years.[14] The film had a per-theater average of $9,474 from 4,059 theaters.[14] In its second weekend, the film dropped 30% to $27,063,774 for a $6,612 average from an expanded 4,093 theaters and finishing third,[14] behind X-Men: The Last Stand and The DaVinci Code.[15] Since it was Memorial Day Weekend, the film grossed a total of $35,322,115 over the four-day weekend, resulting in only an 8% slide.[16] In its third weekend, the film held well with a 24% drop to $20,647,284 and once again placing in third behind The Break-Up and X-Men: The Last Stand, for a $5,170 average from 3,993 theaters.[17] The film closed on September 4, 2006 after 112 days of release, grossing $155,019,340 in the United States and Canada, along with $180,983,656 overseas for a worldwide total of $336,002,996.[4] Produced on an $80 million budget,[3] the film was a commercial success.

text: Critical response[edit]

text: On the film-critics aggregator Rotten Tomatoes, the film has received 75% positive reviews, based on 168 reviews with an average of  6.8/10. The site's consensus states: "Even if it's not an animation classic, Over the Hedge is clever and fun, and the jokes cater to family members of all ages."[18] On another aggregator, Metacritic, the film has a rating of 67/100, indicating "generally favorable."[19] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[20]

text: Critic Frank Lovece of Film Journal International found that, "DreamWorks' slapstick animated adaptation of the philosophically satiric comic strip ... is a lot of laughs and boasts a much tighter story than most animated features." Ken Fox of TVGuide.com called it "a sly satire of American 'enough is never enough' consumerism and blind progress at the expense of the environment. It's also very funny, and the little woodland critters that make up the cast are a kiddie-pleasing bunch".[21]

text: Accolades[edit]

text:
Awards

Award

Category

Recipients and nominees

Outcome

Annie Awards

Best Animated Feature[22]

Nominated

Character Animation in a Feature Production

Kristof Serrand

Nominated

Character Design in a Feature Production

Nicolas Marlet

Won

Directing in a Feature Production

Tim Johnson & Karey Kirkpatrick

Won

Production Design in a Feature Production

Paul Shardlow

Nominated

Storyboarding in a Feature Production

Thom Enriquez

Nominated

Gary Graham

Won

Voice Acting in a Feature Production

Wanda Sykes

Nominated

Critics' Choice Awards

Best Animated Feature[23]

Nominated

Kids' Choice Awards

Animated Movie

Nominated

Voice From an Animated Movie[24]

Bruce Willis

Nominated

Online Film Critics Society Awards

Best Animated FIlm[25]

Nominated

People's Choice Awards

Favorite Family Movie[26]

Nominated

Saturn Awards

Best Animated Film[27]

Nominated

Toronto Film Critics Association Awards

Best Animated Film[28]

Nominated

tag: table

text: Release[edit]

text: The film was screened as a "work-in-progress" on April 29, 2006, at the Indianapolis International Film Festival,[29] and it premiered on April 30, 2006, in Los Angeles.[2] Nick Nolte, Bruce Willis, Avril Lavigne, Garry Shandling, Wanda Sykes, Catherine O'Hara and Steve Carell attended the premiere.[2] The film was theatrically released in the United States on May 19, 2006.[30] In select New York and Los Angeles theatres, it was accompanied by a DreamWorks Animation's animated short film First Flight.[30] The film was also screened out of competition on May 21, 2006, at the Cannes Film Festival.[31][32]

text: Home media [edit]

text: Over the Hedge was released on DVD by DreamWorks Animation's newly formed home entertainment division and Paramount Home Entertainment on October 17, 2006.[33] A short film based on Over the Hedge, titled Hammy's Boomerang Adventure, was released with the DVD.

text: Soundtrack[edit]

text: The soundtrack for the film was released on May 16, 2006 by Epic Records. Rupert Gregson-Williams composed the original score, while Ben Folds contributed three original songs, along with a rewrite of his song "Rockin' the Suburbs" and a cover of The Clash's  "Lost in the Supermarket."[34]

text:
Over the Hedge: Music from the Motion PictureSoundtrack album by Various ArtistsReleased
May 16, 2006Length
48:45Label

Epic
Sony Music Soundtrax
Producer
Hans Zimmer[34]

text: Track list:

text: No.TitleArtistLength1."Family of Me"Ben Folds1:282."RJ Enters the Cave"Rupert Gregson-Williams4:373."The Family Awakes"Rupert Gregson-Williams2:334."Heist"Ben Folds3:025."Lost in the Supermarket"Ben Folds (Originally by The Clash)3:306."Let's Call It Steve"Rupert Gregson-Williams3:407."Hammy Time"Michael Whitlock2:288."Still"Ben Folds2:389."Play?"Rupert Gregson-Williams1:4910."Rockin' the Suburbs"Ben Folds (Featuring a speaking part by William Shatner)4:5711."The Inside Heist"Rupert Gregson-Williams7:3812."RJ Rescues His Family"Rupert Gregson-Williams4:1813."Still (Reprise)"Ben Folds6:07Total length:48:45

text: Video games[edit]

text: A video game based on the film was released on May 9, 2006. Developed by Edge of Reality, Beenox and Vicarious Visions it was published by Activision for PlayStation 2, Microsoft Windows, Xbox, GameCube, Nintendo DS and Game Boy Advance.[35] Three different versions of Over the Hedge: Hammy Goes Nuts! were released by Activision in the fall of 2006: a miniature golf game for Game Boy Advance, an action adventure game for Nintendo DS, and a platform game for PlayStation Portable.[36]

text: Notes[edit]

text: ^  In July 2014, the film's distribution rights were purchased by DreamWorks Animation from Paramount Pictures[37] and transferred to 20th Century Fox before reverting to Universal Studios in 2018.

tag: ol


document_title: List of Green Bay Packers seasons

question_text: when was the last time the packers did not go to the playoffs

text: List of Green Bay Packers seasons

text: This article is a compilation of the list of seasons completed by the Green Bay Packers American football franchise of the National Football League (NFL). The list documents the season-by-season records of the Packers' franchise from 1919 to the present, including postseason records, and league awards for individual players or head coaches. The Packers franchise was founded in 1919 by Curly Lambeau, and played two seasons of competitive football against teams around Wisconsin and Michigan before entering the NFL.

text: The Green Bay Packers have played over 1,300 games in a total of 98 seasons, 96 of which were in the NFL. In those games, the club won 13 professional American football championships including nine NFL Championships and four Super Bowls—the most in the NFL. The franchise captured 18 NFL divisional titles and eight NFL conference championships, and recorded the second most regular season (664) and overall victories (693) of any NFL franchise, behind the Chicago Bears.

