document_title: The Jungle Book (2016 film)

question_text: who plays the big monkey in jungle book 2016

text: The Jungle Book (2016 film)

text: Plot[edit]

text: Mowgli is a "man cub" raised by the wolf Raksha and her pack, led by Akela, in an Indian jungle ever since he was brought to them as a baby by the black panther Bagheera. Bagheera trains Mowgli to learn the ways of the wolves, but the boy faces certain challenges and falls behind his wolf siblings, while Akela disapproves of him using human tricks like building tools instead of learning the ways of the pack.

text: One day, during the dry season, the jungle animals gather to drink the water that remains as part of a truce during a drought that enables the jungle's wildlife to drink without fear of being eaten by their predators. The truce is disrupted when a scarred tiger named Shere Khan arrives, detecting Mowgli's scent in the large crowd. Resentful against man for scarring him, he issues a warning that he will kill Mowgli at the end of the drought. After the drought ends, the wolves debate whether they should keep Mowgli or not. Mowgli decides to leave the jungle for the safety of his pack. Bagheera agrees with the decision and volunteers to guide him to the nearby man village.

text: En route, Shere Khan ambushes them and injures Bagheera, but Mowgli manages to escape. Later, Mowgli meets an enormous python named Kaa who hypnotizes him. While under her influence, Mowgli sees a vision of his father being mauled while protecting him from Shere Khan. The vision also warns of the destructive power of the "red flower" (fire). Kaa attempts to devour Mowgli, but she is attacked by a large brown sloth bear named Baloo, rescuing an unconscious Mowgli. Baloo and Mowgli bond while retrieving some difficult-to-access honey for Baloo, and the boy agrees to stay with Baloo until the winter season arrives. Upon learning that Mowgli has left the jungle, Shere Khan kills Akela and threatens the pack to lure Mowgli out.

text: Bagheera eventually finds Mowgli and Baloo and is angered that Mowgli has not joined the humans as agreed, but Baloo calms him down and persuades both of them to sleep on it. During the night, Mowgli finds a herd of Indian elephants gathered around a ditch and uses his vines to save a baby elephant from the ditch. Although Baloo and Bagheera are both impressed, Baloo realizes that he cannot guarantee Mowgli's safety after learning that he is being hunted by Shere Khan. Baloo agrees to push Mowgli away to get him to continue onward to the man village.

text: Mowgli is kidnapped by the "Bandar-log" (monkeys) who present him to their leader, a giant ape named King Louie. Assuming that all humans can make fire, King Louie offers Mowgli protection from Shere Khan in exchange for it. Baloo distracts King Louie while Bagheera tries to sneak him out, but their plan is discovered. As King Louie chases Mowgli through his temple, he informs Mowgli of Akela's death. King Louie's rampage eventually causes his temple to collapse on top of him. Furious that Baloo and Bagheera never told him about Akela's death, Mowgli goes to confront Shere Khan alone.

text: Mowgli steals a lit torch at the village to use as a weapon and heads back to the jungle, accidentally starting a wildfire in the process. He confronts Shere Khan, who argues that Mowgli has made himself the enemy of the jungle by causing the wildfire. Mowgli throws the torch into the water, giving Shere Khan the advantage. Baloo, Bagheera, and the wolf pack intervene and hold Shere Khan off, giving Mowgli enough time to set a trap. He lures Shere Khan up a dead tree and onto a branch, which breaks under the tiger's weight and Shere Khan falls into the fire to his death. Mowgli then directs the elephants to divert the river and put out the fire.

text: In the aftermath, Raksha becomes the new leader of the wolf pack. Mowgli decides to utilize his equipment and tricks for his own use, having found his true home and calling with his wolf family, Baloo, and Bagheera.

text: Cast[edit]

text:
Neel Sethi as Mowgli, a young boy who was raised by wolves.
Kendrick Reyes as toddler Mowgli
Ritesh Rajan as Mowgli's father

tag: ul

text: Voice cast[edit]

text:
Bill Murray as Baloo, a sloth bear who befriends Mowgli.
Ben Kingsley as Bagheera, a black panther who is Mowgli's mentor and protector.
Idris Elba as Shere Khan, a fearsome, scar-faced tiger with a grudge against humans.
Lupita Nyong'o as Raksha, a female wolf who is Mowgli's adoptive mother.
Scarlett Johansson as Kaa, an enormous python.
Giancarlo Esposito as Akela, a male wolf who leads the pack.
Christopher Walken as King Louie, a giant ape who rules the Bandar-log.
Garry Shandling as Ikki, a porcupine that observes the Water Truce.[1]
Brighton Rose as Grey Brother,  a wolf cub that is Mowgli's adoptive brother.[1]
Jon Favreau as Fred, a Pygmy Hog.[1]
Sam Raimi as a giant squirrel.[1]
Russell Peters as Rocky, a rhinoceros.[1]
Madeleine Favreau as Raquel, a rhinoceros.[1]
Sara Arrington as an antelope.[1]

text: Emjay Anthony, Max Favreau, Chloe Hechter, Asher Blinkoff, Knox Gagnon, Sasha Schrieber, and Kai Schrieber voice the Young Wolves.[1]

text: Dee Bradley Baker, Artie Esposito, Sean Johnson, and Allan Trautman provide additional animal voices.[1]

text: Production[edit]

text: Development and casting[edit]

text:
"The idea of going out to the jungle and shooting this, it just felt like it wouldn't have the magic that the 1967 film had had. There was a dreamlike quality to it. There was a surreal quality to it. It was a high-water mark for character animation and to me, that's what I remember about it. And so I wanted to make sure we preserved that...But what [Alan] Horn said was: Look at the technology. Look at Life of Pi, Avatar. Why not use the technology to create a whole world that transports you? Let's really embrace this new technology and see what we can do if we push its limit."
— Jon Favreau on approaching the film's technical intent.[9]

tag: div

text: On July 9, 2013, Walt Disney Pictures announced that a live-action adaptation of Rudyard Kipling's short story collection The Jungle Book was in development, with Justin Marks set to write the script.[10] The film would be Disney's second live-action adaptation of Kipling's works, following the 1994 film and the 1998 direct-to-video film Mowgli's Story; and the studio's fourth overall after the 1967 animated film.[11] Jon Favreau was confirmed as director on November 5, 2013.[12] Favreau as a child used to watch Disney's 1967 animated film.[13] He felt the need to strike a balance between the two films by retaining the buoyant spirit of the 1967 film, including some of its memorable songs, while crafting a film with more realism and peril. He also stressed the importance of nature and realized how things have shifted during Kipling's time and now, "In Kipling's time, nature was something to be overcome. Now nature is something to be protected."[13] He was encouraged by Walt Disney Studios chairman Alan Horn to take advantage of the film's setting and story as an opportunity to use the latest advancements in photorealistic rendering, computer-generated imagery, and motion capture technologies.[14] The story of the film is not independently taken from Kipling's works, but also borrows cinematic inspirations from other films, including the child-mentor relationship in Shane (1953), the establishment of rules in a dangerous world from Goodfellas (1990) and the use of a shadowy jungle figure in Apocalypse Now (1979).[13]

text: The cast was announced between March and August 2014, with Idris Elba being announced to voice Shere Khan during early stages and Bill Murray eventually confirmed as the voice of Baloo in August 2014. Between then, Scarlett Johansson, Ben Kingsley, and Christopher Walken were confirmed to play Kaa, Bagheera, and King Louie.[15][16][17][18] Favreau decided to cast Johansson to play Kaa, originally a male character, as he felt the original film was "a little too male-oriented."[19] Favreau and Marks noticed the lack of female characters in the 1967 film version and wanted to address that by featuring Raksha's character more prominently, as in Kipling's tales.[13] Lupita Nyong'o was cast as Raksha as Favreau believed her voice imbued the emotion required for the role, "Lupita has tremendous depth of emotion in her performance. There's an emotional underpinning she brings, and a strength, and we wanted that for this surrogate mother. Much of that comes from her voice."[20] Favreau also decided to change King Louie from an orangutan to a gigantopithecus due to the fact that orangutans are not native to India, where the story takes place.[6] His character was given a slight alteration from the 1967 film and was partly inspired by Marlon Brando's character Colonel Kurtz in Apocalypse Now,[13] as well as incorporating Walken's own physical mannerisms.[21] In regards to Louie's changes, Favreau stated, "We created this looming figure that was trying to extract the secret of fire from Mowgli. And also this gave Mowgli the idea that if he had fire, he could have power over Shere Khan, whether it was good or bad. So there was a Lord of the Rings aspect to that; the fire was almost like the ring in that was going to give someone ultimate power, but corrupt them as well as create destruction."[22] The film is dedicated to Garry Shandling, who voiced a porcupine in the film and died of a heart attack before the film's release.

