document_title: UN mediation of the Kashmir dispute

question_text: when was the kashmir issue presented in united nation

text: UN mediation of the Kashmir dispute

text: Overview[edit]

text: Following the outbreak of the Indo-Pakistani War of 1947, India's Governor General Mountbatten flew to Lahore On 1 November 1947 for a conference with Muhammad Ali Jinnah, proposing that, in all the princely States where the ruler did not accede to a Dominion corresponding to the majority population (which would have included Junagadh, Hyderabad as well Kashmir), the accession should be decided by an `impartial reference to the will of the people'. Jinnah rejected the offer.[1] The Prime Ministers Jawaharlal Nehru and Liaquat Ali Khan met again in December, where Nehru informed Khan of India's intention to refer the dispute to the United Nations under article 35 of the UN Charter, which allows the member states to bring to the Security Council attention situations `likely to endanger the maintenance of international peace'.[2]

text: India sought resolution of the issue at the UN Security Council on 1 January 1948.[3] Following the set-up of the United Nations Commission for India and Pakistan (UNCIP), the UN Security Council passed Resolution 47 on 21 April 1948. The measure imposed an immediate cease-fire and called on the Government of Pakistan 'to secure the withdrawal from the state of Jammu and Kashmir of tribesmen and Pakistani nationals not normally resident therein who have entered the state for the purpose of fighting.' It also asked Government of India to reduce its forces to minimum strength, after which the circumstances for holding a plebiscite should be put into effect 'on the question of Accession of the state to India or Pakistan.' However, it was not until 1 January 1949 that the ceasefire could be put into effect, signed by General Gracey on behalf of Pakistan and General Roy Bucher on behalf of India.[4] However, both India and Pakistan failed to arrive at a truce agreement due to differences over interpretation of the procedure for and the extent of demilitarisation. One sticking point was whether the Azad Kashmiri army was to be disbanded during the truce stage or at the plebiscite stage.[5]

text: The UNCIP made three visits to the subcontinent between 1948 and 1949, trying to find a solution agreeable to both India and Pakistan.[6] It reported to the Security Council in August 1948 that "the presence of troops of Pakistan" inside Kashmir represented a "material change" in the situation. A two-part process was proposed for the withdrawal of forces. In the first part, Pakistan was to withdraw its forces as well as other Pakistani nationals from the state. In the second part, "when the Commission shall have notified the Government of India" that Pakistani withdrawal has been completed, India was to withdraw the bulk of its forces. After both the withdrawals were completed, a plebiscite would be held.[7] The resolution was accepted by India but effectively rejected by Pakistan.[note 1]

text: The Indian government considered itself to be under legal possession of Jammu and Kashmir by virtue of the accession of the state. The assistance given by Pakistan to the rebel forces and the Pakhtoon tribes was held to be a hostile act and the further involvement of the Pakistan army was taken to be an invasion of Indian territory. From the Indian perspective, the plebiscite was meant to confirm the accession, which was in all respects already complete, and Pakistan could not aspire to an equal footing with India in the contest.[8]

text: The crux of India's argument, which it felt the UN Security Council had ignored, that Pakistan was an aggressor in a territory which had legally become part of India by the Instrument of Accession, has been criticized. The point is raised that the refusal of India to accept the accession of Junagadh's Muslim ruler to Pakistan must be taken into consideration when India raises such legalistic arguments.[9][10] Korbel points out that by agreeing to the Commission's resolutions as a basis for solving the dispute, India no longer has the right to use arguments such as ″Pakistani aggression″.[11]

text: The Pakistan government held that the state of Jammu and Kashmir had executed a Standstill Agreement with Pakistan which precluded it from entering into agreements with other countries. It also held that the Maharaja had no authority left to execute accession because his people had revolted and he had to flee the capital. It believed that the Azad Kashmir movement as well as the tribal incursions were indigenous and spontaneous, and Pakistan's assistance to them was not open to criticism.[12]

text: In short, India required an asymmetric treatment of the two countries in the withdrawal arrangements regarding Pakistan as an `aggressor', whereas Pakistan insisted on parity. The UN mediators tended towards parity, which was not to India's satisfaction.[13] In the end, no withdrawal was ever carried out, India insisting that Pakistan had to withdraw first, and Pakistan contending that there was no guarantee that India would withdraw afterwards.[14] No agreement could be reached between the two countries on the process of demilitarisation.[note 2]

text: Scholars have commented that the failure of the Security Council efforts of mediation owed to the fact that the Council regarded the issue as a purely political dispute without investigating its legal underpinnings.[note 3] Declassified British papers indicate that Britain and US have let their cold war calculations influence their policy in the UN disregarding the merits of the case.[note 4]

text: Stages of the UN involvement[edit]

text: McNaughton proposals[edit]

text: In December 1949 the Security Council asked its Canadian President General McNaughton to meet both sides for a solution. McNaughton forwarded his proposals to both Governments on 22 December and reported to the Security Council on 29 December, before his term as President of the Security Council expired on the 31st. Nevertheless, he continued his mediatory activities at the Council's request and submitted a final report on 3 February 1950.[15]

text: On 22 December he proposed that there be a simultaneous withdrawal of Pakistan's regular forces and India's regular forces not required for security, that there be a disbanding of both the Azad Kashmir forces and the Kashmir State forces and millitia and thirdly the inclusion of the Northern Areas in this demilitarisation scheme while the civil administration there would continue to be vested in the local authorities subject to United Nations supervision. Pakistan accepted these proposals but India rejected them.[16][17]

text: India was unhappy that Pakistan was treated as an equal party as in its view Pakistan was present illegally in Kashmir while India was present legally. The United States warned India that if it refused the McNaughton proposals it would be the third consecutive time it rejected the findings of an impartial UN agent and the United States would be left with no choice but to support whatever action the Security Council would take. Nehru responded by accusing the United States of pressuring the Indian Government. US policy makers saw India's rejection of the proposals as the "worst example yet" of its intransigence.[18][19]

text: Cold War historian Robert J. McMahon states that American officials increasingly blamed India for rejecting various UNCIP truce proposals under various dubious legal technicalities just to avoid a plebiscite. McMahon adds that they were 'right' since a Muslim majority made a vote to join Pakistan the 'most likely outcome' and postponing the plebiscite would serve India's interests. Some Indian officials privately admitted to their American counterparts that they would prefer a partition of the State to a plebiscite.[20]

text: US ambassador Loy Henderson told Indian officials that the American impression that India was evading a plebiscite was being fuelled by India's refusal to have a conciliatory attitude which would help in the prompt holding of a plebiscite.[21]

text: Despite India's rejection the McNaughton proposals were warmly received by the Security Council. It passed a resolution giving both countries five months to arrange the demilitarisation scheme.  India later accepted the draft resolution on 14 March 1950. The Council then appointed Sir Owen Dixon who was to implement McNaughton's demilitarisation proposals for the State.[22][23][24]

text: Dixon Mission[edit]

text: In the first phase, Dixon proposed that areas evacuated by Pakistani troops could be administered by local authorities under the Commission's surveillance. To meet India's objections regarding the terms 'authorities' and 'surveillance' Dixon proposed that the administration in areas west to the ceasefire line be carried out according to the law and custom of the Jammu and Kashmir State before the present troubles. An officer of the United Nations would be attached to each district magistrate to ensure the impartiality required for the holding of a plebiscite. India refused this plan because it believed that the local authorities, who had replaced the 'legally authorised' State executives, were biased in favour of Pakistan and this was not in India's interests. India suggested no alternative.[25]

text: Dixon also believed that on the Indian side of the ceasefire line certain conditions needed to be met to ensure a fair plebiscite. This included attaching a United Nations officer with each district magistrate who would be allowed to see the Magistrate's records and proceedings, the UN officer was to observe, inspect, remonstrate and report. Nehru objected to these proposals on the grounds that they constituted a "derogation from the sovereignty of the state". Nehru also gave no alternative proposal.[26]

text: Sir Owen Dixon then put before the Prime Ministers of the two countries an alternative set of plans which would practically in the process eliminate the ceasefire line. These plans included a coalition government between Sheikh Abdullah and Ghulam Abbas, or allocating portfolios among the different parties. The second suggestion was instituting a neutral government by respected non-political persons for a period of six months before the plebiscite would take place. The membership would be equally split between Hindus and Muslims under a United Nations supervisor. The third proposal was the installation of an administrative body manned totally by UN representatives. None of these proposals appealed to Nehru.[27] Sir Owen Dixon took India to task in very strong language for its negative reactions to the various alternative demilitarisation proposals.[28]

text:
Dixon next asked Nehru in the presence of the Pakistani Prime Minister whether it would be advisable to have plebiscites by region and allocate each region according to the results of a plebiscite in each. India reacted favourably to this plan.[29]
According to the Indian commentator Raghavan, it was first Nehru who proposed a partition-cum-plebiscite plan: Jammu and Ladakh would go to India, Azad Kashmir and Northern Areas to Pakistan, and a plebiscite would be held in the Kashmir Valley. Dixon favoured the plan, which bears his name till this day.[30] Dixon agreed that people in Jammu and Ladakh were clearly in favour of India; equally clearly, those in Azad Kashmir and the Northern Areas wanted to be part of Pakistan. This left the Kashmir Valley and 'perhaps some adjacent country' around Muzaffarabad in uncertain political terrain. However, according to Dixon, Pakistan "bluntly rejected" the proposal. It believed that the plebiscite should be held in the entire state or the state should be partitioned along religious lines.[31] Pakistan believed that India's commitment to a plebiscite for the whole of Jammu and Kashmir should not be departed from.[32][33][34]

text: Dixon also had concerns that the Kashmiris, not being high-spirited people, may vote under fear or improper influences.[35] Following Pakistan's objections, he proposed that Sheikh Abdullah administration should be held in "commission" (in abeyance) while the plebiscite was held. This was not acceptable to India.[37] According to Raghavan, at this point, Dixon lost patience and declared failure.[30]

text: The Dixon Plan had involved the exclusion of both Indian and Pakistani troops from the plebiscite zone. On 16 August 1950 Nehru turned down Dixon's plan for a limited plebiscite on the grounds that the State Government's authority should not be suppressed for any period of time. Another reason for India's rejection of the Dixon Plan was that it wanted Indian troops to remain during the plebiscite for "security reasons" while it demanded at the same time that Pakistani troops be excluded.[38]

text: Dixon felt that India would not agree to demilitarisation and other provisions governing the plebiscite that guard against influence and abuse.[39][40] Without a demilitarisation by India, Pakistan and the Azad forces were not willing to withdraw from the territory they had retained. Dixon's final comment was to suggest that India and Pakistan be left to solve the situation on their own.[41]