text: The franchise has experienced three major periods of continued success in their history. The first period of success came from 1929–1944, when the Packers were named NFL Champions six times. This period saw the Packers become the first dynasty of American football(1929–1931). The second period of success was between 1960–1967, where the Packers won five NFL Championships and the first two Super Bowls. The Packers also won three consecutive NFL Championships for the second time in franchise history (1965–1967). The most recent period of success ranges from 1993–present, where the franchise has reached the playoffs 17 times, including three Super Bowl appearances, winning two in 1996 and 2010.

text: The Packers have also experienced extended periods of failure in their history. The two most notable times of failure were from 1945–1958, where the franchise never placed higher than 3rd place and recorded the worst record of any Packers team, going 1–10–1 in 1958. The second period of failure occurred between 1968–1991, where the club only went to the playoffs twice, and recorded only six winning seasons.

text: Key[edit]

text:
NFL champions (1920–1966)

  Super Bowl champions (1967–present)

  Conference champions

  Division champions

  Wild card berth

  One-game playoff berth

text: Season-by-season records[edit]

text:
NFL champions (1920–1969)
Super Bowl champions (1970–present)
Conference champions
Division champions
Wild card berth
One-game playoff berth

text:
Season
Team
League
Conference
Division
Regular season[a]
Postseason results
Awards[b][c]

Finish
Wins
Losses
Ties

1919[a]
1919
--

--
10
1
0

1920[a]
1920
--

--
9
1
1

1921
1921
APFA

6th
3
2
1
The NFL did not hold playoff games until 1932

1922
1922
NFL

7th
4
3
3

1923
1923
NFL

3rd
7
2
1

1924
1924
NFL

6th
7
4
0

1925
1925
NFL

9th
8
5
0

1926
1926
NFL

5th
7
3
3

1927
1927
NFL

3rd
7
2
1

1928
1928
NFL

4th
6
4
3

1929
1929
NFL

1st
12
0
1
Named NFL Champions (1)[b]

1930
1930
NFL

1st
10
3
1
Named NFL Champions (2)[b]

1931
1931
NFL

1st
12
2
0
Named NFL Champions (3)[b][c]

1932
1932
NFL

2nd
10
3
1

1933
1933
NFL

West
3rd
5
7
1

1934
1934
NFL

West
3rd
7
6
0

1935
1935
NFL

West
2nd
8
4
0

1936
1936
NFL

West
1st
10
1
1
Won NFL Championship (4) (Redskins) 21–6[d]

1937
1937
NFL

West
2nd
7
4
0

1938
1938
NFL

West
1st
8
3
0
Lost NFL Championship (Giants) 23–17

1939
1939
NFL

West
1st
9
2
0
Won NFL Championship (5) (Giants) 27–0

1940
1940
NFL

West
2nd
6
4
1

1941
1941
NFL

West
1st
10
1
0
Lost Western Divisional Playoff (Bears) 33–14
Don Hutson (MVP)

1942
1942
NFL

West
2nd
8
2
1

Don Hutson (MVP)

1943
1943
NFL

West
2nd
7
2
1

1944
1944
NFL

West
1st
8
2
0
Won NFL Championship (6) (Giants) 14–7

1945
1945
NFL

West
3rd
6
4
0

1946
1946
NFL

West
3rd
6
5
0

1947
1947
NFL

West
3rd
6
5
1

1948
1948
NFL

West
4th
3
9
0

1949
1949
NFL

West
5th
2
10
0

1950
1950
NFL
National

5th
3
9
0

1951
1951
NFL
National

5th
3
9
0

1952
1952
NFL
National

4th
6
6
0

1953
1953
NFL
Western

6th
2
9
1

1954
1954
NFL
Western

5th
4
8
0

1955
1955
NFL
Western

3rd
6
6
0

1956
1956
NFL
Western

5th
4
8
0

1957
1957
NFL
Western

6th
3
9
0

1958
1958
NFL
Western

6th
1
10
1

1959
1959
NFL
Western

3rd
7
5
0

Vince Lombardi (COY)

1960
1960
NFL
Western

1st
8
4
0
Lost NFL Championship (Eagles) 17–13

1961
1961
NFL
Western

1st
11
3
0
Won NFL Championship (7) (Giants) 37–0
Paul Hornung (MVP)

1962
1962
NFL
Western

1st
13
1
0
Won NFL Championship (8) (Giants) 16–7
Jim Taylor (MVP)

1963
1963
NFL
Western

2nd
11
2
1

1964
1964
NFL
Western

2nd
8
5
1

1965
1965
NFL
Western

1st
10
3
1
Won Western Conference Playoff (Colts) 13–10 (OT)
Won NFL Championship (9) (Browns) 23–12

1966
1966
NFL
Western

1st
12
2
0
Won NFL Championship (Cowboys) 34–27
Won Super Bowl I (10) (Chiefs) 35–10[e]
Bart Starr (MVP, SB MVP)

1967[f]
1967
NFL
Western
Central
1st
9
4
1
Won Conference Playoffs (Rams) 28–7
Won NFL Championship (Cowboys) 21–17
Won Super Bowl II (11) (Raiders) 33–14[g]
Bart Starr (SB MVP)

1968
1968
NFL
Western
Central
3rd
6
7
1

1969
1969
NFL
Western
Central
3rd
8
6
0

1970
1970
NFL
NFC
Central[h]
3rd
6
8
0

1971
1971
NFL
NFC
Central
4th
4
8
2

John Brockington (OROY)

1972
1972
NFL
NFC
Central
1st
10
4
0
Lost Divisional Playoffs (Redskins) 16–3
Willie Buchanon (DROY)

1973
1973
NFL
NFC
Central
3rd
5
7
2

1974
1974
NFL
NFC
Central
3rd
6
8
0

1975
1975
NFL
NFC
Central
3rd
4
10
0

1976
1976
NFL
NFC
Central
4th
5
9
0

1977
1977
NFL
NFC
Central
4th
4
10
0

1978
1978
NFL
NFC
Central
2nd
8
7
1

1979
1979
NFL
NFC
Central
4th
5
11
0

1980
1980
NFL
NFC
Central
4th
5
10
1

1981
1981
NFL
NFC
Central
2nd
8
8
0

1982[i]
1982
NFL
NFC

3rd
5
3
1
Won First-round Playoffs (Cardinals) 41–16
Lost Second-round Playoffs (Cowboys) 37–26