text: The search for casting Mowgli was extensive, with thousands of children auditioning from the United States, the United Kingdom, New Zealand, and Canada. Eventually, newcomer Neel Sethi was confirmed for the role, with casting director Rebecca Williams describing him as embodying "the heart, humor, and daring of the character. He's warm and accessible, yet also has an intelligence well beyond his years and impressed us all with his ability to hold his own in any situation."[23] Sethi underwent parkour training in preparation for the role.[7] Pixar Animation Studios assisted in the development of the story, as well as providing suggestions for the film's end credits sequence.[24]

text: Filming and visual effects[edit]

text: Principal photography took place entirely on sound stages at L.A. Center Studios[22] in downtown Los Angeles.[20][25] The animal characters were created entirely in computer animation, with the assistance of footage of real animal movement, the actors recording their lines, and performance capture for reference.[6] The production team underwent a thorough process to realistically convey the animals' speaking, while still making them perceptually believable to the audience. Favreau researched earlier films featuring anthropomorphic animals—including Walt Disney's animated features, such as Snow White and the Seven Dwarfs and Bambi, as well as modern films such as Babe—and adopted certain techniques from those films into The Jungle Book.[22] Nearly 70 separate species of animals native to India are featured in the film, with several species being portrayed as "150% larger" than their actual counterparts.[22]

text: Jim Henson's Creature Shop was brought in to provide animal puppet figures for Sethi to act against, although none appear in the finished film.[26] The animal puppets were performed by Artie Esposito, Sean Johnson, Allan Trautman, and April Warren.[1] Favreau utilized motion capture with certain actors, expressing a desire to avoid overusing the technology in order to prevent evoking an uncanny valley effect.[6][19]

text: Moving Picture Company (MPC) and Weta Digital created the film's visual effects.[14] MPC developed new software for animating muscular structure in the animals.[22] Around 1,000 remote jungle locations in India were photographed and used as reference in post-production.[27] Weta was responsible for animating the King Louie sequence, with visual effects supervisor Keith Miller adding that, "It was important for Jon to see Christopher Walken in the creature. So we took some of the distinctive Walken facial features—iconic lines, wrinkles and folds—and integrated them into the animated character."[28] Favreau expressed desire in wanting the film's 3D shots to imbue the abilities of the multiplane camera system utilized in Disney's earlier animated films.[24] At Favreau's behest, the idea was extended into the film's version of the Walt Disney Pictures opening production logo, which was recreated as "a hand-painted, cel-animated multi-plane logo" in homage to the animated films of that era, also incorporating the word "Presents" in the same style as the 1967 film's opening credits.[24] The film's ending also features the original physical book that opened the 1967 film.[24]

text: Sound[edit]

text: Director Jon Favreau and composer John Debney sought to recreate the Fantasound experience Walt Disney, himself, had in mind. When mixing the soundtrack in Dolby Atmos, as Favreau said, "we isolated instruments when we could. And in the sound mix, we created a Fantasound mix. If you see the film in Atmos, you will feel that there are instruments that move around the theater."[29] A mention for Fantasound appears in the film's closing credits.

text: Music[edit]

text: The musical score for The Jungle Book was composed and conducted by frequent Favreau collaborator John Debney,[30] mostly drawing from George Bruns' original music. Though Favreau decided not to make the film a musical, nevertheless, he and Debney incorporated several songs from the 1967 animated film.[31] "The Bare Necessities," written by Terry Gilkyson, is performed by Murray and Sethi,[13] and a cover version by Dr. John is featured in the end credits. "I Wan'na Be Like You" and "Trust in Me"—written by the Sherman Brothers—are performed by Walken and Johansson, respectively; Richard M. Sherman wrote revised lyrics for Walken's version of "I Wan'na Be Like You."[13] Johansson's rendition of "Trust in Me" was produced by Mark Ronson and appears in the end credits only.[13]

text: Soundtrack[edit]

text:
The Jungle Book (Original Motion Picture Soundtrack)Film score by John DebneyReleased
April 15, 2016Recorded
2015–16Studio
Sony Pictures Studios (score)Esplanade Studios, New Orleans Chalice Recording StudiosMusic Shed Studios, New OrleansGenre
Orchestral, swing jazzLength
74:17Label
Walt DisneyProducer
John Debney
John Debney chronology

The Young Messiah(2016) The Young Messiah2016

The Jungle Book(2016) The Jungle Book2016

Mother's Day(2016) Mother's Day2016

text: Walt Disney Records released the film's soundtrack on April 15, 2016.[32]

text: Track listing[edit]

text: No.TitleWriter(s)Performer(s)Length1."The Bare Necessities"Terry GilkysonDr. John and The Nite Trippers3:362."Trust in Me"Richard M. Sherman, Robert B. ShermanScarlett Johansson2:553."Main Titles[Note 1] / Jungle Run"John Debney & George Bruns 2:274."Wolves / Law of the Jungle"John Debney 2:165."Water Truce"John Debney 3:406."Rains Return"John Debney 1:467."Mowgli's Leaving / Elephant Theme"John Debney 3:288."Shere Khan Attacks / Stampede"John Debney 2:069."Kaa / Baloo to the Rescue"  5:2110."Honeycomb Climb"  3:3111."Man Village"  2:5912."Mowgli and the Pit"  3:2613."Monkeys Kidnap Mowgli"  1:5214."Arriving at King Louie's Temple"  4:3515."Cold Lair Chase"  4:0316."Red Flower"  3:1517."To the River"  3:0518."Shere Khan's War Theme"  2:3719."Shere Khan and the Fire"  4:5220."Elephant Waterfall"  3:2721."Mowgli Wins the Race"  0:4122."Jungle Book Closes"  2:1623."I Wan'na Be Like You"Richard M. Sherman, Robert B. ShermanChristopher Walken3:0224."The Bare Necessities"Terry GilkysonBill Murray, Kermit Ruffins3:01Total length:74:17

text: Note 1. ^ Original "When You Wish Upon a Star" melody composed by Leigh Harline; Walt Disney Pictures logo melody composed by Mark Mancina.

text: Release[edit]

text: The film was originally scheduled for October 9, 2015, but the film's release date was later postponed by Walt Disney Studios Motion Pictures to April 15, 2016.[33][34] The film was released in the Dolby Vision format in Dolby Cinema in the United States,[35] and is the first film to be released in Dolby Vision 3D (in a few select theaters in New York City and Chicago).[36] The Jungle Book held its world premiere at the El Capitan Theatre on April 4, 2016.[37] It was released in 15 countries, a week ahead of its U.S. debut on April 15, in countries like Argentina, Australia, Russia, Malaysia, and most notably in India on April 8.[38] The release date in India was strategic for the film as it coincided with the Indian New Year and was a holiday in most parts of the country.[39] The film had a special Hindi version with famous actors giving their voices to the main characters, including Irrfan Khan as Baloo, Om Puri as Bagheera, Priyanka Chopra as Ka, Nana Patekar as Sher Khan and Shefali Shah as Raksha, for its Indian audiences as the book and the Disney series based on it had been immensely popular in India in 1990s. Disney India also commissioned a contemporary recording of "Jungle Jungle Baat Chali Hai" (originally used for the popular Indian version of Japanese anime series Jungle Book Shōnen Mowgli), overseen by the original Hindi song's composers Vishal Bhardwaj and Gulzar, and released it as part of the film's promotional campaign in India.[40][41]

text: Home media[edit]

text: The film was released digitally on August 23, 2016, and on DVD and Blu-ray on August 30 (August 22 in the UK[42]). A 3D Blu-ray was said to be coming by the end of the year.[43] The film topped the NPD VideoScan overall disc sales chart for two consecutive weeks.[44][45]

text: Reception[edit]

text: Box office[edit]

text: The film became a huge financial success and a sleeper hit.[46] It briefly held the record for the biggest remake of all time until the studio's own Beauty and the Beast surpassed it the following year.[47] It grossed $364 million in the United States and Canada and $602.5 million in other countries for a worldwide total of $966.6 million, against a budget of $175 million.[4] Worldwide, the film was released across 28,000 RealD 3D screens[36] and had an IMAX worldwide opening of $20.4 million from 901 IMAX screens, a new record for a PG film.[48] It grossed a total of $39 million in IMAX screens worldwide.[49] On May 13, it became the second film of 2016 (after the studio's own Zootopia) to pass the $800 million mark.[50][51] On June 10, it became the third film of 2016 after Zootopia and Captain America: Civil War to pass the $900 million mark.[52] Deadline Hollywood calculated the net profit of the film to be $258 million, when factoring together all expenses and revenues for the film, making it the sixth-most profitable release of 2016.[53]

text: United States and Canada[edit]

text: Projections for its opening weekend in the United States and Canada were continuously revised upwards, starting from $60 million to as high as $88 million, with female and older male quadrants being the prime draw.[54][36][55][56] The Jungle Book was shown across 4,028 theaters of which 3,100 theaters (75%) were in 3D, including 376 IMAX screens, 463 premium large format screens, and 145 D-Box locations.[54][57][58] It opened Friday, April 15, 2016, on around 9,500 screens across 4,028 theaters, and earned $32.4 million, the fourth-biggest April Friday.[36][59] This includes $4.2 million from Thursday previews, the biggest preview number for a Disney live-adaptation film (tied with Maleficent),[60] an almost unheard-of for a PG title which rarely attracts many ticketbuyers later in the night.[61] In total, it earned $103.3 million in its opening weekend, exceeding expectations by 40% and recorded the biggest PG-rated April opening (breaking Hop's record), the second-biggest Disney live-action adaptation opening (behind Alice in Wonderland), and the second-biggest April opening (behind Furious 7).[36][62][63] It also performed exceptionally well in both 3D and IMAX formats, where they both generated an income of $44 million and $10.4 million of the film's opening-weekend gross, respectively, the later broke the record for the biggest April Disney release IMAX opening.[36][48] Notably, it also became the only second PG-rated release to ever open above $100 million (following Alice in Wonderland) and the third film of 2016 overall to open above $100 million (following Deadpool and Batman v Superman: Dawn of Justice).[36][64] It earned $130.7 million in its first full week, the second-biggest for a Disney live-action adaptation, behind only Alice in Wonderland's $146.6 million seven-day gross.[65]

