document_title: Peter and Wendy

question_text: where did the darling family live in peter pan

text: Peter and Wendy

text: Background[edit]

text: Barrie created Peter Pan in stories he told to the sons of his friend Sylvia Llewelyn Davies, with whom he had forged a special relationship. Mrs. Llewelyn Davies's death from cancer came within a few years after the death of her husband. Barrie was named as co-guardian of the boys and unofficially adopted them.

text: The character's name comes from two sources: Peter Llewelyn Davies, one of the boys, and Pan, the mischievous Greek god of the woodlands.[1] Andrew Birkin has suggested that the inspiration for the character was Barrie's elder brother David, whose death in a skating accident at the age of fourteen deeply affected their mother.[2] According to Birkin, the death was "a catastrophe beyond belief, and one from which she never fully recovered. If Margaret Ogilvy [Barrie's mother as the heroine of his 1896 novel of that title] drew a measure of comfort from the notion that David, in dying a boy, would remain a boy for ever, Barrie drew inspiration."[3]

text: The Peter Pan character first appeared in print in the 1902 novel The Little White Bird, written for adults. The character was next used in the stage play Peter Pan, or The Boy Who Wouldn't Grow Up that premiered in London on 27 December 1904 and became an instant success.

text: In 1906, the chapters of The Little White Bird which featured Peter Pan was published as the book Peter Pan in Kensington Gardens, with illustrations by Arthur Rackham.

text: Barrie then adapted the play into the 1911 novel Peter and Wendy (most often now published simply as Peter Pan).

text: The original draft of the play was entitled simply Anon: A Play. Barrie's working titles for it included The Great White Father and Peter Pan, or The Boy Who Hated Mothers. Producer Charles Frohman disliked the title on the manuscript, in answer to which Barrie reportedly suggested The Boy Who Couldn't Grow Up; Frohman suggested changing it to Wouldn't and dropping The Great White Father as a title.[4]

text: Plot summary[edit]

text: Although the character appeared previously in Barrie's book The Little White Bird, the play and its novelisation contain the story of Peter Pan mythos that is best known. The two versions differ in some details of the story, but have much in common. In both versions Peter makes night-time calls on the Darlings' house in Bloomsbury,[5] listening in on Mrs. Mary Darling's bedtime stories by the open window. One night Peter is spotted and, while trying to escape, he loses his shadow. On returning to claim it, Peter wakes Mary's daughter, Wendy Darling. Wendy succeeds in re-attaching his shadow to him, and Peter learns that she knows lots of bedtime stories. He invites her to Neverland to be a mother to his gang, the Lost Boys, children who were lost in Kensington Gardens. Wendy agrees, and her brothers John and Michael go along.

text: Their magical flight to Neverland is followed by many adventures. The children are blown out of the air by a cannon and Wendy is nearly killed by the Lost Boy Tootles. Peter and the Lost Boys build a little house for Wendy to live in while she recuperates (a structure that, to this day, is called a Wendy House.) Soon John and Michael adopt the ways of the Lost Boys.

text: Peter welcomes Wendy to his underground home, and she immediately assumes the role of mother figure. Peter takes the Darlings on several adventures, the first truly dangerous one occurring at Mermaids' Lagoon. At Mermaids' Lagoon, Peter and the Lost Boys save the princess Tiger Lily and become involved in a battle with the pirates, including the evil Captain Hook. Peter is wounded when Hook claws him. He believes he will die, stranded on a rock when the tide is rising, but he views death as "an awfully big adventure". Luckily, a bird allows him to use her nest as a boat, and Peter sails home.

text: In gratitude for saving Tiger Lily, her tribe guard his home from the next imminent pirate attack. Meanwhile, Wendy begins to fall in love with Peter and asks him what kind of feelings he has for her. Peter says that he is like her faithful son. One day while telling stories to the Lost Boys and her brothers, John and Michael, Wendy recalls her parents and then decides to take them back and return to England. Unfortunately, and unbeknownst to Peter, Wendy and the boys are captured by Captain Hook, who also tries to poison Peter's medicine while the boy is asleep. When Peter awakes, he learns from the fairy Tinker Bell that Wendy has been kidnapped – in an effort to please Wendy, he goes to drink his medicine. Tink does not have time to warn him of the poison, and instead drinks it herself, causing her near death. Tink tells him she could be saved if children believed in fairies. In one of the play's most famous moments, Peter turns to the audience watching the play and begs those who believe in fairies to clap their hands.

text: Peter heads to the ship. On the way, he encounters the ticking crocodile; Peter decides to copy the tick, so any animals will recognise it and leave him unharmed. He does not realise that he is still ticking as he boards the ship, where Hook cowers, mistaking him for the crocodile. While the pirates are searching for the croc, Peter sneaks into the cabin to steal the keys and frees the Lost Boys. When the pirates investigate a noise in the cabin, Peter defeats them. When he finally reveals himself, he and Hook fall to the climactic battle, which Peter easily wins. He kicks Hook into the jaws of the waiting crocodile, and Hook dies with the satisfaction that Peter had literally kicked him off the ship, which Hook considers "bad form". Then Peter takes control of the ship, and sails the seas back to London.

text: In the end, Wendy decides that her place is at home, much to the joy of her heartsick mother. Wendy then brings all the boys but Peter back to London. Before Wendy and her brothers arrive at their house, Peter flies ahead, to try and bar the window so Wendy will think her mother has forgotten her. But when he learns of Mrs Darling's distress, he bitterly leaves the window open and flies away. Peter returns briefly, and he meets Mrs. Darling, who has agreed to adopt the Lost Boys. She offers to adopt Peter as well, but Peter refuses, afraid they will "catch him and make him a man." It is hinted that Mary Darling knew Peter when she was a girl, because she is left slightly changed when Peter leaves.

text: Peter promises to return for Wendy every spring. The end of the play finds Wendy looking out through the window and saying into space, "You won't forget to come for me, Peter? Please, please don't forget."

text: When Wendy Grew Up. An Afterthought[edit]

text: Four years after the premiere of the original production of Peter Pan, Barrie wrote an additional scene entitled When Wendy Grew Up. An Afterthought, later included in the final chapter of Peter and Wendy. In this scene, Peter returns for Wendy years later. But she is now grown up with a daughter of her own named Jane. It is also revealed Wendy married one of the Lost Boys, although this is not mentioned in the novel, and it is never revealed which one she did marry (in the original draft of the play, it is mentioned that she married Tootles, although Barrie omitted this before publication). When Peter learns that Wendy has "betrayed" him by growing up, he is heartbroken until Jane agrees to come to Neverland as Peter's new mother. In the novel's last few sentences, Barrie mentions that Jane has grown up as well and that Peter now takes her daughter Margaret to Neverland. Barrie says this cycle will go on forever as long as children are "gay and innocent and heartless".[6]

text: An Afterthought is only occasionally used in productions of the play, but it made a poignant conclusion to the musical production starring Mary Martin, and provided the premise for Disney's sequel to their animated adaptation of the story, Return to Never Land. This epilogue was filmed for the 2003 film but not included in the final version, though a rough cut of the sequence was included as an extra on the DVD of the film.