text: Dixon's failure compounded American ambassador Loy Henderson's suspicions about India's motives and good faith. He concluded that Indian allegations of America's pro-Pakistan bias, which he noted were being quietly stimulated by Nehru himself, made it more suitable for the Commonwealth nations to intervene. Washington heeded its ambassador's advice and for the rest of 1950 played a scant role in the Kashmir issue.[42] Henderson became the first American to visit Kashmir and observed that the majority of the Valley would choose Pakistan over India in a plebiscite. The majority if given the third option would opt for independence.[43]

text: Frank Graham's mediation[edit]

text: When Dixon's successor, Dr Frank Graham, arrived in the subcontinent during a time of tension, he tried to effect demilitarisation prior to a plebiscite but India and Pakistan could not agree on the number of troops who were to remain in Kashmir.[44]

text: Dr Frank Graham was appointed by the Security Council as the UN representative for India and Pakistan on 30 April 1951. Dr Graham arrived in the subcontinent on 30 June 1951. The Graham mission had to reach an agreement between the two countries concerning the demilitarisation of Kashmir. Similar to the experience of previous UN envoys,  Graham had first suggested a demilitarisation plan which found acceptance from Pakistan but rejection from India. Thereafter, Graham gave an alternative proposal whereby both countries were to gradually reduce their forces to a minimum and in proportion to the forces of both countries that were in Kashmir on 1 January 1949. This proposal was accepted by Pakistan but rejected by India.[45]

text: On 16 July 1952 Dr Graham offered a fresh set of proposals. By them Pakistan would reduce its forces to a size between 3,000 and 6,000 and India would reduce its troops number to between 12,000 and 16,000. But these figures did not include the state militias on the Indian side or the Gilgit and Norther Scouts in the Pakistani side. Because Pakistan was hopeful for a plebiscite it accepted this plan but India rejected it, possibly because the question of irregular forces was not solved. Graham revised the figures so that 6,000 would be the limit of Pakistan's forces and 18,000 would be the limit for India's forces. India answered by asking that it be allowed to keep 21,000 troops including the state militia in its side but that Pakistan be allowed only a civilian force of 4,000. Dr Graham reported his failure to the Security Council, which subsequently passed a resolution in December 1951 calling for India and Pakistan to come to an agreement on reducing the size of their forces. The resolution suggested Pakistan to cut the number of its troops to between 3,000 and 6,000 and India to cut its own troop numbers to a number between 12,000 and 18,000. The Security Council urged both countries to consider DR Graham's criterion for troop reductions Graham had suggested on 4 September 1951. Pakistan accepted this Security Council resolution but India rejected it and gave no reason for its rejection.[46]

text: Graham then tried to move the mediation further and, without proposing a corresponding increase of the Pakistani force size, gave a proposal which would allow India to keep 21,000 troops in Kashmir as had been India's demand. This proposal was also unsuccessful.  Dr Graham submitted a second report to the United Nations in December to recount the failure of his attempts to achieve a demilitarisation for a plebiscite. His third submission to the UN in April 1952 reported some progress on the demilitarisation question as both countries had begun withdrawing forces since March. But by the fourth report in October 1952 Graham had to inform the Security Council that the talks had stumbled again over the question of the number and character of forces to be allowed on both sides. The Security Council then passed a resolution asking that the countries negotiate directly on this question. These negotiations took place in Geneva in February 1953 but it became obvious to the UN representative that this approach would be unsuccessful. Dr Graham submitted his final report on 27 March 1953 and his mediatory efforts ended. The two questions during this mediation which India and Pakistan differed upon was the number of forces to remain after demilitarisation on each side and when the plebiscite administrator could assume their duty.[47]

text: United Nations Military Observer Group in India and Pakistan[edit]

text: The Security Council Resolution 47 (1948) also enlarged the membership of the UNCIP to 5 members. India and Pakistan signed the Karachi Agreement in March 1951 and established a ceasefire line to be supervised by observers. After the termination of the UNCIP, the Security Council passed Resolution 91 (1951) and established a United Nations Military Observer Group in India and Pakistan (UNMOGIP) to observe and report violations of ceasefire.

text: After the Indo-Pakistani War of 1971, the two countries signed the Simla Agreement in 1972 to define the Line of Control in Kashmir. India and Pakistan disagree on UNMOGIP’s mandate in Kashmir because India argued that the mandate of UNMOGIP has lapsed after the Simla agreement because it was specifically established to observe ceasefire according to the Karachi Agreement.

text: However, The Secretary General of the United Nations maintained that the UNMOGIP should continue to function because no resolution has been passed to terminate it. The military authorities of Pakistan have continued to lodge complaints with the UNMOGIP about ceasefire violations. The military authorities of India  have lodged no complaints since January 1972 and have restricted the activities of the UN observers on the Indian side of the Line of Control.[48][49]

text: Map issues[edit]

text:
Map of UN's version of the South Asia region

Map of UN's version of Pakistan

Map of UN's version of the Kashmir region

Map of UN's version of the Republic of India and border areas

text: As with other disputed territories, each government issues maps depicting their claims in Kashmir as part of their territory, regardless of actual control. It is illegal in India to exclude all or part of Kashmir in a map. It is also illegal in Pakistan not to include the state of Jammu and Kashmir as disputed territory, as permitted by the U.N. Non-participants often use the Line of Control and the Line of Actual Control as the depicted boundaries, as is done in the CIA World Factbook, and the region is often marked out in hashmarks, although the Indian government strictly opposes such practices[citation needed].   When Microsoft released a map in Windows 95 and MapPoint 2002, a controversy was raised because it did not show all of Kashmir as part of India as per Indian claim. However, all the neutral and Pakistani companies claim to follow UN's map and over 90% of all maps containing the territory of Kashmir show it as disputed territory.[1]


document_title: List of Family Guy cast members

question_text: who did emily osment play on family guy

question_tokens: who did emily osment play on family guy

root

text: List of Family Guy cast members

text: Current cast[edit]

text: From seasons 1 to 4, Family Guy had four main cast members. Since season 5, there have been five main cast members. The casting of Meg Griffin changed after season 1.

tag: p

text: Seth MacFarlane[edit]

text: Seth MacFarlane voices three of the show's main characters: Peter Griffin, Brian Griffin, and Stewie Griffin.[1] MacFarlane chose to voice these characters himself, believing it would be easier to portray the voices he had already envisioned than for someone else to attempt it.[2] MacFarlane drew inspiration for the voice of Peter from a security guard he overheard talking while attending the Rhode Island School of Design.[3] Stewie's voice was based on the voice of English actor Rex Harrison,[4] especially his performance in the 1964 musical drama film My Fair Lady.[5] MacFarlane uses his own voice while portraying Brian.[2]

text: MacFarlane also provides the voices for various other recurring and one-time only characters, most prominently those of news anchor Tom Tucker, Lois' father Carter Pewterschmidt and Dr. Hartman.[6] He is the only voice to be in every episode.

text: Alex Borstein[edit]

text: Alex Borstein voices Lois Griffin, Asian correspondent Tricia Takanawa, Loretta Brown and Lois' mother Barbara Pewterschmidt.[7] Borstein was asked to provide a voice for the pilot while she was working on MADtv. She had not met MacFarlane or seen any of his artwork and said it was "really sight unseen".[8] At the time, Borstein performed in a stage show in Los Angeles, in which she played a redhead mother whose voice she had based on one of her cousins.[7][8] The voice was originally slower (and deeper for the original series), but when MacFarlane heard it, he replied "Make it a little less fucking annoying ... and speed it up, or every episode will last four hours."[7]

text: Mila Kunis[edit]

text: Mila Kunis voices Meg Griffin.[6] Kunis won the role after auditions and a slight rewrite of the character, in part due to her performance on That '70s Show.[9] MacFarlane called Kunis back after her first audition, instructing her to speak slower, and then told her to come back another time and enunciate more. Once she claimed that she had it under control, MacFarlane hired her.[9] Kunis described her character as "the scapegoat". She further explained, "Meg gets picked on a lot. But it's funny. It's like the middle child. She is constantly in the state of being an awkward 14-year-old, when you're kind of going through puberty and what-not. She's just in a perpetual mode of humiliation. And it's fun."[10]

text: Seth Green[edit]

text: Seth Green primarily plays Chris Griffin and Neil Goldman.[6][11] Green stated that he did an impression of the "Buffalo Bill" character from the thriller film The Silence of the Lambs during his audition.[12] His main inspiration for Chris' voice came from envisioning how "Buffalo Bill" would sound if he were speaking through a public address system at a McDonald's.[13]

text: Mike Henry[edit]

text: Mike Henry is the voice of Cleveland Brown, John Herbert The Pervert and various other characters. A Family Guy writer and producer, he began acting on the show as part of the recurring cast repertory (see below) but was promoted to main cast member in 2005. Since the cancellation of The Cleveland Show, he also voices Cleveland's step-son Rallo Tubbs on Family Guy.

text: Recurring cast[edit]

text: In addition to both its main cast and guest stars, Family Guy utilizes a deep bench of regularly appearing supporting voice actors. Some appear in nearly every episode each season, while others appear less frequently. Some of these actors specifically play recurring characters, while others mainly play background citizens of Quahog or characters in cutaway gags.

text: The current supporting cast repertory includes the following actors:

text:
Actor
Character(s)
No. of Episodes
(Out of 245 produced)
Notes

Benjamin, H. JonH. Jon Benjamin
Carl
14
Since 2006

Breckenridge, AlexandraAlexandra Breckenridge
Various women
57
Since 2005. Currently voices most female “extras” not voiced by Alex Borstein.

Brennan, JohnnyJohnny Brennan
Goldman, MortMort Goldman, Horace the bartender
77

Callaghan, SteveSteve Callaghan
Various
37
Also the current showrunner and executive producer of Family Guy and former showrunner/EP of American Dad!. [14]

Garman, RalphRalph Garman
Various
138

Lakin, ChristineChristine Lakin
Kinney, JoyceJoyce Kinney
23
Since 2010.

LaMarr, PhilPhil LaMarr
Williams, OllieOllie Williams and the Quahog judge
56

MacFarlane, RachaelRachael MacFarlane
Olivia and various women
54
Formerly one of the most frequent female voices. She reduced her number of appearances per season after joining American Dad! in 2005 but still appears several times per season. Seth MacFarlane's sister.

Osment, EmilyEmily Osment
Various
14
Since 2012.

Richardson, Kevin MichaelKevin Michael Richardson
Jerome and Cleveland Jr.
30
Since 2009.

Sheridan, ChrisChris Sheridan
Various
33
Also a Family Guy writer.

Smith, DannyDanny Smith
Various, including Evil Monkey, Al Harrington and Ernie, the Giant Chicken
189
Also a Family Guy writer.

Sulkin, AlecAlec Sulkin
Christ, JesusJesus Christ and various others
147
Since 2005, Also a Family Guy writer.