text: Buoyed by excellent word of mouth and benefiting from spring break, it fell only by 40% in its second weekend earning $61.5 million, still maintaining the top position and far surpassing newcomer The Huntsman: Winter's War.[66] That puts The Jungle Book in the top fifteen second weekends of all time and in terms of films that opened above $100 million, it scored the fourth-smallest drop behind Shrek 2 (−33%), Spider-Man (−39%), and Star Wars: The Force Awakens (−39%).[67][68] Of those numbers, $5.6 million came from IMAX shows for a two weekend cumulative total of $18.4 million which represents about 10% of its entire North American box office gross.[66] It crossed $200 million on its twelfth day of release[69] and managed to hold the top spot for the third consecutive weekend with $43.7 million from 4,041 theaters (an addition of 13 more theaters), a fall of only 29%, outgrossing the next six pictures combined (including the openings of three newcomers)[70] and recorded the sixth-biggest third weekend of all time.[71] Moreover, the 29% drop is the smallest third-weekend drop (from its second weekend) for a $100 million opener ever.[71] Disney added an additional 103 theaters for the film's fourth weekend of release which propelled its theater count to 4,144 theaters,[72] but nevertheless, it was overtaken by Disney's own Captain America: Civil War after experiencing a 50% decline.[73][74] It passed $300 million on its thirtieth day of release, on May 14, as it continued to witness marginal declines in the wake of several new releases weekend after weekend.[75] It made 3.53 times its opening weekend numbers, which is one of the biggest of all time for a film opening above $100 million. It became one of the few surprise hits and one of the highest-grossing films of the year, alongside Finding Dory, The Secret Life of Pets, and Zootopia, centered around talking animals to dominate the year-end chart.[46]

text: Other countries[edit]

text: The film was released in approximately 70 countries.[76] Outside the US and Canada, it opened across 15 markets and 69 IMAX screens a week ahead of its US debut, and faced notable competition from newcomer The Huntsman: Winter's War and holdover Batman v Superman: Dawn of Justice, the latter of which was entering its third weekend. The reason behind the divided release pattern was because Disney wanted to get some space before Captain America: Civil War releases in early May, as well as availing school holidays and avoiding local competitors.[77] It eventually grossed $31.7 million, debuting at first place in all markets and second overall at the international box office, behind Dawn of Justice, which was playing across 67 markets.[77] In its second weekend, it expanded to an additional 49 countries (88% of its total marketplace) and grossed $138.6 million from 64 countries, easily topping the international box office, a bulk of it came from China.[78] Approximately 63% or $85 million of that came from 3D screenings, with the largest 3D opening haul represented by China (98%), Germany (83%), Brazil (73%), Russia (60%), Mexico (47%), and the UK (39%).[78] $10 million alone came from 525 IMAX screens, a record for a PG and April release.[48] It further continued to hold the top spot in its third weekend after adding another $98.9 million from 53 territories, falling only by a marginal 32%. IMAX generated another $6.1 million from 484 IMAX theaters for a three-weekend total of $20.6 million.[49] After three straight No. 1 runs, it was finally dethroned by the studio's Captain America: Civil War in its fourth weekend.[79]

text: In India, it scored the second-biggest opening day for a Hollywood film, earning $1.51 million (behind Avengers: Age of Ultron) from around 1,500 screens[80] and went on to score the second-biggest Hollywood opening weekend of all time, with $8.4 million from 1,600 screens, behind only Furious 7 in terms of local as well as U.S. currency,[81][82] performing better than expected and its initial $5–6 million opening projection.[80] Its opening weekend in India alone surpassed the entire lifetime total of Disney's other live-fantasy adaptations—Cinderella, Maleficent, Oz the Great and Powerful, and Alice in Wonderland—in the country.[77] It then went on to score the biggest opening and single week for a Hollywood film with $15.1 million.[76][83] In its second weekend, it dropped just by a mere 40% to $4.97 million.[84] In just ten days, it became the fourth-highest-grossing Hollywood film there with $21.2 million.[62] On Wednesday, April 19—its twelfth day of release—it surpassed Furious 7 to become the highest-grossing Hollywood/foreign release of all time there.[85][86] By the end of its theatrical run, the film made an estimated $38.8 million with half of its revenue—58%—coming from local dubbed versions, compared to Avengers: Age of Ultron, which saw 45% of its revenue from dubbed versions.[87]

text: In China, where the film was locally known as Fantasy Forest, expectations were high, with projections going as high $154–200 million or more.[88][89][90][91] Ultimately, it was unable to hit these marks.[75] Before the release of the film in the state, Disney had a very successful run at the box office with Zootopia the previous month, in which anthropomorphic animals were the central figure.[92] Forbes noted that The Jungle Book was precisely the sort of film that Chinese audiences love with its 3D visuals, heartwarming story, and talking animal cast.[89] It earned around $12 million on its opening day, including $300,000 worth of previews from 65,000 screenings.[89] Buoyed by good word of mouth and positive reception (albeit mostly from audiences with polarized reception from Chinese critics),[93] it rose 72% on its second day to $20 million.[91] Through its opening weekend it grossed $48.5 million, including $5.1 million from 279 IMAX screens, a new record for April release.[62][94] Its opening marked the biggest Walt Disney Pictures film opening ever,[95] the second-biggest for a family film (behind Kung Fu Panda 3), the second-biggest April debut (behind Furious 7), and the fourth-biggest Disney opening (behind Avengers: Age of Ultron, Iron Man 3, and Star Wars: The Force Awakens).[96] It topped the daily box office through the whole opening week and went on to remain at the top of the box office for a second weekend, after dropping by a mere 20% to $29.8 million, despite facing some competitions.[97] It ended its run there with a total of $150.1 million after thirty days of playing in theaters, adding $1.2 million on its last day. Albeit falling just below expectations, it nevertheless emerged as a huge financial success and becoming the fourth-biggest Disney release there.[75][98]

text: In the United Kingdom and Ireland, it had an opening weekend total of £9.9 million ($14.1 million) from 594 theaters[99] and in France with $8.1 million.[78] Elsewhere, the highest openings were recorded in Russia and the CIS ($7.4 million), Germany ($5.1 million), Spain ($3.9 million), Australia ($2.8 million), Argentina ($2.3 million), and in Malaysia, where it scored the biggest opening weekend for a live-action Disney film with $2.3 million.[77][78] In the UK, it became the first film of 2016 to earn over £5 million in three straight weekends and the first film since Jurassic World, Spectre, and Star Wars: The Force Awakens (all 2015 films) to achieve such an accomplishment,[100] and the first film of 2016 to earn above £40 million ($58 million).[101] In South Korea, it faced competition with Warcraft, but ended up debuting atop the charts with $6.2 million.[102] It has so far grossed a total of $18 million there.[103]

text: It opened in Japan on August 11, alongside the superhero film X-Men: Apocalypse[95][104] and delivered a four-day opening of $6.2 million from 676 screens ($3 million in two days), debuting at second place behind The Secret Life of Pets. Although the opening figure was considered mediocre, Deadline Hollywood noted that Japan is a market that can see big multiples.[105][106] It fell just 30% in its second weekend earning $2.1 million for an eleven-day total of $13.7 million.[107][108]

text: In total earnings, its biggest markets outside of the US and Canada were China ($150.1 million), the United Kingdom ($66.2 million) and India ($38.8 million).[98] It was the highest-grossing film of 2016 in Europe with a total of $209 million,[109] the United Kingdom and Ireland,[110] and in India (although it was later surpassed by Sultan, in terms of Hollywood/imported films, it is still the biggest).[111]

text: Critical response[edit]

text: The film received praise for its visual effects, vocal performances, direction, musical score, and its faithfulness to the animated film.[116][117][118] On review aggregator Rotten Tomatoes, the film has an approval rating of 95% based on 296 reviews, with an average rating of 7.7/10. The site's critical consensus reads, "As lovely to behold as it is engrossing to watch, The Jungle Book is the rare remake that actually improves upon its predecessors—all while setting a new standard for CGI."[119] On Metacritic, the film has a weighted average score of 77 out of 100, based on 49 critics, indicating "generally favorable reviews."[120] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while PostTrak reported filmgoers gave it an overall positive score of 92%. Ninety-seven percent of the audience gave the film an A or a B, and it got A's from both the under- and over-25 crowd and A+ among those under 18 years of age and also for the over-50 audience.[36]

text: Todd McCarthy of The Hollywood Reporter wrote, "Exceptionally beautiful to behold and bolstered by a stellar vocal cast, this umpteenth film rendition of Rudyard Kipling's tales of young Mowgli's adventures amongst the creatures of the Indian jungle proves entirely engaging, even if it's ultimately lacking in subtext and thematic heft."[121] Andrew Barker of Variety felt that this version "can't rival the woolly looseness of Disney's 1967 animated classic, of course, but it succeeds on its own so well that such comparisons are barely necessary."[122] Robbie Collin of The Telegraph gave the film four stars out of five, and deemed it "a sincere and full-hearted adaptation that returns to Kipling for fresh inspiration."[123] Alonso Duralde of The Wrap says "This 'Book' might lack the post-vaudeville razzamatazz of its predecessor, but director Jon Favreau and a team of effects wizards plunge us into one of the big screen's most engrossing artificial worlds since Avatar."[124] Peter Bradshaw, writing for The Guardian, gave the film four out of five stars and felt that the film had a touch of Apocalypto in it, finding the plot elements to be similar to those in The Lion King. He wrote that the film was "spectacular, exciting, funny and fun" and that it "handsomely revives the spirit of Disney's original film."[125] Pete Hammond of Deadline Hollywood wrote that the film had laughs, excitement, an exceptional voice cast and, most importantly, a lot of heart, calling it a cinematic achievement like no other. He particularly praised Murray's performance and the visual effects, deeming it "simply astonishing."[126] Chris Nashawaty of Entertainment Weekly graded the film an "A–," calling it one of the biggest surprises of 2016. He, however, felt the two songs were rather unnecessary and distracting, and believed the film to be a little too frightening for children.[127]

