document_title: The Nutcracker

question_text: where does the story of the nutcracker take place

text: The Nutcracker

text: Composition[edit]

text: After the success of The Sleeping Beauty in 1890, Ivan Vsevolozhsky, the director of the Imperial Theatres, commissioned Tchaikovsky to compose a double-bill program featuring both an opera and a ballet. The opera would be Iolanta. For the ballet, Tchaikovsky would again join forces with Marius Petipa, with whom he had collaborated on The Sleeping Beauty. The material Petipa chose was an adaptation of E. T. A. Hoffmann's story "The Nutcracker and the Mouse King" by Alexandre Dumas père called "The Tale of the Nutcracker".[1] The plot of Hoffmann's story (and Dumas' adaptation) was greatly simplified for the two-act ballet. Hoffmann's tale contains a long flashback story within its main plot titled "The Tale of the Hard Nut", which explains how the Prince was turned into the Nutcracker. This had to be excised for the ballet.[6]

text: Petipa gave Tchaikovsky extremely detailed instructions for the composition of each number, down to the tempo and number of bars.[1] The completion of the work was interrupted for a short time when Tchaikovsky visited the United States for twenty-five days to conduct concerts for the opening of Carnegie Hall.[7] Tchaikovsky composed parts of The Nutcracker in Rouen, France.[8]

text: History[edit]

text: St. Petersburg premiere[edit]

text: The first performance of the ballet was held as a double premiere together with Tchaikovsky's last opera, Iolanta, on 18 December [O.S. 6 December] 1892, at the Imperial Mariinsky Theatre in St. Petersburg, Russia. Although the libretto was by Marius Petipa, who exactly choreographed the first production has been debated. Petipa began work on the choreography in August 1892; however, illness removed him from its completion and his assistant of seven years, Lev Ivanov, was brought in. Although Ivanov is often credited as the choreographer, some contemporary accounts credit Petipa. The performance was conducted by Riccardo Drigo, with Antonietta Dell'Era as the Sugar Plum Fairy, Pavel Gerdt as Prince Coqueluche, Stanislava Belinskaya as Clara, Sergei Legat as the Nutcracker-Prince, and Timofey Stukolkin as Drosselmeyer. The children's roles, unlike many later productions, were performed by real children rather than adults (with Belinskaya as Clara, and Vassily Stukolkin as Fritz), students of Imperial Ballet School of St. Petersburg.

text: The first performance of The Nutcracker was not deemed a success.[9] The reaction to the dancers themselves was ambivalent. While some critics praised Dell'Era on her pointework as the Sugar Plum Fairy (she allegedly received five curtain-calls), one critic called her "corpulent" and "podgy".[10] Olga Preobrajenskaya as the Columbine doll was panned by one critic as "completely insipid" and praised as "charming" by another.[10]

text: Alexandre Benois described the choreography of the battle scene as confusing: "One can not understand anything. Disorderly pushing about from corner to corner and running backwards and forwards – quite amateurish."[10]

text: The libretto was criticized as "lopsided"[11] and for not being faithful to the Hoffmann tale. Much of the criticism focused on the featuring of children so prominently in the ballet,[12] and many bemoaned the fact that the ballerina did not dance until the Grand Pas de Deux near the end of the second act (which did not occur until nearly midnight during the program).[11] Some found the transition between the mundane world of the first scene and the fantasy world of the second act too abrupt.[1] Reception was better for Tchaikovsky's score. Some critics called it "astonishingly rich in detailed inspiration" and "from beginning to end, beautiful, melodious, original, and characteristic".[13] But even this was not unanimous as some critics found the party scene "ponderous" and the Grand Pas de Deux "insipid".[14]

text: Subsequent productions[edit]

text: In 1919, choreographer Alexander Gorsky staged a production which eliminated the Sugar Plum Fairy and her Cavalier and gave their dances to Clara and the Nutcracker Prince, who were played by adults instead of children. This was the first production to do so. An abridged version of the ballet was first performed outside Russia in Budapest (Royal Opera House) in 1927, with choreography by Ede Brada.[15] In 1934, choreographer Vasili Vainonen staged a version of the work that addressed many of the criticisms of the original 1892 production by casting adult dancers in the roles of Clara and the Prince, as Gorsky had. The Vainonen version influenced several later productions.[1]

