document_title: Atmosphere (unit)

question_text: 1 bar is equal to how many atmospheric pressure

text: Atmosphere (unit)

text: History[edit]

text: It was originally defined as the pressure exerted by 760 mm of mercury at 0 °C and standard gravity (g = 7000980665000000000♠9.80665 m/s2).[1]  It was used as a reference condition for physical and chemical properties, and was implicit in the definition of the Centigrade (later Celsius) scale of temperature by defining 100 °C as being the boiling point of water at this pressure. In 1954, the 10th Conférence Générale des Poids et Mesures (CGPM) adopted standard atmosphere for general use and affirmed its definition of being precisely equal to 7006101325000000000♠1013250 dynes per square centimetre (7005101325000000000♠101325 Pa).[2] This defined both temperature and pressure independent of the properties of particular substance.  In addition (the CGPM noted) there had been some misapprehension that it "led some physicists to believe that this definition of the standard atmosphere was valid only for accurate work in thermometry."[2]

text: In chemistry and in various industries, the reference pressure referred to in “Standard Temperature and Pressure” (STP) was commonly 1 atm (101.325 kPa) but standards have since diverged; in 1982, the International Union of Pure and Applied Chemistry (IUPAC) recommended that for the purposes of specifying the physical properties of substances, “standard pressure” should be precisely 100 kPa (1 bar).[3]

text: Pressure units and equivalencies[edit]

text:
Pressure units

vte

Pascal

Bar

Technical atmosphere

Standard atmosphere

Torr

Pounds per square inch

(Pa)

(bar)

(at)

(atm)

(Torr)

(lbf/in2)

1 Pa

≡ 1 N/m2

10−5

6995101970000000000♠1.0197×10−5

6994986919999999999♠9.8692×10−6

6997750060000000000♠7.5006×10−3

0.000 145 037 737 730

1 bar

105

≡ 100 kPa
≡ 106 dyn/cm2

7000101970000000000♠1.0197

6999986920000000000♠0.98692

7002750060000000000♠750.06

14.503 773 773 022

1 at

7004980665000000000♠98066.5

6999980665000000000♠0.980665

≡ 1 kgf/cm2

0.967 841 105 354 1

735.559 240 1

14.223 343 307 120 3

1 atm

7005101325000000000♠101325

7000101325000000000♠1.01325

7000103319999999999♠1.0332

1

760

14.695 948 775 514 2

1 Torr

133.322 368 421

0.001 333 224

0.001 359 51

1/760 ≈ 0.001 315 789

1 Torr
≈ 1 mmHg

0.019 336 775

1 lbf/in2

6894.757 293 168

0.068 947 573

0.070 306 958

0.068 045 964

51.714 932 572

≡ 1 lbf /in2

text: A pressure of 1 atm can also be stated as:

text:
Jump up ^ Torr and mm-Hg, 0°C are often taken to be identical. For most practical purposes (to 5 significant digits), they are interchangeable.

^ Jump up to: a b c This is the customarily accepted value for cm–H2O, 4 °C. It is precisely the product of 1 kg-force per square centimeter (one technical atmosphere) times 1.013 25 (bar/atmosphere) divided by 0.980 665 (one gram-force). It is not accepted practice to define the value for water column based on a true physical realization of water (which would be 99.997 495% of this value because the true maximum density of Vienna Standard Mean Ocean Water is 0.999 974 95 kg/l at 3.984 °C). Also, this “physical realization” would still ignore the 8.285 cm–H2O reduction that would actually occur in a true physical realization due to the vapor pressure over water at 3.984 °C.

^ Jump up to: a b NIST value of 13.595 078(5) g/ml assumed for the density of Hg at 0 °C

tag: ol

text: Other applications[edit]

text: Scuba divers and others use the word atmosphere and "atm" in relation to pressures that are relative to mean atmospheric pressure at sea level (1.013 bar).[citation needed] For example, a partial pressure of oxygen is calibrated typically using air at sea level, so is expressed in units of atm.

text: The old European unit technical atmosphere (at) is equal to 1 kilogram-force per square centimetre (kgf/cm2), 7004980665000000000♠98066.5 Pa.[citation needed]


document_title: Public sector

question_text: where does the public sector get its money from

root

text: Public sector

text: Organization[edit]

text: The organization of the public sector (public ownership) can take several forms, including:

tag: p

text:
Direct administration funded through taxation; the delivering organization generally has no specific requirement to meet commercial success criteria, and production decisions are determined by government.
Publicly owned corporations (in some contexts, especially manufacturing, "state-owned enterprises"); which differ from direct administration in that they have greater commercial freedoms and are expected to operate according to commercial criteria, and production decisions are not generally taken by government (although goals may be set for them by government).
Levels of Public sector are organized at three levels: Federal or National, Regional (State or Provincial), and Local (Municipal or County).
Partial outsourcing (of the scale many businesses do, e.g. for IT services) is considered a public sector model.

tag: ul

text: A borderline form is as follows:

text:
Complete outsourcing or contracting out, with a privately owned corporation delivering the entire service on behalf of government. This may be considered a mixture of private sector operations with public ownership of assets, although in some forms the private sector's control and/or risk is so great that the service may no longer be considered part of the public sector (Barlow et al., 2010). (See the United Kingdom's Private Finance Initiative.)
Public employee unions represent workers. [2]Since contract negotiations for these workers are dependent on the size of government budgets, this is the one segment of the labor movement that can actually contribute directly to the people with ultimate responsibility for its livelihood. While their giving pattern matches that of other unions, public sector unions also concentrate contributions on members of Congress from both parties who sit on committees that deal with federal budgets and agencies.


document_title: Coal Miner's Daughter (film)

question_text: who played doolittle in coal miner's daughter

question_tokens: who played doolittle in coal miner 's daughter

text: Coal Miner's Daughter (film)

text: Synopsis[edit]

text: In 1945, 13-year-old Loretta Webb is one of eight children of Ted Webb, a Van Lear coal miner raising a family with his wife in the midst of grinding poverty in Butcher Hollow, Kentucky (pronounced by locals as "Butcher Holler").

text: In 1948, at the age of 15, Loretta marries 22-year-old Oliver "Mooney" (aka "Doo," short for "Doolittle") Lynn, becoming a mother of four by the time she is 19. The family moves to northern Washington State, where Doo works in the forest industry and Loretta sings occasionally at local honky-tonks on weekends.  After some time, Loretta makes an occasional appearance on local radio.

text: By the time Loretta turns 25, Norm Burley, the owner of Zero Records, a small Canadian record label, hears Loretta sing during one of her early radio appearances. Burley gives the couple the money needed to travel to Los Angeles to cut a demo tape from which her first single, "I'm a Honky Tonk Girl," is made. After returning home from the sessions, Doo suggests he and Loretta go on a promotional tour to push the record. Doo shoots his own publicity photo for Loretta, and spends many late nights writing letters to show promoters and to radio disc jockeys all over the South. After Loretta receives an emergency phone call from her mother telling her that her father had died, she and Doo hit the road with records, photos, and their children. The two embark on an extensive promotional tour of radio stations across the South.

text: En route, and unbeknownst to the couple, Loretta's first single, "I'm a Honky Tonk Girl," hits the charts based on radio and jukebox plays, and earns her a spot on the Grand Ole Opry. In the summer of 1961, after seventeen straight weekly performances on the Opry, she is invited to sing at Ernest Tubb Record Shop's Midnite Jamboree after her performance that night. Country superstar Patsy Cline, one of Loretta's idols, who had recently been hospitalized from a near-fatal car wreck, inspires Loretta to dedicate Patsy's newest hit "I Fall to Pieces" to the singer herself as a musical get-well card. Cline listens to the broadcast that night from her hospital room and sends her husband Charlie Dick to Ernest Tubb Record Shop to fetch Loretta so the two can meet. A close friendship with Cline follows, which was abruptly ended by Cline's death in a plane crash on March 5, 1963.

text: The next few years are a whirlwind.  The stress of extensive touring, keeping up her image, overwork, and trying to keep her marriage and family together cause Loretta a nervous breakdown, which she suffers onstage at the beginning of a concert. After a year off at her ranch, in Hurricane Mills, Tennessee, Loretta goes back on the road, returning to establish herself as the "First Lady of Country Music."

text: The film closes with Loretta recounting the story of her life through her 1970 hit song, "Coal Miner's Daughter", to a sold-out audience.

text: Cast[edit]

text:
Sissy Spacek as Loretta Lynn
Tommy Lee Jones as Doolittle Lynn
Beverly D'Angelo as Patsy Cline
Levon Helm as Ted Webb
Phyllis Boyens as Clara Ramey Webb, Loretta's mother
Bob Hannah as Charlie Dick
William Sanderson as Lee Dollarhide
Ernest Tubb as himself
Roy Acuff as himself
Minnie Pearl as herself

text: Production[edit]

text: Lynn personally chose Spacek to portray her, making the decision based on a photograph of the actress despite being unfamiliar with her films, a story Spacek recounts in a DVD audio commentary for the Collector's Edition of the film. Initially, Spacek was reluctant to participate, and asked to do her own singing in the film in hopes of scaring off the studio from pursuing her for the role. At the time that Lynn prematurely announced on The Tonight Show Starring Johnny Carson that "Sissy Spacek is going to play me," the actress was torn between friends who advised her to do Lynn's film and those who advised her to choose instead a Nicolas Roeg project due to start filming at the same time. Talking it over with her mother-in-law that evening, Spacek was advised to pray for a sign, which she did. She and her husband subsequently went for a drive in his mother's car, where the radio was tuned to a classical music station that changed formats at sunset every evening. As the couple pulled out of the parking garage, the title line of the song "Coal Miner's Daughter" sallied forth from the radio.[4]

text: The film's soundtrack featured Spacek singing all of Lynn's hits sung in the movie, including "Coal Miner's Daughter".

text: In an interview with Merv Griffin broadcast November 7, 1978, Loretta Lynn said that Harrison Ford was originally cast.