text: Richard Roeper of Chicago Sun-Times awarded the film three-and-a-half stars, pointing out the CGI as the apex achievement of the film. He labelled it "a beautifully rendered, visually arresting take on Rudyard Kipling's oft-filmed tales" but found the musical numbers to be trivial, saying that without the musical numbers, the film might have been a more exhilarating streamlined adventure.[128] Los Angeles Times' Kenneth Turan remarked that "The Jungle Book is the kind of family film calculated to make even those without families wish they had one to take along."[129] Peter Travers of Rolling Stone awarded the film three-and-a-half stars out of four, labeling it scary and thrilling, yet unique and unforgettable, and adding that it "fills us with something rare in movies today—a sense of wonder."[130] The Village Voice's Bilge Ebiri hailed the film as fast and light and that it "manages to be just scary enough to make us feel the danger of solitude in the middle of a massive jungle, but never indulgent or gratuitous."[131] The New York Times' Manohla Dargis was less enthusiastic.[132] Cath Clarke of Time Out compared Elba's character of Shere Khan to Scar from The Lion King, calling him "baddie of the year."[133] Matt Zoller Seitz of RogerEbert.com also had high praise for Elba's portrayal of Shere Khan stating: "His loping menace is envisioned so powerfully that he'd be scary no matter what, but the character becomes a great villain through imaginative empathy. We understand and appreciate his point-of-view, even though carrying it out would mean the death of Mowgli."[114]

text: The film's visual effects and 3D photography were compared to those of Avatar, Gravity, Hugo, and Life of Pi.[116][124][134] Sarah Ward of Screen International wrote that the level of detail on display in the film "is likely to evoke the same jaw-dropping reaction as James Cameron's box office topper."[135] Entertainment Weekly called it "one of the few 3D movies that actually benefits from being in 3D."[127] The film also had a positive reception from Indian contemporary critics and publications,[136] such as The Times of India,[137] The Hindu,[138] India Today,[139] The Indian Express,[140] and The Economic Times.[141]

text: The film also had its share of negative reviews with most reviewers criticizing the inconsistent tone of the film and the director's indecision to stick to one vision. Sam C. Mac of Slant Magazine wrote, "Jon Favreau draws heavily on his film's animated predecessor for plot, characterizations, songs, and set pieces, but doesn't know how to fit these familiar elements into his own coherent vision".[142] Josh Spiegel of Movie Mezzanine also echoed these feelings, saying that the film "stumbles because the people involved aren't willing to fully commit to either making a near-shot-for-shot remake or going in a completely different direction".[143] Rene Rodriguez of the Miami Herald felt that the movie was soulless, writing that "The better these talking beasts look, the more the film resembles a gorgeous screen saver. You admire The Jungle Book, but you can't lose yourself in it".[144]

text: Accolades[edit]

text: Sequel[edit]

text: Following the film's early financial and critical success, the studio has begun working on a sequel. Jon Favreau is reported to return as director and Neel Sethi is reported to reprise his role as Mowgli, while screenwriter Justin Marks is also in negotiations to return.[145] It was announced on April 25, 2016, that Favreau and Marks will return to direct and write, and the sequel could potentially have a release sometime in 2019 and will be shot back-to-back with a remake of The Lion King.[146][147][148] However, it was reported in March 2017 that the sequel was put on hold in order for Favreau to instead focus mainly on The Lion King.[149]


document_title: Pledge of Allegiance (United States)

question_text: when was under god added to pledge of allegience

root

text: Pledge of Allegiance (United States)

text: Recital[edit]

text: Congressional sessions open with the recital of the Pledge, as do many government meetings at local levels, and meetings held by many private organizations. All states except Hawaii, Iowa, Vermont and Wyoming require a regularly-scheduled recitation of the pledge in the public schools, although the Supreme Court has ruled in West Virginia State Board of Education v. Barnette that students cannot be compelled to recite the Pledge, nor can they be punished for not doing so.[9] In a number of states, state flag pledges of allegiance are required to be recited after this.[10]

tag: p

text: The United States Flag Code says:

text: The Pledge of Allegiance to the Flag—"I pledge allegiance to the Flag of the United States of America, and to the Republic for which it stands, one Nation  under God, indivisible, with liberty and justice for all."[11]—should be rendered by standing at attention facing the flag with the right hand over the heart. When not in uniform men should remove any non-religious headdress with their right hand and hold it at the left shoulder, the hand being over the heart. Persons in uniform should remain silent, face the flag, and render the military salute. Members of the Armed Forces not in uniform and veterans may render the military salute in the manner provided for persons in uniform.[4]

text: Origins[edit]

text: Balch and Bellamy pledges[edit]

text: The Pledge of Allegiance, as it exists in its current form, was composed in August 1892 by Francis Bellamy (1855–1931), who was a Baptist minister, a Christian socialist,[12][13] and the cousin of socialist utopian novelist Edward Bellamy (1850–1898). There did exist a previous version created by Captain George T. Balch, a veteran of the Civil War, who later became auditor of the New York Board of Education. Balch's pledge, which existed contemporaneously with the Bellamy version until the 1923 National Flag Conference, read:

text: We give our heads and hearts to God and our country; one country, one language, one flag!

text: Balch was a proponent of teaching children, especially those of immigrants, loyalty to the United States, even going so far as to write a book on the subject and work with both the government and private organizations to distribute flags to every classroom and school.[14] Balch's pledge, which predates Bellamy's by 5 years and was embraced by many schools, by the Daughters of the American Revolution until the 1910s, and by the Grand Army of the Republic until the 1923 National Flag Conference, is often overlooked when discussing the history of the Pledge.[15] Bellamy, however, did not approve of the pledge as Balch had written it, referring to the text as "too juvenile and lacking in dignity."[16] The Bellamy "Pledge of Allegiance" was first published in the September 8 issue of the popular children's magazine The Youth's Companion as part of the National Public-School Celebration of Columbus Day, a celebration of the 400th anniversary of Christopher Columbus's arrival in the Americas. The event was conceived and promoted by James B. Upham, a marketer for the magazine, as a campaign to instill the idea of American nationalism in students and to encourage children to raise flags above their schools.[17] According to author Margarette S. Miller, this campaign was in line both with Upham's patriotic vision as well as with his commercial interest. According to Miller, Upham "would often say to his wife: 'Mary, if I can instill into the minds of our American youth a love for their country and the principles on which it was founded, and create in them an ambition to carry on with the ideals which the early founders wrote into The Constitution, I shall not have lived in vain.'"[18]

text: Bellamy's original Pledge read:

text: I pledge allegiance to my Flag and the Republic for which it stands, one nation, indivisible, with liberty and justice for all.[1][19]

text: The Pledge was supposed to be quick and to the point. Bellamy designed it to be recited in 15 seconds. As a socialist, he had initially also considered using the words equality and fraternity[17] but decided against it, knowing that the state superintendents of education on his committee were against equality for women and African Americans.[20]

text: Francis Bellamy and Upham had lined up the National Education Association to support the Youth's Companion as a sponsor of the Columbus Day observance and the use in that observance of the American flag. By June 29, 1892, Bellamy and Upham had arranged for Congress and President Benjamin Harrison to announce a proclamation making the public school flag ceremony the center of the Columbus Day celebrations. This arrangement was formalized when Harrison issued Presidential Proclamation 335. Subsequently, the Pledge was first used in public schools on October 12, 1892, during Columbus Day observances organized to coincide with the opening of the World's Columbian Exposition (the Chicago World's Fair), Illinois.[21]

text: Francis Bellamy's account[edit]

text: In his recollection of the creation of the Pledge, Francis Bellamy said, "At the beginning of the nineties patriotism and national feeling was (sic) at a low ebb. The patriotic ardor of the Civil War was an old story ... The time was ripe for a reawakening of simple Americanism and the leaders in the new movement rightly felt that patriotic education should begin in the public schools."[16] James Upham "felt that a flag should be on every schoolhouse,"[16] so his publication "fostered a plan of selling flags to schools through the children themselves at cost, which was so successful that 25,000 schools acquired flags in the first year (1892-93).[16]

text: As the World's Columbian Exposition was set to celebrate the 400th anniversary the arrival of Christopher Columbus in the Americas, Upham sought to link the publication's flag drive to the event, "so that every school in the land ... would have a flag raising, under the most impressive conditions."[16] Bellamy was placed in charge of this operation and was soon lobbying "not only the superintendents of education in all the States, but [he] also worked with governors, Congressmen, and even the President of the United States."[16] The publication's efforts paid off when Benjamin Harrison declared Wednesday October 12, 1892, to be Columbus Day for which The Youth's Companion made "an official program for universal use in all the schools."[16] Bellamy recalled that the event "had to be more than a list of exercises. The ritual must be prepared with simplicity and dignity."[16]