text: The first complete performance outside Russia took place in England in 1934,[9] staged by Nicholas Sergeyev after Petipa's original choreography. Annual performances of the ballet have been staged there since 1952.[16] Another abridged version of the ballet, performed by the Ballet Russe de Monte Carlo, was staged in New York City in 1940,[17] Alexandra Fedorova – again, after Petipa's version.[9] The ballet's first complete United States performance was on 24 December 1944, by the San Francisco Ballet, staged by its artistic director, Willam Christensen, and starring Gisella Caccialanza as the Sugar Plum Fairy.[9] After the enormous success of this production, San Francisco Ballet has presented Nutcracker every Christmas Eve and throughout the winter season, debuting new productions in 1944, 1954, 1967, and 2004. The New York City Ballet gave its first annual performance of George Balanchine's staging of The Nutcracker in 1954.[9] Beginning in the 1960s, the tradition of performing the complete ballet at Christmas eventually spread to the rest of the United States.

text: Since Gorsky, Vainonen and Balanchine's productions, many other choreographers have made their own versions. Some institute the changes made by Gorsky and Vainonen while others, like Balanchine, utilize the original libretto. Some notable productions include those by Rudolf Nureyev for the Royal Ballet, Yuri Grigorovich for the Bolshoi Ballet, Mikhail Baryshnikov for the American Ballet Theatre, Kent Stowell for Pacific Northwest Ballet starting in 1983, and Peter Wright for the Royal Ballet and the Birmingham Royal Ballet. In recent years, revisionist productions, including those by Mark Morris, Matthew Bourne, and Mikhail Chemiakin have appeared; these depart radically from both the original 1892 libretto and Vainonen's revival, while Maurice Bejart's version completely discards the original plot and characters. In addition to annual live stagings of the work, many productions have also been televised and/or released on home video.[2]

text: Roles[edit]

text: The following extrapolation of the characters (in order of appearance) is drawn from an examination of the stage directions in the score.[18]

text: Act I[edit]

text:
Herr Stahlbaum

His wife
His children, including:
Clara, his daughter, sometimes known as Marie or Masha
Fritz, son
Louise, his daughter

Children Guests
Parents dressed as incroyables
Herr Drosselmeyer

His nephew (in some versions) who resembles the Nutcracker Prince and is played by the same dancer

Dolls (spring-activated, sometimes all three dancers instead):

Harlequin and Columbine, appearing out of a cabbage (1st gift)
Vivandière and a Soldier (2nd gift)

Nutcracker (3rd gift, at first a normal-sized toy, then full-sized and "speaking", then a Prince)
Owl (on clock, changing into Drosselmeyer)
Mice
Sentinel (speaking role)
The Bunny
Soldiers (of the Nutcracker)
Mouse King
Snowflakes (sometimes Snow Crystals, sometimes accompanying a Snow Queen & King)

text: Act II[edit]

text:
Angels
Sugar Plum Fairy
Clara
Nutcracker Prince
12 Pages
Eminent members of the court
Spanish dancers (Chocolate)
Arabian dancers (Coffee)
Chinese dancers (Tea)
Russian dancers (Candy Canes)
Danish shepherdesses/French mirliton players (Marzipan)
Mother Ginger
Polichinelles (Mother Ginger's Children)
Dewdrop
Flowers
Sugar Plum Fairy's Cavalier

text: Plot[edit]

text: Below is a synopsis based on the original 1892 libretto by Marius Petipa. The story varies from production to production, though most follow the basic outline. The names of the characters also vary. In the original E. T. A. Hoffmann story, the young heroine is called Marie Stahlbaum and Clara (Klärchen) is her doll's name. In the adaptation by Dumas on which Petipa based his libretto, her name is Marie Silberhaus.[6] In still other productions, such as Baryshnikov's, Clara is Clara Stahlbaum rather than Clara Silberhaus.

text: Act I

text: Scene 1: The Stahlbaum Home

text: It is Christmas Eve. Family and friends have gathered in the parlor to decorate the beautiful Christmas tree in preparation for the party. Once the tree is finished, the children are sent for. They stand in awe of the tree sparkling with candles and decorations.