text: Characters[edit]

text: Peter Pan[edit]

text: Peter Pan is one of the protagonists of the play and the novel. He is described in the novel as a young boy who still has all his first teeth; he wears clothes made of leaves (autumn leaves in the play, skeleton leaves in the novel) and plays the pipes. He is the only boy able to fly without the help of Tinker Bell's fairy dust. He has refused to grow up and distrusts mothers as he felt betrayed by his own mother. He cares about Wendy, but can only see her as a motherly figure, not as a romantic and girlfriend/love interest. Barrie attributes this to "the riddle of his very being".

text: The Darling Family[edit]

text: According to Barrie's description of the Darlings' house,[5] the family lives in Bloomsbury, London.

text: Wendy Darling – Wendy is the eldest child, their only daughter, and the protagonist of the novel. She loves the idea of homemaking and storytelling and wants to become a mother; her dreams consist of adventures in a little woodland house with her pet wolf. She bears a bit of (mutual) animosity toward Tiger Lily because of their similar affections toward Peter. She does not seem to feel the same way about Tinker Bell, but the fairy is constantly bad-mouthing her and even tries to have her killed. At the end of the novel, she has grown up and is married with a daughter (Jane) and a granddaughter (Margaret). She is portrayed variously with blonde, brown, or black hair in different stories. While it is not clear whether or not she is in love with Peter, one can assume that she does have some feelings toward him. Wendy is often referred to as the "mother" of the Lost Boys and, while Peter also considers her to be his "mother", he takes on the "father" role, hinting that they play a married couple in their games.

text:
John Darling – John is the middle child. He gets along well with Wendy, but he often argues with Michael. He is fascinated with pirates, and he once thought of becoming "Redhanded Jack". He dreams of living in an inverted boat on the sands, where he has no friends and spends his time shooting flamingos. He looks up to Peter Pan, but at times they clash due to Peter's nature of showing off. He also looks up to his father and dreams of running his firm one day when he is grown up. The character of John was named after Jack Llewelyn Davies.
Michael Darling – Michael is the youngest child. He is approximately five years old, as he still wears the pinafores young Edwardian boys wear. He looks up to John and Wendy, dreaming of living in a wigwam where his friends visit at night. He was named after Michael Llewelyn Davies.
Mr. and Mrs. Darling – George and Mary Darling are the children's loving parents. Mr. Darling is a pompous, blustering clerk in the City but kind at heart. Mary Darling is described as an intelligent, romantic lady. It is hinted that she knew Peter Pan before her children were born. Mr. Darling was named after the eldest Llewelyn Davies boy, George, and Mrs. Darling was named after Mary Ansell, Barrie's wife, although their personalities were based on Arthur and Sylvia Llewelyn Davies.[11] In the stage version, the roles of Mr. Darling and Captain Hook are traditionally played by the same actor.
Nana – Nana is a Newfoundland dog who is employed as a nanny by the Darling family. Nana does not speak or do anything beyond the physical capabilities of a large dog, but acts with apparent understanding of her responsibilities. The character is played in stage productions by an actor in a dog costume. Barrie based the character of Nana on his dog Luath, a Newfoundland.
Liza is the maidservant of the Darling family. She appears only in the first act, except in the 1954 musical in which she sees the Darling children fly off with Peter; when she tries stopping them, Michael sprinkles her with fairy dust and she ends up in Neverland. She returns with the children at the end. She is given two musical numbers in this adaptation.

text: Lost Boys[edit]

text:
Tootles – Tootles is the humblest Lost Boy because he often misses out on their violent adventures. Although he is often stupid, he is always the first to defend Wendy. Ironically, he shoots her before meeting her for the first time because of Tinker Bell's trickery. He grows up to become a judge.
Nibs – Nibs is described as "gay and debonair", probably the bravest Lost Boy. He says the only thing he remembers about his mother is she always wanted a cheque-book; he says he would love to give her one...if he knew what a cheque-book was. He's also the oldest and best looking Lost Boy.
Slightly – Slightly is the most conceited because he believes he remembers the days before he was "lost". He is the only Lost Boy who "knows" his last name – he says his pinafore had the words "Slightly Soiled" written on the tag. He cuts whistles from the branches of trees, and dances to tunes he creates himself. Slightly is, apparently, a poor make-believer. He blows big breaths when he feels he is in trouble, and he eventually leads to Peter's almost-downfall.
Curly – Curly is the most troublesome Lost Boy. In Disney's version of the story, he became "Cubby".
The Twins – First and Second Twin know little about themselves – they are not allowed to, because Peter Pan does not know what Twins are (he thinks that twins are two parts of the same person, which, while not entirely correct, is right in the sense that the Twins finish each other's sentences (at least, in the movie adaptation).

text: Inhabitants of Neverland[edit]

text:
Tiger Lily is the proud, beautiful princess of the Piccaninny tribe who are portrayed in a way now regarded as stereotypical.[12] Barrie portrayed them as primitive, warlike savages who spoke with guttural voice tones.[12] She is apparently old enough to be married, but refuses any suitors because she has feelings towards Peter. She is jealous of Wendy and Tinker Bell. Tiger Lily is nearly killed by Captain Hook when she is seen boarding the Jolly Roger with a knife in her mouth, but Peter saves her.
Tinker Bell is Peter Pan's fairy. She is described as a common fairy who mends pots and kettles and, though she is sometimes ill-behaved and vindictive, at other times she is helpful and kind to Peter (for whom she has romantic feelings). The extremes in her personality are explained by the fact that a fairy's size prevents her from holding more than one feeling at a time. In Barrie's book, by Peter's first annual return for Wendy, the boy has forgotten about Tinker Bell and suggests that she "is no more" for fairies do not live long.
Captain James Hook is the vengeful pirate who lives to kill Peter Pan, not so much because Peter cut off his right hand, but because the boy is "cocky" and drives the genteel pirate to "madness". He is captain of the ship Jolly Roger. He attended Eton College before becoming a pirate and is obsessed with "good form". Hook meets his demise when a crocodile eats him. In the stage version, the same actor who plays Mr. Darling also plays this character.
Mr. Smee is an Irish nonconformist pirate. He is the boatswain of the Jolly Roger. Smee is one of only two pirates to survive Peter Pan's massacre. He then makes his living saying he was the only man James Hook ever feared.
Gentleman Starkey was once an usher at a public school. He is Captain Hook's first mate. Starkey is one of two pirates who escaped Peter Pan's massacre – he swims ashore and becomes baby-sitter to the Piccaninny Tribe. Peter Pan gives Starkey's hat to the Never Bird to use as a nest.
Fairies – In the novel Peter and Wendy, published in 1911, there are fairies on Neverland. In the part of the story where Peter Pan and the Lost Boys built a house for Wendy on Neverland, Peter Pan stays up late that night to guard her from the pirates, but then the story says: "After a time he fell asleep, and some unsteady fairies had to climb over him on their way home from an orgy. Any of the other boys obstructing the fairy path at night they would have mischiefed, but they just tweaked Peter's nose and passed on." In the early 20th century, the word "orgy" generally referred to a large group of people consuming alcohol.[13]
Mermaids who live in the waters near Neverland reside within the Mermaids' Lagoon. They are described as being very beautiful and mysterious creatures but equally just as vain and malevolent. Barrie states in the novel Peter and Wendy that the mermaids are only friendly to Peter, and that they will intentionally splash or even attempt to drown anyone else if they come close enough. It is especially dangerous for mortals to go to Mermaids' Lagoon at night, because that's when the mermaids sing hauntingly in the moonlight and utter strange wailing cries to attract potential victims.
The Crocodile is Captain Hook's nemesis. During a sword fight, Peter cut off Hook's right hand and fed it to a crocodile which followed Hook ever since, hungering for more. The crocodile also swallowed a clock which ticking warns Hook of its presence. At the end of the story, Captain Hook falls into the crocodile's mouth and is swallowed whole.