text: Edna Dean Proctor wrote an ode for the event, and "There was also an oration suitable for declamation."[16] Bellamy held that "Of course, the nub of the program was to be the raising of the flag, with a salute to the flag recited by the pupils in unison."[16] He found "There was not a satisfactory enough form for this salute. The Balch salute, which ran, "I give my heart and my hand to my country, one country, one language, one flag," seemed to him too juvenile and lacking in dignity."[16] After working on the idea with Upham, Bellamy concluded, "It was my thought that a vow of loyalty or allegiance to the flag should be the dominant idea. I especially stressed the word 'allegiance'. ... Beginning with the new word allegiance, I first decided that 'pledge' was a better school word than 'vow' or 'swear'; and that the first person singular should be used, and that 'my' flag was preferable to 'the.'"[16] Bellamy considered the words "country, nation, or Republic," choosing the last as "it distinguished the form of government chosen by the founding fathers and established by the Revolution. The true reason for allegiance to the flag is the Republic for which it stands."[16] Bellamy then reflected on the sayings of Revolutionary and Civil War figures, and concluded "all that pictured struggle reduced itself to three words, one Nation indivisible."[16]

text: Bellamy considered the slogan of the French Revolution, Liberté, égalité, fraternité ("liberty, equality, fraternity"), but held that "fraternity was too remote of realization, and … [that] equality was a dubious word."[16] Concluding "Liberty and justice were surely basic, were undebatable, and were all that any one Nation could handle. If they were exercised for all. They involved the spirit of equality and fraternity."[16]

text: After being reviewed by Upham and other members of The Youth's Companion, the Pledge was approved and put in the official Columbus Day program. Bellamy noted that, "In later years the words 'to my flag' were changed to 'to the flag of the United States of America' because of the large number of foreign children in the schools."[16] Bellamy disliked the change, as "it did injure the rhythmic balance of the original composition."[16]

text: Changes[edit]

text: In 1906, The Daughters of the American Revolution's magazine, The American Monthly, listed the "formula of allegiance" as being the Balch Pledge of Allegiance, which reads:[15]

text: I pledge allegiance to my flag, and the republic for which it stands. I pledge my head and my heart to God and my country. One country, one language and one flag.

text: In subsequent publications of the Daughters of the American Revolution, such as in 1915's "Proceedings of the Twenty-Fourth Continental Congress of the Daughters of the American Revolution" and 1916's annual "National Report," the Balch Pledge, listed as official in 1906, is now categorized as "Old Pledge" with Bellamy's version under the heading "New Pledge."[22][23] However, the "Old Pledge" continued to be used by other organizations until the National Flag Conference established uniform flag procedures in 1923.

text: In 1923, the National Flag Conference called for the words "my Flag" to be changed to "the Flag of the United States," so that new immigrants would not confuse loyalties between their birth countries and the US. The words "of America" were added a year later. Congress officially recognized the Pledge for the first time, in the following form, on June 22, 1942:[24]

text: I pledge allegiance to the flag of the United States of America, and to the Republic for which it stands, one Nation indivisible, with liberty and justice for all.

text: Addition of "under God"[edit]

text: Louis Albert Bowman, an attorney from Illinois, was the first to suggest the addition of "under God" to the pledge. The National Society of the Daughters of the American Revolution gave him an Award of Merit as the originator of this idea.[25][26] He spent his adult life in the Chicago area and was chaplain of the Illinois Society of the Sons of the American Revolution. At a meeting on February 12, 1948,[25] he led the society in reciting the pledge with the two words "under God" added. He said that the words came from Lincoln's Gettysburg Address. Although not all manuscript versions of the Gettysburg Address contain the words "under God", all the reporters' transcripts of the speech as delivered do, as perhaps Lincoln may have deviated from his prepared text and inserted the phrase when he said "that the nation shall, under God, have a new birth of freedom." Bowman repeated his revised version of the Pledge at other meetings.[25]

text: In 1951, the Knights of Columbus, the world's largest Catholic fraternal service organization, also began including the words "under God" in the Pledge of Allegiance.[27] In New York City, on April 30, 1951, the board of directors of the Knights of Columbus adopted a resolution to amend the text of their Pledge of Allegiance at the opening of each of the meetings of the 800 Fourth Degree Assemblies of the Knights of Columbus by addition of the words "under God" after the words "one nation." Over the next two years, the idea spread throughout Knights of Columbus organizations nationwide. On August 21, 1952, the Supreme Council of the Knights of Columbus at its annual meeting adopted a resolution urging that the change be made universal, and copies of this resolution were sent to the President, the Vice President (as Presiding Officer of the Senate), and the Speaker of the House of Representatives. The National Fraternal Congress meeting in Boston on September 24, 1952, adopted a similar resolution upon the recommendation of its president, Supreme Knight Luke E. Hart. Several State Fraternal Congresses acted likewise almost immediately thereafter. This campaign led to several official attempts to prompt Congress to adopt the Knights of Columbus policy for the entire nation. These attempts were eventually a success.[28]

text: At the suggestion of a correspondent, Representative Louis C. Rabaut (D-Mich.), of Michigan sponsored a resolution to add the words "under God" to the Pledge in 1953.[29]

text: Before February 1954, no endeavor to get the pledge officially amended had succeeded. The final successful push came from George MacPherson Docherty. Some American presidents honored Lincoln's birthday by attending services at the church Lincoln attended, New York Avenue Presbyterian Church by sitting in Lincoln's pew on the Sunday nearest February 12. On February 7, 1954, with President Eisenhower sitting in Lincoln's pew, the church's pastor, George MacPherson Docherty, delivered a sermon based on the Gettysburg Address entitled "A New Birth of Freedom." He argued that the nation's might lay not in arms but rather in its spirit and higher purpose. He noted that the Pledge's sentiments could be those of any nation: "There was something missing in the pledge, and that which was missing was the characteristic and definitive factor in the American way of life." He cited Lincoln's words "under God" as defining words that set the US apart from other nations.[citation needed]

text: President Eisenhower had been baptized a Presbyterian very recently, just a year before. He responded enthusiastically to Docherty in a conversation following the service. Eisenhower acted on his suggestion the next day and on February 8, 1954, Rep. Charles Oakman (R-Mich.), introduced a bill to that effect. Congress passed the necessary legislation and Eisenhower signed the bill into law on Flag Day, June 14, 1954.[30] Eisenhower said:

text: From this day forward, the millions of our school children will daily proclaim in every city and town, every village and rural school house, the dedication of our nation and our people to the Almighty.... In this way we are reaffirming the transcendence of religious faith in America's heritage and future; in this way we shall constantly strengthen those spiritual weapons which forever will be our country's most powerful resource, in peace or in war.[31]

text: The phrase "under God" was incorporated into the Pledge of Allegiance on June 14, 1954, by a Joint Resolution of Congress amending § 4 of the Flag Code enacted in 1942.[30]

text: On October 6, 1954, the National Executive Committee of the American Legion adopted a resolution, first approved by the Illinois American Legion Convention in August 1954, which formally recognized the Knights of Columbus for having initiated and brought forward the amendment to the Pledge of Allegiance.[28]

text: Even though the movement behind inserting "under God" into the pledge might have been initiated by a private religious fraternity and even though references to God appear in previous versions of the pledge, historian Kevin M. Kruse asserts that this movement was an effort by corporate America to instill in the minds of the people that capitalism and free enterprise were heavenly blessed. Kruse acknowledges the insertion of the phrase was influenced by the push-back against atheistic communism during the Cold War, but argues the longer arc of history shows the conflation of Christianity and capitalism as a challenge to the New Deal played the larger role.[32]

text: Salute[edit]

text: Swearing of the Pledge is accompanied by a salute. An early version of the salute, adopted in 1887, known as the Balch Salute, which accompanied the Balch pledge, instructed students to stand with their right hand outstretched toward the flag, the fingers of which are then brought to the forehead, followed by being placed flat over the heart, and finally falling to the side.

text: In 1892, Francis Bellamy created what was known as the Bellamy salute. It started with the hand outstretched toward the flag, palm down, and ended with the palm up. Because of the similarity between the Bellamy salute and the Nazi salute, which was adopted in Germany later, the US Congress stipulated that the hand-over-the-heart gesture as the salute to be rendered by civilians during the Pledge of Allegiance and the national anthem in the US would be the salute to replace the Bellamy salute. Removal of the Bellamy salute occurred on December 22, 1942, when Congress amended the Flag Code language first passed into law on June 22, 1942.[33] Attached to bills passed in Congress in 2008 and then in 2009 (Section 301(b)(1) of title 36, United States Code), language was included which authorized all active duty military personnel and all veterans in civilian clothes to render a proper hand salute during the raising and lowering of the flag, when the colors are presented, and during the National Anthem.[34]

text: Music[edit]

text: A musical setting for "The Pledge of Allegiance to the Flag" was created by Irving Caesar, at the suggestion of Congressman Louis C. Rabaut whose House Resolution 243 to add the phrase "under God" was signed into law on Flag Day, June 14, 1954.[35]

text: The composer, Irving Caesar, wrote and published over 700 songs in his lifetime. Dedicated to social issues, he donated all rights of the musical setting to the U.S. government, so that anyone can perform the piece without owing royalties.[36][37]

text: It was sung for the first time on the floor of the House of Representatives on Flag Day, June 14, 1955 by the official Air Force choral group the "Singing Sergeants". A July 29, 1955 House and Senate resolution authorized the  U.S. Government Printing Office to print and distribute the song sheet together with a history of the pledge.[38]

text: Other musical versions of the Pledge have since been copyrighted, including by Beck (2003), Lovrekovich (2002 and 2001), Roton (1991), Fijol (1986), and Girardet (1983).[39]

text: Controversy[edit]

text: In 1940, the Supreme Court, in Minersville School District v. Gobitis, ruled that students in public schools, including the respondents in that case—Jehovah's Witnesses who considered the flag salute to be idolatry—could be compelled to swear the Pledge. In 1943, in West Virginia State Board of Education v. Barnette, the Supreme Court reversed its decision. Justice Robert H. Jackson, writing for the 6 to 3 majority, went beyond simply ruling in the precise matter presented by the case to say that public school students are not required to say the Pledge on narrow grounds, and asserted that such ideological dogmata are antithetical to the principles of the country, concluding with:

text: If there is any fixed star in our constitutional constellation, it is that no official, high or petty, can prescribe what shall be orthodox in politics, nationalism, religion, or other matters of opinion or force citizens to confess by word or act their faith therein. If there are any circumstances which permit an exception, they do not now occur to us.[40]

text: In a later case, the 11th Circuit Court of Appeals held that students are also not required to stand for the Pledge.[41]

text: Requiring or promoting of the Pledge on the part of the government has continued to draw criticism and legal challenges on several grounds.