text: The party begins. A march is played. Presents are given out to the children. Suddenly, as the owl-topped grandmother clock strikes eight, a mysterious figure enters the room. It is Drosselmeyer, a local councilman, magician, and Clara's godfather. He is also a talented toymaker who has brought with him gifts for the children, including four lifelike dolls who dance to the delight of all. He then has them put away for safekeeping.

text: Clara and Fritz are sad to see the dolls being taken away, but Drosselmeyer has yet another toy for them: a wooden nutcracker carved in the shape of a little man, used for cracking nuts. The other children ignore it, but Clara immediately takes a liking to it. Fritz, however, breaks it. Clara is heartbroken.

text: During the night, after everyone else has gone to bed, Clara returns to the parlor to check on her beloved nutcracker. As she reaches the little bed, the clock strikes midnight and she looks up to see Drosselmeyer perched atop it. Suddenly, mice begin to fill the room and the Christmas tree begins to grow to dizzying heights. The nutcracker also grows to life size. Clara finds herself in the midst of a battle between an army of gingerbread soldiers and the mice, led by their king. They begin to eat the soldiers.

text: The nutcracker appears to lead the soldiers, who are joined by tin ones and dolls who serve as doctors to carry away the wounded. As the Mouse King advances on the still-wounded nutcracker, Clara throws her slipper at him, distracting him long enough for the nutcracker to stab him.

text: Scene 2: A Pine Forest

text: The mice retreat and the nutcracker is transformed into a handsome Prince. He leads Clara through the moonlit night to a pine forest in which the snowflakes dance around them, beckoning them on to his kingdom as the first act ends.

text: Act II

text: Scene 1: The Land of Sweets

text: Clara and the Prince travel to the beautiful Land of Sweets, ruled by the Sugar Plum Fairy in the Prince's place until his return. He recounts for her how he had been saved from the Mouse King by Clara and transformed back into himself.

text: In honor of the young heroine, a celebration of sweets from around the world is produced: chocolate from Spain, coffee from Arabia, tea from China, and candy canes from Russia all dance for their amusement; Danish shepherdesses perform on their flutes; Mother Ginger has her children, the Polichinelles, emerge from under her enormous hoop skirt to dance; a string of beautiful flowers perform a waltz. To conclude the night, the Sugar Plum Fairy and her Cavalier perform a dance.

text: A final waltz is performed by all the sweets, after which the Sugar Plum Fairy ushers Clara and the Prince down from their throne. He bows to her, she kisses Clara goodbye, and leads them to a reindeer drawn sleigh. It takes off as they wave goodbye to all the subjects who wave back.

text: In the original libretto, the ballet's apotheosis "represents a large beehive with flying bees, closely guarding their riches".[19] Just like Swan Lake, there have been various alternative endings created in productions subsequent to the original.

text: The music[edit]

text: From the Imperial Ballet's 1892 program[edit]

text: Titles of all of the numbers listed here come from Marius Petipa's original scenario, as well as the original libretto and programs of the first production of 1892. All libretti and programs of works performed on the stages of the Imperial Theatres were titled in French, which was the official language of the Imperial Court, as well as the language from which balletic terminology is derived.

text: Casse-Noisette. Ballet-féerie in two acts and three tableaux with apotheosis.

text:
Act I

01. Petite ouverture
02. Scène: Une fête de Noël
03. Marche et petit galop des enfants
04. Danse des incroyables et merveilleuses
05. Entrée de Drosselmeyer
06. Danses des poupées mécaniques—

a. Le Soldat et la vivandière
b. Arlequin et Colombine (originally composed for a She-devil and a He-devil)

07. Le Casse-Noisette—Polka et la berceuse
08. Danse "Großvater"
09. Grand scène fantastique: la métamorphose du salon
10. La bataille de Casse-Noisette et du Roi des souris
11. Le voyage
12. Valse des flocons de neige

Act II

13a. Entr'acte
13b. Grand scène de Confiturembürg
Grand divertissement—

14. "Chocolat"—Danse espagnole
15. "Café"—Danse arabe
16. "Thé"—Danse chinoise
17. Danse des Bouffons
18. Danse des mirlitons
19. La mère Gigogne et les polichinelles
20. Grand ballabile (a.k.a. Waltz of the Flowers)

21. Pas de deux—

a. Adage
b. Variation du Prince Coqueluche (M. Pavel Gerdt)
c. Variation de la Fée-Dragée (Mlle Antoinetta Dell'Era)
d. Coda