text: Major themes[edit]

text: The play's subtitle "The Boy Who Wouldn't Grow Up" underscores the primary theme: the conflict between the innocence of childhood and the responsibility of adulthood. Peter has literally chosen not to make the transition from one to the other, and encourages the other children to do the same. However, the opening line of the novel, "All children, except one, grow up", and the conclusion of the story indicates that this wish is unrealistic, and there is an element of tragedy in the alternative.[14]

text: Barrie was very perspicacious in noticing many aspects of children's mental development decades before they were studied by cognitive psychologists. In particular, Peter lacks the mental capacity for secondary mental representation and cannot recollect the past, anticipate the future, consider two things at once or see things from another person's point of view. He is therefore amnesic, inconsequential, impulsive and callous.[15]

text: There is a slight romantic aspect to the story, which is sometimes played down or omitted completely. Wendy's flirtatious desire to kiss Peter, his desire for a mother figure, his conflicting feelings for Wendy, Tiger Lily, and Tinker Bell (each representing different female archetypes), and the symbolism of his fight with Captain Hook (traditionally played by the same actor as Wendy's father), all could possibly hint at a Freudian interpretation (see oedipus complex). Most children's adaptations of the play, including the 1953 Disney film, omit any romantic themes between Wendy and Peter, but Barrie's 1904 original, his 1911 novelisation, the 1954 Mary Martin musical, the 1924 and 2003 feature films, all hint at the romantic elements.

text: Stage productions[edit]

text: The original stage production took place at the Duke of York's Theatre, London, on 27 December 1904. It starred Gerald du Maurier as Captain Hook and Mr Darling, and Nina Boucicault as Peter.[16] Members of Peter's Band were Joan Burnett (Tootles), Christine Silver (Nibs), A. W. Baskcomb (Slightly), Alice DuBarry (Curly), Pauline Chase (1st twin), Phyllis Beadon (2nd twin). Besides du Maurier, the pirates were: George Shelton (Smee), Sidney Harcourt (Gentleman Starkey), Charles Trevor (Cookson), Frederick Annerley (Cecco), Hubert Willis (Mullins), James English (Jukes), John Kelt (Noodler). Philip Darwin played Great Big Little Panther, Miriam Nesbitt was Tiger Lily, and Ela Q. May played Liza, (credited ironically as "Author of the Play"). First Pirate was played by Gerald Malvern, Second Pirate by J. Grahame, Black Pirate by S. Spencer, Crocodile by A. Ganker & C. Lawton, and the Ostrich by G. Henson.

text: Tinker Bell was represented on stage by a darting light "created by a small mirror held in the hand off-stage and reflecting a little circle of light from a powerful lamp"[17] and her voice was "a collar of bells and two special ones that Barrie brought from Switzerland". However, a Miss "Jane Wren" or "Jenny Wren" was listed among the cast on the programmes of the original productions as playing Tinker Bell: this was meant as a joke that fooled H.M. Inspector of Taxes, who sent her a tax demand.[18]

text: It is traditional in productions of Peter Pan for Mr. Darling (the children's father) and Captain Hook to be played (or voiced) by the same actor. Although this was originally done simply to make full use of the actor (the characters appear in different sections of the story) with no thematic intent, some critics have perceived a similarity between the two characters as central figures in the lives of the children. It also brings a poignant juxtaposition between Mr. Darling's harmless bluster and Captain Hook's pompous vanity.

text: Cecilia Loftus played Peter in the 1905–1906 production. Pauline Chase took the role from the 1906–07 London season until 1914 while Zena Dare was Peter on tour during most of that period. Jean Forbes-Robertson became a well-known Pan in London in the 1920s and 1930s.[19]

text: Following the success of his original London production, Charles Frohman mounted a production in New York City at the Empire Theatre in 1905. The 1905 Broadway production starred Maude Adams, who would play the role on and off again for more than a decade and, in the U.S., was the actress most associated in the public's consciousness with the role for the next fifty years. It was produced again in the U.S. by the Civic Repertory Theater in November 1928 and December 1928, in which Eva LeGallienne directed and played the role of Peter Pan. Among musical theatre adaptations, the most successful in the U.S. has been an American musical version first produced on Broadway in 1954 starring Mary Martin, which was later videotaped for television and rebroadcast several times. Martin became the actress most associated with the role in the U.S. for several decades, although Sandy Duncan and Cathy Rigby each later toured extensively in this version and became well known in the role.

text: Adaptations[edit]

text: The story of Peter Pan has been a popular one for adaptation into other media. The story and its characters have been used as the basis for a number of motion pictures (live action and animated), stage musicals, television programs, a ballet, and ancillary media and merchandise. The best known of these are the 1953 animated feature film produced by Walt Disney featuring the voice of 15-year-old film actor Bobby Driscoll (one of the first male actors in the title role, which was traditionally played by women); the series of musical productions (and their televised presentations) starring Mary Martin, Sandy Duncan, and Cathy Rigby; and the 2003 live-action feature film produced by P. J. Hogan starring Jeremy Sumpter.

text: There have been several additions to Peter Pan's story, including the authorised sequel novel Peter Pan in Scarlet, and the high-profile sequel films Return to Never Land and Hook. Various characters from the story have appeared in other places, especially Tinker Bell as a mascot and character of Disney. The characters are in the public domain in some jurisdictions, leading to unauthorised extensions to the mythos and uses of the characters. Some of these have been controversial, such as a series of prequels by Dave Barry and Ridley Pearson, and Lost Girls, a sexually explicit graphic novel by Alan Moore and Melinda Gebbie, featuring Wendy Darling and the heroines of The Wonderful Wizard of Oz and Alice's Adventures in Wonderland.

text: Copyright status[edit]

text: The copyright status of the story of Peter Pan and its characters has been the subject of dispute, particularly as the original version began to enter the public domain in various jurisdictions. In 1929, Barrie gave the copyright to the works featuring Peter Pan to Great Ormond Street Hospital (GOSH), Britain's leading children's hospital, and requested that the value of the gift should never be disclosed; this gift was confirmed in his will. GOSH has exercised these rights internationally to help support the work of the institution.