1983
1983
NFL
NFC
Central
2nd
8
8
0

1984
1984
NFL
NFC
Central
2nd
8
8
0

1985
1985
NFL
NFC
Central
2nd
8
8
0

1986
1986
NFL
NFC
Central
4th
4
12
0

1987j
1987
NFL
NFC
Central
3rd
5
9
1

1988
1988
NFL
NFC
Central
5th
4
12
0

1989
1989
NFL
NFC
Central
2nd
10
6
0

Lindy Infante (COY)

1990
1990
NFL
NFC
Central
4th
6
10
0

1991
1991
NFL
NFC
Central
4th
4
12
0

1992
1992
NFL
NFC
Central
2nd
9
7
0

1993
1993
NFL
NFC
Central
2nd
9
7
0
Won Wild Card Playoffs (Lions) 28–24
Lost Divisional Playoffs (Cowboys) 27–17

1994
1994
NFL
NFC
Central
2nd
9
7
0
Won Wild Card Playoffs (Lions) 16–12
Lost Divisional Playoffs (Cowboys) 35–9

1995
1995
NFL
NFC
Central
1st
11
5
0
Won Wild Card Playoffs (Falcons) 37–20
Won Divisional Playoffs (49ers) 27–17
Lost Conference Championship (Cowboys) 38–27
Brett Favre (MVP, OPOY)

1996
1996
NFL
NFC
Central
1st
13
3
0
Won Divisional Playoffs (49ers) 35–14[k]
Won Conference Championship (Panthers) 30–13
Won Super Bowl XXXI (12) (Patriots) 35–21
Brett Favre (MVP)
Desmond Howard (SB MVP)

1997
1997
NFL
NFC
Central
1st
13
3
0
Won Divisional Playoffs (Buccaneers) 21–7
Won Conference Championship (49ers) 23–10
Lost Super Bowl XXXII (Broncos) 31–24[l]
Brett Favre (MVP)[m]

1998
1998
NFL
NFC
Central
2nd
11
5
0
Lost Wild Card Playoffs (49ers) 30–27
Reggie White (DPOY)

1999
1999
NFL
NFC
Central
4th
8
8
0

2000
2000
NFL
NFC
Central
3rd
9
7
0

2001
2001
NFL
NFC
Central
2nd
12
4
0
Won Wild Card Playoffs (49ers) 25–15
Lost Divisional Playoffs (Rams) 45–17

2002
2002
NFL
NFC
North
1st
12
4
0
Lost Wild Card Playoffs (Falcons) 27–7

2003
2003
NFL
NFC
North
1st
10
6
0
Won Wild Card Playoffs (Seahawks) 33–27 (OT)
Lost Divisional Playoffs (Eagles) 20–17 (OT)

2004
2004
NFL
NFC
North
1st
10
6
0
Lost Wild Card Playoffs (Vikings) 31–17

2005
2005
NFL
NFC
North
4th
4
12
0

2006
2006
NFL
NFC
North
2nd
8
8
0

2007
2007
NFL
NFC
North
1st
13
3
0
Won Divisional Playoffs (Seahawks) 42–20
Lost Conference Championship (Giants) 23–20 (OT)

2008
2008
NFL
NFC
North
3rd
6
10
0

2009
2009
NFL
NFC
North
2nd
11
5
0
Lost Wild Card Playoffs (Cardinals) 51–45 (OT)
Charles Woodson (DPOY)

2010
2010
NFL
NFC
North
2nd
10
6
0
Won Wild Card Playoffs (Eagles) 21–16
Won Divisional Playoffs (Falcons) 48–21
Won Conference Championship (Bears) 21–14
Won Super Bowl XLV (13) (Steelers) 31–25
Aaron Rodgers (SB MVP)

2011
2011
NFL
NFC
North
1st
15
1
0
Lost Divisional Playoffs (Giants) 37–20
Aaron Rodgers (MVP)

2012
2012
NFL
NFC
North
1st
11
5
0
Won Wild Card Playoffs (Vikings) 24–10
Lost Divisional Playoffs (49ers) 45–31

2013
2013
NFL
NFC
North
1st
8
7
1
Lost Wild Card Playoffs (49ers) 23–20
Eddie Lacy (OROY)

2014
2014
NFL
NFC
North
1st
12
4
0
Won Divisional Playoffs (Cowboys) 26–21
Lost Conference Championship (Seahawks) 28–22 (OT)
Aaron Rodgers (MVP)

2015
2015
NFL
NFC
North
2nd
10
6
0
Won Wild Card Playoffs (Redskins) 35–18
Lost Divisional Playoffs (Cardinals) 26–20 (OT)

2016
2016
NFL
NFC
North
1st
10
6
0
Won Wild Card Playoffs (Giants) 38–13
Won Divisional Playoffs (Cowboys) 34–31
Lost Conference Championship (Falcons) 44–21
Jordy Nelson (CBPOY)

2017
2017
NFL
NFC
North
3rd
7
9
0

text: All-time records[edit]

text:
Total
737
562
37
.551
(1921–2017, includes only regular season)[n]

34
22
0
.607
(1921–2017, includes only playoffs)[n]

771
584
37
.553
(1921–2017, includes both regular season and playoffs; 13 NFL Championships)[n]

text: Footnotes[edit]

text:
a The Packers did not compete in a professional league until 1921.
b The team with the best record at the end of the season was named the NFL Champion.
c This marked the first ever "three-peat," where a team wins three consecutive NFL championships. The Packers are still the only team to achieve this.
d The score of the playoff game is in parenthesis with the Packers score first no matter of the outcome.
e Even though this is the franchise's first Super Bowl victory, it is their 10th league championship hence the number 10 after the Super Bowl I line.
f The 1967 NFL season marks the first season in the league's history where the league was divided into two conferences which were subdivided into two divisions. Up to 1967, the league was either divided into two divisions, two conferences, or neither.
g This marked the second time that the Packers have achieved three consecutive NFL Championships.
h As a result of the NFL-AFL Merger, the league was broken into two Conferences, with the NFC adopting the name "NFC Central Division" for the division the Packers were in, which became the "North Division" in 2002. This is different from the NFL Central Division, which only lasted from 1967–1969.
i 1982 was a strike-shorten season so the league was divided up into two conferences instead of its normal divisional alignment.
j The strike of 1987 reduced the regular season schedule from 16 to 15 games.
k This game is known as the Mud Bowl.
l This marked the first Super Bowl loss for the Packers and the first loss in a championship game since 1960.
m This marked the first time any player has ever won three AP NFL MVPs, and the only time a player has won three consecutive MVP awards.
n The NFL does not count any seasons played outside of their league in their official records. If the 1919 and 1920 season were counted, the Packers would have 19 more wins, 2 more losses, and 1 more tie in their total results.