22. Coda générale
23. Apothéose: Une ruche

Ivan Vsevolozhsky's original costume designs for Mother Gigogne and her Polichinelle children, 1892

Variation of the Sugar Plum Fairy

Problems playing this file? See media help.

text: Structure[edit]

text: List of acts, scenes (tableaux) and musical numbers, along with tempo indications. Numbers are given according to the original Russian and French titles of the first edition score (1892), the piano reduction score by Sergei Taneyev (1892), both published by P. Jurgenson in Moscow, and the Soviet collected edition of the composer's works, as reprinted Melville, New York: Belwin Mills [n.d.][20]

text:
Scene
No.
English title
French title
Russian title
Tempo indication
Notes

Act I

Miniature Overture
Ouverture miniature
Увертюра
Allegro giusto

Tableau I
1
Scene (The Christmas Tree)
Scène (L'arbre de Noël)
Сцена (Сцена украшения и зажигания ёлки)
Allegro non troppo – Più moderato – Allegro vivace
scene of decorating and lighting the Christmas tree

2
March (also March of the Toy Soldiers)
Marche
Марш
Tempo di marcia viva

3
Children's Gallop and Dance of the Parents
Petit galop des enfants et Entrée des parents
Детский галоп и вход (танец) родителей
Presto – Andante – Allegro

4
Dance Scene (Arrival of Drosselmeyer)
Scène dansante
Сцена с танцами
Andantino – Allegro vivo – Andantino sostenuto – Più andante – Allegro molto vivace – Tempo di Valse – Presto
Drosselmeyer's arrival and distribution of presents

5
Scene and Grandfather Waltz
Scène et danse du Gross-Vater
Сцена и танец Гросфатер
Andante – Andantino – Moderato assai – Andante – L'istesso tempo – Tempo di Gross-Vater – Allegro vivacissimo

6
Scene (Clara and the Nutcracker)
Scène
Сцена
Allegro semplice – Moderato con moto – Allegro giusto – Più allegro – Moderato assai
departure of the guests

7
Scene (The Battle)
Scène
Сцена
Allegro vivo

Tableau II
8
Scene (A Pine Forest in Winter)
Scène
Сцена
Andante
a.k.a. "Journey through the Snow"

9
Waltz of the Snowflakes
Valse des flocons de neige
Вальс снежных хлопьев
Tempo di Valse, ma con moto – Presto

Act II

Tableau III
10
Scene (The Magic Castle in the Land of Sweets)
Scène
Сцена
Andante
introduction

11
Scene (Clara and Nutcracker Prince)
Scène
Сцена
Andante con moto – Moderato – Allegro agitato – Poco più allegro – Tempo precedente
arrival of Clara and the Prince

12
Divertissement

a. Chocolate (Spanish Dance)
b. Coffee (Arabian Dance)
c. Tea (Chinese Dance)
d. Candy Canes (Russian Dance)
e. Marzipan (Dance of the Reed Flutes)
f. Mother Ginger and the Polichinelles

Divertissement

a. Le chocolat (Danse espagnole)
b. Le café (Danse arabe)
c. Le thé (Danse chinoise)
d. Trépak (Danse russe)
e. Les Mirlitons (Danse des Mirlitons)
f. La mère Gigogne et les polichinelles

Дивертисмент

a. Шоколад (Испанский танец)
b. Кофе (Арабский танец)
c. Чай (Китайский танец)
d. Трепак (Русский танец)
e. Танец пастушков
f. Полишинели

Allegro brillante
Commodo
Allegro moderato
Tempo di trepak, molto vivace
Andantino
Allegro giocoso – Andante – Allegro vivo

e. a.k.a. "Dance of the Reed Pipes"
f. a.k.a. "Mother Ginger and Her Children", "Dance of the Clowns", or "Polichinelles"

13
Waltz of the Flowers
Valse des fleurs
Вальс цветов
Tempo di Valse

14
Pas de Deux

Intrada (Sugar Plum Fairy and Her Cavalier)
Variation I: Tarantella
Variation II: Dance of the Sugar Plum Fairy
Coda

Pas de deux

La Fée-Dragée et le Prince Orgeat
Variation I: Tarantelle (Pour le danseur)
Variation II: Danse de la Fée-Dragée (Pour la danseuse)
Coda