text: Release[edit]

text: Critical reception[edit]

text: It has an 88% approval rating on Rotten Tomatoes based on 16 reviews; the average rating is 8.3/10.[5] Variety called it "a thoughtful, endearing film charting the life of singer Loretta Lynn from the depths of poverty in rural Kentucky to her eventual rise to the title of 'queen of country music'."[6] Roger Ebert stated that the film "has been made with great taste and style; it's more intelligent and observant than movie biographies of singing stars used to be."[7]

text: Awards and honors[edit]

text: The film won the Academy Award for Best Actress (Sissy Spacek), and was nominated for Best Art Direction (Art Direction: John W. Corso; Set Decoration: John M. Dwyer), Best Cinematography, Best Film Editing, Best Picture, Best Sound (Richard Portman, Roger Heman and James R. Alexander) and Best Writing, Screenplay Based on Material from Another Medium.[8][9]

text: For her performance, Spacek won an Academy Award, as well as "Best Actress" awards from the Golden Globes, the National Board of Review, the Los Angeles Film Critics Association, the New York Film Critics Circle, and the Kansas City Film Critics Circle. Her co-star Beverly D'Angelo, who played Loretta's mentor, Patsy Cline, also chose to do her own singing rather than lip-synching; she was nominated for a Golden Globe, as was Tommy Lee Jones.

text: The film is recognized by American Film Institute in these lists:

text:
2004: AFI's 100 Years...100 Songs:
"Coal Miner's Daughter" – Nominated[10]
2006: AFI's 100 Years...100 Cheers – #70[11]

text: Home media[edit]

text:
This film was released on LaserDisc on two separate releases. The first release was in May 1980, and the extended play version was released in July 1981. These releases were both made by MCA DiscoVision.
The film was released in the VHS format in the 1980s by MCA Home Video and on March 1, 1992 by MCA/Universal Home Video.
On September 13, 2005, Universal released a 25th Anniversary Edition on DVD, in widescreen (1.85:1) format and featuring the music tracks remixed to 5.1 Dolby Digital stereo, leaving the dialogue and effects tracks as they were on the original mono soundtrack from 1980.
That same DVD was included in a 4-pack DVD set that also included Smokey and the Bandit, The Best Little Whorehouse in Texas, Fried Green Tomatoes.
On January 7, 2014, Universal released the film on Blu-ray.

text: Soundtrack[edit]

text:
Coal Miner's Daughter: Original Motion Picture Soundtrack
Soundtrack album by Various ArtistsReleased
March 7, 1980Recorded
1980Bradley's Barn(Mt. Juliet, Tennessee)[12]Genre
CountryLabel
MCA NashvilleProducer
Owen Bradley

tag: table

text: Professional ratingsReview scoresSourceRatingAllMusic[13]

text:
Coal Miner's Daughter: Original Motion Picture Soundtrack was released on March 7, 1980, under the MCA Nashville label.[14] It included music by Beverly D'Angelo, Levon Helm, and Sissy Spacek except for the "End Credits Medley" and material by other artists which were not under contract to MCA.
The album was certified Gold by the RIAA on January 11, 1982[15] and has been released on vinyl,[16] cassette tape,[17] and CD.[14] Levon Helm's Blue Moon of Kentucky was released as a single on 7" vinyl, both as a double-A-side and also with a non-album track also sung by Helm, Allen Toussaint's Working in the Coal Mine, on the B-side.[18]

text: No.TitleWriter(s)PerformerLength1."The Titanic"A.P. Carter, Sara Carter, Maybelle CarterSissy Spacek2:292."Blue Moon of Kentucky"Bill MonroeLevon Helm2:513."There He Goes"Eddie Miller, Durwood Haddock, W.S. StevensonSissy Spacek2:114."I'm a Honky Tonk Girl"Loretta LynnSissy Spacek2:225."Amazing Grace"John NewtonFuneral Guests2:086."Walkin' After Midnight"Donn Hecht, Alan BlockBeverly D'Angelo2:217."Crazy"H.W. NelsonBeverly D'Angelo2:458."I Fall to Pieces"Hank Cochran, Harlan HowardSissy Spacek2:489."Sweet Dreams"Don GibsonBeverly D'Angelo2:3710."Back in Baby's Arms"Bob MontgomerySissy Spacek, Beverly D'Angelo2:1011."One's on the Way"Shel SilversteinSissy Spacek2:4212."You Ain't Woman Enough To Take My Man"LynnSissy Spacek2:1813."You're Lookin' at Country"LynnSissy Spacek2:2614."Coal Miner's Daughter"LynnSissy Spacek3:04

text: Charts and certifications[edit]

text:
Weekly charts

Chart (1980)

Peakposition

Canada Country Albums (RPM)[19]

1

Canada Top Albums (RPM)

23

US Top Country Albums (Billboard)

2

US Billboard 200

40

Certifications

Country

Certification

United States

Gold[15]

text:
Preceded byTogether by The Oak Ridge Boys

 RPM Country Albums number-one albumMay 10–31, 1980

Succeeded byTogether by The Oak Ridge Boys

text: Adaptation[edit]

text: On May 10, 2012, at the Grand Ole Opry, Lynn announced that Zooey Deschanel will play her in a Broadway musical adaptation.[20]

text: One episode of The Simpsons, entitled "Colonel Homer", is partly based on this film. The episode also stars Beverly D'Angelo as cocktail waitress Lurleen Lumpkin, who happens to have a beautiful country singing voice.


document_title: The Sound of Music (film)

question_text: where was the sound of music house filmed

text: The Sound of Music (film)

text: Plot[edit]

text: Maria is a free-spirited young Austrian woman studying to become a nun at Nonnberg Abbey in Salzburg in 1938. Her love of music and the mountains, her youthful enthusiasm and imagination, and her lack of discipline cause some concern among the nuns. The Mother Abbess, believing Maria would be happier outside the abbey, sends her to the villa of retired naval officer Captain Georg von Trapp to be governess to his seven children—Liesl, Friedrich, Louisa, Kurt, Brigitta, Marta, and Gretl. The Captain has been raising his children alone using strict military discipline following the death of his first wife. Although the children misbehave at first, Maria responds with kindness and patience, and soon the children come to trust and respect her.

text: While the Captain is away in Vienna, Maria makes play clothes for the children and takes them around Salzburg and the surrounding mountains, and she teaches them how to sing. When the Captain returns to the villa with Baroness Elsa Schraeder, a wealthy socialite, and their mutual friend, Max Detweiler, they are greeted by Maria and the children returning from a boat ride on the lake that concludes when their boat overturns. Displeased by his children's clothes and activities, and Maria's impassioned appeal that he get closer to his children, the Captain orders her to return to the abbey. Just then he hears singing coming from inside the house and is astonished to see his children singing for the Baroness. Filled with emotion, the Captain joins his children, singing for the first time in years. Afterwards, he apologizes to Maria and asks her to stay.

text: Impressed by the children's singing, Max proposes he enter them in the upcoming Salzburg Festival but the suggestion is immediately rejected by the Captain as he does not allow his children to sing in public. He does agree, however, to organize a grand party at the villa. The night of the party, while guests in formal attire waltz in the ballroom, Maria and the children look on from the garden terrace. When the Captain notices Maria teaching Kurt the traditional Ländler folk dance, he cuts in and partners with Maria in a graceful performance, culminating in a close embrace. Confused about her feelings, Maria blushes and breaks away. Later, the Baroness, who noticed the Captain's attraction to Maria, hides her jealousy while convincing Maria that she must return to the abbey. Back at the abbey, when Mother Abbess learns that Maria has stayed in seclusion to avoid her feelings for the Captain, she encourages her to return to the villa to look for her life. After Maria returns to the villa, she learns about the Captain's engagement to the Baroness and agrees to stay until they find a replacement governess. The Captain's feelings for Maria, however, have not changed, and after breaking off his engagement the Captain marries Maria.

text: While they are on their honeymoon, Max enters the children in the Salzburg Festival against their father's wishes. When they learn that Austria has been annexed by the Third Reich in the Anschluss, the couple return to their home, where a telegram awaits informing the Captain that he must report to the German Naval base at Bremerhaven to accept a commission in the German Navy. Strongly opposed to the Nazis and the Anschluss, the Captain tells his family they must leave Austria immediately. That night, as the von Trapp family attempt to leave, they are stopped by a group of Brownshirts waiting outside the villa. When questioned by Gauleiter Hans Zeller, the Captain maintains they are headed to the Salzburg Festival to perform. Zeller insists on escorting them to the festival, after which his men will accompany the Captain to Bremerhaven.

text: Later that night at the festival, during their final number, the von Trapp family slip away and seek shelter at the nearby abbey, where Mother Abbess hides them in the cemetery crypt. Brownshirts soon arrive and search the abbey, but the family is able to escape using the caretaker's car. When the soldiers attempt to pursue, they discover their cars will not start as two nuns have removed parts of the engines. The next morning, after driving to the Swiss border, the von Trapp family make their way on foot across the frontier into Switzerland to safety and freedom.