document_title: Transduction (physiology)

question_text: where are sound vibrations converted into action potentials

text: Transduction (physiology)

text: Transduction and the senses[edit]

text: The visual system[edit]

text: In the visual system, sensory cells called rod and cone cells in the retina convert the physical energy of light signals into electrical impulses that travel to the brain. The light causes a conformational change in a protein called rhodopsin. This conformational change sets in motion a series of molecular events that result in a reduction of the electrochemical gradient of the photoreceptor. The decrease in the electrochemical gradient causes a reduction in the electrical signals going to the brain. Thus, in this example, more light hitting the photoreceptor results in the transduction of a signal into fewer electrical impulses, effectively communicating that stimulus to the brain. A change in neurotransmitter release is mediated through a second messenger system. Note that the change in neurotransmitter release is by rods. Because of the change, a change in light intensity causes the response of the rods to be much slower than expected (for a process associated with the nervous system).[2]

text: The auditory system[edit]

text: In the auditory system, sound vibrations (mechanical energy) are transduced into electrical energy by hair cells in the inner ear. Sound vibrations from an object cause vibrations in air molecules, which in turn, vibrate your ear drum. The movement of the eardrum causes the bones of your middle ear (the ossicles) to vibrate. These vibrations then pass in to the cochlea, the organ of hearing. Within the cochlea, the hair cells on the sensory epithelium of the organ of Corti bend and cause movement of the basilar membrane. The membrane undulates in different sized waves according to the frequency of the sound. Hair cells are then able to convert this movement (mechanical energy) into electrical signals (graded receptor potentials) which travel along auditory nerves to hearing centres in the brain.[3]

text: The olfactory system[edit]

text: In the olfactory system, odorant molecules in the mucus bind to G-protein receptors on olfactory cells. The G-protein activates a downstream signalling cascade that causes increased level of cyclic-AMP (cAMP), which trigger neurotransmitter release.[4]

text: The gustatory system[edit]

text: In the gustatory system, our perception of five primary taste qualities (sweet, salty, sour, bitter and umami [savoriness] ) depends on taste transduction pathways, through taste receptor cells, G proteins, ion channels, and effector enzymes.[5]

text: The somatosensory system[edit]

text: In the somatosensory system the sensory transduction mainly involves the conversion of the mechanical signal such as pressure, skin compression, stretch, vibration to electro-ionic impulses through the process of mechanotransduction.[6] It also includes the sensory transduction related to thermoception and nociception.


document_title: List of Star Trek composers and music

question_text: who composed the star trek next generation theme

text: List of Star Trek composers and music

text: Composers[edit]

text: The following individuals wrote movie scores, theme music, or incidental music for several episodes and/or installments of the Star Trek franchise.

text:
Composer
Movie score
Series theme
Incidental music

Paul Baillargeon

Deep Space Nine, Voyager, Enterprise

David Bell

Deep Space Nine, Voyager, Enterprise

Velton Ray Bunch

Enterprise

Jay Chattaway

The Next Generation, Deep Space Nine, Voyager, Enterprise

Alexander Courage

Star Trek: The Original Series
The Original Series

George Duning

The Original Series

Cliff Eidelman
Star Trek VI: The Undiscovered Country

Gerald Fried

The Original Series, including the famous "Star Trek fight music" introduced in the episode "Amok Time"[1][2]

Michael Giacchino
Star Trek
Star Trek Into Darkness
Star Trek Beyond

Jerry Goldsmith
Star Trek: The Motion Picture
Star Trek V: The Final Frontier
Star Trek: First Contact (with son Joel)
Star Trek: Insurrection
Star Trek: Nemesis
The Next Generation
Voyager

James Horner
Star Trek II: The Wrath of Khan
Star Trek III: The Search for Spock

Ron Jones

The Next Generation

Sol Kaplan

The Original Series, including the well-regarded score for the episode "The Doomsday Machine".

Dennis McCarthy
Star Trek Generations
Deep Space Nine
The Next Generation, Deep Space Nine, Voyager, Enterprise

Leonard Rosenman
Star Trek IV: The Voyage Home

Fred Steiner

The Original Series, The Next Generation (episode "Code of Honor")

Diane Warren

Enterprise

text: Other notable composers who contributed music to at least one episode include Don Davis, John Debney, Jerry Fielding, Brian Tyler, and George Romanis.

text: Film soundtracks overview[edit]

text:
Number
Film
Release date
Composer(s)
Soundtrack
Series

1
Star Trek: The Motion Picture
December 7, 1979
Jerry Goldsmith
Soundtrack
The Original Series

2
Star Trek II: The Wrath of Khan
June 4, 1982
James Horner
Soundtrack

3
Star Trek III: The Search for Spock
June 1, 1984
Soundtrack

4
Star Trek IV: The Voyage Home
November 26, 1986
Leonard Rosenman
Soundtrack

5
Star Trek V: The Final Frontier
June 9, 1989
Jerry Goldsmith
Soundtrack

6
Star Trek VI: The Undiscovered Country
December 6, 1991
Cliff Eidelman
Soundtrack

7
Star Trek Generations
November 18, 1994
Dennis McCarthy
Soundtrack
The Next Generation

8
Star Trek: First Contact
November 22, 1996
Jerry Goldsmith
Joel Goldsmith
Soundtrack

9
Star Trek: Insurrection
December 11, 1998
Jerry Goldsmith
Soundtrack

10
Star Trek: Nemesis
December 13, 2002
Soundtrack

11
Star Trek
May 8, 2009
Michael Giacchino
Soundtrack
Reboot cast

12
Star Trek Into Darkness
May 16, 2013
Soundtrack

13
Star Trek Beyond
July 22, 2016
Soundtrack

text: The Original Series[edit]

text: Star Trek: The Motion Picture (1979)[edit]

text: The score for Star Trek: The Motion Picture was written by Jerry Goldsmith, who would later compose the scores Star Trek V: The Final Frontier, Star Trek: First Contact, Star Trek: Insurrection, and Star Trek: Nemesis, as well as the themes to the television series Star Trek: The Next Generation and Star Trek: Voyager.[3][4] Gene Roddenberry had originally wanted Goldsmith to score Star Trek's pilot episode, "The Cage", but the composer was unavailable.[5] When Robert Wise signed on to direct the film, Paramount asked the director if he had any objection to using Goldsmith. Wise, who had worked with the composer for The Sand Pebbles, replied "Hell, no. He's great!" Wise would later consider his work with Goldsmith one of the best relationships he ever had with a composer.[6]