Па-де-дё

Танец принца Оршада и Феи Драже
Вариация I: Тарантелла
Вариация II: Танец Феи Драже
Кода

Andante maestoso
Tempo di Tarantella
Andante ma non troppo – Presto
Vivace assai

a.k.a. "Sugar Plum Fairy and her Cavalier"
for the male dancer
for the female dancer

15
Final Waltz and Apotheosis
Valse finale et Apothéose
Финальный вальс и Апофеоз
Tempo di Valse – Molto meno

text: Instrumentation[edit]

text: Tchaikovsky's sources and influences[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2016) (Learn how and when to remove this template message)

text: The Nutcracker is one of the composer's most popular compositions. The music belongs to the Romantic Period and contains some of his most memorable melodies, several of which are frequently used in television and film. (They are often heard in TV commercials shown during the Christmas season.[21]) The Trepak, or Russian dance, is one of the most recognizable pieces in the ballet, along with the famous Waltz of the Flowers and March, as well as the ubiquitous Dance of the Sugar Plum Fairy. The composer's reverence for Rococo and late 18th-century music can be detected in passages such as the Overture, the "Entrée des parents", and "Tempo di Grossvater" in act 1.

text: Tchaikovsky is said to have argued with a friend who wagered that the composer could not write a melody based on a one-octave scale in sequence. Tchaikovsky asked if it mattered whether the notes were in ascending or descending order, and was assured it did not. This resulted in the Adagio from the Grand pas de deux, which, in the ballet, nearly always immediately follows the Waltz of the Flowers. A story is also told that Tchaikovsky's sister had died shortly before he began composition of the ballet, and that his sister's death influenced him to compose a melancholy, descending scale melody for the adagio of the Grand Pas de Deux.[22]

text: One novelty in Tchaikovsky's original score was the use of the celesta, a new instrument Tchaikovsky had discovered in Paris. He wanted it genuinely for the character of the Sugar Plum Fairy to characterize her because of its "heavenly sweet sound". It appears not only in her "Dance", but also in other passages in act 2. (However, he first wrote for the celesta in his symphonic ballad The Voyevoda the previous year.) Tchaikovsky also uses toy instruments during the Christmas party scene. Tchaikovsky was proud of the celesta's effect, and wanted its music performed quickly for the public, before he could be "scooped."

text: Although the original ballet is only about 85 minutes long if performed without applause or an intermission, and therefore much shorter than either Swan Lake or The Sleeping Beauty, some modern staged performances have omitted or re-ordered some of the music, or inserted selections from elsewhere, thus adding to the confusion over the suites. In fact, most of the very famous versions of the ballet have had the order of the dances slightly re-arranged, if they have not actually altered the music. For instance, the 1954 George Balanchine New York City Ballet version adds to Tchaikovsky's score an entr'acte that the composer wrote for act 2 of The Sleeping Beauty, but which is now seldom played in productions of that ballet. It is used as a transition between the departure of the guests and the battle with the mice. Nearly all of the CD and LP recordings of the complete ballet present Tchaikovsky's score exactly as he originally conceived it.

text: Tchaikovsky was less satisfied with The Nutcracker than with The Sleeping Beauty. (In the film Fantasia, commentator Deems Taylor observes that he "really detested" the score.) Tchaikovsky accepted the commission from Vsevolozhsky but did not particularly want to write the ballet[23] (though he did write to a friend while composing it: "I am daily becoming more and more attuned to my task").[24]

text: Concert excerpts and arrangements[edit]

text: Tchaikovsky: The Nutcracker Suite, Op. 71a[edit]

text: Tchaikovsky made a selection of eight of the numbers from the ballet before the ballet's December 1892 première, forming The Nutcracker Suite, Op. 71a, intended for concert performance. The suite was first performed, under the composer's direction, on 19 March 1892 at an assembly of the St. Petersburg branch of the Musical Society.[25] The suite became instantly popular, with almost every number encored at its premiere,[26] while the complete ballet did not begin to achieve its great popularity until after the George Balanchine staging became a hit in New York City.[27] The suite became very popular on the concert stage, and was featured in Disney's Fantasia. The Nutcracker Suite should not be mistaken for the complete ballet. The outline below represents the selection and sequence of the Nutcracker Suite culled by the composer.