text: One objection is that a democratic republic built on freedom of dissent should not require its citizens to pledge allegiance to it, and that the First Amendment to the United States Constitution protects the right to refrain from speaking or standing, which itself is also a form of speech in the context of the ritual of pledging allegiance.[42][41] Another objection is that the people who are most likely to recite the Pledge every day, small children in schools, cannot really give their consent or even completely understand the Pledge they are making.[43] Another criticism is that a government requiring or promoting the phrase "under God" violates protections against the establishment of religion guaranteed in the Establishment Clause of the First Amendment.[44]

text: In 2004, linguist Geoffrey Nunberg said the original supporters of the addition thought that they were simply quoting Lincoln's Gettysburg Address, but to Lincoln and his contemporaries, "under God" meant "God willing", so they would have found its use in the Pledge of Allegiance grammatically incorrect and semantically odd.[45][46]

text: Legal challenges[edit]

text: Prominent legal challenges were brought in the 1930s and 1940s by Jehovah's Witnesses, a denomination whose beliefs preclude swearing loyalty to any power other than God, and who objected to policies in public schools requiring students to swear an oath to the flag.[47] They said requiring the pledge violated their freedom of religion guaranteed by the Free Exercise Clause of the First Amendment. The first case was in 1935, when two children, Lillian and William Gobitas, ages ten and twelve, were expelled from the Minersville, Pennsylvania, public schools that year for failing to salute the flag and recite the Pledge of Allegiance.[48][49]

text: In a 2002 case brought by atheist Michael Newdow, whose daughter was being taught the Pledge in school, the Ninth Circuit Court of Appeals ruled the phrase "under God" an unconstitutional endorsement of monotheism when the Pledge was promoted in public school. In 2004, the Supreme Court heard Elk Grove Unified School District v. Newdow, an appeal of the ruling, and rejected Newdow's claim on the grounds that he was not the custodial parent, and therefore lacked standing, thus avoiding ruling on the merits of whether the phrase was constitutional in a school-sponsored recitation. On January 3, 2005, a new suit was filed in the U.S. District Court for the Eastern District of California on behalf of three unnamed families. On September 14, 2005, District Court Judge Lawrence Karlton ruled in their favor. Citing the precedent of the 2002 ruling by the Ninth Circuit Court of Appeals, Judge Karlton issued an order stating that, upon proper motion, he would enjoin the school district defendants from continuing their practices of leading children in pledging allegiance to "one Nation under God."[50]

text: In 2006, in the Florida case Frazier v. Alexandre, a federal district court in Florida ruled that a 1942 state law requiring students to stand and recite the Pledge of Allegiance violates the First and Fourteenth Amendments of the U.S. Constitution.[51] As a result of that decision, a Florida school district was ordered to pay $32,500 to a student who chose not to say the pledge and was ridiculed and called "unpatriotic" by a teacher.[52]

text: In 2009, a Montgomery County, Maryland, teacher berated and had school police remove a 13-year-old girl who refused to say the Pledge of Allegiance in the classroom. The student's mother, assisted by the American Civil Liberties Union of Maryland, sought and received an apology from the teacher, as state law and the school's student handbook both prohibit students from being forced to recite the Pledge.[53]

text: On March 11, 2010, the Ninth Circuit Court of Appeals upheld the words "under God" in the Pledge of Allegiance in the case of Newdow v. Rio Linda Union School District.[54][55] In a 2–1 decision, the appellate court ruled that the words were of a "ceremonial and patriotic nature" and did not constitute an establishment of religion.[54] Judge Stephen Reinhardt dissented, writing that "the state-directed, teacher-led daily recitation in public schools of the amended 'under God' version of the Pledge of Allegiance... violates the Establishment Clause of the Constitution."[56]

text: On November 12, 2010, in a unanimous decision, the United States Court of Appeals for the First Circuit in Boston affirmed a ruling by a New Hampshire lower federal court which found that the pledge's reference to God does not violate non-pledging students' rights if student participation in the pledge is voluntary.[57][58] A United States Supreme Court appeal of this decision was denied on June 13, 2011.[59][60]

text: In September 2013, a case was brought before the Massachusetts Supreme Judicial Court, arguing that the pledge violates the Equal Rights Amendment of the Constitution of Massachusetts.[61] In May 2014, Massachusetts' highest court ruled that the pledge does not discriminate against atheists, saying that the words "under God" represent a patriotic, not a religious, exercise.[62]

text: In February 2015 New Jersey Superior Court Judge David F. Bauman dismissed a lawsuit, ruling that "… the Pledge of Allegiance does not violate the rights of those who don't believe in God and does not have to be removed from the patriotic message."[63] The case against the Matawan-Aberdeen Regional School District had been brought by a student of the district and the American Humanist Association that argued that the phrase "under God" in the pledge created a climate of discrimination because it promoted religion, making non-believers "second-class citizens." In a twenty-one page decision, Bauman wrote, "Under [the association members'] reasoning, the very constitution under which [the members] seek redress for perceived atheistic marginalization could itself be deemed unconstitutional, an absurd proposition which [association members] do not and cannot advance here."[63] Bauman said the student could skip the pledge, but upheld a New Jersey law that says pupils must recite the pledge unless they have "conscientious scruples" that do not allow it.[64][65] He noted, "As a matter of historical tradition, the words 'under God' can no more be expunged from the national consciousness than the words 'In God We Trust' from every coin in the land, than the words 'so help me God' from every presidential oath since 1789, or than the prayer that has opened every congressional session of legislative business since 1787.”


document_title: Helter Skelter (song)

question_text: who said i've got blisters on me fingers

question_tokens: who said i 've got blisters on me fingers

text: Helter Skelter (song)

text: Writing and inspiration[edit]

text: McCartney was inspired to write the song after reading a 1967 Guitar Player magazine interview with the Who's Pete Townshend where he described their latest single, "I Can See for Miles", as the loudest, rawest, dirtiest song the Who had ever recorded. McCartney then "wrote 'Helter Skelter' to be the most raucous vocal, the loudest drums, et cetera" and said he was "using the symbol of a helter skelter as a ride from the top to the bottom; the rise and fall of the Roman Empire – and this was the fall, the demise."[5] In British English, a helter skelter is an amusement park attraction which features a tall spiral slide winding round a tower.[9] McCartney has cited this song as a response to critics who accuse him of writing only ballads.[10]

text: On 20 November 1968, two days before the release of The Beatles, McCartney gave Radio Luxembourg an exclusive interview, in which he commented on several of the album's songs. Speaking of "Helter Skelter", he said: "Umm, that came about just 'cause I'd read a review of a record which said, 'and this group really got us wild, there's echo on everything, they're screaming their heads off.' And I just remember thinking, 'Oh, it'd be great to do one. Pity they've done it. Must be great – really screaming record.' And then I heard their record and it was quite straight, and it was very sort of sophisticated. It wasn't rough and screaming and tape echo at all. So I thought, 'Oh well, we'll do one like that, then.' And I had this song called 'Helter Skelter,' which is just a ridiculous song. So we did it like that, 'cuz I like noise."[11]

text: Recording[edit]

text: The song was recorded many times during sessions for The Beatles. During the 18 July 1968 sessions, the Beatles recorded a version of the song lasting 27 minutes and 11 seconds,[12] although this version is rather slow and hypnotic, differing greatly from the volume and rawness of the album version.[13] Another recording from the same day, originally 12 minutes long, was edited down to 4:37 for Anthology 3. On 9 September, 18 takes of approximately five minutes each were recorded, and the last one is featured on the original LP.[12] After the 18th take, Ringo Starr flung his drum sticks across the studio[14] and screamed, "I got blisters on my fingers!"[5][12] Starr's shout was included on the stereo mix of the song. At around 3:40, the song completely fades out, gradually fades back in, fades back out partially and finally fades back in quickly with three cymbal crashes and Ringo's scream (some sources erroneously credit the "blisters" line to Lennon; in fact, Lennon can be heard asking "How's that?" before Ringo's outburst).[15] The mono version (originally on LP only) ends on the first fadeout without Starr's outburst. The mono version was not initially available in the US as mono albums had already been phased out there. The mono version was later released in the American version of the Rarities album. In 2009, it was made available on the CD mono re-issue of The Beatles as part of the Beatles in Mono CD box set.