text: Goldsmith was influenced by the style of the romantic, sweeping music of Star Wars. "When you stop and think about it, space is a very romantic thought. It is, to me, like the Old West, we’re up in the universe. It’s about discovery and new life [...] it’s really the basic premise of Star Trek," he said. Goldsmith's initial bombastic main theme reminded Ramsay and Wise of sailing ships. Unable to articulate what he felt was wrong with the piece, Wise recommended writing an entirely different piece. Although irked by the rejection, Goldsmith consented to re-work his initial ideas.[5] The rewriting of the theme required changes to several sequences Goldsmith had scored without writing a main title piece. The approach of Kirk and Scott to the drydocked Enterprise by shuttle lasted a ponderous five minutes due to the effect shots coming in late and unedited, requiring Goldsmith to maintain interest with a revised and developed cue.[7] :88 Star Trek: The Motion Picture is the only Star Trek film to have a true overture, using "Ilia's Theme" in this role. Star Trek and The Black Hole would be the only feature films to use an overture from the end of 1979 until the year 2000 (with the movie Dancer in the Dark).[8]

text: Much of the recording equipment used to create the movie's intricately complicated sound effects was, at the time, extremely cutting edge. Among these pieces of equipment was the ADS (Advanced Digital Synthesizer) 11, manufactured by Pasadena, California custom synthesizer manufacturer Con Brio, Inc. The movie provided major publicity and was used to advertise the synthesizer, though no price was given.[9] The film's soundtrack also provided a debut for the Blaster Beam, an electronic instrument 12 to 15 feet (3.7 to 4.6 m) long.[10][11] It was created by musician Craig Huxley, who played a small role in two episodes of the original television series.[7]:89[12] The Blaster had steel wires connected to amplifiers fitted to the main piece of aluminum; the device was played with an artillery shell. Goldsmith heard it and immediately decided to use it for V'ger's cues.[5] An enormous pipe organ first plays the V'ger theme on the Enterprise's approach, a literal indication of the machine's power.[7]:89

text: Goldsmith scored The Motion Picture over a period of three to four months, a relatively relaxed schedule compared to typical production, but time pressures resulted in Goldsmith bringing on colleagues to assist in the work. Alexander Courage, composer of the original Star Trek theme, provided arrangements to accompany Kirk's log entries, while Fred Steiner wrote the music to accompany the Enterprise achieving warp speed and first meeting V'ger.[7]:90 The rush to finish the rest of the film impacted the score.[7]:89 The final recording session finished at 2:00am on December 1,[5] only five days before the film's release.[13]

text: A soundtrack featuring the film's music was released in 1979 together with the film debut, and was one of Goldsmith's best-selling scores.[7]:90 Sony's Legacy Recordings released an expanded two-disc edition of the soundtrack on November 10, 1998. The album added an additional 21 minutes of music to supplement the original track list, and was resequenced to reflect the story line of the film. The first disc features the expanded score, while the sequence disc contains "Inside Star Trek", a spoken word documentary.[14] In 2012, La-La Land Records released a comprehensive 3 CD special edition which includes the complete score along with alternates and outtakes remastered from restored original 16 track masters, the original digital album master, and popular cover versions of the film's love theme.

text: Star Trek II: The Wrath of Khan (1982)[edit]

text: While Jerry Goldsmith had composed the music for The Motion Picture, he was not an option for The Wrath of Khan due to a budget reduction; director Nicholas Meyer's composer for Time After Time, Miklós Rózsa, was likewise prohibitively expensive.[7]:105 Meyer and producer Harve Bennett wanted the music for the sequel to go in a different direction, but had not decided on a composer by the time filming began. Initially Meyer hoped to hire an associate named John Morgan, but Morgan lacked film experience, which would have troubled the studio.[7]:5

text: Paramount's vice-president of music Joel Sill took a liking to a 28-year-old composer named James Horner, feeling that his demo tapes stood out from generic film music.[7]:6 Horner was introduced to Bennett, Meyer and Salin.[15] Horner said that "[The producers] did not want the kind of score they had gotten before. They did not want a John Williams score, per se. They wanted something different, more modern."[16] When asked about how he landed the assignment, the composer replied that "the producers loved my work for Wolfen, and had heard my music for several other projects, and I think, so far as I've been told, they liked my versatility very much. I wanted the assignment, and I met with them, we all got along well, they were impressed with my music, and that's how it happened."[17] Horner agreed with the producers' expectations and agreed to begin work in mid-January 1982.[15]

text: In keeping with the nautical tone, Meyer wanted music evocative of seafaring and swashbuckling, and the director and composer worked together closely, becoming friends in the process.[7]:6 As a classical music fan, Meyer was able to describe the effects and sounds he wanted in the music.[16] While Horner's style was described as "echoing both the bombastic and elegiac elements of John Williams' Star Wars and Jerry Goldsmith's original Star Trek (The Motion Picture) scores,"[18] Horner was expressly told not to use any of Goldsmith's score. Instead Horner adapted the opening fanfare of Alexander Courage's Star Trek television theme. "The fanfare draws you in immediately—you know you're going to get a good movie," Horner said.[7]:9

text: In comparison to the flowing main theme, Khan's leitmotif was designed as a percussive texture that could be overlaid with other music and emphasized the character's insanity.[19] The seven-note brass theme was echoplexed to emphasize the character's ruminations about the past while on Ceti Alpha V, but does not play fully until Reliant's attack on the Enterprise. Many elements drew from Horner's previous work (a rhythm that accompanies Khan's theme during the surprise attack borrows from an attack theme from Wolfen, in turn influenced by Goldsmith's score for Alien. Musical moments from the original television series are also heard during investigation of the Regula space station and elsewhere.[7]:106–107

text: To Horner, the "stuff underneath" the main story was what needed to be addressed by the score; in The Wrath of Khan, this was the relationship between Kirk and Spock. The main theme serves as Kirk's theme, with a mellower section following that is the theme for the Starship Enterprise.[7]:8 Horner also wrote a motif for Spock, to emphasize the character's depth: "By putting a theme over Spock, it warms him and he becomes three-dimensional rather than a collection of schticks."[19] The difference in the short, French horn-based cues for the villain and longer melodies for the heroes helped to differentiate characters and ships during the battle sequences.[7]:9

text: The soundtrack was Horner's first major film score,[18] and was written in four and a half weeks. The resulting 72 minutes of music was then performed by a 91-piece orchestra.[16] Recording sessions took place April 12–15 at the Warner Brothers lot, The Burbank Studios.[7]:9 A pickup session was held on April 30 to record music for the Mutara nebula battle, while another session held on May 3 was used to cover the recently changed epilogue.[7]:10 Horner used synthesizers for ancillary effects; at the time, science-fiction films such as E.T. the Extra-Terrestrial and The Thing were eschewing the synthesizer in favor of more traditional orchestras.[20] Craig Huxley performed his invented instrument—the Blaster Beam—during recording, as well as composing and performing electronic music for the Genesis Project video.[7]:17 While most of the film was "locked in" by the time Horner had begun composing music, he had to change musical cue orchestration after the integration of special effects caused changes in scene durations.[16]