text: Grainger: Paraphrase on Tchaikovsky’s Flower Waltz, for solo piano[edit]

text: The Paraphrase on Tchaikovsky’s Flower Waltz is a successful piano arrangement from one of the movements from The Nutcracker by the pianist and composer Percy Grainger.

text: Pletnev: Concert suite from The Nutcracker, for solo piano[edit]

text: The pianist and conductor Mikhail Pletnev adapted some of the music into a virtuosic concert suite for piano solo:

text: Selected discography[edit]

text: Many recordings have been made since 1909 of the Nutcracker Suite, which made its initial appearance on disc that year in what is now historically considered the first record album.[28] This recording was conducted by Herman Finck and featured the London Palace Orchestra.[29] But it was not until the LP album was developed that recordings of the complete ballet began to be made. Because of the ballet's approximate hour and a half length when performed without intermission, applause, or interpolated numbers, it fits very comfortably onto two LPs. Most CD recordings take up two discs, often with fillers. An exception is the 81-minute 1998 Philips recording by Valery Gergiev that fits onto one CD because of Gergiev's somewhat brisker speeds.

text:
1954, the year in which Balanchine first staged his production of it, was also the year that the first complete recording of the ballet appeared – a 2-LP album set in mono sound released by Mercury Records. The cover design was by George Maas and featured illustrations by Dorothy Maas.[30] The music was performed by the Minneapolis Symphony Orchestra, conducted by Antal Doráti. Dorati later re-recorded the complete ballet in stereo, with the London Symphony Orchestra in 1962 for Mercury and with the Amsterdam Concertgebouw Orchestra in 1975 for Philips Classics. According to Mercury Records, the 1962 recording was made on 35mm magnetic film rather than audio tape, and used album cover art identical to that of the 1954 recording.[31][32] Dorati is the only conductor so far to have made three different recordings of the complete ballet. Some have hailed the 1975 recording as the finest ever made of the complete ballet.[33] It is also faithful to the score in employing a boys' choir in the Waltz of the Snowflakes. Many other recordings use an adult or mixed choir.
In 1956, the conductor Artur Rodziński and the Royal Philharmonic Orchestra made a complete recording of the ballet on stereo master tapes for Westminster Records, but because stereo was not possible on the LP format in 1956, the recording was issued in stereo on magnetic tape, and only a mono 2-LP set was issued. (Recently, the Rodziński performance was issued in stereo on CD.) Rodziński had previously made a 78-RPM mono recording of the Nutcracker Suite for Columbia Masterworks in 1946, a recording which was reissued in 1948 as part of Columbia's first collection of classical LP's.[34] According to some sources, Rodziński made two complete recordings of the ballet, one with the Royal Philharmonic and one with the London Philharmonic Orchestra.[35] However, the conductor died only two years after making his 1956 Nutcracker recording, so it is possible that there may have been a mislabeling.
In 1959, the first stereo LP album set of the complete ballet, with Ernest Ansermet conducting the Orchestre de la Suisse Romande, appeared on Decca Records in the UK and London Records in the US.
The first complete stereo Nutcracker with a Russian conductor and a Russian orchestra appeared in 1960, when Gennady Rozhdestvensky's recording of it, with the Bolshoi Theatre Orchestra, was issued first in the Soviet Union on Melodiya, then imported to the U.S. on Columbia Masterworks. It was also Columbia Masterworks' first complete Nutcracker.[36]

text: With the advent of the stereo LP coinciding with the growing popularity of the complete ballet, many other complete recordings of it have been made. Notable conductors who have done so include Maurice Abravanel, André Previn, Michael Tilson Thomas, Mariss Jansons, Seiji Ozawa, Richard Bonynge, Semyon Bychkov, Alexander Vedernikov, Ondrej Lenard, Mikhail Pletnev, and most recently, Simon Rattle.[37] A CD of excerpts from the Tilson Thomas version had as its album cover art a painting of Mikhail Baryshnikov in his Nutcracker costume; perhaps this was due to the fact that the Tilson Thomas recording was released by CBS Masterworks, and CBS had first telecast the Baryshnikov "Nutcracker".[38]