text: Cast[edit]

text:
Julie Andrews as Maria von Trapp
Christopher Plummer as Captain von Trapp

Bill Lee as Captain von Trapp's singing voice

Eleanor Parker as Baroness Elsa von Schraeder
Richard Haydn as Max Detweiler
Peggy Wood as the Mother Abbess
Charmian Carr as Liesl von Trapp
Nicholas Hammond as Friedrich von Trapp
Heather Menzies as Louisa von Trapp
Duane Chase as Kurt von Trapp
Angela Cartwright as Brigitta von Trapp
Debbie Turner as Marta von Trapp
Kym Karath as Gretl von Trapp
Anna Lee as Sister Margaretta
Portia Nelson as Sister Berthe
Ben Wright as Herr Zeller
Daniel Truhitte as Rolfe
Norma Varden as Frau Schmidt
Gil Stuart as Franz
Marni Nixon as Sister Sophia
Evadne Baker as Sister Bernice
Doris Lloyd as Baroness Ebberfeld

text: Background[edit]

text: The Sound of Music story is based on Maria von Trapp's memoir, The Story of the Trapp Family Singers, published in 1949 to help promote her family's singing group following the death of her husband Georg in 1947.[5] Hollywood producers expressed interest in purchasing the title only, but Maria refused, wanting her entire story to be told.[5] In 1956, German producer Wolfgang Liebeneiner purchased the film rights for $9,000 (equivalent to $79,000 in 2016), hired George Hurdalek and Herbert Reinecker to write the screenplay, and Franz Grothe to supervise the soundtrack, which consisted of traditional Austrian folk songs.[6] The Trapp Family was released in West Germany on October 9, 1956 and became a major success.[5] Two years later, Liebeneiner directed a sequel, The Trapp Family in America, and the two pictures became the most successful films in West Germany during the post-war years.[5] Their popularity extended throughout Europe and South America.[5]

text: In 1956, Paramount Pictures purchased the United States film rights, intending to produce an English-language version with Audrey Hepburn as Maria.[5] The studio eventually dropped its option, but one of its directors, Vincent J. Donehue, proposed the story as a stage musical for Mary Martin.[5] Producers Richard Halliday and Leland Heyward secured the rights and hired playwrights Howard Lindsay and Russel Crouse, who had won the Pulitzer Prize for State of the Union.[6] They approached Richard Rodgers and Oscar Hammerstein II to compose one song for the musical, but the composers felt the two styles—traditional Austrian folk songs and their composition—would not work together.[6] They offered to write a complete new score for the entire production if the producers were willing to wait while they completed work on Flower Drum Song.[7] The producers quickly responded that they would wait as long as necessary.[7] The Sound of Music stage musical opened on November 16, 1959 at the Lunt-Fontanne Theatre in New York City and ran on Broadway for 1,443 performances, winning six Tony Awards, including Best Musical.[8] In June 1960, Twentieth Century Fox purchased the film adaptation rights to the stage musical for $1.25 million (equivalent to $10,100,000 in 2016) against ten percent of the gross.[9][Note 1]

text: Production[edit]

text: For the film, Richard Rodgers added two new songs, "I Have Confidence" and "Something Good", for which he wrote the lyrics as well as the music (Hammerstein having died in August 1960), while three of the original stage songs were omitted,[10] "How Can Love Survive", "No Way To Stop It" and "An Ordinary Couple". Arranger and conductor Irwin Kostal prerecorded the songs with a large orchestra and singers on a stage prior to the start of filming, and later adapted instrumental underscore passages based on the songs. Choreographers Marc Breaux and Dee Dee Wood, who had worked with Andrews on Mary Poppins, worked out all new choreography sequences that incorporated many of the Salzburg locations and settings. The Sound of Music was filmed from March 26 through September 1, 1964, with external scenes shot on location in Salzburg, Austria, and the surrounding region, and interior scenes filmed at the 20th Century Fox studios in California. The movie was photographed in 70 mm Todd-AO by Ted McCord and produced with DeLuxe Color processing and six-track sound recording.

text: Screenplay and pre-production[edit]

text: In December 1962, 20th Century Fox president Richard D. Zanuck hired Ernest Lehman to write the screenplay for the film adaptation of the stage musical.[11] Lehman reviewed the original script for the stage musical, rearranged the sequence of songs, and began transforming a work designed for the stage into a film that could use the camera to emphasize action and mood, and open the story up to the beautiful locations of Salzburg and the Austrian Alps.[12] The "Do-Re-Mi" sequence in the play, for example, was originally a stagnant number; Lehman transformed it into a lively montage showing some of the beautiful sites of Salzburg, as well as showing Maria and the children growing closer over time.[12] Lehman also eliminated two songs, "How Can Love Survive?" and "No Way to Stop It", sung by the characters of Elsa and Max.[12] In January 1963, he saw the Fox English-dubbed version of the two German films, was not especially impressed, and decided to use the stage musical and Maria's memoir for most of his source material.[13] While Lehman was developing the screenplay, he and Zanuck began looking for a director. Their first choice was Robert Wise, with whom Lehman had worked on the film adaptation of West Side Story, but Wise was busy preparing work for another film, The Sand Pebbles.[14] Other directors were approached and turned down the offer, including Stanley Donen, Vincent J. Donehue, George Roy Hill, and Gene Kelly.[15]

text: In January 1963, Lehman invited one of his favorite directors, William Wyler, to travel to New York City with him to see the Broadway musical. After seeing the show, Wyler said he hated it, but after two weeks of Lehman's persuasion, Wyler reluctantly agreed to direct and produce the film.[16] After hiring musical supervisor Roger Edens, Wyler, Lehman, and Edens traveled to Salzburg to scout filming locations.[17] In two weeks they managed to see approximately seventy-five locations—an experience that helped Lehman conceptualize several important sequences.[18] During that trip, Lehman began to have reservations about Wyler's commitment to the project, and communicated this to Zanuck, who instructed the writer to finalize the first draft of the screenplay as quickly as possible.[19] Lehman completed the first draft on September 10, 1963 and sent it to Wyler, who had no suggestions or changes.[19] At that time, Lehman also secretly gave a copy of the script to the agent of Robert Wise, whom Lehman still wanted as the director.[19] Later that month, Wyler's agent approached Zanuck asking that production on the film be delayed so Wyler could direct The Collector. Zanuck told him to tell Wyler to make the other film, and that they would move ahead on schedule with another director, ending Wyler's participation.[19]

text: Meanwhile, Wise, whose film The Sand Pebbles had been postponed, read Lehman's first draft, was impressed by what he read, and agreed to direct the film.[20] Wise joined the picture in October 1963,[21] and flew to Salzburg with associate producer Saul Chaplin and members of his production team to scout filming locations, including many that Wyler had identified.[22] When he returned, Wise began working on the script. Wise shared Lehman's vision of the film being centered on the music, and the changes he made were consistent with the writer's approach—mainly reducing the amount of sweetness and sentimentality found in the stage musical.[21] He had reservations about Lehman's opening aerial sequence because they'd used a similar opening in West Side Story, but decided to keep it.[21] Other changes included replacing "An Ordinary Couple" with a more romantic number, and a new song for Maria's departure from the abbey—Rodgers provided "Something Good" and "I Have Confidence" especially for the film.[23] Lehman completed the second draft on December 20, 1963,[24] but additional changes would be made based on input from Maria von Trapp and Christopher Plummer about the character of the Captain. Plummer especially helped transform a character lacking substance into a stronger, more forceful complex figure with a wry sense of humor and a darker edge.[25] Lehman completed his final draft on March 20, 1964.[26]

text: Casting and rehearsals[edit]

text: Lehman's first and only choice for Maria was Julie Andrews.[27] When Wise joined the project, he made a list of his choices for the role, which included Andrews as his first choice, Grace Kelly, and Shirley Jones.[28] Wise and Lehman went to Disney Studios to view footage from Mary Poppins, which was not yet released. A few minutes into the film, Wise told Lehman, "Let's go sign this girl before somebody else sees this film and grabs her!"[27] Andrews had some reservations—mainly about the amount of sweetness in the theatrical version—but when she learned that her concerns were shared by Wise and Lehman and what their vision was, she signed a contract with Fox to star in The Sound of Music and one other film for $225,000 (equivalent to $1,740,000 in 2016).[29] Wise had a more difficult time casting the role of the Captain. A number of actors were considered for the part, including Bing Crosby, Yul Brynner, Sean Connery, and Richard Burton.[30] Wise had seen Christopher Plummer on Broadway and wanted him for the role, but the stage actor turned down the offer several times. Wise flew to London to meet with Plummer and explained his concept of the film; the actor accepted after being assured that he could work with Lehman to improve the character;[31] Plummer later described himself as having become quite arrogant at the time, "spoiled by too many great theater roles".[32]

text: Wise also spent considerable time and effort on casting the secondary characters. For the role of Max Detweiler, Wise initially considered Victor Borge, Noël Coward, and Hal Holbrook among others before deciding on Richard Haydn.[31] For the character of Baroness Elsa Schraeder, Wise looked for a "name" actress—Andrews and Plummer were not yet widely known to film audiences—and decided on Eleanor Parker.[33] The casting of the children characters began in November 1963 and involved over two hundred interviews and auditions throughout the United States and England.[34] Some of the child-actors interviewed or tested, who were not selected, included Mia Farrow, Patty Duke, Lesley Ann Warren, Geraldine Chaplin, Shelley Fabares, Teri Garr, Kurt Russell, and The Osmonds.[35] Most of the actors selected had some acting, singing, or dancing experience. Charmian Carr, however, was a model who worked part-time in a doctor's office and had no ambition to pursue a career as an actress.[36] After a friend sent her photo to Wise's office, she was asked to interview. Wise later recalled, "She was so pretty and had such poise and charm that we liked her immediately."[36] The last person to be cast was Daniel Truhitte in the role of Rolfe.[36]

text: Rehearsals for the singing and dance sequences began on February 10, 1964.[37] The husband-and-wife team of Marc Breaux and Dee Dee Wood, who had worked with Andrews on Mary Poppins, worked out the choreography with Saul Chaplin on piano—the arrangements could not be altered under Rodgers and Hammerstein's contract.[38] The stage choreography was not used because it was too restrictive.[39] Breaux and Wood worked out all new choreography better suited for film that incorporated many of the Salzburg locations and settings.[39] They even choreographed the newly added puppet dance sequence for "The Lonely Goatherd".[40] The choreography for the Ländler strictly followed the traditional Austrian folk dance.[39] The musical arranger Irwin Kostal prerecorded the songs with a large orchestra and singers on a stage prior to the start of filming.[41] Kostal used seven children and five adults to record the children's voices; the only scene where the child-actors actually sing is when they sing "The Sound of Music" on their own after Maria leaves.[42] The voices of some of the adult actors also had voice doubles, including Peggy Wood and Christopher Plummer.[43]

text: Filming and post-production[edit]