text: Star Trek III: The Search for Spock (1984)[edit]

text: Composer James Horner returned to score The Search for Spock, fulfilling a promise he had made to Bennett on The Wrath of Khan. Much like the content of the film, Horner's music was a direct continuation of the score he wrote for the previous film. When writing music for The Wrath of Khan, Horner was aware he would reuse certain cues for an impending sequel; two major themes he reworked were for Genesis and Spock. While the Genesis theme supplants the title music Horner wrote for The Wrath of Khan, the end credits were quoted "almost verbatim".[21]

text: In hours-long discussions with Bennett and Nimoy, Horner agreed with the director that the "romantic and more sensitive" cues were more important than the "bombastic" ones.[21] Horner had written Spock's theme to give the character more dimension: "By putting a theme over Spock, it warms him and he becomes three-dimensional rather than a collection of schticks," he said.[22] The theme was expanded in The Search for Spock to represent the ancient alien mysticism and culture of Spock and Vulcan.[21]

text: Among the new cues Horner wrote was a "percussive and atonal" theme for the Klingons which is represented heavily in the film.[21] Jeff Bond described the cue as a compromise between music from Horner's earlier film Wolfen, Khan's motif from The Wrath of Khan, and Jerry Goldsmith's Klingon music from The Motion Picture.[7]:113 Horner also adapted music from Sergei Prokofiev's Romeo and Juliet for part of the Enterprise theft sequence and its destruction, while the scoring to Spock's resurrection on Vulcan draws similarities to Horner's Brainstorm ending.[7]:114

text: Star Trek IV: The Voyage Home (1986)[edit]

text: James Horner, composer for The Wrath of Khan and The Search for Spock, declined to return for The Voyage Home. Because of this Nimoy turned to his friend Leonard Rosenman, who had written the music to, among other films, Fantastic Voyage, Ralph Bakshi's The Lord of the Rings, and three Planet of the Apes sequels.[7]:119[23] Rosenman wrote an arrangement of Alexander Courage's Star Trek television theme as the title music for The Voyage Home, but Nimoy suggested that he write his own instead. As music critic Jeff Bond writes, "The final result was one of the most unusual Star Trek movie themes," consisting of a six note theme and variations set against a repetitious four note brass motif; the theme's bridge is reminiscent of material in Rosenman's "Frodo March" for The Lord of the Rings.[7]:119 The melody makes appearances in the beginning of the film at Vulcan as well as when Taylor seeks Kirk's help finding her whales.[7]:120

text: The Earth-based setting of the filming gave Rosenman leeway to write a variety of music in different styles. Nimoy intended the crew's introduction to the streets of San Francisco to be accompanied by something reminiscent of George Gershwin, but Rosenman changed the director's mind[7]:131 and the scene was scored with a contemporary jazz fusion piece by Yellowjackets. When Chekov flees detention aboard the aircraft carrier, Rosenman wrote a bright cue that incorporated classical Russian compositions, while the escape from the hospital was done in a baroque style. More familiar Rosenman compositions included the action music as the Bird of Prey and a whaling ship face off in open water, while the whale's communication with the probe used atmospheric music reminiscent of the composer's work in Fantastic Voyage. After the probe leaves, the music turns into a Vivaldiesque "whale fugue". The first sighting of the Enterprise-A uses the Alexander Courage theme before the end title music.[7]:120

text: Mark Mangini served as The Voyage Home's sound designer. He described it as different from working on many other films because Nimoy appreciated the role of sound effects and made sure that they were prominent in the film. Since many sounds familiar to Star Trek had already been established—the Bird of Prey's cloaking device, the transporter beam, et al.—Mangini focused on making only small changes to them. The most important sounds were those created by the whales and the probe. Mangini's brother lived close to Roger Payne, a biologist who had many recordings of whale song. Mangini went through the tapes and chose sounds that could be mixed to suggest a sort of language and conversation. The probe's screeching calls were the whale song in distorted form. The humpback's communication with the probe at the climax of the film contained no dramatic music, meaning that Mangini's sounds had to stand alone. He recalled that he had some difficulty with envisioning how the scene would unfold, leading Bennett to perform a puppet show to explain. Nimoy and the other producers were unhappy with Mangini's attempts to create the probe's droning operating noise; after 18 attempts, the sound designer finally asked Nimoy what he thought the probe should sound like, and recorded Nimoy's response. Nimoy's voice was distorted with "just the tiniest bit of dressing" and used as the final sound.[24]

text: The punk music that blares during the bus scene was written by Thatcher after he learned that the audio to be added to the scene would be "Duran Duran, or whoever" and not "raw" and authentic punk.[25] Thatcher collaborated with Mangini and two sound editors (who were in punk bands) to create their own music. They decided that punk distilled down to the sentiment of "I hate you", and wrote a sound to match. Recording in the sound studio as originally planned produced too clean a sound, so they moved to the outside hallway and recorded the entire band in one take using cheap microphones to create the distorted sound intended.[26] The song was later used for Paramount's "Back to the Beach".[25]

text: Star Trek V: The Final Frontier (1989)[edit]

text: Music critic Jeff Bond wrote that Shatner made "at least two wise decisions" in making The Final Frontier; he chose Laurence Luckinbill to play the role of Sybok, and he hired Jerry Goldsmith to compose the film's score. Goldsmith had written the Academy Award-nominated score for Star Trek: The Motion Picture, and the new Trek film was an opportunity to craft music with a similar level of ambition while adding action and character—two elements largely missing from The Motion Picture.[7]:133

text: Goldsmith's main theme begins with the traditional opening notes from Alexander Courage's original television series theme; an ascending string and electronic bridge leads to a rendition of the march from The Motion Picture. According to Jeff Bond, Goldsmith's use of The Motion Picture's march led to some confusion among Star Trek: The Next Generation fans, as they were unfamiliar with the music's origins and believed that Goldsmith was stealing the theme to The Next Generation, which was itself The Motion Picture march.[7]:133 Another theme from The Motion Picture that makes a return appearance is the Klingon theme from the 1979 film's opening scene. Here, the theme is treated in what Bond termed a "Prokofiev-like style as opposed to the avant-garde counterpoint" as seen in The Motion Picture. Goldsmith also added a crying ram's horn.[7]:134