text: According to Chris Thomas, who was present,[12] the 9 September session was especially spirited: "While Paul was doing his vocal, George Harrison had set fire to an ashtray and was running around the studio with it above his head, doing an Arthur Brown."[12] Starr's recollection is less detailed, but agrees in spirit: "'Helter Skelter' was a track we did in total madness and hysterics in the studio. Sometimes you just had to shake out the jams."[10]

text: Critical reaction[edit]

text: Among music critics commenting on "Helter Skelter", Richie Unterberger of AllMusic views it as "one of [the] fiercest and most brutal rockers done by anyone" and "extraordinary".[16] Writing for MusicHound in 1999, Guitar World editor Christopher Scapelliti identified the track as one of three "fascinating standouts" on the White Album.[17] While admiring the diversity of McCartney's songwriting on the album, Mark Richardson of Pitchfork cites "Helter Skelter" as one of "the roughest, rawest tunes in his Beatles oeuvre".[18]

text: Ian MacDonald was highly critical of the song, however, calling it "ridiculous, McCartney shrieking weedily against a massively tape-echoed backdrop of out-of-tune thrashing".[19] Rob Sheffield was also unimpressed, writing in The Rolling Stone Album Guide (2004) that, following the double album's release on CD, "now you can program 'Sexy Sadie' and 'Long, Long, Long' without having to lift the needle to skip over 'Helter Skelter.'"[20] Alan W. Pollack said the song will "scare and unsettle" listeners, citing "Helter Skelter"'s "obsessive nature" and "undercurrent of violence", and noted McCartney's "savage vocal delivery" as reinforcing this theme.[21]

text: In a 1980 interview, Lennon said, "That's Paul completely ... It has nothing to do with anything, and least of all to do with me."[6]

text: In March 2005, Q magazine ranked "Helter Skelter" number 5 in its list of the 100 Greatest Guitar Tracks.

text: Charles Manson[edit]

text: Charles Manson told his followers that several White Album songs including "Helter Skelter" were a part of the Beatles' coded prophecy of an apocalyptic war in which racist and non-racist whites would be manoeuvred into virtually exterminating each other over the treatment of blacks.[22][23][24] Upon the war's conclusion, after black militants would kill off the few whites they would know to have survived, Manson and his companions would emerge from an underground city in which they would have escaped the conflict. As the only remaining whites, they would rule blacks, who, as the vision went, would be incapable of running America. Manson employed "helter skelter" as the term for this sequence of events.

text: Los Angeles Deputy District Attorney Vincent Bugliosi, who led the prosecution of Manson and four of his followers who acted on Manson's instruction in the Tate-LaBianca murders, named his best-selling book about the murders Helter Skelter.[22] The book was the basis for two television movies of the same title.

text: Cover versions[edit]

text:
In 1975, Aerosmith recorded a cover of "Helter Skelter", but it was not released until 1991, on the Pandora's Box compilation.[25] The cover charted at #21 on the Mainstream Rock Tracks chart.
in 1978, Siouxsie and the Banshees released one of the first covers of the song on their debut album The Scream
in 1981, Pat Benatar included a cover of the song on her album Precious Time.
In 1983, the Bobs released an a cappella version on their eponymous album.[26] It earned them a 1984 Grammy nomination for Best Vocal Arrangement for Two or More Voices.[27]
In 1983, a remake of this song was also featured on the Mötley Crüe album Shout at the Devil.
In 1988, a U2 recording was used as the opening track on the Rattle and Hum album. The song was recorded live at the McNichols Sports Arena in Denver, Colorado on 8 November 1987.[28] Introducing the song, Bono controversially said, "This is a song Charles Manson stole from the Beatles. We’re stealing it back."[29]
In 1989, Bow Wow recorded "Helter Skelter", released it as a single and named their album after the song.
In 2000, Oasis recorded a cover of "Helter Skelter", originally as a B-side to the single release of "Who Feels Love?" They also performed the song on their world tour promoting their fourth album Standing on the Shoulder of Giants in the early 2000s; one live version was recorded for their 2001 live album Familiar to Millions.
In 2007, Dana Fuchs performs the song in Across the Universe.
In 2007, Stereophonics recorded a version of the song for their cd-single "It Means Nothing".
In 2007, Beatallica recorded a parody called "Helvester of Skelter", which also was a parody of the Metallica song "Harvester of Sorrow".
In 2018, Marilyn Manson and Rob Zombie together recorded a version of the song released on 11 July 2018.

text: Paul McCartney live performances[edit]

text: Since 2004 McCartney has performed the song with his band on every tour, starting on 24 May 2004, while on the '04 Summer Tour, through The 'US' Tour (2005), the Summer Live '09 (2009), the Good Evening Europe Tour (2009), the Up and Coming Tour (2010/2011), the On the Run Tour (2011/2012) and the Out There Tour, which started on 4 May 2013. In the last tours, the song has been generally inserted on the third encore, which is the last time the band enters the stage. It is usually the last but one song, performed after "Yesterday" and before the final medley including "The End". Paul played the song on his One on One Tour at Fenway Park on 17 July 2016 accompanied by the Grateful Dead's Bob Weir and New England Patriots football player Rob Gronkowski.

text: McCartney performed the song live at the 48th Annual Grammy Awards on 8 February 2006 at the Staples Center in Los Angeles. In 2009, McCartney performed the song live on top of the Ed Sullivan Theater during his appearance on the Late Show with David Letterman.

text: The version of the song from McCartney's live album Good Evening New York City, recorded during the Summer Live '09 tour, was nominated at the 53rd Grammy Awards in the category of Best Solo Rock Vocal Performance.[30] It won, becoming McCartney's first solo Grammy win since he won for arranging "Uncle Albert/Admiral Halsey" in 1972.[31]

text: McCartney opened his set at 12-12-12: The Concert for Sandy Relief with the song.[32]

text: Personnel[edit]

text:
Paul McCartney – lead vocal, electric guitar, piano
John Lennon – backing vocal, six-string bass, electric guitar, sound effects (through brass instruments)
George Harrison – backing vocal, rhythm guitar, electric slide guitar, sound effects
Ringo Starr – drums, cowbell, vocal shout
Mal Evans – trumpet

text: Notes[edit]

text:
Jump up ^ McKinney, Devin (2003). Magic Circles: The Beatles in Dream and History. Harvard University Press. p. 231. ISBN 0-674-01202-X.

Jump up ^ Winn, John C (2009). That Magic Feeling: The Beatles' Recorded Legacy, Volume Two, 1966–1970. Three Rivers Press. p. 210. ISBN 0-307-45239-5.

Jump up ^ Rowley, David (2013). All Together Now. Troubador Publishing Ltd. p. 68.

Jump up ^ Athitakis, Mark (September–October 2013). "A Beatles Reflection". Humanities. National Endowment of the Humanities. Retrieved 24 April 2016.

^ Jump up to: a b c Miles 1997, pp. 487–488.

^ Jump up to: a b Sheff 2000, p. 200.

Jump up ^ Erlewine 2007.

Jump up ^ "100 Greatest Beatles Songs". 19 September 2011. Retrieved 15 October 2014.

Jump up ^ AskOxford 2008.

^ Jump up to: a b The Beatles 2000, p. 311.

Jump up ^ Beatles Interview Database 1968.

^ Jump up to: a b c d e f Lewisohn 1988, p. 154.

Jump up ^ Marck 2008.

Jump up ^ Spitz 2005, p. 794.

Jump up ^ Brown 2007.

Jump up ^ Allmusic 2007.

Jump up ^ Graff & Durchholz 1999, p. 88.

Jump up ^ Richardson, Mark (10 September 2009). "The Beatles: The Beatles". Pitchfork Media. Retrieved 24 November 2015.

Jump up ^ MacDonald 2005, p. 298.

Jump up ^ Brackett & Hoard, p. 53.

^ Jump up to: a b Pollack 1998.

^ Jump up to: a b Bugliosi 1997, pp. 240–247.

Jump up ^ Linder 2007a.

Jump up ^ Linder 2007b.

Jump up ^ "Pandora's Box - Aerosmith". AllMusic. Retrieved 7 September 2017.

Jump up ^ "The Bobs - The Bobs". AllMusic. Retrieved 7 September 2017.

Jump up ^ 1984 Grammy award nomination, Best Vocal Arrangement for Two or More Voices, Richard Greene, Gunnar Madsen - Helter Skelter (The Bobs)
LA Times, "The Envelope" awards database, accessed 2010 Jan 13.

Jump up ^ "U2 - Helter Skelter". U2songs.com. Retrieved 20 November 2017.

Jump up ^ "Bono Bites Back". Mother Jones Magazine. Retrieved 20 November 2017.

Jump up ^ Final Nominations List, 53rd Grammy Awards Archived 14 December 2010 at the Wayback Machine., National Academy of Recording Arts and Sciences. Retrieved on 10 February 2011.