Tatasciore, FredFred Tatasciore
Various
36

Tilly, JenniferJennifer Tilly
Swanson, BonnieBonnie Swanson
42
Has recurred as the Griffin's neighbor since the first season.

Viener, JohnJohn Viener
Various
182
Since 2005, he has been one of the most frequently heard male voices aside from Seth MacFarlane. Also a Family Guy writer.

Warburton, PatrickPatrick Warburton
Swanson, JoeJoe Swanson
163
Has appeared as the Griffins' neighbor since the first season, and usually appears in most episodes each season. Warburton is the most frequently appearing one-character actor in the supporting repertory.

Wingert, WallyWally Wingert
Various
41

tag: table

text: In addition to the above, the following actors were formerly regularly recurring voice actors in the series:

text:
Actor
Character(s)
No. of Episodes
Notes

Alan, LoriLori Alan
Simmons, DianeDiane Simmons
63
Left the show in season nine when her character was killed off. Was replaced in the series' context by Christine Lakin's Joyce Kinney

Alazraqui, CarlosCarlos Alazraqui
Weed, Mr.Mr. Weed
10
Peter's first boss, Mr. Weed, was killed off early in the series' run.

Barrymore, DrewDrew Barrymore
Russell, JillianJillian Russell
12
Played Jillian, Brian's former girlfriend. The character still appears in background roles

Cole, GaryGary Cole
Various
38
Cole appeared frequently in the earlier seasons, but still pops up now and then to play Meg and Chris' principal, Mr. Shepherd.

Hartman, ButchButch Hartman
Various
8

Henry, MikeMike Henry
Cleveland Brown, Herbert, Bruce, Consuela, and various others

Was promoted to main cast in 2005. Also a Family Guy writer.

Hentemann, MarkMark Hentemann
Opie and various others
45
Recently left Family Guy to work on another Seth MacFarlane project. Also a Family Guy writer.

Fisher, CarrieCarrie Fisher
Angela
19
Has recurred as Peter's boss several times per season since 2005. Died in 2016.

Strong, TaraTara Strong
Various, as well as Meg's singing voice
21
Appeared frequently in the first four seasons. Returned briefly in 2010-2012 and again for one episode in 2014.

Sullivan, NicoleNicole Sullivan
Goldman, MurielMuriel Goldman
27
Muriel was killed off in season nine.

Whitman, MaeMae Whitman
Various
10
Was a recurring younger female voice for several seasons between 2008-2010.

Wild, WellesleyWellesley Wild
Various
14
No longer a recurring voice (since 2013). He was a producer, but left the show.

Wilhoit, LisaLisa Wilhoit
D'Amico, ConnieConnie D'Amico
15
Meg's bully Connie has not appeared in the series since 2013.

West, AdamAdam West
Mayor West, AdamAdam West
93
Played a warped version of himself as the mayor of Quahog. Died in 2017.

text: Recurring guest voices[edit]

text: The recurring guest voices include Adam Carolla as Death, Patrick Stewart as Susie Swanson, Scott Grimes as Kevin Swanson and Sanaa Lathan as Donna Tubbs Brown. Previous recurring guests included Phyllis Diller in three episodes as Peter's Mother, Thelma, and Charles Durning as Peter's father, Francis. Both characters have since died, but Durning returned once to play Francis as a ghost. Early in the show's run, Fred Willard and Jane Lynch had a recurring role as a family of nudists. James Woods as James Woods.

text: Casting changes[edit]

text:
Lacey Chabert voiced Meg for the first production season (14 episodes), but, because of a contractual agreement, was never credited.[15] Chabert left the series due to time constraints with her acting role in Party of Five, as well as schoolwork.[16]
Norm Macdonald voiced the character of Death in a second season episode of Family Guy. He was subsequently replaced by Adam Carolla in all other appearances.
Jon Cryer originally voiced Kevin Swanson in his first appearance, before the role was passed temporarily onto Seth MacFarlane. The character was written out of the series for several years, with Scott Grimes taking over the voice when the character returned.
Fairuza Balk was the original voice of high school bully Connie D'Amico until Lisa Wilhoit took over the character in the third season.

tag: ul

text: Awards and nominations[edit]

text:
Year
Actor
Award
Category
Role
Result
Ref.

2000
Seth MacFarlane
Primetime Emmy Award
Outstanding Voice-Over Performance
Stewie Griffin
Won
[17]

2009
Seth MacFarlane
Primetime Emmy Award
Outstanding Voice-Over Performance
Peter Griffin
Won
[18]

2006
Seth MacFarlane
Annie Award
Best Voice Acting in an Animated Television Production
Stewie Griffin
Won
[19]

2007
Mila Kunis
Annie Award
Voice Acting in an Animated Television Production
Meg Griffin
Won
[20]


document_title: Sons of Anarchy (season 5)

question_text: who is doing the home invasions on sons of anarchy

text: Sons of Anarchy (season 5)

text: Cast and characters[edit]

text: Sons of Anarchy is the story of the Teller-Morrow family of Charming, California, as well as the other members of Sons of Anarchy Motorcycle Club, Redwood Original (SAMCRO), their families, various Charming townspeople, allied and rival gangs, associates, and law agencies that undermine or support SAMCRO's legal and illegal enterprises.

text: Main cast[edit]

text:
Charlie Hunnam as Jackson "Jax" Teller (13 episodes)
Katey Sagal as Gemma Teller Morrow (13 episodes)
Mark Boone Junior as Robert "Bobby Elvis" Munson (13 episodes)
Dayton Callie as Wayne Unser (9 episodes)
Kim Coates as Alex "Tig" Trager (13 episodes)
Tommy Flanagan as Filip "Chibs" Telford (13 episodes)
Ryan Hurst as Harry "Opie" Winston (4 episodes)
Theo Rossi as Juan-Carlos "Juice" Ortiz (13 episodes)
Maggie Siff as Tara Knowles-Teller (13 episodes)
Ron Perlman as Clarence "Clay" Morrow (13 episodes)

text: Special guest cast[edit]

text:
Jimmy Smits as Nero Padilla (12 episodes)
Rockmond Dunbar as Lieutenant Eli Roosevelt (8 episodes)
Harold Perrineau as Damon Pope (8 episodes)
Benito Martinez as Luis Torres (7 episodes)
Danny Trejo as Romero "Romeo" Parada (6 episodes)
Drea de Matteo as Wendy Case (4 episodes)
Donal Logue as Lee Toric (3 episodes)
Walton Goggins as Venus Van Dam ("Orca Shrugged")
Sonny Barger as Lenny "The Pimp" Janowitz ("Crucifixed")

text: Recurring cast[edit]

text:
David LaBrava as Happy Lowman (13 episodes)
Christopher Douglas Reed as Philip "Filthy Phil" Russell (12 episodes)
Chuck Zito as Frankie Diamonds (8 episodes)
Michael Marisi Ornstein as Chuck Marstein (8 episodes)
Winter Ave Zoli as Lyla Winston (7 episodes)
Chris Browning as GoGo (6 episodes)
Kurt Yaeger as Greg "The Peg" (6 episodes)
Wanda De Jesus as Carla (5 episodes)
Niko Nicotera as George "Rat Boy" Skogstorm (5 episodes)
Billy Brown as August Marks (5 episodes)
Reynaldo Gallegos as Fiasco (5 episodes)

McNally Sagal as Margaret Murphy (5 episodes)
Kurt Sutter as "Big" Otto Delaney (4 uncredited)
Robin Weigert as Ally Lowen (4 episodes)
Walter Wong as Chris "V-Lin" Von Lin (3 episodes)
Merle Dandridge as Rita Roosevelt (2 episodes)
Jeff Kober as Jacob Hale, Jr. (2 episodes)
Timothy V. Murphy as Galen O'Shay (2 episodes)
Kenneth Choi as Henry Lin (2 episodes)
Emilio Rivera as Marcus Alvarez (2 episodes)
Kristen Renton as Ima ("Authority Vested")
Michael Beach as T.O. Cross ("Crucifixed")

text: Guest stars[edit]

text:
Rachel Miner as Dawn Trager (2 episodes)
Ashley Tisdale as Emma Jean (2 episodes)
Joel McHale as Warren (2 episodes)
Dave Navarro as Arcadio Nerona (2 episodes)
Mo McRae as Tyler Yost (2 episodes + 1 as co-star)
Marshall Allman as Devin Price ("Orca Shrugged")
Olivia Burnette as Homeless Woman ("J'ai Obtenu Cette")

text: Production[edit]

text: Although Sons of Anarchy is set in Northern California's Central Valley, it is filmed primarily at Occidental Studios Stage 5A in North Hollywood. Main sets located there include the clubhouse, St. Thomas Hospital, and Jax's house. The production rooms at the studio used by the writing staff also double as the Charming police station. External scenes are often filmed nearby in Sun Valley and Tujunga.[3]

text: On his Sons of Anarchy YouTube channel Sutterinksoa, Kurt Sutter has stated that he began writing scripts for season 5, episodes one and two as early as March 1, 2012. It was also announced that Chuck Zito would be joining the Sons cast as a Nomad traveling through Charming.[4] Another announced cast addition for season five is Jimmy Smits. Smits, known for his work in L.A. Law, NYPD Blue, The West Wing and Dexter, will play an escort service owner and former Latino gang member who becomes a mentor to Jax.[5] Harold Perrineau joined the cast in May as the villain Damon Pope.[6]

text: With Dave Erickson's departure, Kurt Sutter remains the only writer to have been writing the series since the first season.[citation needed]

text: Episodes[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

54
1
"Sovereign"
Paris Barclay
Kurt Sutter
September 11, 2012 (2012-09-11)
5WAB01
5.37[7]

Jax's sovereignty has a shaky start after the Niners attack one of SAMCRO's gun shipments. Gemma makes a new ally during a night of drinking. An irritated Tara has trouble ascending to her role as queen and mother. Clay attempts to get back into the club's good graces by revealing part of the truth about Piney's death. Damon Pope and his crew exact appalling revenge on Tig. Opie rebuffs Jax's offer to sit at the table. A series of home invasions rocks Charming, particularly an unsuspecting Unser.

55
2
"Authority Vested"
Peter Weller
Regina Corrado
September 18, 2012 (2012-09-18)
5WAB02
4.17[8]

Jax and Chibs hide out at Nero's brothel, while planning their next move. Tig and the club scour Oakland for Fawn. Clay makes a move that surprises Bobby and Opie. In the midst of chaos, Jax and Tara have a quick wedding ceremony. Nero begins to develop an alliance with Jax and a relationship with Gemma.