text: United Kingdom[edit]

text: The UK copyright originally expired at the end of 1987 (50 years after Barrie's death) but later revived in 1995 when legislation was changed following the directive to harmonise copyright laws within the EU, which extended the copyright term to 70 years after the author's death. However, in 1988, former Prime Minister James Callaghan sponsored an amendment to a Parliamentary Bill granting the hospital a right to royalties in perpetuity for any performance, publication, broadcast of the play or adaptation of the play. The bill does not grant the hospital full intellectual property rights over the work such as creative control over the use of the material or the right to refuse permission to use it. It does not cover the Peter Pan section of The Little White Bird, which predates the play and is not therefore an "adaptation" of it. The exact phrasing is in section 301 of, and Schedule 6 to, the Copyright, Designs and Patents Act 1988:

text: 301. The provisions of Schedule 6 have effect for conferring on trustees for the benefit of the Hospital for Sick Children, Great Ormond Street, London, a right to a royalty in respect of the public performance, commercial publication, broadcasting or inclusion in a cable programme service of the play 'Peter Pan' by Sir James Matthew Barrie, or of any adaptation of that work, notwithstanding that copyright in the work expired on 31 December 1987.[20]

text: United States[edit]

text: Great Ormond Street Hospital (GOSH) claims that U.S. legislation effective in 1978 and again in 1998, which extended the copyright of the play script published in 1928, gives them copyright over "Peter Pan" in general until 2023, although GOSH acknowledges that the copyright of the novel version, published in 1911, has expired in the United States.[21]

text: Previously, GOSH's claim of U.S. copyright had been contested by various parties. J. E. Somma sued GOSH to permit the U.S. publication of her sequel After the Rain, A New Adventure for Peter Pan. GOSH and Somma settled out of court in March 2004, issuing a joint statement in which GOSH stated the work is a valuable contribution to the field of children's literature. Somma characterised her novel – which she had argued was a critique of the original work, rather than a mere derivative of it – as "fair use" of the hospital's "U.S. intellectual property rights". The suit was settled under terms of absolute secrecy. It did not set any legal precedent, however.[22] Disney was a long-time licensee to the animation rights, and cooperated with the hospital when its copyright claim was clear, but in 2004 Disney published Dave Barry's and Ridley Pearson's Peter and the Starcatchers in the U.S., the first of several sequels, without permission and without making royalty payments. In 2006, Top Shelf Productions published in the U.S. Lost Girls, a pornographic graphic novel featuring Wendy Darling, also without permission or royalties.

text: Other jurisdictions[edit]

text: The original versions of the play and novel are in the public domain in countries where the term of copyright is 70 years (or less) after the death of the creators. This includes the European Union (except Spain), Australia, Canada (where Somma's book was first published without incident), and most other countries (see list of countries' copyright length). It is out of copyright in Saint Vincent and the Grenadines, where copyright lasts 75 years after the author's death.

text: However, the work is still under copyright in several countries: in Colombia and Spain until 2018, where the applicable term is 80 years after death. (It would also be under copyright in Côte d'Ivoire, Guatemala, and Honduras, but these countries recognise the "rule of the shorter term", which means that the term of the country of origin applies if it is shorter than their local term.)


document_title: Appointment and confirmation to the Supreme Court of the United States

question_text: how many senate votes to confirm supreme court nominee

root

text: Nomination[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2018) (Learn how and when to remove this template message)

tag: table

text: Article Two of the United States Constitution requires the President of the United States to nominate Supreme Court Justices and, with Senate confirmation, requires Justices to be appointed. This was for the division of power between the President and Senate by the founders, who wrote:

tag: p

text: he shall nominate, and by and with the Advice and Consent of the Senate, shall appoint ... Judges of the supreme Court...

text: Upon the election of a new President, incoming White House staff prepare profiles of possible candidates for the Supreme Court, considering not only judges but also politicians and other individuals whom they consider appropriate for the role. Besides considering national figures whose views are well-known, they consider others who are less recognized. They go through published rulings, articles, speeches, and other background material to get an idea of candidates' values and views on constitutional issues. Age, health, race, gender, education, and likelihood of confirmation are also factored into considerations. Once a Supreme Court vacancy opens, the President discusses the candidates with advisors. Senators also call the President with suggestions. In turn, the White House lobbies key senators for their votes. After a first choice is decided, the candidate is contacted and called on by the President to serve on the highest court. Staffers send a vetting form for the candidate to fill out. They visit the candidate to go over tax records and payments to domestic help. A formal FBI background check is conducted. Candidates whom the President has never met are interviewed by White House officials before being sent to the White House to be interviewed in person by the President. After making a final decision, the President calls the candidate, who is told to prepare a statement for an appearance in front of the national press for the President's formal announcement. The nominee then meets with senators and prepares for confirmation hearings.

text: Most Presidents nominate individuals who broadly share their ideological views.[1] In many cases, however, a Justice's decisions may be contrary to what the nominating President anticipated. A famous instance was Chief Justice Earl Warren; President Dwight D. Eisenhower expected him to be a conservative judge, but his decisions are arguably among the most liberal in the Court's history. Eisenhower later called the appointment "the biggest damn fool mistake I ever made".[2]  Another Justice whose decisions ran contrary to what was believed to be his ideology was David Souter, who was nominated to the high court in 1990 by President George H. W. Bush.  Many pundits and politicians at the time expected Souter to be a conservative; however, after becoming a Justice, his opinions generally fell on the liberal side of the political spectrum.

text: Because the Constitution does not set any qualifications for service as a Justice, the President may nominate any individual to serve on the Court. However, that person must receive the confirmation of the Senate.

text: Confirmation[edit]

text: In modern times, the confirmation process has attracted considerable attention from special-interest groups, many of which lobby senators to confirm or to reject a nominee, depending on whether the nominee's track record aligns with the group's views.[citation needed] The Senate Judiciary Committee conducts hearings, questioning nominees to determine their suitability. By convention, nominees avoid revealing too much about their views on potential cases that may come before the Court.[citation needed] At the close of confirmation hearings, the Committee votes on whether the nomination should go to the full Senate with a positive, negative or neutral report.

text: The Committee's practice of personally interviewing nominees is relatively recent, beginning with Harlan Fiske Stone in 1925. Some western senators were concerned with his links to Wall Street and expressed their opposition when Stone was nominated. Stone proposed what was then the novelty of appearing before the Judiciary Committee to answer questions; his testimony helped secure a confirmation vote with very little opposition. The second nominee to appear before the Committee was Felix Frankfurter, who only addressed (at the Committee's request) what he considered to be slanderous allegations against him.[3] The modern practice of the Committee questioning nominees on their judicial views began with the nomination of John Marshall Harlan II in 1955; the nomination came shortly after the Court handed down the landmark Brown v. Board of Education decision, and several Southern senators attempted to block Harlan's confirmation, hence the decision to testify.[4][5]

text: Once the Committee reports out the nomination, the whole Senate considers it. A simple majority vote is required to confirm or to reject a nominee. Prior to 2017, a successful filibuster threat could add the requirement of a supermajority of 60 needed in favor of cloture, which would allow debate to end and force a final vote on confirmation. Rejections are relatively uncommon; the Senate has explicitly rejected twelve Supreme Court nominees in its history. The most recent rejection of a nominee by vote of the full Senate came in 1987, when the Senate refused to confirm Robert Bork.