text: Principal photography began on March 26, 1964 at 20th Century Fox studios in Los Angeles, where scenes from Maria's bedroom and the abbey cloister and graveyard were filmed.[44] The company then flew to Salzburg where filming resumed on April 23 at Mondsee Abbey for the wedding scenes.[45] From April 25 through May 22, scenes were filmed at the Felsenreitschule, Nonnberg Abbey, Mirabell Palace Gardens, Residence Fountain, and various street locations throughout the Altstadt (Old Town) area of the city.[45] Wise faced opposition from city leaders who opposed him staging scenes with swastika banners. They relented after he threatened instead to include actual newsreel footage of crowds cheering Hitler during a visit to the town.[32] On days when it rained—a constant challenge for the company[46]—Wise arranged for scenes to be shot at St. Margarethen Chapel and Dürer Studios (Reverend Mother's office).[47] From May 23 to June 7, the company worked at Schloss Leopoldskron and an adjacent property called Bertelsmann for scenes representing the lakeside terrace and gardens of the von Trapp villa.[48] From June 9 to 19, scenes were shot at Frohnburg Palace which represented the front and back façades of the villa.[48] The "Do-Re-Mi" picnic scene in the mountains was filmed above the town of Werfen in the Salzach River valley on June 25 and 27.[48] The opening sequence of Maria on her mountain was filmed from June 28 to July 2 at Mehlweg mountain near the town of Marktschellenberg in Bavaria.[49][Note 2] The final scene of the von Trapp family escaping over the mountains was filmed on the Obersalzberg in the Bavarian Alps.[50]

text: The cast and crew flew back to Los Angeles and resumed filming at Fox studios on July 6 for all remaining scenes, including those in the villa dining room, ballroom, terrace, living room, and gazebo.[51] Following the last two scenes shot in the gazebo—for the songs "Something Good" and "You Are Sixteen"—principal photography concluded on September 1, 1964.[51] A total of eighty-three scenes were filmed in just over five months.[52] Post-production work began on August 25 with three weeks of dialogue dubbing to correct lines that were ruined by various street noises and rain.[53] In October, Christopher Plummer's singing voice was dubbed by veteran Disney playback singer Bill Lee.[54] The film was then edited by Wise and film editor William Reynolds.[55] Once the film was edited, Irwin Kostal, who orchestrated the musical numbers, underscored the film with background music consisting of variations on Rodgers and Hammerstein's original songs to amplify or add nuances to the visual images.[54][55] When dubbing, editing, and scoring were complete, Wise arranged for two sneak-preview showings—the first one held in Minneapolis on Friday January 15, 1965[56] at the Mann Theater, and the second one held the following night in Tulsa.[57] Despite the "sensational" responses from the preview audiences, Wise made a few final editing changes before completing the film.[57] According to the original print information for the film, the running time for the theatrical release version was 174 minutes.[1] The film was eventually given a G rating by the Motion Picture Association of America.[1]

text: The Sound of Music was filmed in 70 mm Todd-AO by Ted McCord and produced with DeLuxe Color processing.[58] Aerial footage was photographed with an MCS-70 camera.[58] The sound was recorded on 70 mm six-track using a Westrex recording system.[1][58] The sets used for the film were based on the storyboards of sketch artist Maurice Zuberano,[59] who accompanied Wise to Austria to scout filming locations in November 1963.[60] Wise met with the artist over a ten-week period and explained his objective for each scene—the feeling he wanted to convey and the visual images he wanted to use.[59] When Zuberano was finished, he provided Wise with a complete set of storyboards that illustrated each scene and set—storyboards the director used as guidance during filming.[59] Zuberano's storyboards and location photos were also used by art director Boris Leven to design and construct all of the original interior sets at Fox studios, as well as some external sets in Salzburg.[61] The von Trapp villa, for example, was actually filmed in several locations: the front and back façades of the villa were filmed at Frohnburg Palace, the lakeside terrace and gardens were a set constructed on a property adjacent to Schloss Leopoldskron called Bertelsmann, and the interior was a constructed set at Fox studios.[62] The gazebo scenes for "Something Good" and "Sixteen Going on Seventeen" were filmed on a larger reconstructed set at Fox studios, while some shots of the original gazebo were filmed on the grounds at Schloss Leopoldskron in Salzburg.[63][64][Note 3]

text: Release[edit]

text: Marketing[edit]

text: Robert Wise hired Mike Kaplan to direct the publicity campaign for the film.[65] After reading the script, Kaplan decided on the ad line "The Happiest Sound in All the World", which would appear on promotional material and artwork.[65] Kaplan also brought in outside agencies to work with the studio's advertising department to develop the promotional artwork, eventually selecting a painting by Howard Terpning of Andrews on an alpine meadow with her carpetbag and guitar case in hand with the children and Plummer in the background.[66][67][Note 4] In February 1964, Kaplan began placing ads in the trade papers Daily Variety, Weekly Variety, and The Hollywood Reporter to attract future exhibitor interest in the project.[65] The studio intended the film to have an initial roadshow theatrical release in select large cities in theaters that could accommodate the 70-mm screenings and six-track stereophonic sound.[68] The roadshow concept involved two showings a day with reserved seating and an intermission similar to Broadway musicals.[68] Kaplan identified forty key cities that would likely be included in the roadshow release and developed a promotional strategy targeting the major newspapers of those cities.[66] During the Salzburg production phase, 20th Century Fox organized press junkets for America journalists to interview Wise and his team and the cast members.[66]

text: Critical response[edit]

text:
"No one is comfortable with an excess of hearts and flowers, but there is no valid reason for hiding honest emotion. This has always been a major element in the theatre, and it's my conviction that anyone who can't, on occasion, be sentimental about children, home or nature is sadly maladjusted."[69]

Richard Rodgers

tag: div

text: The film had its opening premiere on March 2, 1965 at the Rivoli Theater in New York City.[70][71] Initial reviews were mixed.[72] Bosley Crowther, in The New York Times, criticized the film's "romantic nonsense and sentiment", the children's "artificial roles", and Robert Wise's "cosy-cum-corny" direction.[73] Judith Crist, in a biting review in the New York Herald Tribune, dismissed the movie as "icky sticky" and designed for "the five to seven set and their mommies".[70] In her review for McCall's magazine, Pauline Kael called the film "the sugar-coated lie people seem to want to eat", and that audiences have "turned into emotional and aesthetic imbeciles when we hear ourselves humming the sickly, goody-goody songs".[74] [Note 5] Wise later recalled, "The East Coast, intellectual papers and magazines destroyed us, but the local papers and the trades gave us great reviews."[68] Indeed, reviewers such as Philip K. Scheuer of the Los Angeles Times described the film as "three hours of visual and vocal brilliance",[68] and Daily Variety called it "a warmly-pulsating, captivating drama set to the most imaginative use of the lilting R-H tunes, magnificently mounted and with a brilliant cast".[68] The "wildly mixed film reviews" reflected the critical response to the stage musical, according to The Oxford Companion to the American Musical.[76] After its Los Angeles premiere on March 10, The Sound of Music opened in 131 theaters in the United States, including a limited number of roadshow events.[68] After four weeks, the film became the number one box office movie in the country, and held that position for thirty out of the next forty-three weeks in 1965.[77] The original theatrical release of the film in America lasted four and a half years.[77]

text: A few months after its United States release, The Sound of Music opened in 261 theaters overseas—the first American movie to be completely dubbed in a foreign language, both dialogue and music.[78] The German, French, Italian, and Spanish versions were completely dubbed, the Japanese version had Japanese dialogue with English songs, and other versions were released with foreign subtitles. The film was a popular success in every country it opened, except the two countries where the story originated, Austria and Germany.[79] In these countries, the film had to compete with the much-loved Die Trapp-Familie (1956), which provided the original inspiration for the Broadway musical, and its sequel Die Trapp-Familie in Amerika (1958)—both films still widely popular in German-speaking Europe and considered the authoritative von Trapp story.[79] Austrians took exception to the liberties taken by the filmmakers with regard to the costumes, which did not reflect traditional style, and the replacement of traditional Austrian folk songs with Broadway show tunes.[79] The film's Nazi theme was especially unpopular in Germany, where the Munich branch manager for 20th Century Fox approved the unauthorized cutting of the entire third act of the film following the wedding sequence—the scenes showing Salzburg following the Anschluss. Robert Wise and the studio intervened, the original film was restored, and the branch manager was fired.[80] The Sound of Music has never been popular in Austria and Germany.[81]

text: Box office[edit]

text: The Sound of Music is one of the most commercially successful films of all time.[82] Four weeks after its theatrical release, it became the number one box office movie in the United States, from revenue generated by twenty-five theaters, each screening only ten roadshow performances per week.[77] It held the number one position for thirty of the next forty-three weeks,[77] and ended up the highest-grossing film of 1965.[83] One contributing factor in the film's early commercial success was the repeat business of many filmgoers.[78] In some cities in the United States, the number of tickets sold exceeded the total population.[78][Note 6] By January 1966, the film had earned $20 million in distributor rentals from just 140 roadshow engagements in the United States and Canada.[84] Overseas, The Sound of Music broke previous box-office records in twenty-nine countries,[85] including the United Kingdom, where the film earned £4 million in rentals and grossed £6 million—more than twice as much as any other film had ever taken in.[85] By November 1966, The Sound of Music had become the highest-grossing film of all-time,[85] surpassing Gone with the Wind, which held that distinction for twenty-four years.[86][Note 7]

text: In November 1969, The Sound of Music completed its initial four-and-a-half year theatrical release run in the United States, having earned $68,313,000 in North American (United States and Canada) rentals and $44,168,000 in foreign rentals, for a worldwide total of $112,481,000 in gross returns.[87] It was the first film to gross over $100 million.[88] The film was re-released in 1973,[89][90] and increased its North American rentals to $78.4 million.[91] By the end of the 1970s, it was ranked seventh in all time North American rentals, having earned $79 million.[92] The film's re-release in 1990[90] increased the total North American admissions to 142,415,400—the third highest number of tickets sold behind Gone with the Wind and Star Wars—and about 283.3 million admissions worldwide.[93][94] The Sound of Music eventually earned a total domestic gross of $163,214,076, and a total worldwide gross of $286,214,076.[95] Adjusted for inflation, the film earned about $2.366 billion at 2014 prices—the fifth highest-grossing film of all time.[93][96]

text: Historical accuracy[edit]