56
3
"Laying Pipe"
Adam Arkin
Kem Nunn & Liz Sagal & Kurt Sutter
September 25, 2012 (2012-09-25)
5WAB03
3.80[9]

As Jax, Chibs, Tig, and Opie struggle to stay alive during their jail time in County, Bobby learns from Luis that the cartel is looking to secure a backup plan. Gemma turns to an unlikely source as Tara continues to maneuver Thomas and Abel away from her. Meanwhile, Clay uses Nero's escort service to get a rise out of Gemma. Damon Pope gives Jax his terms and conditions, which could effectively change the entire dynamic of SAMCRO.

57
4
"Stolen Huffy"
Paris Barclay
Chris Collins
October 2, 2012 (2012-10-02)
5WAB04
4.60[10]

The police raid of Nero's brothel leaves Nero and Carla without an office space. Meanwhile, Jax and Chibs try to protect the escort the Biz Lats believe is responsible. Wendy tries to come to honest terms with Tara, while Gemma makes a move to get Tara back on her side. Jax sees an opportunity to pull the club in a new direction. Opie's wake is held, with all of SAMCRO in attendance.

58
5
"Orca Shrugged"
Gwyneth Horder-Payton
Regina Corrado & Kurt Sutter
October 9, 2012 (2012-10-09)
5WAB05
4.34[11]

The club votes on getting into the companion business with Nero. Meanwhile, Jax begins to build bridges by getting Jacob Hale's Charming Heights development back on track. The Gallindo/Irish Kings meeting finally happens. Gemma confronts her son over her relationship with Nero. Roosevelt's wife is accidentally shot when she is pushed to the floor during a home invasion. A transsexual hooker does a favour for SAMCRO.

59
6
"Small World"
Adam Arkin
Roberto Patino
October 16, 2012 (2012-10-16)
5WAB06
4.03[12]

Damon Pope gives Jax an offer to mule more drugs, bringing the Niners, Lin's Triad, and the Mayans together in an uneasy pact. As Roosevelt waits for the DNA under Rita's fingernails to be identified, he swears revenge on SAMCRO if they are found guilty. Gemma is forced to ask for Clay's help after Carla ends her relationship with Nero in a bloody manner. Jax learns the identity of the County Jail officer who led Opie to his death. Unser comes to a realization about his relationship with Gemma. Tara tries to convince Otto to reverse his testimony against the club. Clay endures another setback.

60
7
"Toad's Wild Ride"
Peter Weller
Kurt Sutter & Chris Collins
October 23, 2012 (2012-10-23)
5WAB07
4.30[13]

As Jax and the club begin to connect the dots on the series of home invasions, the Nomads scramble to get out of Charming before they are found out. Meanwhile, Jax is forced to clean up one of his mother's messes. Clay uses Juice and Unser to tie up some loose ends. Jax's trust in Pope is further strained when two black gang members attack him and Chibs. Tara gives Gemma one more chance to be in her children's lives, which ends in tragedy when Gemma has a car accident while driving with the children.

61
8
"Ablation"
Karen Gaviola
Mike Daniels
October 30, 2012 (2012-10-30)
5WAB08
4.58[14]

In the aftermath of Gemma's car accident, Clay and Nero have different approaches to helping her out of trouble with Jax and Tara: Clay lies to Jax about the accident, while Nero advises Gemma to tell the truth. The Sons try to find out who was behind the attack on Jax and Chibs. They find Frankie, who confesses Clay was behind it, but he escapes at gunpoint with Nero's money. Nero gets Jax's permission to get back together with Gemma. Clay pressures Juice, who finally fills him in on all the secrets he's been hiding from the club. In return, Clay tells him about his involvement with the Nomad's attacks. Jax discovers Gemma was under the influence of pot while driving, and Tara banishes her after striking her. Meanwhile, Roosevelt promises to tell Jax the name of the rat who has been informing on them for the RICO case, in exchange for Frankie Diamonds. Jax devises a plan to trap Clay, which includes manipulating Gemma, who's Clay's weakness, and Jax tells Gemma if she wants back in the family's good graces, she has to get close to Clay and learn his dirty secrets.

62
9
"Andare Pescare"
Billy Gierhart
Liz Sagal & Kurt Sutter
November 6, 2012 (2012-11-06)
5WAB09
3.96[15]

Jax and the club go on the hunt for Frankie Diamonds, while Clay and Juice follow up on their own lead in a race to get to him first. Clay and Juice discover Frankie has sought the protection of his old Mafia allies. The club votes on Frankie's expulsion and execution, but Jax tells Bobby they can't kill Frankie and explains the deal with Roosevelt. During the trip to find Frankie, Clay manipulates Juice into going after Frankie on their own. Nero takes Gemma to meet his disabled son. Clay and Juice find Frankie first, but Jax arrives before Clay can kill him. However, the Mafia kills Frankie when they see he killed the Mafioso assigned to guard him. Gemma and Nero share a tender moment as he buries his half-sister Carla. Tara gets more than she bargained for when she makes a second attempt to get Otto to recant his RICO statement. After obtaining Tara's reassurances about Jax's offer, Gemma takes the first step toward getting close to Clay. Jax shows Roosevelt Frankie's corpse, and in exchange he gets confirmation about the Son who talked to the police. The episode ends with Jax following Juice.

63
10
"Crucifixed"
Guy Ferland
Kem Nunn
November 13, 2012 (2012-11-13)
5WAB10
4.58[16]

After confronting Juice about his betrayal of the club, Jax offers him a path to redemption. Avenging Opie's death proves difficult when one of the perpetrators turns up under the protection of the Grim Bastards, leading to a disagreement between Jax and Bobby. As Gemma attempts to get closer to Clay, Tara performs one last favour for Otto—with bloody results.

64
11
"To Thine Own Self"
Paris Barclay
Mike Daniels & John Barcheski & Kurt Sutter
November 20, 2012 (2012-11-20)
5WAB11
4.23[17]

Jax scrambles to put his affairs in order, while Nero handles business with his old crew.

65
12
"Darthy"
Peter Weller
Chris Collins & Kurt Sutter
November 27, 2012 (2012-11-27)
5WAB12
4.25[18]

Jax makes arrangements to take the club in a different direction. The Irish kidnap Wendy, and Nero gives Jax the $450,000 required to get her back. Jax shoots up Wendy with a speedball, in an attempt to stop her from pursuing custody of Abel.

66
13
"J'ai Obtenu Cette"
Kurt Sutter
Kurt Sutter & Chris Collins
December 4, 2012 (2012-12-04)
5WAB13
4.66[19]

Clay and Juice are packing Clay's house, preparatory to Clay's move to Ireland. Jax strikes a new deal while ridding himself of old problems. Jax and Tig kill Pope and frame Clay for the murder with the help of Juice and Gemma. After killing Pope, Jax keeps his dealings going with Pope's second in command, August Marks. Bobby figures out what Jax has done and confronts him, then later on leaves his V.P. patch on the table. Tara is arrested for conspiracy to commit murder. Gemma arrives at Jax's house to console Jax.

text: Reception[edit]

text: Season five received favourable reviews and has a rating of 72 on the review aggregator site Metacritic.[20] Ken Tucker of Entertainment Weekly praised the series by calling it a "richly detailed portrait of self-righteous villainy".[citation needed]

text: Home media release[edit]

text: The fifth season was released on DVD and Blu-ray in region 1 on August 27, 2013.[21]


document_title: Amazing Grace

question_text: who wrote the last verse of amazing grace

text: Amazing Grace

text: John Newton's conversion[edit]

text:
How industrious is Satan served. I was formerly one of his active undertemptors and had my influence been equal to my wishes I would have carried all the human race with me. A common drunkard or profligate is a petty sinner to what I was.

John Newton, 1778[3]

tag: div

text: According to the Dictionary of American Hymnology "Amazing Grace" is John Newton's spiritual autobiography in verse.[4]

text: In 1725, Newton was born in Wapping, a district in London near the Thames. His father was a shipping merchant who was brought up as a Catholic but had Protestant sympathies, and his mother was a devout Independent unaffiliated with the Anglican Church. She had intended Newton to become a clergyman, but she died of tuberculosis when he was six years old.[5] For the next few years, Newton was raised by his emotionally distant stepmother while his father was at sea, and spent some time at a boarding school where he was mistreated.[6] At the age of eleven, he joined his father on a ship as an apprentice; his seagoing career would be marked by headstrong disobedience.

text: As a youth, Newton began a pattern of coming very close to death, examining his relationship with God, then relapsing into bad habits. As a sailor, he denounced his faith after being influenced by a shipmate who discussed Characteristics of Men, Manners, Opinions, Times, a book by the Third Earl of Shaftesbury, with him. In a series of letters he later wrote, "Like an unwary sailor who quits his port just before a rising storm, I renounced the hopes and comforts of the Gospel at the very time when every other comfort was about to fail me."[7] His disobedience caused him to be pressed into the Royal Navy, and he took advantage of opportunities to overstay his leave and finally deserted to visit Mary "Polly" Catlett, a family friend with whom he had fallen in love.[8] After enduring humiliation for deserting,[a] he managed to get himself traded to a slave ship where he began a career in slave trading.[b]

text: Newton often openly mocked the captain by creating obscene poems and songs about him that became so popular the crew began to join in.[9] He entered into disagreements with several colleagues that resulted in his being starved almost to death, imprisoned while at sea and chained like the slaves they carried, then outright enslaved and forced to work on a plantation in Sierra Leone near the Sherbro River. After several months he came to think of Sierra Leone as his home, but his father intervened after Newton sent him a letter describing his circumstances, and a ship found him by coincidence.[c] Newton claimed the only reason he left was because of Polly.[10]

text: While aboard the ship Greyhound, Newton gained notoriety for being one of the most profane men the captain had ever met. In a culture where sailors commonly used oaths and swore, Newton was admonished several times for not only using the worst words the captain had ever heard, but creating new ones to exceed the limits of verbal debauchery.[11] In March 1748, while the Greyhound was in the North Atlantic, a violent storm came upon the ship that was so rough it swept overboard a crew member who was standing where Newton had been moments before.[d] After hours of the crew emptying water from the ship and expecting to be capsized, Newton and another mate tied themselves to the ship's pump to keep from being washed overboard, working for several hours.[12] After proposing the measure to the captain, Newton had turned and said, "If this will not do, then Lord have mercy upon us!"[13][14] Newton rested briefly before returning to the deck to steer for the next eleven hours. During his time at the wheel he pondered his divine challenge.[12]

text: About two weeks later, the battered ship and starving crew landed in Lough Swilly, Ireland. For several weeks before the storm, Newton had been reading The Christian's Pattern, a summary of the 15th-century The Imitation of Christ by Thomas à Kempis. The memory of his own "Lord have mercy upon us!" uttered during a moment of desperation in the storm did not leave him; he began to ask if he was worthy of God's mercy or in any way redeemable as he had not only neglected his faith but directly opposed it, mocking others who showed theirs, deriding and denouncing God as a myth. He came to believe that God had sent him a profound message and had begun to work through him.[15]