Jump up ^ [1][permanent dead link] Yahoo! Entertainment Story - Reuters. Retrieved on 13 February 2011.[dead link]

Jump up ^ '12-12-12': Paul McCartney fronts Nirvana 'reunion' and more highlights from Sandy benefit concert Archived 14 December 2012 at the Wayback Machine.. Retrieved 13 December 2012.

tag: ol


document_title: List of Skid Row band members

question_text: who is the current lead singer for skid row

text: List of Skid Row band members

text: Current[edit]

text:
Sebastian Bach – lead vocals (1987–1996, 2017-present)
Rachel Bolan – bass, guitar, vocals (1986–present)
Rob Hammersmith – drums (2010–present)
Scotti Hill – guitar, backing vocals (1987–present)
The Snake – guitar, backing vocals (1986–present)
ZP Theart – vocals (2017-present;touring 2016-2017)

text: Former[edit]

text:
Vocalists

Matt Fallon (1986–1987)
Tony Harnell – lead vocals (2015)
Sean McCabe (Shawn Mars) (1997–1998)
Johnny Solinger (1999–2015)

Guitarists

Steve Brotherton (1986, 2005)
Kurtis Jackson (1986, 2005)
Jim Yuhas (Yuhaz) (1986–1987)

Bassists

Cody Howell (1986)

Drummers

Rob Affuso (1987–1998, 2002)
Timothy DiDuro (2004)
Dave Gara (2004–2010)
Charlie Mills (1986–1987, 1999–2000)
John Ratkowski Jr. (1986–1987)
Phil Varone (1999–2004)

tag: table

text: Touring musicians[edit]

text:
Ryan Cook – guitar (2007, 2012)
Alex Grossi – guitar (2008)
Rob Halford – vocals (1993, 1995)
Keri Kelli – guitar (2005, 2008)

text: Session musicians[edit]

text:
Taime Downe – vocals on "Psycho Therapy" from B-Side Ourselves (1992)
Rob Halford – vocals on "Delivering the Goods" from B-Side Ourselves (1992) and Subhuman Beings on Tour (1995)

text: Timeline[edit]

text:
[hide]

v
t
e

Skid Row

Rachel Bolan
Dave "The Snake" Sabo
Scotti Hill
Rob Hammersmith
ZP Theart

Matt Fallon
Cody Howell
Steve Brotherton
Kurtis Jackson
John Ratkowski Jr.
Jim Yuhas (Yuhaz)
Charlie Mills
Rob Affuso
Sebastian Bach
Sean McCabe (Shawn Mars)
Johnny Solinger
Phil Varone
Timothy DiDuro
Dave Gara
Keri Kelli
Ryan Cook
Alex Grossi
Tony Harnell

Studio albums

Skid Row (1989)
Slave to the Grind (1991)
Subhuman Race (1995)
Thickskin (2003)
Revolutions per Minute (2006)

EP's and Live albums

B-Side Ourselves (1992)
Subhuman Beings on Tour (1995)
United World Rebellion: Chapter One (2013)
Rise of the Damnation Army: United World Rebellion: Chapter Two (2014)

Compilations

40 Seasons: The Best of Skid Row (1998)

Videos

Oh Say Can You Scream (1990)
No Frills Video (1993)
Road Kill (1993)

Singles

"Youth Gone Wild"
"18 and Life"
"I Remember You"
"Monkey Business"
"Slave to the Grind"
"Wasted Time"
"In a Darkened Room"
"Little Wing"
"C'mon and Love Me"
"My Enemy"
"Breakin' Down"
"Into Another"

Related articles

Discography
Members
Bring 'Em Bach Alive!
Forever Wild
Supergroup

text: Skid Row (American band)Skid Row (American band) membersLists of members by band

text: Articles needing additional references from November 2016All articles needing additional references


document_title: Tide (brand)

question_text: what is tide liquid called in the uk

question_tokens: what is tide liquid called in the uk

text: Tide (brand)

text: Background[edit]

text: The household chore of doing the laundry began to change with the introduction of washing powders in the 1880s. These new laundry products were pulverized soap. New cleaning-product marketing successes, such as the 1890s introduction of the N. K. Fairbank Company's Gold Dust Washing Powder (which used a breakthrough hydrogenation process in its formulation),[3] and Hudson's heavily advertised product, Rinso,[4] proved that there was a ready market for better cleaning agents. Henkel & Cie's "self-activating" (or self bleaching) cleaner, Persil; (introduced in 1907);[5] the early synthetic detergent, BASF's Fewa (introduced in 1932); and Procter & Gamble's 1933 totally synthetic creation, Dreft (marketed for use on infant-wear)[6] —all indicated significant advances in the laundry cleaning product market.

text: The detergent business was further revolutionized with the discovery of the alkylbenzene sulfonates, which, when combined with the use of chemical "builders", made machine washing with hard water possible.[6] This presented Procter and Gamble with the opportunity to create a product such as Tide.

text: History[edit]

text: The original Tide laundry detergent was a synthetic designed specifically for heavy-duty, machine cleaning (an advance over the milder cleaning capabilities of FeWA and Dreft). Tide was first introduced in U.S. test markets in 1946 as the world's first heavy-duty detergent, with nationwide distribution accomplished in 1949. Tide claimed it was "America's Washday Favorite."  Authority was quickly gained in the U.S. detergent market, dwarfing the sales of Ivory Snow; and accelerating the demise of two of its main competing products, Rinso and Gold Dust Washing Powder, both then Lever Brothers brands. These other brands came in the more familiar soap-powder and soap-flake forms. Tide, however, came shaped as a white powdered bead. The line was expanded to include an orange-tinted clear liquid form in 1984. Today, most formulations of liquid Tide, both concentrated and regular, are dark blue, with the exception of "Tide Free", which is clear. Each year, Tide researchers duplicate the mineral content of water from all parts of the United States and wash 50,000 loads of laundry to test Tide detergent’s consistency and performance.

text: In 2006, the development of Tide was designated an ACS National Historic Chemical Landmark in recognition of its significance as the first heavy-duty synthetic detergent.[7]

text: As of  January 2013[update] Tide has more than 30% of the liquid-detergent market, with more than twice as much in sales as the second most-popular brand Gain, although it costs about 50% more than the average liquid detergent.

text: In some areas, Tide has become such a hot commodity item, that criminals steal it from stores to resell. Police call the detergent "liquid gold" on the black market and it has been known to be traded or sold for illegal drugs.[8][9]

text: Brand[edit]

text: In a 2009 survey, consumers ranked Tide among the three brands they would be least likely to give up during the Great Recession.[8] The Tide trademark is an easily recognized, distinctive orange-and-yellow bulls-eye. This original logo was designed by Donald Deskey, an architect and famous industrial designer. The logo was slightly modified for the product's fiftieth anniversary in 1996, and remains in use today.

text: Tide was the first product to be nationally packaged using Day-Glo colors—strikingly eye-catching when first introduced in 1959.[10]

text: The Tide brand is on at least six powders and liquid detergents in the United States.

text: Product line[edit]

text: Tide is marketed under various sub-brands, such as 2x Ultra Tide.[11] In the late 1960s and early 1970s, it was branded as Tide XK (the XK standing for Xtra Kleaning),[12] but it was rebranded simply as Tide later.

text: An addition to the Tide family, Tide Coldwater was formulated to remove stains while saving energy because it does not require hot or even warm water.[11] Tide Free is marketed as being free from dyes or perfumes.[citation needed] Tide-To-Go is a product packaged in a pen-like format and intended to remove small stains on the spot, without further laundering.[11]

text: In Puerto Rico[13] and elsewhere in Latin America, the Tide formula is marketed under the name Ace[citation needed] (except in Ecuador and Panama, where it is sold under the same Tide brand as is in current use in the U.S.)[citation needed] In Turkey, Tide is branded as Alo.[citation needed] In Poland, it is sold as Vizir. In Hong Kong, Malaysia and Singapore, it is sold as Fab, a brand acquired in 2006[14] from Colgate-Palmolive.

text: Tide is sold in the UK as Daz Go-Pods; they have the marking "Daz/Vizir/Tide" on the back and bear the same distinctive design.

text: Since 2012, Tide has sold laundry detergent pods, making an estimated 15% of market sales.[15][16] In late 2017, an Internet meme was popularized around the concept of eating Tide Pods[17] and, as a result, many YouTubers attempted the extremely dangerous "Tide Pod Challenge."[18]

text: Sponsorships[edit]

text: Tide has also sponsored a few things like NASCAR stock cars, notably as the "Tide Ride". Darrell Waltrip drove the #17 Tide-sponsored Chevy for Hendrick Motorsports. The relationship lasted from 1987 to 1990 and won the 1989 Daytona 500 along the way. Waltrip left the team to form his own team. Tide then sponsored Ricky Rudd in the #5 car after Levi Garrett left Hendrick. Rudd drove for Hendrick until 1993, when he left the racing team, also to form his own team and taking the Tide sponsorship. Rudd Performance Motorsports ran from 1994–1999 and won the 4th Brickyard 400 in 1997. After Rudd became winless in his first time in 17 seasons, Tide left Rudd after being lured by Calvin Well's new team PPI Motorsports. The new team's number was 32, which was a combination of 17, 5, and 10 added all up. Scott Pruett was the first driver but after DNQing 6 times and no Top 10s. Ricky Craven took over in 2001 and responded with a win at Martinsville Speedway. He went winless in 2002, but one year later, he won the closest race in NASCAR history at Darlington in the Carolina Dodge Dealers 400, rubbing with Kurt Busch for laps and with a margin-of-victory of 0.002. It is tied for the closest finish in Cup Series history. After no Top 10s halfway through the 2004 season, Craven left PPI and was replaced by Bobby Hamilton, Jr. for 2004 and 2005. Travis Kvapil ran for PPI in 2006 but with four DNQ's.[19] Tide left the sport before it was going to sponsor one of Well's proposed Toyota teams in 2007. Tide was on Kevin Harvick's truck a few times, but Kroger was promoting the car with it. Tide made its Cup series return in September 2016, when it sponsored Matt Kenseth's No. 20 car for a Darlington tribute scheme.[20] Tide extended their sponsorship to Joe Gibbs Racing to three races in 2017.[21]