text: The breadth of The Final Frontier's locations led Goldsmith to eschew the two-themed approach of The Motion Picture in favor of leitmotifs, recurring music used for locations and characters. Sybok is introduced with a synthesized motif in the opening scene of the film, while when Kirk and Spock discuss him en route to Nimbus III it is rendered in a more mysterious fashion. The motif also appears in the action cue as Kirk and company land on Nimbus III and try to free the hostages.[7]:133 When Sybok boards the Enterprise, a new four-note motif played by low brass highlights the character's obsession. The Sybok theme from then on is used in either a benevolent sense or a more percussive, dark rendition. Arriving at Sha-ka-ree, the planet's five-note theme bears resemblance to Goldsmith's unicorn theme from Legend; "...the two melodies represent very similar ideas: lost innocence and the tragic impossibility of recapturing paradise," writes Bond. The music features cellos conveying a pious quality, while the appearance of "God" begins with string glissandos but turns to a dark rendition of Sybok's theme as its true nature is exposed.[7]:134 As the creature attacks Kirk, Spock and McCoy, the more aggressive Sybok theme takes on an attacking rhythm. When Spock appeals to the Klingons for help, the theme takes on a sensitive character before returning to a powerful sequence as the ship destroys the god-creature.[7]:135

text: Star Trek VI: The Undiscovered Country (1991)[edit]

text: Director Nicholas Meyer's original plan for the score of The Undiscovered Country was to adapt Gustav Holst's orchestral suite The Planets. The plan proved unfeasibly expensive, so Meyer began listening to demo tapes submitted by composers.[27] Meyer described most of the demos as generic "movie music", but was intrigued by one tape by a young composer named Cliff Eidelman. Eidelman, then 26, had made a career in composing for ballets, television, and film, but despite work on fourteen features, no film had been the hit needed to propel Eidelman to greater fame.[28]

text: In conversations with Eidelman, Meyer mentioned that since the marches that accompanied the main titles for other Star Trek films were so good, he had no desire to compete with them by composing a bombastic opening. He also felt that since the film was darker than its predecessors, it demanded something different musically as a result. He mentioned the opening to Igor Stravinsky's The Firebird as similar to the foreboding sound he wanted. Two days later Eidelman produced a tape of his idea for the main theme, played on a synthesizer. Meyer was impressed by the speed of the work and the close fit to his vision.[27] Meyer approached producer Steven Charles-Jaffe with Eidelman's CD, which reminded Jaffe of Bernard Herrmann; Eidelman was given the task of composing the score.[29]

text: Eidelman's previous project had been creating a compilation of music from the past five Star Trek films, and he consciously avoided taking inspiration from those scores. "[The compilation] showed me what to stay away from, because I couldn't do James Horner [composer for The Wrath of Khan and The Search for Spock] as well as James Horner," he said.[30] Since he was hired early on in production, Eidelman had an unusually long time to develop his ideas, and he was able to visit the sets during filming. While the film was in early production Eidelman worked on electronic drafts of the final score, to placate executives who were unsure about using a relatively unknown composer.[30]

text: Eidelman stated that he finds science fiction the most interesting and exciting genre to compose for, and that Meyer told him to treat the film as a fresh start, rather than drawing on old Star Trek themes.[29] Eidelman wanted the music to aid the visuals; for Rura Penthe, he strove to create an atmosphere that reflected the alien and dangerous setting, introducing exotic instruments for color. Besides using percussion from around the world, Eidelman treated the choir as percussion, with the Klingon language translation for "to be, or not to be" ("taH pagh, taHbe") being repeated in the background. Spock's theme was designed to be an ethereal counterpart to the motif for Kirk and the Enterprise, aimed at capturing "the emotional gleam in the captain's eye".[31] Kirk's internal dilemma about what the future holds was echoed in the main theme: "It's Kirk taking control one last time and as he looks out into the stars he has the spark again [...] But there's an unresolved note, because it's very important that he doesn't trust the Klingons. He doesn't want to go on this trip even though the spark is there that overtook him."[32] For the climactic battle, Eidelman starts the music quietly, building the intensity as the battle progresses.[29]

text: The Next Generation[edit]

text: Star Trek Generations (1994)[edit]

text: Dennis McCarthy, a composer who had worked on The Next Generation, was given the task of composing for Star Trek Generations. Critic Jeff Bond wrote that while McCarthy's score was "tasked with straddling the styles of both series", it also offered the opportunity for the composer to produce stronger dramatic writing. His opening music was an ethereal choral piece that plays while a floating champagne bottle tumbles through space. For the action scenes with the Enterprise-B, McCarthy used low brass chords and touches. Kirk was given a brass motif accented by snare drums (a touch verboten during The Next Generation), while the scene ends with a dissonant notes as Scott and Chekov discover Kirk has been blown into space.[7]:152

text: McCarthy expanded his brassy style for the film's action sequences, such as the battle over Veridian III and the crash-landing of the Enterprise. For Picard's trip to the Nexus, more choral music and synthesizers accompany Picard's discovery of his family. The film's only distinct theme, a broad fanfare, first plays when Picard and Kirk meet. The theme blends McCarthy's theme for Picard from The Next Generation's first season, notes from the theme for Star Trek: Deep Space Nine, and Alexander Courage's classic Star Trek fanfare.[7]:152

text: Star Trek: First Contact (1996)[edit]

text: Film composer Jerry Goldsmith scored First Contact, his third Star Trek feature. Goldsmith wrote a sweeping main title which begins with Alexander Courage's classic Star Trek fanfare.[33] Instead of composing a menacing theme to underscore the Borg, Goldsmith wrote a pastoral theme linked to humanity's hopeful first contact. The theme uses a four-note motif used in Goldsmith's Star Trek V: The Final Frontier score, which is used in First Contact as a friendship theme and general thematic link.[7]:155–156 A menacing march with touches of synthesizers was used to represent the Borg. In addition to composing new music, Goldsmith used music from his previous Star Trek scores, including his theme from The Motion Picture.[33] The Klingon theme from the same film is used to represent Worf.[34]

text: Because of delays with Paramount's The Ghost and the Darkness, the already-short four week production schedule was cut to just three weeks. While Berman was concerned about the move,[7]:158 Goldsmith hired his son, Joel, to assist.[7]:155 The young composer provided additional music for the film, writing three cues based on his father's motifs[34] and a total of 22 minutes of music.[33] Joel used variations of his father's Borg music and the Klingon theme as Worf fights hand-to-hand[7]:156 (Joel said that he and his father decided to use the theme for Worf separately).[7]:159 When the Borg invade sickbay and the medical hologram distracts them, Joel wrote what critic Jeff Bond termed "almost Coplandesque" material of tuning strings and clarinet, but the cue was unused. While Joel composed many of the film's action cues, his father contributed to the spacewalk and Phoenix flight sequences. During the fight on the deflector dish, Goldsmith used low-register electronics punctuated by stabs of violent, dissonant strings.[7]:156