text: Not everyone nominated by the President has received a floor vote in the Senate. Prior to 2017 a nominee could be filibustered once debate on the nomination had begun in the full Senate. A filibuster indefinitely prolongs the debate, preventing a final vote on the nominee. President Lyndon Johnson's nomination of sitting Associate Justice Abe Fortas to succeed Earl Warren as Chief Justice in 1968 was the first successful filibuster of a Supreme Court nominee. It included both Republican and Democratic senators concerned with Fortas's ethics. President Donald Trump's nomination of Neil Gorsuch to the seat left vacant by Antonin Scalia's death was the second. Unlike the Fortas filibuster, however, only Democratic Senators voted against cloture on the Gorsuch nomination, citing his perceived conservative judicial philosophy, and the Republican majority's prior refusal to take up Obama's nomination of Merrick Garland to fill the vacancy.[6][7][8] This led the Republican majority to change the rules[9] and eliminate the filibuster for Supreme Court nominations.[10]

text: Not every Supreme Court nominee has received a floor vote in the Senate. A president may withdraw a nomination before an actual confirmation vote occurs, typically because it is clear that the Senate will reject the nominee; this occurred most recently with the nomination of Harriet Miers in 2006 before Committee hearings had begun, citing concerns about Senate requests during her confirmation process for access to internal Executive Branch documents resulting from her position as White House Counsel. In 1987, President Ronald Reagan withdrew the nomination of Douglas H. Ginsburg because of news reports containing marijuana use allegations.

text: The Senate may also fail to act on the nomination, which expires at the end of the session. For example, President Dwight Eisenhower's first nomination of John Marshall Harlan II in November 1954 was not acted on by the Senate; Eisenhower re-nominated Harlan in January 1955, and Harlan was confirmed two months later. Most recently, the Senate failed to act on President Barack Obama's nomination of Merrick Garland in March 2016 to fill the vacancy left by the death of Antonin Scalia; the nomination expired in January 2017, and the vacancy was later filled by President Donald J. Trump's appointment of Neil Gorsuch.[11]

text: Before 1981 the approval process of Justices was usually rapid. From the Truman through Nixon administrations, Justices were typically approved within one month. From the Reagan administration to the present, however, the process has taken much longer. According to the Congressional Research Service, the average number of days from nomination to final Senate vote since 1975 is 67 days (2.2 months), while the median is 71 days (or 2.3 months).[12][13] Some believe this is because Congress sees Justices as playing a more political role than in the past.[14] The perceived politicization of the process has drawn criticism. For example, columnist George F. Will termed the defeat of Robert Bork's nomination "unjust" and, more generally, that the nomination process does "not delve deeply into the nominee's jurisprudential thinking."[15] Supreme Court nominations have caused media speculation about whether the judge leans to the left, middle, or right.[16] One indication of the politicized selection process is how much time each nominee spends being questioned under the glare of media coverage; before 1925, nominees were never questioned;[17] after 1955, every nominee has been required to appear before the Senate Judiciary Committee and answer questions; and the hours spent being grilled have lengthened from single digits (before 1980) to double digits today.[18]

text: Following is a table of the approximate number of hours that media sources estimate were spent on the questioning of Supreme Court nominees since 1925:

text:
Year

Nominee

# Hours

1925

Harlan Fiske Stone

7000500000000000000♠5

1938

Felix Frankfurter

–

1955

John Marshall Harlan II

–

1957

William J. Brennan, Jr.

7000300000000000000♠3

1967

Thurgood Marshall

7000700000000000000♠7

1971

William H. Rehnquist

7000700000000000000♠7

1975

John Paul Stevens

7000600000000000000♠6

1981

Sandra Day O'Connor

7001120000000000000♠12

1987

Robert Bork (not confirmed)

7001300000000000000♠30

1987

Anthony Kennedy

7001110000000000000♠11

1990

David H. Souter

7001200000000000000♠20

1991

Clarence Thomas

7001250000000000000♠25

1993

Ruth Bader Ginsburg

7001200000000000000♠20

1994

Stephen G. Breyer

7001200000000000000♠20

2005

John G. Roberts, Jr.

7001200000000000000♠20

2017

Neil Gorsuch

7001200000000000000♠20

Sources: The New York Times (2005, 2009), MSNBC (2005)[3][4][18]

text: Once the Senate confirms the nomination by an affirmative vote, the Secretary of the Senate attests to a resolution of confirmation and transmits it to the White House.[19]  The President then prepares and signs a commission, and causes the Seal of the United States Department of Justice to be affixed to the document before the new Justice can take office.[20] The date of commission determines a Justice's seniority.[21] A ceremony is held in which the Justice must take the Constitutional Oath, which is used for every federal and state officeholder below the President, and the Judicial Oath used for federal judges before entering into the execution of their office.

text: Recess appointments[edit]

text: Article II, Section 2 of the U.S. Constitution provides that:

text: The President shall have Power to fill up all Vacancies that may happen during the Recess of the Senate, by granting Commissions which shall expire at the End of their next Session.

text: Thus, when the Senate is in recess, the President may make a temporary appointment to any office requiring Senate approval, including filling vacancies on the Supreme Court, without the Senate's advice and consent. Such a recess appointee to the Supreme Court holds office only until the end of the next Senate session (always less than two years). To continue to serve thereafter and be compensated for his or her service, the nominee must be formally nominated by the President and confirmed by the Senate. Of the ten Justices who have received recess appointments - two Chief Justices and eight Associate Justices - only Chief Justice John Rutledge was not subsequently confirmed for a regular appointment. No president since Dwight Eisenhower (who made three such appointments) has made a recess appointment to the Supreme Court and the practice has become highly controversial even when applied to lower federal courts. During the 110th Congress, the Democratic leadership of the Senate specifically blocked Republican President George W. Bush from making any recess appointments with the use of pro forma sessions.

text:
In 1960 the Senate passed a resolution stating that it was the sense of the Senate that recess appointments to the Supreme Court should not be made except under unusual circumstances.[22] Being a resolution, it has no legally binding effect, but was intended as an expression of the position of the Senate and as a guide to executive actions. The resolution passed by a vote of 48 to 37, mainly along party lines.[22]
[23]

text: Following is a list of recess appointments that have been made to the Supreme Court:[24]

text:
Justice
Appointed by
Date ofAppointment
Date ofNomination
Date ofSenate action
Senateaction

Thomas Johnson
Washington
August 5, 1791
October 31, 1791
November 7, 1791
Confirmed

John Rutledge(as Chief Justice)
Washington
July 1, 1795
December 10, 1795
December 15, 1795
Rejected

Bushrod Washington
J. Adams
September 29, 1798
December 19, 1798
December 20, 1798
Confirmed

Henry Brockholst Livingston
Jefferson
November 10, 1806
December 15, 1806
December 17, 1806
Confirmed

Smith Thompson
Monroe
September 1, 1823
December 5, 1823
December 9, 1823
Confirmed