text: The Sound of Music film, like the stage musical, presents a history of the von Trapp family that is not completely accurate. The filmmakers used artistic license to convey the essence and meaning of their story. Georg Ludwig von Trapp was indeed an anti-Nazi opposed to the Anschluss, and lived with his family in a villa in a district of Salzburg called Aigen. Their lifestyle depicted in the film, however, greatly exaggerated their standard of living. The actual family villa, located at Traunstraße 34, Aigen 5026, was large and comfortable but not nearly as grand as the mansion depicted in the film. The house was also not their ancestral home, as depicted in the film. The family had previously lived in homes in Zell Am See and Klosterneuburg after being forced to abandon their actual ancestral home in Pola following World War I. Georg moved the family to the Salzburg villa shortly after the death of his first wife in 1922.[97] In the film, Georg is referred to as "Baron", but his actual family title was "Ritter" (German for "knight"), a hereditary knighthood the equivalent of which in the United Kingdom is a baronetcy. Austrian nobility, moreover, was legally abolished in 1919 and the nobiliary particle von was proscribed after World War I, so he was legally "Georg Trapp". Both the title and the prepositional nobiliary particle von, however, continued to be widely used unofficially as a matter of courtesy.[97]

text: Georg was offered a position in the Kriegsmarine, but this occurred before the Anschluss. He was heavily recruited by the Nazis because he had extensive experience with submarines, and Germany was looking to expand its fleet of U-boats. With his family in desperate financial straits, and having no other marketable skills other than his training as a naval officer, he seriously considered the offer before deciding he could not serve a Nazi regime. Rather than threaten arrest, the Nazis actually continued to woo him.[97] In the film, Georg is depicted initially as a humorless, emotionally distant father. In reality, third child Maria von Trapp (called "Louisa" in the film) described her father as a doting parent who made handmade gifts for the children in his woodshop and who would often lead family musicales on his violin. She has a different recollection of her stepmother, whom she described as moody and prone to outbursts of rage. In a 2003 interview, Maria remembered, "[She] had a terrible temper ... and from one moment to the next, you didn't know what hit her. We were not used to this. But we took it like a thunderstorm that would pass, because the next minute she could be very nice."[98]

text: Maria Augusta Kutschera had indeed been a novice at Nonnberg Abbey in Salzburg and had been hired by the von Trapp family. However, she was hired only to be a tutor to young Maria Franziska ("Louisa" in the movie), who had come down with scarlet fever and needed her lessons at home, not to be a governess for all of the children.[97] Maria and Georg married for practical reasons, rather than love and affection for each other. Georg needed a mother for his children, and Maria needed the security of a husband and family once she decided to leave the abbey. "I really and truly was not in love," Maria wrote in her memoir, "I liked him but didn't love him. However, I loved the children, so in a way I really married the children." They were married in 1927, not in 1938 as depicted in the film, and the couple had been married for over a decade by the time of the Anschluss and had two of their three children together by that time. Maria later acknowledged that she grew to love Georg over time and enjoyed a happy marriage.[97]

text: The von Trapp family lost most of its wealth during the worldwide depression of the early 1930s, when the Austrian national bank folded.[97] In order to survive, the family dismissed the servants and began taking in boarders. They also started singing onstage to earn money—a fact that caused the proud Georg much embarrassment.[99] In the film, the von Trapp family hike over the Alps from Austria to Switzerland to escape the Nazis, which would not have been possible; Salzburg is over two hundred miles from Switzerland. The von Trapp villa, however, was only a few kilometers from the Austria–Germany border, and the final scene shows the family hiking on the Obersalzberg near the German town of Berchtesgaden, within sight of Adolf Hitler's Kehlsteinhaus Eagle's Nest retreat. In reality, the family simply walked to the local train station and boarded a train to Italy. Although Georg was an ethnic German-Austrian, he was also an Italian citizen, having been born in the Dalmatian city of Zadar, which at that time was part of the Austro-Hungarian Empire, and later fell into Italian territory after World War I. From Italy, they traveled to London and ultimately the United States.[97]

text: The character Max Detweiler, the scheming family music director, is fictional. The von Trapps' family priest, the Reverend Franz Wasner, was their musical director for over twenty years and accompanied them when they left Austria.[97] The character of Friedrich (the second oldest child in the film version) was based on Rupert, the oldest of the real von Trapp children. Liesl (the oldest child in the film) was based on Agathe von Trapp, the second oldest in the real family. The names and ages of the children were changed, in part because the third child (who would be portrayed as "Louisa") was also named Maria, and producers thought that it would be confusing to have two characters called Maria in the film.[97] The von Trapp family had no control over how they were depicted in the film and stage musical, having given up the rights to their story to a German producer in the 1950s who then sold the rights to American producers.[97] Robert Wise met with Maria von Trapp and made it clear, according to a memo to Richard Zanuck, that he was not making a "documentary or realistic movie" about her family, and that he would make the film with "complete dramatic freedom" in order to produce a "fine and moving film"—one they could all be proud of.[100]

text: Soundtrack[edit]

text: The soundtrack to The Sound of Music was written by Richard Rodgers and Oscar Hammerstein II, and arranged and conducted by Irwin Kostal, who also adapted the instrumental underscore passages. The soundtrack album was released on the RCA Victor label in 1965, and reached the number one position on the Billboard 200 that year in the United States.[101][102] It remained in the top ten from May 1, 1965 to July 16, 1966.[103] The album has been reissued several times, including a 30th Anniversary Edition in 1995, a 35th Anniversary Edition in 2000, a 40th Anniversary Edition in 2005, and a 45th Anniversary Edition, which reached the number one position on the Billboard 200 in 2010 and again in 2013.[101][102] A 50th Anniversary Edition was released in 2015, which reached the number five position on the Top Soundtracks chart.[101][102] The Sound of Music soundtrack album was the biggest-selling album in the United Kingdom in 1965, 1966, and 1968 and the second biggest-selling of the entire decade, spending a total of 70 weeks at number one on the UK Album Charts.[104] The Sound of Music also stayed 73 weeks on the Norwegian charts, becoming the seventh best-charting album of all time in that country.[105]

text: Accolades[edit]

text: Awards and nominations[edit]

text:
Award
Category
Nominee
Result
Ref

Academy Awards
Best Picture
Robert Wise
Won
[106]

Best Director
Robert Wise
Won
[106]

Best Actress in a Leading Role
Julie Andrews
Nominated
[106]

Best Actress in a Supporting Role
Peggy Wood
Nominated
[106]

Best Music (Scoring of Music – Adaptation or Treatment)
Irwin Kostal
Won
[106]

Best Cinematography (Color)
Ted D. McCord
Nominated
[106]

Best Art Direction (Color)
Boris Leven (art direction);
Walter M. Scott and Ruby R. Levitt (set decoration)
Nominated
[106]

Best Costume Design (Color)
Dorothy Jeakins
Nominated
[106]

Best Sound Recording
James Corcoran and Fred Hynes
Won
[106]

Best Film Editing
William H. Reynolds
Won
[106]

BAFTA Awards
Best British Actress
Julie Andrews
Nominated
[107]

Directors Guild of America
Outstanding Directorial Achievement in Motion Pictures
Robert Wise
Won
[108]

Golden Globe Awards
Best Motion Picture – Musical or Comedy
Robert Wise
Won
[108]

Best Director – Motion Picture
Robert Wise
Nominated
[108]

Best Motion Picture Actress – Musical or Comedy
Julie Andrews
Won
[108]

Best Supporting Actress – Motion Picture
Peggy Wood
Nominated
[108]

Laurel Awards
General Entertainment
The Sound of Music
Won
[109]

Musical Performance – Female
Julie Andrews
Won
[109]

National Board of Review
Top Ten Films of 1965
The Sound of Music
Won
[108]

New York Film Critics Circle
Best Actress
Julie Andrews
2nd place
[109]

Writers Guild of America
Best Written American Musical
Ernest Lehman
Won
[109]

text: AFI recognition[edit]

text: The Sound of Music has been included in numerous top film lists from the American Film Institute.

text:
AFI's 100 Years...100 Movies – No. 55[110]
AFI's 100 Years...100 Movies (10th Anniversary Edition) – No. 40[111]
AFI's 100 Years...100 Cheers – No. 41[112]
AFI's 100 Years of Musicals – No. 4[113]
AFI's 100 Years...100 Passions – No. 27[114]
AFI's 100 Years...100 Songs:

"The Sound of Music" – No. 10[115]
"My Favorite Things" – No. 64[115]
"Do-Re-Mi" – No. 88[115]

text: Legacy[edit]

text: In 1966, American Express created the first Sound of Music guided tour in Salzburg.[116] Since 1972, Panorama Tours has been the leading Sound of Music bus tour company in the city, taking approximately 50,000 tourists a year to various film locations in Salzburg and the surrounding region.[116] Sing-a-long Sound of Music revival screenings began in London in 1999, leading to a successful run at the Prince Charles Cinema which is ongoing as of 2016.[104][117] During the screenings, audience members are often dressed as nuns and von Trapp children and are encouraged to sing along to lyrics superimposed on the screen.[117] In July 2000, Sing-a-long Sound of Music shows opened in Boston and Austin, Texas.[117] Some audience members dressed up as cast members and interacted with the action shown on the screen.[117] The film began a successful run at the Ziegfeld Theatre in New York City in September 2000, with the opening attended by cast members Charmian Carr (Liesl), Daniel Truhitte (Rolfe), and Kym Karath (Gretl).[118] Sing-a-long Sound of Music screenings have since become an international phenomenon.[119]

text: In 2001, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it "culturally, historically, or aesthetically significant".[82] The Academy Film Archive preserved The Sound of Music in 2003.[120]

text: Television and home media[edit]

text: The first American television transmission of The Sound of Music was on February 29, 1976 on ABC, which paid $15 million for a one-time only broadcast that became one of the top-rated films ever shown on television to that point.[121] The movie was not shown again until NBC acquired the broadcast rights and telecast the film on February 11, 1979.[122] NBC continued to air the film annually for twenty years.[121] During most of its run on NBC, the film was heavily edited to fit a three-hour time slot—approximately 140 minutes without commercials. The thirty minutes edited out of the original film included portions of the "Morning Hymn and Alleluia" sung by the nuns, part of the dialogue between Mother Abbess and Maria in the abbey, part of Liesl and Rolfe's dialogue preceding "Sixteen Going on Seventeen", Liesl's verse of "Edelweiss" sung with the Captain, the Captain and Baroness waltzing at the party, and minor dialogue cuts within existing scenes.