text: Newton's conversion was not immediate, but he contacted Polly's family and announced his intentions to marry her. Her parents were hesitant as he was known to be unreliable and impetuous. They knew he was profane, but they allowed him to write to Polly, and he set to begin to submit to authority for her sake.[16] He sought a place on a slave ship bound for Africa, and Newton and his crewmates participated in most of the same activities he had written about before; the only immorality from which he was able to free himself was profanity. After a severe illness his resolve was renewed, yet he retained the same attitude towards slavery as was held by his contemporaries.[e] Newton continued in the slave trade through several voyages where he sailed up rivers in Africa –  now as a captain –  procured slaves being offered for sale in larger ports, and subsequently transported them to North America. In between voyages, he married Polly in 1750 and he found it more difficult to leave her at the beginning of each trip. After three shipping experiences in the slave trade, Newton was promised a position as ship's captain with cargo unrelated to slavery when, at the age of thirty, he collapsed and never sailed again.[17][f]

text: Olney curate[edit]

text: Working as a customs agent in Liverpool starting in 1756, Newton began to teach himself Latin, Greek, and theology. He and Polly immersed themselves in the church community, and Newton's passion was so impressive that his friends suggested he become a priest in the Church of England. He was turned down by John Gilbert, Archbishop of York, in 1758, ostensibly for having no university degree,[18] although the more likely reasons were his leanings toward evangelism and tendency to socialise with Methodists.[19] Newton continued his devotions, and after being encouraged by a friend, he wrote about his experiences in the slave trade and his conversion. George Legge, 3rd Earl of Dartmouth, impressed with his story, sponsored Newton for ordination by John Green, Bishop of Lincoln, and offered him the curacy of Olney, Buckinghamshire, in 1764.[20]

text: Olney Hymns[edit]

text:
Amazing grace! (how sweet the sound)
   That sav'd a wretch like me!
I once was lost, but now am found,
   Was blind, but now I see.

'Twas grace that taught my heart to fear,
   And grace my fears reliev'd;
How precious did that grace appear
   The hour I first believ'd!

Thro' many dangers, toils, and snares,
   I have already come;
'Tis grace hath brought me safe thus far,
   And grace will lead me home.

The Lord has promis'd good to me,
   His word my hope secures;
He will my shield and portion be
   As long as life endures.

Yes, when this flesh and heart shall fail,
   And mortal life shall cease;
I shall possess, within the veil,
   A life of joy and peace.

The earth shall soon dissolve like snow,
   The sun forbear to shine;
But God, who call'd me here below,
   Will be forever mine.

John Newton, Olney Hymns, 1779

text: Olney was a village of about 2,500 residents whose main industry was making lace by hand. The people were mostly illiterate and many of them were poor.[2] Newton's preaching was unique in that he shared many of his own experiences from the pulpit; many clergy preached from a distance, not admitting any intimacy with temptation or sin. He was involved in his parishioners' lives and was much loved, although his writing and delivery were sometimes unpolished.[21] But his devotion and conviction were apparent and forceful, and he often said his mission was to "break a hard heart and to heal a broken heart".[22] He struck a friendship with William Cowper, a gifted writer who had failed at a career in law and suffered bouts of insanity, attempting suicide several times. Cowper enjoyed Olney –  and Newton's company; he was also new to Olney and had gone through a spiritual conversion similar to Newton's. Together, their effect on the local congregation was impressive. In 1768, they found it necessary to start a weekly prayer meeting to meet the needs of an increasing number of parishioners. They also began writing lessons for children.[23]

text: Partly from Cowper's literary influence, and partly because learned vicars were expected to write verses, Newton began to try his hand at hymns, which had become popular through the language, made plain for common people to understand. Several prolific hymn writers were at their most productive in the 18th century, including Isaac Watts –  whose hymns Newton had grown up hearing[24] –  and Charles Wesley, with whom Newton was familiar. Wesley's brother John, the eventual founder of the Methodist Church, had encouraged Newton to go into the clergy.[g] Watts was a pioneer in English hymn writing, basing his work after the Psalms. The most prevalent hymns by Watts and others were written in the common meter in 8.6.8.6: the first line is eight syllables and the second is six.[25]

text: Newton and Cowper attempted to present a poem or hymn for each prayer meeting. The lyrics to "Amazing Grace" were written in late 1772 and probably used in a prayer meeting for the first time on January 1, 1773.[25] A collection of the poems Newton and Cowper had written for use in services at Olney was bound and published anonymously in 1779 under the title Olney Hymns. Newton contributed 280 of the 348 texts in Olney Hymns; "1 Chronicles 17:16–17, Faith's Review and Expectation" was the title of the poem with the first line "Amazing grace! (how sweet the sound)".[4]

text: Critical analysis[edit]

text: The general impact of Olney Hymns was immediate and it became a widely popular tool for evangelicals in Britain for many years. Scholars appreciated Cowper's poetry somewhat more than Newton's plaintive and plain language driven from his forceful personality. The most prevalent themes in the verses written by Newton in Olney Hymns are faith in salvation, wonder at God's grace, his love for Jesus, and his cheerful exclamations of the joy he found in his faith.[26] As a reflection of Newton's connection to his parishioners, he wrote many of the hymns in first person, admitting his own experience with sin. Bruce Hindmarsh in Sing Them Over Again To Me: Hymns and Hymnbooks in America considers "Amazing Grace" an excellent example of Newton's testimonial style afforded by the use of this perspective.[27] Several of Newton's hymns were recognized as great work ("Amazing Grace" was not among them) while others seem to have been included to fill in when Cowper was unable to write.[28] Jonathan Aitken calls Newton, specifically referring to "Amazing Grace", an "unashamedly middlebrow lyricist writing for a lowbrow congregation", noting that only twenty-one of the nearly 150 words used in all six verses have more than one syllable.[29]

text: William Phipps in the Anglican Theological Review and author James Basker have interpreted the first stanza of "Amazing Grace" as evidence of Newton's realization that his participation in the slave trade was his wretchedness, perhaps representing a wider common understanding of Newton's motivations.[30][31] Newton joined forces with a young man named William Wilberforce, the British Member of Parliament who led the Parliamentarian campaign to abolish the slave trade in the British Empire, culminating in the Slave Trade Act 1807. However, Newton became an ardent and outspoken abolitionist after he left Olney in the 1780s; he never connected the construction of the hymn that became "Amazing Grace" to anti-slavery sentiments.[32] The lyrics in Olney Hymns were arranged by their association to the Biblical verses that would be used by Newton and Cowper in their prayer meetings and did not address any political objective. For Newton, the beginning of the year was a time to reflect on one's spiritual progress. At the same time he completed a diary –  which has since been lost –  that he had begun 17 years before, two years after he quit sailing. The last entry of 1772 was a recounting of how much he had changed since then.[33]

text:
And David the king came and sat before the LORD, and said, Who am I, O LORD God, and what is mine house, that thou hast brought me hitherto? And yet this was a small thing in thine eyes, O God; for thou hast also spoken of thy servant's house for a great while to come, and hast regarded me according to the estate of a man of high degree, O LORD God.

1 Chronicles 17:16–17, King James Version

text: The title ascribed to the hymn, "1 Chronicles 17:16–17", refers to David's reaction to the prophet Nathan telling him that God intends to maintain his family line forever. Some Christians interpret this as a prediction that Jesus Christ, as a descendant of David, was promised by God as the salvation for all people.[34] Newton's sermon on that January day in 1773 focused on the necessity to express one's gratefulness for God's guidance, that God is involved in the daily lives of Christians though they may not be aware of it, and that patience for deliverance from the daily trials of life is warranted when the glories of eternity await.[35] Newton saw himself a sinner like David who had been chosen, perhaps undeservedly,[36] and was humbled by it. According to Newton, unconverted sinners were "blinded by the god of this world" until "mercy came to us not only undeserved but undesired ... our hearts endeavored to shut him out till he overcame us by the power of his grace."[33]

text: The New Testament served as the basis for many of the lyrics of "Amazing Grace". The first verse, for example, can be traced to the story of the Prodigal Son. In the Gospel of Luke the father says, "For this son of mine was dead and is alive again; he was lost, and is found". The story of Jesus healing a blind man who tells the Pharisees that he can now see is told in the Gospel of John. Newton used the words "I was blind but now I see" and declared "Oh to grace how great a debtor!" in his letters and diary entries as early as 1752.[37] The effect of the lyrical arrangement, according to Bruce Hindmarsh, allows an instant release of energy in the exclamation "Amazing grace!", to be followed by a qualifying reply in "how sweet the sound". In An Annotated Anthology of Hymns, Newton's use of an exclamation at the beginning of his verse is called "crude but effective" in an overall composition that "suggest(s) a forceful, if simple, statement of faith".[36] Grace is recalled three times in the following verse, culminating in Newton's most personal story of his conversion, underscoring the use of his personal testimony with his parishioners.[27]

text: The sermon preached by Newton was his last, of those that William Cowper heard in Olney, since Cowper's mental instability returned shortly thereafter. Steve Turner, author of Amazing Grace: The Story of America's Most Beloved Song, suggests Newton may have had his friend in mind, employing the themes of assurance and deliverance from despair for Cowper's benefit.[38]

text: Dissemination[edit]

text: Although it had its roots in England, "Amazing Grace" became an integral part of the Christian tapestry in the United States. More than 60 of Newton and Cowper's hymns were republished in other British hymnals and magazines, but "Amazing Grace" was not, appearing only once in a 1780 hymnal sponsored by the Countess of Huntingdon. Scholar John Julian commented in his 1892 A Dictionary of Hymnology that outside of the United States, the song was unknown and it was "far from being a good example of Newton's finest work".[39][h] Between 1789 and 1799, four variations of Newton's hymn were published in the U.S. in Baptist, Dutch Reformed, and Congregationalist hymnodies;[34] by 1830 Presbyterians and Methodists also included Newton's verses in their hymnals.[40][41]

text: The greatest influences in the 19th century that propelled "Amazing Grace" to spread across the U.S. and become a staple of religious services in many denominations and regions were the Second Great Awakening and the development of shape note singing communities. A tremendous religious movement swept the U.S. in the early 19th century, marked by the growth and popularity of churches and religious revivals that got their start in Kentucky and Tennessee. Unprecedented gatherings of thousands of people attended camp meetings where they came to experience salvation; preaching was fiery and focused on saving the sinner from temptation and backsliding.[42] Religion was stripped of ornament and ceremony, and made as plain and simple as possible; sermons and songs often used repetition to get across to a rural population of poor and mostly uneducated people the necessity of turning away from sin. Witnessing and testifying became an integral component to these meetings, where a congregation member or even a stranger would rise and recount his turn from a sinful life to one of piety and peace.[40] "Amazing Grace" was one of many hymns that punctuated fervent sermons, although the contemporary style used a refrain, borrowed from other hymns, that employed simplicity and repetition such as:

text:
Amazing grace! How sweet the sound
That saved a wretch like me.
I once was lost, but now am found,
Was blind but now I see.