John McKinley
Van Buren
April 22, 1837
September 18, 1837
September 25, 1837
Confirmed

Levi Woodbury
Polk
September 20, 1845
December 23, 1845
January 3, 1846
Confirmed

Benjamin Robbins Curtis
Fillmore
September 22, 1851
December 11, 1851
December 20, 1851
Confirmed

David Davis
Lincoln
October 17, 1862
December 1, 1862
December 8, 1862
Confirmed

Earl Warren(as Chief Justice)
Eisenhower
October 2, 1953
March 1, 1954
March 1, 1954
Confirmed

William J. Brennan, Jr.
Eisenhower
October 15, 1956
January 14, 1957
March 19, 1957
Confirmed

Potter Stewart
Eisenhower
October 14, 1958
January 17, 1959
December 5, 1959
Confirmed

text: Tenure and vacancies[edit]

text: The ability of a president to appoint new justices depends on the occurrence of a vacancy on the Court.  In practice, such vacancies normally occur as the result of an incumbent justices' death, resignation, or retirement.

text: The Constitution provides that justices "shall hold their offices during good behavior", which is understood to mean that confirmed justices may serve for the remainder of their lives, until death.  Justices may also resign or retire from their offices, and any of these circumstances results in a vacancy which must be filled.  Because justices have indefinite tenure, the timing of future vacancies is unpredictable.  Sometimes vacancies arise in quick succession: in September 1971, associate justices Hugo Black and John Marshall Harlan II both retired, producing two vacancies which were filled in January 1972 by Lewis Powell and William Rehnquist, respectively.  On the other hand, sometimes several years pass between consecutive vacancies.  In August 1994, Harry Blackmun's retirement created a vacancy which was filled by Stephen Breyer.  No further vacancy would occur on the Court until September 2005 when Rehnquist, since promoted to chief justice, died.  This vacancy was filled by current chief justice John Roberts.

text: Less commonly, though with historical precedent, vacancies may occur as a result of Congress changing the size of the Court.  Because the Constitution does not specify the Court's size, it was left to Congress to determine the matter through law, and a small number of statutes have legally changed the size of the Court throughout its history.  Changing the Court's size can have the effect of changing the seats on the Court; a newly created seat brings with it a vacancy which must be filled by an initial officeholder.  The original Judiciary Act of 1789 called for six justices, vacancies promptly filled by the appointments of George Washington, resulting in the Court's first complete composition.  An 1801 act called for the Court to be reduced to five justices upon its next vacancy, but was swiftly obviated by an 1802 act which restored the Court's legal size to six before any such vacancy occurred.  In 1807, the Court's size was increased to seven, creating one new vacancy filled by Thomas Todd.  Again in 1837, the Court's size was increased to nine, the two new vacancies being filled by John Catron and John McKinley.  An 1863 act increased the Court's size to ten, the vacancy being filled by Stephen Johnson Field.  Although an 1866 act provided that the Court's size would be thinned from ten to seven through attrition (and which did result in the elimination of two seats while in effect), a final 1869 act[25] interrupted the plan set forth in 1866: the Court's size shall be nine, the legally prescribed full strength which has stood ever since.  Consequently, one final seat was created and filled by Joseph Bradley.

text: President Franklin D. Roosevelt attempted to expand the Court in 1937, seeking to appoint an additional justice for each incumbent justice who reached the age of 70 years and 6 months and refused retirement; under Roosevelt's proposal, such appointments would continue until the Court reached a maximum size of 15 justices. Ostensibly, the proposal was made to ease the burdens of the docket on the elderly justices, but Roosevelt's actual purpose was to pack the Court with justices who would support New Deal policies and legislation.[26] This plan, usually called the "Court-packing Plan", failed in Congress and proved a political disaster for Roosevelt.[27] The balance of the Court shifted with the retirement of Willis Van Devanter and the confirmation of Hugo Black in August 1937. By the end of 1941, Roosevelt had appointed seven Supreme Court justices and elevated Harlan Fiske Stone to chief justice.[28]

text: It is constitutionally possible for a justice to be removed from office through Congressional impeachment by the House and conviction by the Senate, another possible situation creating a vacancy.  Only one justice—Samuel Chase, late 1804-early 1805—has ever been impeached; however, Chase was acquitted by the Senate, and thus not removed from office.  Removal of a justice through an impeachment process has therefore never taken place.  Less substantial efforts towards impeachment of a sitting justice, not reaching a House vote, have occurred more recently: William O. Douglas was twice the subject of hearings, first in 1953 and again in 1970.  No mechanism presently exists for removing a justice who is permanently incapacitated by illness or injury, both unable to resign and unable to resume service.[29]

text: Despite the unpredictability of vacancies, most presidents have successfully appointed at least one justice. The four exceptions are William Henry Harrison, Zachary Taylor, Andrew Johnson, and Jimmy Carter. Harrison died a month after taking office, though his successor John Tyler made an appointment during that presidential term. Taylor likewise died early in his term, although his successor Millard Fillmore also made a Supreme Court nomination before the end of that term. Johnson was denied the opportunity to appoint a justice by the 1866 act which reduced the Court's size, mentioned above.  Jimmy Carter is the only president who completed one full term in office without making a nomination to the Court during his presidency.


document_title: Coyote Ugly (film)

question_text: who sings all the songs in coyote ugly

question_tokens: who sings all the songs in coyote ugly

text: Coyote Ugly (film)

text: Plot[edit]

text: Violet Sanford leaves her hometown of South Amboy, New Jersey, her father Bill, and her best friend Gloria, in order to pursue her dreams of becoming a songwriter in nearby New York City. Violet tries multiple times to get her demo tape noticed by the recording studios but is unsuccessful. One night, she tries to get herself noticed by a music industry scout. The bartender jokingly points out Kevin O'Donnell, making her believe that he is the bar owner. When she discovers the joke, Violet feels hurt because she thinks Kevin was trying to make her look foolish. With only a few dollars left in her pocket after her apartment is robbed, she goes to an all-night diner and notices three girls, Cammie, Rachel, and Zoe, flaunting the hundreds of dollars in tips they earned. After inquiring, she finds out that they work at a trendy bar named Coyote Ugly.

text: She finds her way to the bar and convinces the bar owner Lil to give her an audition. Violet's first audition does not go well; but after Violet breaks up a fight between two customers, Lil gives her a second audition. At her second audition, Violet douses the fire warden in water which costs Lil $250. However, Lil decides she can work at the bar if she can make up $250 in one night. Kevin turns up at the bar, and Violet auctions him off to another woman at the bar to earn the money. Kevin tells Violet that he owes her, so she Violet agrees to go on four dates with him. The two begin a relationship.

text: Kevin commits himself to helping Violet overcome her stage fright, which she is informed she'll have to do to have her songs heard. Violet tells Kevin she inherited her stage fright from her now deceased mother, who also moved to New York in her youth to pursue her dreams of singing. Violet's stage fright mostly extends to singing her original pieces, as she sings in the bar to help Cammie and Rachel, who are trying to break up a fight between customers.