text: The film aired in its uncut form (minus the entr'acte) on April 9, 1995, on NBC. Julie Andrews hosted the four-hour telecast which presented the musical numbers in a letterbox format. As the film's home video availability cut into its television ratings, NBC let their contract lapse in 2001. That year, the film was broadcast one time on the Fox network, in its heavily edited 140-minute version. Since 2002, the film has aired on ABC, generally during Christmas week, and has been broadcast on its sister cable network, ABC Family, periodically around Easter and other holidays. Most of its more recent runs have been the full version in a four-hour time slot, complete with the entr'acte. ABC first broadcast a high definition version on December 28, 2008. On December 22, 2013, the annual broadcast had its highest ratings since 2007; the increase in ratings were credited to NBC's broadcast of The Sound of Music Live!—a live television adaptation of the original musical which aired earlier that month.[123]

text: In the United Kingdom, the film was first screened by the BBC on 25 December 1978 and, as of December 2016, fifteen times since, mostly around Christmas time. As the BBC is not funded by advertising there was no need to cut scenes to fit within a timeslot and the film was screened in the full 174-minute version without breaks.[124]

text: The film has been released on VHS, LaserDisc, and DVD numerous times. The first DVD version was released on August 29, 2000 to commemorate the 35th anniversary of the film's release.[125] The film is often included in box sets with other Rodgers & Hammerstein film adaptations.[125] A 40th anniversary DVD, with "making of" documentaries and special features, was released on November 15, 2005.[125] The film made its debut issue on Blu-ray Disc on November 2, 2010, for its 45th anniversary.[125][126][127] For the Blu-ray release, the original 70 mm negatives were rescanned at 8K resolution, then restored and remastered at 4K resolution for the transfer to Blu-ray, giving the most detailed copy of the film seen thus far. On March 10, 2015, Fox Home Entertainment released The Sound of Music 50th Anniversary Ultimate Collector's Edition—a five-disc set featuring thirteen hours of bonus features, including a new documentary, The Sound of a City: Julie Andrews Returns to Salzburg.[125][128] A March 2015 episode of ABC's 20/20 entitled The Untold Story of the Sound of Music featured a preview of the documentary and interviews by Diane Sawyer.[129]

text: Notes[edit]

text:
Jump up ^ Twentieth Century Fox also purchased the rights to the two German films for distribution in the United States. Fox combined the two films, Die Trapp-Familie and Die Trapp-Familie in Amerika, dubbed them in English, and released them as a single 106-minute film titled The Trapp Family, which was released on April 19, 1961.[9]
Jump up ^ Maria's morning run back to Nonnberg Abbey would have been about 11 miles (18 km).
Jump up ^ At the conclusion of filming at Schloss Leopoldskron, 20th Century Fox left behind the original gazebo as a gift to the city. The film's later popularity, however, led many fans to trespass onto the private and secluded lakefront property. To provide fans easier access to the famous structure, the city moved it to its present location at Hellbrunn Palace Park.[63]
Jump up ^ Terpning also created the poster artwork for Lawrence of Arabia, Doctor Zhivago, The Sand Pebbles, The Guns of Navarone, and the 1967 theatrical re-release of Gone with the Wind.[67] He is also known for his numerous magazine covers and his paintings of the American West and the Plains Indians.[67]
Jump up ^ Pauline Kael's review for McCall's generated a significant negative response from readers and contributed to her dismissal from the magazine.[74][75]
Jump up ^ In Salt Lake City, Utah (population 199,300), for example, 309,000 tickets were sold in forty weeks.[78] In Albany, New York (population 156,000), 176,536 tickets were sold in twenty-seven weeks.[78] In Orlando, Florida (population 88,135), 105,181 tickets were sold in thirty-five weeks.[78]
Jump up ^ The Sound of Music remained the highest-grossing film of all time for five years until 1971, when Gone with the Wind recaptured the crown following its successful 1967 widescreen rerelease.


document_title: Clay Morrow

question_text: what is wrong with clay's hands in soa

question_tokens: what is wrong with clay 's hands in soa

text: Clay Morrow

text: Biography[edit]

text: Morrow, of Irish descent, was born in 1949 but is not a native of Charming, California. He is one of the original "First 9" members of the Sons of Anarchy Motorcycle Club, formed in 1967, but was not a founding member. Of the first nine, he was the youngest and one of only three who were not war veterans. He did later go on to serve in the military, however, joining the US Army as an Airborne qualified Infantryman in 1969 and was deployed to Vietnam until 1972 (commemorated by a tattoo on his left arm and the paratrooper pin on his vest). When he returned from service, he remained a member of the club and opened the Teller-Morrow Automotive Repair shop with John Teller, the club President and his best friend. Whilst serving as the Vice President during the early 1990s, he was responsible for a number of murders during the SAMCRO-Mayan War, including that of Lowell Harland, Sr., a mechanic at the auto shop who became an ATF informant.

text: In 1993, he became the President of the club's Mother Charter, based in Charming (which also means that he was International President), after the death of John Teller. He went on to marry John Teller's widow Gemma Teller Morrow in the mid-1990s and made their son, Jax Teller, Vice-President. It is implied that under Morrow, SAMCRO has become more of a criminal enterprise than before, much to Jax's disillusionment.[1]

text: On his colors he wears patches reading "First 9" and "President". He suffers from osteoarthritis (degenerative arthritis) in his hands, which is slowly worsening as the series progresses. He makes several attempts to hide it from his brothers to protect his position as President, as a rule among members of the Sons of Anarchy prevents members from leading if they can't hold the grip of their motorcycle and ride effectively.

text: Season One[edit]

text: Season One begins with the Sons of Anarchy finding their weapon storage warehouse being burned down. The SOA rush to the scene, where local police officers are already investigating. Clay talks to Sheriff Vic Trammel about the blaze, who claims that propane tanks inside the building blew up, and that he suspects arson due to the bootprints inside. Trammel then shows Clay the burned corpses of the people hidden beneath the building, who were illegal immigrants. It is later revealed that they were Mexican prostitutes "owned" by the club's Sergeant-at-Arms, Tig Trager. Clay then goes to meet Laroy, the leader of the One-Niners, in the East Bay. He is due to sell guns to the gang, but as they were destroyed, he must explain what happened at the warehouse. Laroy needs the guns to protect their heroin trade from another motorcycle club, the Mayans, and eventually lets Clay have some more time to get more guns together for him. The Sons of Anarchy then work out that it was the Mayans who stole the guns and destroyed the storage warehouse, and decide to get some payback. Juice Ortiz, the club's intelligence officer, finds out where the Mayans stored the guns and Clay, Tig, Jax and Chibs Telford all head out to San Leandro to retrieve them. When they arrive at the industrial storage warehouse and find the guns, three Mayans turn up in a car outside. Clay and Tig then shoot and kill the Mayans. Jax is shot by another man, who has a number of Nazi and White supremacist tattoos. He was a member of the Nordics, a local skinhead gang who are allied with the Mayans, and it later emerges that his name is Whistler. Jax turns around and shoots Whistler twice, killing him. They escape with the weapons and destroy the building using explosives.[2]

text: Wayne Unser, the Chief of the Charming Police Department, has always gotten on well with the Sons of Anarchy during his time in charge, and has even employed them as muscle, at times. However, he is dying from cancer and will retire at the end of the month, handing power over to his Deputy, David Hale, who is overtly suspicious of the SOA and will almost definitely begin an investigation into the club. To warn Unser to keep Hale off their case, Clay, Bobby Munson (the club's Treasurer) and Opie Winston hijack a shipment that they are supposed to protect, and threaten to hijack more. As a goodwill gesture, they give the contents of the truck to the local Italian American Mafia, as their gun delivery is late. Meanwhile, Tig comes forth and tells Clay that he has been having sex with both of the women found at the warehouse and that his DNA is in the police database. Clay orders Tig and Bobby to get rid of the bodies. The pair then retrieve the corpses from the police site and burn them in a furnace. Hale is enraged when he discovers that the bodies are missing, and he threatens Clay that he will close the SOA down for good.[3]

text: Local businessman Elliot Oswald goes to Clay after his 13-year-old daughter is raped at a carnival and asks the Sons of Anarchy to hunt down the rapist and kill him, in exchange for money. Clay refuses the money but insists that if they catch him, he must carry out the punishment himself. Juice and Gemma discover that the rapist is one of the carnies and the gang capture him and bring him to Oswald, who tries to castrate him but cannot bring himself to do it. Clay then carries the punishment out, but wears gloves whilst doing it. He then frames Oswald for the crime, as only Oswald's fingerprints are on the knife, because Oswald was about to sell off much of the land around Charming to big business and housing, which would challenge the SOA's reign over the town. Jax is unhappy that Clay did not tell him of the plan, however, and tells him to always inform him on his future motives.[4]

text: When a Bureau of Alcohol, Tobacco, Firearms and Explosives agent arrives in Charming and begins investigating the club, Clay decides that they should move their weapons to Indian Hills, Nevada, where their brother club, the Devil's Tribe, are based. He also sends Bobby and Jax to inform the Devil's Tribe that the Sons of Anarchy will be patching over them, and Tig and Juice to steal a truck to transport the guns in. Clay also travels to Indian Hills to perform the patch-over ceremony and brings a number of SOA Washington members as protection in case the Mayans retaliate for an earlier conflict involving Jax, Bobby and five Mayans. At the patch-over party, he has sex with Cherry, a woman whom Half-Sack likes, as revenge for his calling Gemma a MILF earlier. The Mayans eventually retaliate, as predicted, by attacking the Devil's Tribe clubhouse, and a large shootout ensues.[5]