Shout, shout for glory,
Shout, shout aloud for glory;
Brother, sister, mourner,
All shout glory hallelujah.[42]

text: Simultaneously, an unrelated movement of communal singing was established throughout the South and Western states. A format of teaching music to illiterate people appeared in 1800. It used four sounds to symbolize the basic scale: fa-sol-la-fa-sol-la-mi-fa. Each sound was accompanied by a specifically shaped note and thus became known as shape note singing. The method was simple to learn and teach, so schools were established throughout the South and West. Communities would come together for an entire day of singing in a large building where they sat in four distinct areas surrounding an open space, one member directing the group as a whole. Most of the music was Christian, but the purpose of communal singing was not primarily spiritual. Communities either could not afford music accompaniment or rejected it out of a Calvinistic sense of simplicity, so the songs were sung a cappella.[43]

text: "New Britain" tune[edit]

text: When originally used in Olney, it is unknown what music, if any, accompanied the verses written by John Newton. Contemporary hymnbooks did not contain music and were simply small books of religious poetry. The first known instance of Newton's lines joined to music was in A Companion to the Countess of Huntingdon's Hymns (London, 1808), where it is set to the tune "Hephzibah" by English composer John Husband.[44] Common meter hymns were interchangeable with a variety of tunes; more than twenty musical settings of "Amazing Grace" circulated with varying popularity until 1835 when William Walker assigned Newton's words to a traditional song named "New Britain", which was itself an amalgamation of two melodies ("Gallaher" and "St. Mary") first published in the Columbian Harmony by Charles H. Spilman and Benjamin Shaw (Cincinnati, 1829). Spilman and Shaw, both students at Kentucky's Centre College, compiled their tunebook both for public worship and revivals, to satisfy "the wants of the Church in her triumphal march". Most of the tunes had been previously published, but "Gallaher" and "St. Mary" had not.[45] As neither tune is attributed and both show elements of oral transmission, scholars can only speculate that they are possibly of British origin.[46] A manuscript from 1828 by Lucius Chapin, a famous hymn writer of that time, contains a tune very close to "St. Mary", but that does not mean that he wrote it.[47]

text: "Amazing Grace", with the words written by Newton and joined with "New Britain", the melody most currently associated with it, appeared for the first time in Walker's shape note tunebook Southern Harmony in 1847.[48] It was, according to author Steve Turner, a "marriage made in heaven ... The music behind 'amazing' had a sense of awe to it. The music behind 'grace' sounded graceful. There was a rise at the point of confession, as though the author was stepping out into the open and making a bold declaration, but a corresponding fall when admitting his blindness."[49] Walker's collection was enormously popular, selling about 600,000 copies all over the U.S. when the total population was just over 20 million. Another shape note tunebook named The Sacred Harp (1844) by Georgia residents Benjamin Franklin White and Elisha J. King became widely influential and continues to be used.[50]

text: Another verse was first recorded in Harriet Beecher Stowe's immensely influential 1852 anti-slavery novel Uncle Tom's Cabin. Three verses were emblematically sung by Tom in his hour of deepest crisis.[51] He sings the sixth and fifth verses in that order, and Stowe included another verse not written by Newton that had been passed down orally in African American communities for at least 50 years. It was originally one of between 50 and 70 verses of a song titled "Jerusalem, My Happy Home" that first appeared in a 1790 book called A Collection of Sacred Ballads:

text:
When we've been there ten thousand years,
Bright shining as the sun,
We've no less days to sing God's praise,
Than when we first begun.[52][53]

text:
Shape note version of "Amazing Grace" recorded by Alan and John Lomax in Birmingham, Alabama, 1942

This version also includes Newton's sixth verse, which is uncommon in recordings. This recording was made for the American Folklife Center and is in the U.S. Library of Congress

Problems playing this file? See media help.

text: "Amazing Grace" came to be an emblem of a Christian movement and a symbol of the U.S. itself as the country was involved in a great political experiment, attempting to employ democracy as a means of government. Shape note singing communities, with all the members sitting around an open center, each song employing a different director, illustrated this in practice. Simultaneously, the U.S. began to expand westward into previously unexplored territory that was often wilderness. The "dangers, toils, and snares" of Newton's lyrics had both literal and figurative meanings for Americans.[50] This became poignantly true during the most serious test of American cohesion in the U.S. Civil War (1861–1865). "Amazing Grace" set to "New Britain" was included in two hymnals distributed to soldiers and with death so real and imminent, religious services in the military became commonplace.[54] The hymn was translated into other languages as well: while on the Trail of Tears, the Cherokee sang Christian hymns as a way of coping with the ongoing tragedy, and a version of the song by Samuel Worcester that had been translated into the Cherokee language became very popular.[55][56]

text: Urban revival[edit]

text: Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists.[57][58] A tune named "Arlington" accompanied Newton's verses as much as "New Britain" for a time in the late 19th century.

text: Two musical arrangers named Dwight Moody and Ira Sankey heralded another religious revival in the cities of the U.S. and Europe, giving the song international exposure. Moody's preaching and Sankey's musical gifts were significant; their arrangements were the forerunners of gospel music, and churches all over the U.S. were eager to acquire them.[59] Moody and Sankey began publishing their compositions in 1875, and "Amazing Grace" appeared three times with three different melodies, but they were the first to give it its title; hymns were typically published using the first line of the lyrics, or the name of the tune such as "New Britain". A publisher named Edwin Othello Excell gave the version of "Amazing Grace" set to "New Britain" immense popularity by publishing it in a series of hymnals that were used in urban churches. Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs. Several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin were published by Excell between 1900 and 1910, and his version of "Amazing Grace" became the standard form of the song in American churches.[60][61]

text:
"Amazing Grace" a cappella, lined out by three singers in long meter

This recording was done for the Archive of American Folk-Song in Livingston, Alabama in 1939, and is in the U.S. Library of Congress

Problems playing this file? See media help.

text: Recorded versions[edit]

text: With the advent of recorded music and radio, "Amazing Grace" began to cross over from primarily a gospel standard to secular audiences. The ability to record combined with the marketing of records to specific audiences allowed "Amazing Grace" to take on thousands of different forms in the 20th century. Where Edwin Othello Excell sought to make the singing of "Amazing Grace" uniform throughout thousands of churches, records allowed artists to improvise with the words and music specific to each audience. AllMusic lists more than 7,000 recordings –  including re-releases and compilations –  as of September 2011.[62] Its first recording is an a cappella version from 1922 by the Sacred Harp Choir. It was included from 1926 to 1930 in Okeh Records' catalogue, which typically concentrated strongly on blues and jazz. Demand was high for black gospel recordings of the song by H. R. Tomlin and J. M. Gates. A poignant sense of nostalgia accompanied the recordings of several gospel and blues singers in the 1940s and 1950s who used the song to remember their grandparents, traditions, and family roots.[63] It was recorded with musical accompaniment for the first time in 1930 by Fiddlin' John Carson, although to another folk hymn named "At the Cross", not to "New Britain".[64] "Amazing Grace" is emblematic of several kinds of folk music styles, often used as the standard example to illustrate such musical techniques as lining out and call and response, that have been practiced in both black and white folk music.[65]

text:
Those songs come out of conviction and suffering. The worst voices can get through singing them 'cause they're telling their experiences.

Mahalia Jackson[66]

text: Mahalia Jackson's 1947 version received significant radio airplay, and as her popularity grew throughout the 1950s and 1960s, she often sang it at public events such as concerts at Carnegie Hall.[67] Author James Basker states that the song has been employed by African Americans as the "paradigmatic Negro spiritual" because it expresses the joy felt at being delivered from slavery and worldly miseries.[31] Anthony Heilbut, author of The Gospel Sound, states that the "dangers, toils, and snares" of Newton's words are a "universal testimony" of the African American experience.[68] During the civil rights movement and opposition to the Vietnam War, the song took on a political tone. Mahalia Jackson employed "Amazing Grace" for Civil Rights marchers, writing that she used it "to give magical protection –  a charm to ward off danger, an incantation to the angels of heaven to descend ... I was not sure the magic worked outside the church walls ... in the open air of Mississippi. But I wasn't taking any chances."[69] Folk singer Judy Collins, who knew the song before she could remember learning it, witnessed Fannie Lou Hamer leading marchers in Mississippi in 1964, singing "Amazing Grace". Collins also considered it a talisman of sorts, and saw its equal emotional impact on the marchers, witnesses, and law enforcement who opposed the civil rights demonstrators.[3] According to fellow folk singer Joan Baez, it was one of the most requested songs from her audiences, but she never realized its origin as a hymn; by the time she was singing it in the 1960s she said it had "developed a life of its own".[70] It even made an appearance at the Woodstock Music Festival in 1969 during Arlo Guthrie's performance.[71]

text:
Sample of Judy Collins' version of "Amazing Grace"

Collins transitions from her solo voice to the chorus backing her up

Sample of the Royal Scots Dragoon Guards' version of "Amazing Grace"

A lone bagpipe transitions to a chorus of pipes and drums, similar to Collins' version

Problems playing these files? See media help.

text: Collins decided to record it in the late 1960s amid an atmosphere of counterculture introspection; she was part of an encounter group that ended a contentious meeting by singing "Amazing Grace" as it was the only song to which all the members knew the words. Her producer was present and suggested she include a version of it on her 1970 album Whales & Nightingales. Collins, who had a history of alcohol abuse, claimed that the song was able to "pull her through" to recovery.[3] It was recorded in St. Paul's, the chapel at Columbia University, chosen for the acoustics. She chose an a cappella arrangement that was close to Edwin Othello Excell's, accompanied by a chorus of amateur singers who were friends of hers. Collins connected it to the Vietnam War, to which she objected: "I didn't know what else to do about the war in Vietnam. I had marched, I had voted, I had gone to jail on political actions and worked for the candidates I believed in. The war was still raging. There was nothing left to do, I thought ... but sing 'Amazing Grace'."[72] Gradually and unexpectedly, the song began to be played on the radio, and then be requested. It rose to number 15 on the Billboard Hot 100, remaining on the charts for 15 weeks,[73] as if, she wrote, her fans had been "waiting to embrace it".[74] In the UK, it charted 8 times between 1970 and 1972, peaking at number 5 and spending a total of 75 weeks on popular music charts.[75] Her rendition also reached number 5 in New Zealand[76] and number 12 in Ireland in 1971.[77]

text: Although Collins used it as a catharsis for her opposition to the Vietnam War, two years after her rendition, the Royal Scots Dragoon Guards, senior Scottish regiment of the British Army, recorded an instrumental version featuring a bagpipe soloist accompanied by a pipe and drum band. The tempo of their arrangement was slowed to allow for the bagpipes, but it was based on Collins': it began with a bagpipe solo introduction similar to her lone voice, then it was accompanied by the band of bagpipes and horns, whereas in her version she is backed up by a chorus. It topped the RPM national singles chart in Canada for three weeks,[78] and rose as high as number 11 in the U.S.[79][80] It is also a controversial instrumental, as it combined pipes with a military band. The Royal Scots Dragoon Guards' version of "Amazing Grace" regained popularity in 2007, thirty-five years after it was originally released, when it was recorded for their album Spirit of the Glen, which reached number 13 in the UK Albums Chart.[citation needed] The Pipe Major of the Royal Scots Dragoon Guards was summoned to Edinburgh Castle and chastised for demeaning the bagpipes.[81] Funeral processions for killed police, fire, and military personnel have often played a bagpipes version ever since.