text: One night, a patron takes a picture of Violet in the middle of a raunchy move with water pouring on her. When the picture appears in the paper, her dad Bill sees it and gets angry at her. She keeps the job despite her dad's wishes, but shortly thereafter gets fired when Kevin gets into a fight at the bar. She and Kevin then break up. With her dreams not working and her job at the bar terminated, Violet goes to New Jersey for Gloria's wedding. Bill gets into a car accident which almost prompts Violet to move back to New Jersey, but Bill convinces her not to give up while telling her the truth that her Mother didn't actually have a problem with stage-fright and quit singing because of Bill.

text: Back in New York Lil visits her at a restaurant she's now working at and the two make amends. Violet finishes a new song and later performs it at an open mic night at the Bowery Ballroom with the Coyotes from the Coyote Ugly saloon, Bill, Gloria, and Kevin all there for moral support. The performance leads to a deal with a record label. The film concludes back at Coyote Ugly with LeAnn Rimes, having recorded Violet's song, singing on the bar as Violet joins in and Violet kissing Kevin celebrating her dream coming true.

text: Cast[edit]

text:
Piper Perabo as Violet Sanford
Adam Garcia as Kevin O'Donnell
John Goodman as William "Bill" Sanford
Maria Bello as Lil Lovell
Izabella Miko as Cammie
Tyra Banks as Zoe
Bridget Moynahan as Rachel
Melanie Lynskey as Gloria
Michael Weston as Danny
Melody Perkins as New Coyote
LeAnn Rimes as herself
Johnny Knoxville as College Guy
John Fugelsang as Richie the Booker
Michael Bay (cameo) as a photographer
Susan Yeagley, Kaitlin Olson, Alex Borstein, and Carol Ann Susi (uncredited) as Bidding auction women

tag: ul

text: Production[edit]

text: Writing[edit]

text: Kevin Smith, who did an uncredited rewrite of the script, stated that a total of eight writers worked on the script while the Writers Guild of America only gave credit to Gina Wendkos, who wrote the first draft of the script, which, according to Smith, scarcely resembles the final film.[1] (See WGA screenwriting credit system.)

text: Casting[edit]

text: Early on, before the producers decided to cast mostly unknown actors, the lead role of Violet Sanford was offered to pop singer Jessica Simpson, who turned it down.[4]

text: Filming[edit]

text: Principal photography took place in Manhattan and small towns in New Jersey including South Amboy and Sea Bright for a month. Production then moved to California and shooting took place in Los Angeles, West Hollywood, Pasadena, and San Pedro.[5]

text: Title[edit]

text: The film was based on an article, "The Muse of the Coyote Ugly Saloon", in GQ by Elizabeth Gilbert,[6] who worked as a bartender in the East Village.[7] The bar, which opened in 1993, quickly became a favorite of the Lower East Side hipsters.

text: As mentioned in the film, the slang term "coyote ugly" refers to the feeling of waking up after a one-night stand, and discovering that your arm is underneath someone who is so physically repulsive that you would gladly chew it off without waking the person just so you can get away without being discovered. Coyotes are known to gnaw off limbs if they are stuck in a trap, in order to facilitate escape.

text: Release[edit]

text: Box office[edit]

text: Coyote Ugly opened fourth at the North American box office making US$17,319,282 in its opening weekend. It went on to gross $60,786,269 domestically and $53,130,205 around the world to a total of $113,916,474 worldwide, becoming a box office success.[3]

text: Critical reception[edit]

text: The film received mostly negative reviews from critics. Criticisms and praise centered around the belief that it was little more than an excuse to portray "hot, sexy women dancing on a bar in a wet T-shirt contest".[8]

text: It currently holds a 22% rating on Rotten Tomatoes based on 96 reviews, with an average rating of 3.9/10. The site's consensus states: "Well, the women in this film are incredibly attractive and flaunt that fact quite a lot. Unfortunately, that's all there is to the film. The script is almost as big a joke as the characters, and everything else follows the same path. If you're looking for a tease then see this flick, otherwise stay as far away as possible."[9] Metacritic reports a 27 out of 100 rating, based on 29 critics, indicating "generally unfavorable reviews".[10]

text: VH1 made a statement about Rimes' appearance in the film stating, "Rimes [herself], who is only 17 years old, was sporting leather pants and a skimpy top and in all likelihood, even with a fake ID, would never have been allowed inside any NYC bar."[11]

text: Home media[edit]

text: In the summer of 2005, an unrated special edition (the original release was rated PG-13 and the director's cut rated R) was released on DVD. It was also released in the UK and rated 15 by the BBFC. (By contrast, the theatrical cut was rated 12 in the UK.)[1]

text: The extended cut adds approximately six minutes to the film's runtime, most of which consists of additional shots of the "coyotes" dancing on the bar and of Violet and Cammie trying on different outfits while shopping. Arguably, the most notable additions are the extension of the sex scene between Violet and Kevin (Perabo used a body double for most of the scene), and the inclusion of an additional scene which shows the "Coyotes" winning a softball game because Cammie distracts the pitcher by stripping.

text: The special features of the extended cut DVD are identical with those of the previous DVD release.

text: Soundtracks[edit]

text: The film's soundtrack features Violet's four songs from the film, performed by LeAnn Rimes and written by Diane Warren, as well as several other songs not exclusive to the film. It achieved gold status within one month[12] of its release on August 1, 2000[13] and platinum status on November 7, 2000.[12] On April 18, 2001 the soundtrack was certified 2x Platinum and on January 9, 2002 it was certified 3x Platinum. The soundtrack was certified 4x Platinum on July 22, 2008,[12] was certified 5x Platinum (500,000 units) in Canada[14] and gold (100,000 units) in Japan in 2002.[15]

text: Three singles were released from the soundtrack, all three by LeAnn Rimes, "Can't Fight the Moonlight" which achieved gold status, became a nearly instant hit on the radio charts and peaked at #11 on The Billboard Hot 100,[16] "But I Do Love You" and "The Right Kind of Wrong".[17]

text: A second soundtrack, More Music from Coyote Ugly, with more songs that appeared in the film and remixes of two of Rimes' songs, followed on January 28, 2003.[18]

text: Although Perabo was able to sing for her character, it was decided that Rimes, owing to her soprano-type voice, would provide Violet's singing voice far better for the role. This means that during Rimes' cameo, she is effectively duetting with herself.

text: Coyote Ugly soundtrack[edit]

text:
Coyote Ugly

Soundtrack album by Various Artists

Released
August 1, 2000

Genre
Pop

Length
44:27

Label
Curb

Producer
Jerry Bruckheimer, Kathy Nelson, Mike Curb, Trevor Horn, Don Henley, Danny Kortchmar, Greg Ladayi, Ralph Jezzard, Snap!, John Boylan, Micheal Lloyd, Don Cook, Chris Waters, Brad Gilderman, Harvey Mason, Jr.