text: Otto Delaney and a number of other imprisoned SAMCRO members have been protecting Chuck in Stockton prison. He is wanted by the Triads because he stole money from them, then informed on a number of their members when he was arrested. When Clay and Jax visit Otto in prison, he tells them that if they protect Chuck when he is released, he will inform them where the money that he has skimmed from the Asian Triads gang is located. They agree and pick him up from prison and bring him to the clubhouse. SAMCRO intends to wait until the restaurant, where the money is stored, closes before raiding it, but Chuck's frequent unconscious masturbating is unbearable for them and they decide to raid the restaurant straight away. However, just after they steal the money and some counterfeiting plates, the Triads turn up. Instead of starting a war, Clay decides to make a deal; SAMCRO hands over Chuck and the plates for $60,000 from the Triads as the skim money is all counterfeit. Meanwhile, Kyle Hobart, a disgraced former SAMCRO member, goes to Jax and asks him if the Sons want in on his deal selling stolen car parts. Jax accepts and invites him to the clubhouse that night. This was a setup, however, to punish him for not having his SOA tattoo removed after being disowned by the club. At the clubhouse, they tie him up and Tig uses a blowtorch to burn off the tattoo.[6]

text: Jax and Piney sell five AK-47s to Nate Meineke and his right-wing state militia. They then use these guns to ambush a prison convoy and free one of their members, Frank Cison. Three police officers are killed during the assault. Meineke drops his cell phone at the scene, and his last calls have been to Clay Morrow. When the ATF finds the phone, they arrest Clay and raid the clubhouse. Clay is later released because no evidence is found, meaning he can no longer be kept in custody. Meanwhile, Jax, Piney and Opie Winston decide to kill Meineke and his gang to keep them from snitching if they are apprehended by the authorities. They pretend to sell them more weapons. The "boxes of guns" are actually filled with explosives, however, and the militia load their trucks with them. All of the militia are killed when the bombs are detonated.[7]

text: Workmen working for the Water and Power Board near the highway dig up three skeletons, two of which were Mayans killed in the war of 1992. The other was Lowell Harland, Sr., a mechanic at Teller-Morrow. He was killed for being a "junkie rat". To stop the bodies from being identified, Clay, Jax and Tig break into the local morgue, prepared to steal the bones. However, the corpses have already been identified. When Clay tells Lowell, Jr. about his father's death, Lowell runs away. Clay tracks him down and eventually brings him back to town.[8]

text: Clay is almost killed when the Mayans attempt to shoot him while at a deal with Cameron Hayes of the True IRA at a bar. The two Mayan soldiers are gunned down by Tig and the shotgun-toting barman, however. Clay then calls in the Sons of Anarchy State Presidents and Vice-Presidents from Washington, Utah and Nevada, in a bid to wipe out the Mayans. After the shooting, he questions Jax's commitment to the club and Jax's willingness to kill.

text: Clay is taken to the local police station for questioning about the recent shootings, by Wayne Unser. Ernest Darby is also being held there, and Clay tells Unser to bring Álvarez in, in order for the three gang leaders to hold a meeting and, hopefully, prevent further bloodshed. He meets with Darby first, and tells him not to retaliate because it would start a war on the streets of Charming. He then meets with Álvarez and the pair make a deal; the Sons of Anarchy will begin selling guns to the Mayans, and all Mayan-SOA disputes (over turf, businesses, etc.) end in the SOA's favor. Álvarez also gives the Sons permission to kill Esai, as revenge for the attempted hit on Clay.[9]

text: After the clubhouse is raided and Bobby is arrested for the murder of Brenan Hefner, Clay and Tig suspect Opie of being the witness who identified him. It was another person, however. When Opie turns up at the clubhouse, Tig checks his car for bugs and finds a microphone. He also finds a recording device in Opie's mobile phone. Both were planted by the ATF without Opie's knowledge. Clay and Tig then decide to kill him.

text: Clay and Tig again meet with One-Niners' leader Laroy, and they discuss taking out the Mayans. They agree that the Sons would meet the Mayans for an arms deal and when they left, the Niners would eliminate the Mayans and take the guns as payment. However, when Clay, Tig, Opie and Jax meet Álvarez and his crew at a warehouse in Oakland, the Niners try to take out the Mayans and SOA. The group escapes, but a number of Mayans and Niners are killed in the shootout. Tig attempts to kill Opie during the havoc, but finds himself unable to do so. Later on at Jax's son Abel's homecoming party, Tig follows Opie's car home and shoot the driver dead. However, the driver is Opie's wife, Donna, who has switched vehicles with Opie. Just after Tig leave to kill Opie, Clay is approached by Wayne Unser and told that Opie is, in fact, not an informant and that the ATF has set him up. Clay tries to phone Tig to tell him, but Tig is not carrying his phone.[10]

text: Rosen, the club's lawyer, meets with Clay and tells him that the ATF has put a warrant out for Opie's arrest and that he will most likely get convicted of Hefner's murder because of the witness. Clay, Tig and Juice then meet with Vic Trammel and offer him money to reveal the location of the witness. Trammell does not know, however, so they go to Elliot Oswald. They again blackmail him with the knife that he used to kill the rapist earlier in the season, this time to get his friends in the US Attorney's office to tell him the witness' case number and location. He then sends Chibs, Happy and Tig to kill the witness, who is at a safe house in San Joaquin. Jax goes to the safe house and stops the trio from killing the witness, but threatens her into leaving the state. At Church, Jax confronts Clay and asks if he killed Donna. Clay denies this. Season One ends at Donna's funeral, which is attended by Sons of Anarchy from all over the country. There, Jax and Clay stare at each other and it is plain to see that the club is coming apart from inside.[11]

text: Season Two[edit]

text: In the first episode of Season Two we see that Clay is still struggling with remorse for what he did to Donna, and that he is going head to head with Jax over her death. We see him giving Opie a fake story of how a Mayan MC member killed Donna and he throws a welcome back party for Bobby. When Ethan Zobelle and the L.O.A.N. start threatening members of SAMCRO, Clay is all for immediate retaliation, but he is at odds with Jax, who feels the club may be walking into a trap.

text: He has recently learned of his wife Gemma's rape at the hands of L.O.A.N. and settled his differences with Jax, so the two can work together to get revenge. Clay is now shown to be more in tune with Jax's method of operation, opting to do more recon work before entering potentially lethal situations.

text: In the season two finale, Clay neglects to inform Marcus Alvarez that Ethan Zobelle is an F.B.I. informant, knowing the Mayan leader would kill Zobelle himself, forfeiting Clay's opportunity to do the deed. Later in the episode, the Sons ambush the Mayan convoy containing Zobelle and Clay spares Alvarez's life. Clay and the others corner Zobelle in a deli, but decide to abandon the scene after learning of his grandson's kidnapping. He is last seen consoling his distraught stepson Jax, whose son Abel (Clay's grandson) has been kidnapped by IRA gun dealer Cameron Hayes.

text: Season Three[edit]

text: In the first episodes we see that Clay is still saddened by the loss of Abel, and is willing to help Jax at all costs. Also, his arthritis continues to worsen. As shown in the episode "Home", it got so bad that Jax had to tie Clay's hands to the handlebars. In the episode "Turas", when SAMCRO are nearly killed by a bomb hidden in a gun shipment put there by the SAMBEL Sergeant-at-Arms, Jax has a shell shocked vision of his biological father speaking to him but it turns out to actually be Clay. In the episode "Firinne", Clay kills McGee, member of the First 9 and President of the Belfast Chapter, for his treachery against the club by pushing him off a roof after taking his cut. He later burns the cut after expressing remorse for the killing. In the Season 3 finale, when Clay learns of Jax's betrayal, he appears enraged and says "Jax will die". In the end, it is revealed that he knew of Jax's deal with Stahl and that it was part of a plan to execute Jimmy O. and Stahl. When the plan is done, Clay and the others share a laugh, much to the confusion of the ATF agents. Also in the end of the episode, as Tara is reading the letters John Teller wrote to Maureen Ashby, Teller says he fears that Clay and Gemma will kill him because of his betraying Gemma by having an affair and attempting to alter the clubs focus on criminal activity, leading to much speculation that Clay and Gemma might have killed John Teller.

text: Season Four[edit]

text: Clay is seen as one of the many SAMCRO members released from prison. He later escapes their sheriff tail and accompanies Jax and Opie's meeting with the Russians, where he settles their differences and forms a partnership with them. He attends Opie's wedding and goes to test a new gun given to them by Putlova. As he's firing the gun he turns and shoots Putlova's bodyguards and Jax stabs Putlova to death as revenge for trying to kill him in prison. He also tells Gemma that his arthritis has gotten worse and that he has only 1 or 2 years left before he has to step down as President of SAMCRO. Also, while in prison, he set up a deal to run cocaine for the Gallindo Cartel, but this does not sit well with the other members of the club, as SOA avoids drugs. When the club goes to Arizona and meets the Tucson charter, SAMTAZ, he demands that the charter stop dealing meth. This request is denied, as selling generates too much money for the club to give up. Otto wants Luann's murderer dead, and the issue is raised in the chapel. Clay is then confronted by Piney, who threatens Clay that if Clay does not kill the cocaine deal with the Gallindo Cartel, Piney will distribute letters to the club about John Teller's murder to the other members. Clay discusses the threat with Gemma, revealing that Clay did kill Teller. Clay later meets Unser and obtains the letters from him, unaware that Gemma has the same plan. After Unser gets a copy of the letters, he confronts Clay. Clay replies he does not regret doing what he did because it protected the Club and Charming. When he visits a tied Georgie Caruso, he claims that he has connections with millionaire Japanese families. Clay immediately sees an opportunity to make Jacob Hale believe he has investors in time. His idea is that he will have the investors pull out at the last minute, which will put an end to Charming Heights. After retrieving the last brick of cocaine that Juice had stolen, framing Miles for it, Clay asks Romeo for help killing Tara, to keep the secret of the letters hidden.