text: In a break with Star Trek film tradition, the soundtrack incorporated two licensed songs: Roy Orbison's "Ooby Dooby" and Steppenwolf's "Magic Carpet Ride". GNP Crescendo president Neil Norman explained that the decision to include the tracks was controversial, but said that "Frakes did the most amazing job of integrating those songs into the story that we had to use them".[35]

text: GNP released the First Contact soundtrack on December 2, 1996.[35] The album contained 51 minutes of music, with 35 minutes of Jerry Goldsmith's score, 10 minutes of additional music by Joel Goldsmith, "Ooby Dooby" and "Magic Carpet Ride". The compact disc shipped with CD-ROM features only accessible if played on a personal computer,[36] including interviews with Berman, Frakes, and Goldsmith.[35]

text: Star Trek: Insurrection (1998)[edit]

text: Insurrection was composer Jerry Goldsmith's fourth film score for the franchise.[7]:163 Goldsmith continued using the march and Klingon themes he crafted for Star Trek: The Motion Picture in 1979, with adding new themes and variations. Insurrection opens with Alexander Courage's Star Trek: The Original Series fanfare, also introducing a six-note motif used in many of the film's action sequences. The Ba'ku are scored with a pastoral theme, repeating harps, string sections and a woodwind solo. The Ba'ku's ability to slow time uses a variation of this music.[7]:164

text: Goldsmith approached starship sequences with quick bursts of brass music. While observers are watching the Ba'ku unseen, Goldsmith employed a "spying theme". Composed of a piano, timpani percussion, and brass, the theme builds until interrupted by the action theme as Data opens fire. Goldsmith did not write a motif for the Son'a, choosing to score the action sequence without designating the Son'a as an antagonist (suggesting the film's revelation that the Son'a and Ba'ku are related.) The film's climax is scored with the action material, balanced by "sense of wonder" music similar to cues from The Motion Picture.[7]:164

text: Star Trek: Nemesis (2002)[edit]

text: The music to Nemesis was the final Star Trek score and penultimate film score composed and conducted by Jerry Goldsmith before his death in 2004 (not including his music for the 2003 film Timeline, which was rejected due to a complicated post-production process). The score opens with Alexander Courage's Star Trek: The Original Series fanfare, but quickly transitions into a much darker theme to accompany the conflict between the Reman and Romulan empires. Goldsmith also composed a new 5-note theme to accompany the character Shinzon and the Scimitar, which is manipulated throughout the score to reflect the multiple dimensions of the character. Goldsmith also incorporated a number of zipping, swooshing synthesizers into the conventional orchestra to illustrate the suspenseful and horrific elements of the story. The score is book-ended with Goldsmith's theme from Star Trek: The Motion Picture, following a brief excerpt from the popular 1929 song "Blue Skies" by Irving Berlin.[37][38]

text: Reboot cast[edit]

text: Star Trek (2009)[edit]

text: Michael Giacchino, Abrams' most frequent collaborator, composed the music for Star Trek. He kept the original theme by Alexander Courage for the end credits, which Abrams said symbolized the momentum of the crew coming together.[39] Giacchino admitted personal pressure in scoring the film, as "I grew up listening to all of that great [Trek] music, and that's part of what inspired me to do what I'm doing [...] You just go in scared. You just hope you do your best. It's one of those things where the film will tell me what to do."[40] Scoring took place at the Sony Scoring Stage with a 107-piece orchestra and 40-person choir. An erhu, performed by Karen Han, was used for the Vulcan themes. A distorted recording was used for the Romulans.[41] Varèse Sarabande, the record label responsible for releasing albums of Giacchino's previous scores for Alias, Lost, Mission: Impossible III, and Speed Racer, released the soundtrack for the film on May 5.[42]

text: Star Trek Into Darkness (2013)[edit]

text: Before the beginning of principal photography, Michael Giacchino announced that he would compose the score to Star Trek Into Darkness. Just as with the previous installment, Giacchno kept the original theme by Alexander Courage for the end credits, allowing for his newer themes for the various young members of Enterprise to evolve.

text: Star Trek Beyond (2016)[edit]

text: As with the previous two films, Michael Giacchino composed the score to Star Trek Beyond.

text: Television soundtracks overview[edit]

text:
Number
Series
Original run
Primary composer(s)
Theme
Soundtrack
Timeline

1
The Original Series
September 8, 1966 – June 3, 1969
Alexander Courage
Theme
Soundtrack
The Original Series

2
The Animated Series
September 8, 1973 – October 12, 1974
Ray Ellis
Norm Prescott
N/A
N/A

3
The Next Generation
September 28, 1987 – May 23, 1994
Jerry Goldsmith
N/A
N/A
The Next Generation

4
Deep Space Nine
January 3, 1993 – June 2, 1999
Dennis McCarthy
N/A
N/A

5
Voyager
January 16, 1995 – May 23, 2001
Jerry Goldsmith
N/A
N/A

6
Enterprise
September 26, 2001 – May 13, 2005
Dennis McCarthy
Theme
Soundtrack
Prequel

7
Discovery
September 24, 2017 –
Jeff Russo
N/A
N/A

text: Special instruments[edit]

text: Blaster Beam

text: Ressikan flute

text: Parodies[edit]

text:
"Star Trekkin'"
"Banned from Argo"

text: Concert tours[edit]

text:
Star Trek: The Music
Star Trek: The Ultimate Voyage


document_title: Fida (name)

question_text: what is the meaning of fida in telugu

question_tokens: what is the meaning of fida in telugu

text: Fida (name)

text:
Fida

Gender
Female/Male

Origin

Word/name
Arabic

text: Fida (Arabic: فدا), is an Arabic name given meaning redemption. It is a common female given name but also can be a male one.

text: People with given name Fida[edit]

text:
Fida al-Sayed, Syrian political activist
Fida Hassnain (1924–2016), Kashmiri writer and Sufi mystic
Fida Hussein, Fiji Labour Party politician
Fida Hussain Bukhari, Pakistani religious scholar
Fida Hussain Gadi, Seraiki intellectual
Fida Hussain Malik, Pakistani general
Fida M. Kamal, Bangladeshi lawyer
Fida Mohammad Khan (1919 – 2007), Pakistani conservative economist and lawyer

text: Movies[edit]

text:
Fida - Bollywood film
Fidaa - Telugu language film

text: This page or section lists people that share the same given name. If an internal link led you here, you may wish to change that link to point directly to the intended article.

text: Given names

text: Articles containing Arabic-language textAll set index articles