text: Aretha Franklin and Rod Stewart also recorded "Amazing Grace" around the same time, and both of their renditions were popular.[i] All four versions were marketed to distinct types of audiences thereby assuring its place as a pop song.[82] Johnny Cash recorded it on his 1975 album Sings Precious Memories, dedicating it to his older brother Jack, who had been killed in a mill accident when they were boys in Dyess, Arkansas. Cash and his family sang it to themselves while they worked in the cotton fields following Jack's death. Cash often included the song when he toured prisons, saying "For the three minutes that song is going on, everybody is free. It just frees the spirit and frees the person."[3]

text: The U.S. Library of Congress has a collection of 3,000 versions of and songs inspired by "Amazing Grace", some of which were first-time recordings by folklorists Alan and John Lomax, a father and son team who in 1932 traveled thousands of miles across the South to capture the different regional styles of the song. More contemporary renditions include samples from such popular artists as Sam Cooke and the Soul Stirrers (1963), the Byrds (1970), Elvis Presley (1971), Skeeter Davis (1972), Mighty Clouds of Joy (1972), Amazing Rhythm Aces (1975), Willie Nelson (1976), and the Lemonheads (1992).[64]

text:
Somehow, "Amazing Grace" [embraced] core American values without ever sounding triumphant or jingoistic. It was a song that could be sung by young and old, Republican and Democrat, Southern Baptist and Roman Catholic, African American and Native American, high-ranking military officer and anticapitalist campaigner.

Steve Turner, 2002[83]

text: In popular culture[edit]

text: Following the appropriation of the hymn in secular music, "Amazing Grace" became such an icon in American culture that it has been used for a variety of secular purposes and marketing campaigns, placing it in danger of becoming a cliché. It has been mass-produced on souvenirs, lent its name to a Superman villain, appeared on The Simpsons to demonstrate the redemption of a murderous character named Sideshow Bob, incorporated into Hare Krishna chants and adapted for Wicca ceremonies.[84] It can also be sung to the theme from The Mickey Mouse Club, as Garrison Keillor has observed.[85] The hymn has been employed in several films, including Alice's Restaurant, Coal Miner's Daughter, and Silkwood. It is referenced in the 2006 film Amazing Grace, which highlights Newton's influence on the leading British abolitionist William Wilberforce,[86] and in the upcoming film biography of Newton, Newton's Grace.[87] The 1982 science fiction film Star Trek II: The Wrath of Khan used "Amazing Grace" amid a context of Christian symbolism, to memorialize Mr. Spock following his death,[86] but more practically, because the song has become "instantly recognizable to many in the audience as music that sounds appropriate for a funeral" according to a Star Trek scholar.[88] Since 1954, when an organ instrumental of "New Britain" became a bestseller, "Amazing Grace" has been associated with funerals and memorial services.[89] It has become a song that inspires hope in the wake of tragedy, becoming a sort of "spiritual national anthem" according to authors Mary Rourke and Emily Gwathmey.[90] For example, President Barack Obama recited and then sang the hymn at the memorial service for Clementa Pinckney, one of the victims of the 2015 Charleston church shooting.[91]

text: Modern interpretations[edit]

text:
"Amazing Grace" (string version)

"Amazing Grace" string version by the United States Air Force Band, Strolling Strings

Problems playing this file? See media help.

text:
"Amazing Grace" (jazz vocal version)

"Amazing Grace" jazz vocal version by the United States Air Force Band

Problems playing this file? See media help.

text: In recent years, the words of the hymn have been changed in some religious publications to downplay a sense of imposed self-loathing by its singers. The second line, "That saved a wretch like me!" has been rewritten as "That saved and strengthened me", "save a soul like me", or "that saved and set me free".[92] Kathleen Norris in her book Amazing Grace: A Vocabulary of Faith characterizes this transformation of the original words as "wretched English" making the line that replaces the original "laughably bland".[93] Part of the reason for this change has been the altered interpretations of what wretchedness and grace means. Newton's Calvinistic view of redemption and divine grace formed his perspective that he considered himself a sinner so vile that he was unable to change his life or be redeemed without God's help. Yet his lyrical subtlety, in Steve Turner's opinion, leaves the hymn's meaning open to a variety of Christian and non-Christian interpretations.[94] "Wretch" also represents a period in Newton's life when he saw himself outcast and miserable, as he was when he was enslaved in Sierra Leone; his own arrogance was matched by how far he had fallen in his life.[95]

text: The communal understanding of redemption and human self-worth has changed since Newton's time. Since the 1970s, self-help books, psychology, and some modern expressions of Christianity have viewed this disparity in terms of grace being an innate quality within all people who must be inspired or strong enough to find it: something to achieve. In contrast to Newton's vision of wretchedness as his willful sin and distance from God, wretchedness has instead come to mean an obstacle of physical, social, or spiritual nature to overcome in order to achieve a state of grace, happiness, or contentment. Since its immense popularity and iconic nature, "grace" and the meaning behind the words of "Amazing Grace" have become as individual as the singer or listener.[96] Bruce Hindmarsh suggests that the secular popularity of "Amazing Grace" is due to the absence of any mention of God in the lyrics until the fourth verse (by Excell's version, the fourth verse begins "When we've been there ten thousand years"), and that the song represents the ability of humanity to transform itself instead of a transformation taking place at the hands of God. "Grace", however, to John Newton had a clearer meaning, as he used the word to represent God or the power of God.[97]

text: The transformative power of the song was investigated by journalist Bill Moyers in a documentary released in 1990. Moyers was inspired to focus on the song's power after watching a performance at Lincoln Center, where the audience consisted of Christians and non-Christians, and he noticed that it had an equal impact on everybody in attendance, unifying them.[22] James Basker also acknowledged this force when he explained why he chose "Amazing Grace" to represent a collection of anti-slavery poetry: "there is a transformative power that is applicable ... : the transformation of sin and sorrow into grace, of suffering into beauty, of alienation into empathy and connection, of the unspeakable into imaginative literature."[98]

text: Moyers interviewed Collins, Cash, opera singer Jessye Norman, Appalachian folk musician Jean Ritchie and her family, white Sacred Harp singers in Georgia, black Sacred Harp singers in Alabama, and a prison choir at the Texas State Penitentiary at Huntsville. Collins, Cash, and Norman were unable to discern if the power of the song came from the music or the lyrics. Norman, who once notably sang it at the end of a large outdoor rock concert for Nelson Mandela's 70th birthday, stated, "I don't know whether it's the text –  I don't know whether we're talking about the lyrics when we say that it touches so many people –  or whether it's that tune that everybody knows." A prisoner interviewed by Moyers explained his literal interpretation of the second verse: "'Twas grace that taught my heart to fear, and grace my fears relieved" by saying that the fear became immediately real to him when he realized he may never get his life in order, compounded by the loneliness and restriction in prison. Gospel singer Marion Williams summed up its effect: "That's a song that gets to everybody".[3]

text: The Dictionary of American Hymnology claims it is included in more than a thousand published hymnals, and recommends its use for "occasions of worship when we need to confess with joy that we are saved by God's grace alone; as a hymn of response to forgiveness of sin or as an assurance of pardon; as a confession of faith or after the sermon".[4]


document_title: The Axis of Awesome

question_text: axis of awesome 4 chords what are they

question_tokens: axis of awesome 4 chords what are they

text: The Axis of Awesome

text: History[edit]

text: The Axis of Awesome formed in 2006, their name being a play on the phrase "axis of evil" used by United States President George W. Bush. The trio were heavily involved in improv theatre at the University of Sydney and decided to try something different. The band played at a few stand up comedy nights and improv events in Sydney and performed a fortnightly segment on FBi Radio, but got their first big break when they released a number of rap parodies lampooning the 2007 Australian Federal Election.

text: The band gained further success performing in the Melbourne International Comedy Festival and making television and radio appearances. Their 2008 Melbourne International Comedy Festival show, titled "The Axis of Awesome Comeback Spectacular", received a Moosehead Award. They took the show to the Edinburgh Fringe in 2008 where it was received with critical and audience acclaim.[1][2]

text: After the Edinburgh festival, the Axis of Awesome's song "4 Chords", a medley of 36 pop songs that all contain the same basic chord structure, received airplay on BBC Radio 1.[3] This airplay drove listeners to the internet and "4 Chords" went viral, receiving millions of hits on YouTube. The success on YouTube prompted increased interest, both home and abroad, and the Axis performed the song on many radio and television programs, including Nova 96.9, Triple M, The Footy Show, Good News Week and 9am with David & Kim.

text: In April 2009, the Axis of Awesome performed at The Melbourne International Comedy Festival with a new show, The Axis of Awesome vs Bee.[4] The show wove the band's songs into a narrative involving a giant bee. The Axis of Awesome vs Bee was also performed at the Sydney Comedy Festival (formerly The Cracker Comedy Festival) in May 2009.

text: The Axis toured regional Queensland and New South Wales as part of The Melbourne Comedy festival roadshow and performed at the Adelaide Cabaret Festival[5] in May and June. They returned to The Edinburgh fringe in August with a new sell-out show "The Axis of Awesome: Infinity Rock Explosion" and appeared at the World's Funniest Island festival in Sydney in October.

text: In February 2010, the Axis of Awesome released their second album Infinity Rock Explosion! and performed sold out seasons at The Adelaide Fringe Festival, The Melbourne International Comedy Festival, The Sydney Comedy Festival and The Singapore Flipside Festival. They received The Time Out award for best local talent at the Sydney comedy festival and recorded their first DVD, The Axis of Awesome Live which was released in Australia on 6 October 2010 by Punchline and Beyond Entertainment.

text: They returned to the Edinburgh Festival again in 2014 with their new show "Viva La Vida Loca Las Vegas".