text: Clay comes to Piney's cabin in the night. After discussing trust issues and differences in the cabin, Clay leaves, only to break down the door, knocking Piney off his feet. Piney begs Clay not to get Tara involved in the letters from JT. Clay shoots Piney in the chest with a shotgun, killing him. This makes Piney the 3rd member of the First 9, and the 2nd and final co-founding member of the Sons of Anarchy to be killed at the hands of Clay. Clay leaves the markings of the cartel to implicate them for the murder. Given the club's difficult circumstances, Clay calls the Irish Kings for a meeting to set a new deal that lets them survive the war against Lobo Sonora. He later learns that the One Niners have been dealing with the Sonora and the Sons plan an attack using the Niners to lure them. This fails, however, as Sonora's men were equipped with grenade launchers. Luis, Romero's right-hand man, gives Clay a cell phone with his contact to kill Tara. Jax confronts Clay when he hears from Bobby that Clay wanted Bobby, instead of Opie, as president as was the deal. Clay says it is Tara's fault that Jax changed, but Jax warns him to never insult her again. Gemma tells Clay that Tara will not reveal the letters to Jax for fear that Jax will get deeper into the club out of guilt. Clay promises to Gemma he won't hurt Tara, however he uses the cell phone Luis gave him, and the next morning pays the contact 25,000 dollars for the murder. After finding out that Jax and the babies are with her, Clay desperately tries to stop the hit, but is unsuccessful and Tara has her hand broken by a car door while struggling to escape. Clay meets Romeo and gets a refund, with Romeo taking the matter into his hands personally, and Clay reluctantly agrees that Tara is best dead. Gemma confronts Clay about the hit and a violent fight ensues between the two, including Gemma shooting at Clay (deliberately missing) and getting in a powerful punch and a kick against Clay with Clay getting injured but Clay gets the upper hand and severely beats Gemma's face. That night he decides to sleep in the clubhouse. Opie later finds out that Clay was behind the death of Piney and seeks revenge, ending up shooting Clay in the torso twice. Clay survived the shooting but was shown to be in intensive care. Later in the episode Gemma gave Jax his father's letters to Maureen Ashby. After reading the letters, and realizing Clay is responsible for the death of John Teller, Jax vowed to kill Clay. Jax puts a knife up to Clays throat and makes him step down as President and orders him to never go near his family again. Although Clay tries to explain his reasons Jax refuses to listen and takes his Presidents patch, thus ending Clays reign as President of SAMCRO.

text: Season Five[edit]

text: Clay is shown to have been discharged from the hospital, but requires an oxygen tank due to his lung injury. He is shown trying to make amends with Gemma, but she coldly brushes him off. He later reveals to the club he murdered Piney, but states that Piney was drunk and tried to kill him first and Opie found out and is the one who shot him. The club's rules (due to him having killed a member) means they must vote on kicking him out. When Jax questions his motives for telling the club, he denies any. His arthritis is shown to have reached the point to where he can't ride his bike at all. He later goes to his and Gemma's burglarized house and expresses concern over his safe being stolen. He then goes and visits Opie and convinces him not to walk away from the club because of him, seeing as though he's "half dead already". He later finds out where Gemma has been going from Juice. He goes to the brothel and confronts Nero, the owner and Gemma's new suitor. He then "seeks comfort" with a young prostitute to anger Gemma. Gemma then attacks the girl causing her to leave. When Nero's operation is later shut down, and he and Gemma are arrested, it's likely Clay was behind it.

text: The next episode "Small World" shows Clay having recovered to the point of no longer needing his oxygen tank, though he continues to wear it (either for sympathy or to keep people off-guard). He later helps Gemma take care of a dead body (Nero's half-sister) and the two seem to be on better terms. At the end of the episode, he confronts the three Nomads responsible for the Charming burglaries and the death of Sheriff Roosevelt's wife. He punches one in the face exclaiming "You weren't supposed to kill her!" This shows Clay to have been pulling the strings behind the home invasions. The next episode "Toad's Wild Ride" reveals the Nomads, (Go-Go, Greg and Frankie) made a deal with Clay to help him get back at the head of the table in exchange for a cut of Clay's share of the guns and cocaine money. The break-ins were Clay's way of turning Charming against Jax. When Unser (who has been investigating the break-ins) comes close to discovering the truth, Go-Go and Greg meet with Clay to discuss killing him, while Frankie goes underground. Clay meets with Unser in his trailer talking about the trust and friendship between them. When Go-Go and Greg break in the door, Unser shoots Go-Go with a double-barreled shotgun and Clay betrays them, shooting Greg in the head with his pistol. When Juice (who saw Go-Go and Greg going to Unser's trailer) asks Clay what is happening, Clay denies involvement. Jax and the rest of the club find out about their attack on Unser and Jax privately accuses Clay of using the Nomads to undermine his leadership. Clay states that Pope is the one who hired the Nomads, Jax claims they'll find Frankie and learn the truth. In "Ablation" Clay visits Gemma, Abel, and Thomas in the hospital after a marijuana-induced car crash. He tells Jax that a truck ran her off the road to protect her. When Jax learns about the lie, he tells Clay he understands why he lied and that Gemma is dead to his family, and he wants him to take care of her. "Andare Pascare" shows the club discovering that Frankie is hiding with a Mafia family, paying them with money stolen from Nero. They take a unanimous vote to kill him after extracting the information they need. When Clay learns from Jimmy Cacuzza the location of a Mafia safehouse where Frankie is hiding, Clay and Juice go there to kill him to keep him from outing Clay (Juice acting under the pretense of scouting it out). When Frankie barricades himself in the house and shoots at the two, Clay drives the van into the gas tank outside, blowing up the house. Just as Clay is about to kill Frankie, Jax and the others show up, having seen the explosion. However Frankie is quickly gunned down by the enraged Mafia Don for killing one of his men before he can tell them anything. Bobby later asks Clay if there's anything he wants to tell him (implying he also knows about his dealings with the Nomads). When Clay claims his conscience is clear, Bobby states "I hope you're as smart as you think you are, cause I'm sicking of burning friends". The episode ends with Gemma coming to Clay to help him with his cortisone shots.

text: The next episode "Crucifixed" shows Clay negotiating with Romeo and Luis for protection as once the RICO case is gone, he will no longer need Clay and will most likely kill him. Romeo suggests getting rid of Jax and putting Clay back at the head of the table. Clay disagrees to taking the deal, Romeo states "Yes you will." Later, Gemma and Clay draw closer at Clay's place, where Gemma insists they return home. They are last seen sitting on their bed talking, where Clay confesses he can't bear losing her again. Gemma kisses him passionately and they sink onto the bed. The next episode "To Thine Own Self" shows Clay learning of Otto's murder of a nurse, ending the RICO case. He is shown, for unknown reasons, trying to save Jax from Romeo and warns him to work with the cartel long enough to make the Club legitimate and leave. He refuses stating "I'm done bowing down to greedy men who have nothing to believe in". When Jax reveals a new deal to the Club, which would allow the Mayans and Triads to take over muling the cocaine and selling big guns, respectively, Clay votes yes along with everyone else. He is later shown moving legal documents given to him by the Nomads to another location, to protect himself from the Club finding this important evidence of his betrayal. The end of the episode shows Bobby going to Clay and Gemma's house to talk to him about "trying to keep you alive." It's revealed in "Darthy" that Bobby convinced Clay to confess his role in the Nomad attacks in exchange for vetoing his death: club-sanctioned assassinations (known as "A Visit from Mr. Mayhem") require a unanimous vote. Clay also meets with Gaylen, tells him he plans on starting his own crew to run any guns SAMCRO doesn't pick up, and asks for a plane to Belfast to wait out any immediate danger. He also gives Juice a gun that he values for all he has done for him. At the end of the episode, Clay has been voted out of the club after revealing everything. After Jax beats Clay in frustration for not being allowed to kill him, Happy removes the former Club President's SAMCRO tattoos on his back and arm by smudging them over with a needle and black tattoo ink as the rest of the club looks on.

text: He is shown to be ready to leave in the season finale when Roosevelt and several policemen state they found his gun (the same one he gave Juice) at a crime scene as the murder weapon that killed Damon Pope and three of his men. When he asks Gemma to vouch for him, she states he was gone with the gun and she didn't know he was going to kill anyone. He is arrested and is last seen in a prison transport van with two black men. Meanwhile, Jax has convinced Pope's lieutenants that Clay was Pope's killer; per Pope's standing order in the event of his death, they offer a $5 million reward for Clay's murder.

text: Season Six[edit]

text: At the beginning of the season, Clay is being held in protective custody after his arrest for Damon Pope's murder. Clay is visited by retired US Marshall Lee Toric, the brother of the nurse Otto murdered. Toric, who had sworn revenge against the motorcycle club, tells Clay he can only remain in protective custody if he cooperates in building a case against SAMCRO. Clay initially refuses, but after being transferred to general population and realizing he is certain to be murdered in retaliation for two deaths he had nothing to do with and didn't even approve, he agrees to help Toric and is returned to protective custody. He later demands a sit-down with Gemma and Jax before he signs the deal. He meets with Gemma and seems apologetic, though Gemma suspects he has ulterior motives. He meets Jax and states that he will give Toric nothing and that he is sorry. In response to this he is shipped to Stockton, where he is attacked by three black men, but they spare him and offer him a shank. He later uses it to kill a member of a Neo-Nazi group and gets protection from the black gang. He is visited once more by Toric, who shows him the brutalized Otto. Clay slips Otto a shank and leaves. Despite threats that he will meet the same fate, Clay refuses to sign. Toric is later killed by Otto with the shank Clay gave him and Otto is killed by the guards in response.

text: Following the fallout between Jax and the IRA, Clay is contacted by Galen O'Shea with the opportunity to continue as the main weapon distributor for the IRA in Northern California. The IRA will arrange to have Clay escape from the prison transport on the way to his hearing and he will retreat to Belfast and build his own new crew. Clay requests a conjugal visit with Gemma so that he can have her relate this information to Jax. He pays off two guards to allow him to chat with Gemma, but when the visit is over, the guards demand to watch Clay and Gemma have sex while they masturbate. They threaten to have Clay killed and Gemma grudgingly agrees to do it. Afterwards Clay vows to kill the two guards, but Gemma tells him that SAMCRO needs him alive. When Clay's transport date is moved up, Galen enlists SAMCRO to assist in attacking his transport truck to free him; Bobby is shot during the attack and Juice kills a guard. After meeting up with the Irish, Jax kills Galen and his men. He explains the situation, stating the Club took a unanimous vote how to handle the situation. Clay, accepting of his fate, stands ready. Jax then executes Clay by shooting him in the neck and then five times in the chest while he is on the floor. Jax then arranges the bodies to make it look like Clay had a falling out with the Irish and they all died in a shootout, allowing him to finally get revenge against Clay as well as Galen.