Singles from Coyote Ugly

"Can't Fight the Moonlight"
Released: August 22, 2000
"But I Do Love You"
Released: February 9, 2001[19]
"The Right Kind of Wrong"
Released: 2001[17]

text:
Professional ratings

Review scores

Source
Rating

Allmusic
[20]

Entertainment Weekly
D[21]

text:
No.
Title
Recording artist(s)
Length

1.
"Can't Fight the Moonlight" (feat. string arrangements by David Campbell)
LeAnn Rimes
3:35

2.
"Please Remember"
LeAnn Rimes
4:34

3.
"The Right Kind of Wrong" (feat. string arrangements by David Campbell)
LeAnn Rimes
3:47

4.
"But I Do Love You" (feat. string arrangements by David Campbell)
LeAnn Rimes
3:21

5.
"All She Wants to Do Is Dance"
Don Henley
4:30

6.
"Unbelievable"
EMF
3:30

7.
"The Power"
Snap!
3:40

8.
"Need You Tonight"
INXS
3:10

9.
"The Devil Went Down to Georgia"
The Charlie Daniels Band
3:36

10.
"Boom Boom Boom"
Rare Blend
3:22

11.
"Didn't We Love"
Tamara Walker
3:24

12.
"We Can Get There" (TP2K Hot Radio Mix)
Mary Griffin
3:59

Total length:
44:27

text:
Chart (2000/01)
Peak
position

Australian Albums Chart[22]
1

Austrian Albums Chart[22]
2

Belgian (Flanders) Albums Chart[22]
7

Belgian (Wallonia) Albums Chart[22]
43

Canadian RPM Country Albums
1

Canadian Albums Chart
4

Danish Albums Chart[22]
6

Dutch Albums Chart[22]
60

Finnish Albums Chart[22]
9

French Albums Chart[22]
117

Norwegian Albums Chart[22]
3

Spanish Albums Chart[22]
47

Swedish Albums Chart[22]
29

Swiss Albums Chart[22]
9

US Billboard 200
9

US Billboard Top Country Albums
1

US Billboard Soundtracks
3

text:
Preceded by
1 by The Beatles
Australian ARIA Albums Chart number-one album
January 22 – March 4, 2001
Succeeded by
The Marshall Mathers LP by Eminem

Preceded by
Burn
by Jo Dee Messina
Top Country Albums number-one album
August 26 – October 6, 2000
Succeeded by
George Strait
by George Strait

Preceded by
Greatest Hits
by Tim McGraw
Top Country Albums number-one album
February 10–16, 2001
Succeeded by
I Need You
by LeAnn Rimes

Preceded by
O Brother, Where Art Thou?
by Various Artists
Top Country Albums number-one album
April 28 – May 4, 2001
Succeeded by
Steers & Stripes
by Brooks & Dunn

Preceded by
Breathe
by Faith Hill
RPM Country Albums number-one album
September 11 – November 12, 2000
Succeeded by
none

text: More Music from Coyote Ugly[edit]

text:
More Music from Coyote Ugly

Soundtrack album by Various Artists

Released
January 28, 2003

Genre
Pop

Length
40:34

Label
Curb

Producer
Jerry Bruckheimer, Kathy Nelson, Mike Curb, Trevor Horn, Don Henley, Danny Kortchmar, Greg Ladayi, Ralph Jezzard, Snap!, John Boylan, Micheal Lloyd, Don Cook, Chris Waters, Brad Gilderman, Harvey Mason, Jr.

text:
Professional ratings

Review scores

Source
Rating

Allmusic
[23]

text:
No.
Title
Recording artist(s)
Length

1.
"One Way or Another"
Blondie
3:31

2.
"Rebel Yell"
Billy Idol
4:47

3.
"Rock This Town"
Stray Cats
2:39

4.
"Keep Your Hands to Yourself"
The Georgia Satellites
3:22

5.
"Out of My Head"
Fastball
2:33

6.
"Battle Flag" (Lo-Fidelity Allstars Remix)
Pigeonhed
3:58

7.
"It Takes Two"
Rob Base and DJ E-Z Rock
5:00

8.
"Love Machine"
The Miracles
2:59

9.
"We Can Get There" (Almighty Radio Edit)
Mary Griffin
3:59

text:
Bonus tracks

No.
Title
Recording artist(s)
Length

10.
"Can't Fight the Moonlight" (Graham Stack Radio Edit)
LeAnn Rimes
3:30

11.
"But I Do Love You" (Almighty Radio Edit)
LeAnn Rimes
4:02

Total length:
40:34

text: Other songs in the film[edit]

text: The following songs appear in the film, but are on neither of the two released soundtracks.

text:
"Party Up (Up in Here)" by DMX
"Fly" by Sugar Ray
"I Will Survive" by Gloria Gaynor
"That's Me" by Tara MacLean
"Wherever You Will Go" by The Calling
"Pour Some Sugar on Me" by Def Leppard
"Fly Away" by Lenny Kravitz
"Beer:30" by Reverend Horton Heat
"Follow Me" by Uncle Kracker
"Cruisin' for a Bruisin'" by Nurse With Wound
"Never Let You Go" by Third Eye Blind
"Love Is Alive" by Anastacia
"Cowboy" by Kid Rock
"Tony Adams" by Joe Strummer & The Mescaleros
"Cailin" by Unwritten Law
"Can't Help Falling in Love" by Elvis Presley
"Like Water" by Chalk Farm
"I Love Rock N Roll" by Joan Jett & the Blackhearts


document_title: Still of the Night (song)

question_text: who played lead guitar on still of the night

text: Still of the Night (song)

text: Background[edit]

text: In 2009, in an interview with Metal Hammer, Coverdale commented on the origins of the song:

text: "When my mother died I was going through the stuff at her house and found some early demo cassettes. One of them was a song that Ritchie Blackmore and I had been working on which was the basic premise of what would become "Still of the Night". It was totally unrecognizable, so Ritchie doesn't have anything to worry about... neither do I! Ha ha ha! I took it as far as I could then I gave it to Sykesy when we were in the south of France, and he put the big guitar hero stuff on there. John hated blues so I had to work within those parameters. I manipulated to be electric blues, but how he performed it was fabulous for his time and relatively unique because of the songs. There were a lot of people doing that widdly stuff but they didn't have the quality of those songs."

text: Music video[edit]

text: A music video, starring Coverdale's then-future wife Tawny Kitaen, was shot for the song, and it was MTV's most requested video in its first week of release.[citation needed]

text: In popular culture[edit]

text: Whitesnake withheld licensing of "Still of the Night" for use in the video game Rock Revolution; a cover version of the song was subsequently featured in the game. The studio version later appeared as Rock Band DLC in 2012.

text: Moreover, the song is played in 2011 movie Bad Teacher.

text: The Finnish symphonic metal singer Tarja Turunen covered the song for her album What Lies Beneath. The American band, Halestorm, also covered the song for the album Reanimate 3.0. Static-X covered the song as a bonus track for their album Cult of Static.

text: Track listing[edit]

text:
"Still of the Night" – 6:38
"Here I Go Again" – 4:33
"You're Gonna Break My Heart Again" – 4:11

tag: ol

text: Personnel[edit]

text:
David Coverdale – vocals
John Sykes – guitar, bowed guitar
Neil Murray – bass guitar
Aynsley Dunbar – drums
Don Airey – keyboards