text: In February 2016, Jordan "came out of the closet" publicly as transgender.[6] She was pleasantly surprised by the "overwhelmingly positive" public reaction. Their new album features a cover of "Transgender Dysphoria Blues" by Against Me!.

text: Discography[edit]

text: Albums[edit]

text:
Scissors, Paper, Rock! (2008)
Infinity Rock Explosion! (2010)
Animal Vehicle (2011)
The Swimsuit Area (2012)
Cry Yourself a River (2012)
Christmawesome (2013)
Viva La Vida Loca Las Vegas (2016)

text: Singles[edit]

text:
List of singles, with selected chart positions, showing year released and album name

Title
Year
Peak chart positions
Album

UK
[7]

"Four Chords"
2011
175
Animal Vehicle

text: Awards[edit]

text:
Melbourne International Comedy Festival Moosehead Award 2008
Time Out Sydney Comedy Festival Best Australian Act Award 2010
Time Out Sydney Best Comedy Show 2010–2011
Online Video Awards Best YouTube Channel 2014[8]

text: "Four Chords"[edit]

text: "Four Chords" is one of the Axis of Awesome's best-known works. It is a medley of popular songs, set to the I–V–vi–IV progression.[9] Many of the songs selected do not actually follow this four-chord progression, and some of the ones that do only include it briefly. Since these four chords are played as an ostinato, the band also uses a vi-IV-I-V, usually from the song "Save Tonight" to the song "Torn". The band plays the song in the key of D (E in the live performance on YouTube), so the progression they use is D-A-Bm-G (E, B, C#m, A on the live performances). Most of the songs have been transposed from their original keys.

text: The band continually vary the songs comprising the medley, often incorporating new releases. The Axis' song "Birdplane" (itself a parody of the Five for Fighting song "Superman") is always included, as well as Australian folk song "Waltzing Matilda" and "Down Under" by the Australian band Men at Work. The medley usually starts with Journey's "Don't Stop Believin'". The song always concludes with the chorus of "Scar" (by Missy Higgins), except with the final line changed from "Could you leave me with a scar?" to "That's all it takes to be a star" (referring to the four chords themselves).

text: On 20 July 2011, the Axis of Awesome released an official music video for "Four Chords" on their YouTube channel.

text: Songs in the official music video:[10]

text:
Journey – "Don't Stop Believin'"
James Blunt – "You're Beautiful"
The Black Eyed Peas – "Where Is the Love"
Alphaville – "Forever Young"
Jason Mraz – "I'm Yours"
Train – "Hey, Soul Sister"
The Calling – "Wherever You Will Go"
Elton John – "Can You Feel the Love Tonight" (from The Lion King)
Akon – "Don't Matter"
John Denver – "Take Me Home, Country Roads"
Lady Gaga – "Paparazzi"
U2 – "With Or Without You"
The Last Goodnight – "Pictures of You"
Maroon 5 – "She Will Be Loved"
The Beatles – "Let It Be"
Bob Marley – "No Woman, No Cry"
Marcy Playground – "Sex and Candy"
Men At Work – "Down Under"
Jill Colucci – "The Funny Things You Do" (Theme from America's Funniest Home Videos)
Jack Johnson – "Taylor"
Spice Girls – "2 Become 1"
a-ha – "Take On Me"
Green Day – "When I Come Around"
Eagle Eye Cherry – "Save Tonight"
Toto – "Africa"
Beyoncé – "If I Were A Boy"
Kelly Clarkson – "Behind These Hazel Eyes"
Jason Derulo – "In My Head"
The Smashing Pumpkins – "Bullet With Butterfly Wings"
Joan Osborne – " One of Us"
Avril Lavigne – "Complicated"
The Offspring – "Self Esteem"
The Offspring – "You're Gonna Go Far, Kid"
Akon – "Beautiful"
OneRepublic – "Apologize"
Eminem featuring Rihanna – "Love the Way You Lie"
Bon Jovi – "It's My Life"
Lady Gaga – "Poker Face"
Aqua – "Barbie Girl"
Red Hot Chili Peppers – "Otherside"
The Gregory Brothers – "Double Rainbow Song"
MGMT – "Kids"
Andrea Bocelli – "Time To Say Goodbye"
Robert Burns – "Auld Lang Syne"
Five for Fighting – "Superman"
The Axis of Awesome – "Birdplane"
Missy Higgins – "Scar"

tag: ol

text: Other songs that have been played in the medley:[11][12][13][14]

text:
Alex Lloyd – "Amazing"
Richard Marx – "Right Here Waiting"
Adele – "Someone Like You"
Christina Perri – "Jar of Hearts"
Crowded House – "Fall At Your Feet"
Red Hot Chili Peppers – "Under the Bridge"
Daryl Braithwaite – "The Horses"
Pink – "U + Ur Hand"
The Fray – "You Found Me"
3OH!3 – "Don't Trust Me"
Tim Minchin – "Canvas Bags"
Blink-182 – "Dammit"
Kasey Chambers – "Not Pretty Enough"
Alicia Keys – "No One"
Amiel – "Lovesong"
Bush – "Glycerine"
Thirsty Merc – "20 Good Reasons"
Lighthouse Family – "High"
Red Hot Chili Peppers – "Soul to Squeeze"
Banjo Paterson – "Waltzing Matilda"
Bic Runga – "Sway"
Ben Lee – "Cigarettes Will Kill You"
Michael Jackson – "Man in the Mirror"
Mika – "Happy Ending"
The Cranberries – " Zombie"
Natalie Imbruglia – "Torn"
Miley Cyrus – "Wrecking Ball"
Imagine Dragons – "Demons"
Idina Menzel – "Let It Go"[15]
Rihanna feat. Calvin Harris – "We Found Love"[15]
Avicii – "Wake Me Up"[16]
Flo Rida – "Whistle"[17]
The Script feat. will.i.am – "Hall of Fame"[17]
Carson, Christopher, and James – "Always on My Mind"[15][17]
Die Ärzte – "Manchmal haben Frauen"[16]


document_title: List of highest paid American television stars

question_text: highest-paid american tv star on a network primetime show 2017

text: Network primetime salaries per episode[edit]

text:
Name
Program
Role
Salary
Year
Ref.

Charlie Sheen
Two and a Half Men
Charlie Harper
$1.8 million
1999-2002
[1]

Ray Romano
Everybody Loves Raymond
Raymond Barone
$1.7 million
2003–2005
[2]

Kelsey Grammer
Frasier
Frasier Crane
$1.6 million
2002–2004
[3]

Tim Allen
Home Improvement
Tim Taylor
$1.25 million
1998–1999
[1]

Peter Dinklage
Game of Thrones
Tyrion Lannister
£2,000,000[a]
2017–2018
[5]

Nikolaj Coster-Waldau
Jaime Lannister

Lena Headey
Cersei Lannister

Emilia Clarke
Daenerys Targaryen

Kit Harington
Jon Snow

Johnny Galecki
The Big Bang Theory
Leonard Hofstadter
$1 million
2014–2017
[6]

Jim Parsons
Sheldon Cooper

Kaley Cuoco
Penny

James Gandolfini
The Sopranos
Tony Soprano
$1 million
2006–2007
[7]

Jennifer Aniston
Friends
Rachel Green
$1 million
2002–2004
[8]

Courteney Cox
Monica Geller

Lisa Kudrow
Phoebe Buffay

Matt LeBlanc
Joey Tribbiani

David Schwimmer
Ross Geller

Matthew Perry
Chandler Bing

Helen Hunt
Mad About You
Jamie Buchman
$1 million
1998–99
[9]

Paul Reiser
Paul Buchman

Jerry Seinfeld
Seinfeld
Jerry Seinfeld
$1 million
1997–1998
[10]

Ashton Kutcher
Two and a Half Men
Walden Schmidt
$755,000

[1]

Drew Carey
The Drew Carey Show
Drew Carey
$750,000
2001–2004
[1]

Lauren Graham
Gilmore Girls
Lorelai Gilmore
$750,000
2016
[11]

Alexis Bledel
Rory Gilmore

Kunal Nayyar
The Big Bang Theory
Rajesh Koothrapalli
$750,000
2014–2017
[1]

Simon Helberg
Howard Wolowitz

David Hyde Pierce
Frasier
Niles Crane
$750,000

[12]

Hugh Laurie
House
Dr. Gregory House
$700,000

Andrew Lincoln
The Walking Dead
Rick Grimes
$650,000
2017–2018
[5]

Jon Cryer
Two and a Half Men
Alan Harper
$620,000
2013–2015
[13]

Julia Louis-Dreyfus
Seinfeld
Elaine Benes
$600,000
1997–1998
[1]

Jason Alexander
George Costanza

Michael Richards
Cosmo Kramer

Norman Reedus
The Walking Dead
Daryl Dixon
$550,000
2017–2018
[5]

text: Network primetime salaries per season[edit]

text:
Name
Program
Role
Salary
Year
Ref.

Simon Cowell
The X Factor
Judge
$75 million
2012–13
[14]

Katy Perry
American Idol
$25 million
2017–18
[15]

Jennifer Lopez
$20 million
2011–12
[16]

Mariah Carey
$18 million
2012–13
[17]

Hugh Laurie
House
Gregory House
$15 million
2013
[14]

Ryan Seacrest
American Idol
Host
2013–16
[14]

Britney Spears
The X Factor
Judge
2012
[17]

Miley Cyrus
The Voice
Coach
$13 million
2016–17
[18]

Adam Levine
2016–18
[18]

Blake Shelton
2016–18
[18]

Christina Aguilera
$12.5 million
2013
[19]

Kelly Clarkson
$12 million
2018
[20]

Nicki Minaj
American Idol
Judge
2012–13
[19]

Shakira
The Voice
Coach
2013
[19]

Gwen Stefani
2017
[21]

text: Morning annual salaries[edit]

text:
Name
Program
Role
Salary
Year
Ref.

Judith Sheindlin
Judge Judy
Judge
$47 million
2013
[22]

Barbara Walters
The View
Host
$13 million
2007
[23]

Bob Barker
The Price Is Right
Game show host
$10 million
2001
[24]

Ellen DeGeneres
The Ellen DeGeneres Show
Host
$5 million
2007
[25]

Jerry Springer
The Jerry Springer Show
Host
$3–4 million
1999
[26]

Tyra Banks
The Tyra Banks Show
Host
$3.5 million

[27][28]

text: News presenter annual salaries[edit]

text:
Name
Program
Role
Salary
Year
Ref.

Matt Lauer
Today
Anchor
$21 million

[29]

Meredith Vieira
Today
Anchor
$15 million

[30][31]

Katie Couric
CBS Evening News
News anchor
$15 million

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text: Notes[edit]

text: Jump up ^ The ''Daily Express gives a £2 million figure, though sources differ. This figure possibly includes the percentage the cast makes from reruns and overseas syndications.[4]