text:
The soundtrack of the 1977 television production with Mikhail Baryshnikov and Gelsey Kirkland, featuring the National Philharmonic Orchestra conducted by Kenneth Schermerhorn, was issued in stereo on a CBS Masterworks 2 LP-set, but it has not appeared on CD. The LP soundtrack recording was, for a time, the only stereo version of the Baryshnikov Nutcracker available, since the show was originally telecast only in mono, and it was not until recently that it began to be telecast with stereo sound. The sound portion of the DVD is also in stereo.
The first complete recording of the ballet in digital stereo was issued in 1985, on a two-CD RCA set featuring Leonard Slatkin conducting the St. Louis Symphony Orchestra. This album originally had no "filler", but it has recently been re-issued on a multi-CD set containing complete recordings of Tchaikovsky's two other ballets, Swan Lake and The Sleeping Beauty. This three-ballet album has now gone out of print.

text: There have been two major theatrical film versions of the ballet, made within seven years of each other, and both were given soundtrack albums.

text:
The first theatrical film adaptation, made in 1985, is of the Pacific Northwest Ballet version, and was conducted by Sir Charles Mackerras. The music is played in this production by the London Symphony Orchestra. The film was directed by Carroll Ballard, who had never before directed a ballet film (and hasn't since). Patricia Barker played Clara in the fantasy sequences, and Vanessa Sharp played her in the Christmas party scene. Wade Walthall was the Nutcracker Prince.
The second film adaptation was a 1993 film of the New York City Ballet version, titled George Balanchine's The Nutcracker, with David Zinman conducting the New York City Ballet Orchestra. The director was Emile Ardolino, who had won the Emmy, Obie, and Academy Awards for filming dance, and was to die of AIDS later that year. Principal dancers included the Balanchine muse Darci Kistler, who played the Sugar Plum Fairy, Heather Watts, Damian Woetzel, and Kyra Nichols. Two well-known actors also took part: Macaulay Culkin appeared as the Nutcracker/Prince, and Kevin Kline served as the offscreen narrator. The soundtrack features the interpolated number from The Sleeping Beauty that Balanchine used in the production, and the music is heard on the album in the order that it appears in the film, not in the order that it appears in the original ballet.[39]
Notable albums of excerpts from the ballet, rather than just the usual Nutcracker Suite, were recorded by Eugene Ormandy conducting the Philadelphia Orchestra for Columbia Masterworks, and Fritz Reiner and the Chicago Symphony Orchestra for RCA Victor. Arthur Fiedler and the Boston Pops Orchestra (for RCA), as well as Erich Kunzel and the Cincinnati Pops Orchestra (for Telarc) have also recorded albums of extended excerpts. The original edition of Michael Tilson Thomas's version with the Philharmonia Orchestra on CBS Masterworks was complete, but is out of print;[40] the currently available edition is abridged.[41]

text: Neither Ormandy, Reiner, nor Fiedler ever recorded a complete version of the ballet; however, Kunzel's album of excerpts runs 73 minutes, containing more than two-thirds of the music. Conductor Neeme Järvi has recorded act 2 of the ballet complete, along with excerpts from Swan Lake. The music is played by the Royal Scottish National Orchestra.[42]

text:
Very many famous conductors of the twentieth century made recordings of the suite, but not of the complete ballet. These include such luminaries as Arturo Toscanini, Sir Thomas Beecham, Claudio Abbado, Leonard Bernstein, Herbert von Karajan, James Levine, Sir Neville Marriner, Robert Shaw, Mstislav Rostropovich, Sir Georg Solti, Leopold Stokowski, Zubin Mehta, and John Williams, among many others.
In 2007, Josh Perschbacher recorded an organ transcription of the Nutcracker Suite.

text: Contemporary arrangements[edit]

text:
In 1942, Freddy Martin and his orchestra recorded The Nutcracker Suite for Dance Orchestra on a set of 4 10-inch 78-RPM records. An arrangement of the suite that lay between dance music and jazz, it was released by RCA Victor.[43]
In 1947, Fred Waring and His Pennsylvanians recorded "The Nutcracker Suite" on a two-part Decca Records 12-inch 78 RPM record with one part on each side as Decca DU 90022,[44] packaged in a picture sleeve. This version had custom lyrics written for Waring's chorus by among others, Waring himself. The arrangements were by Harry Simeone.
In 1960, Duke Ellington and Billy Strayhorn composed jazz interpretations of pieces from Tchaikovsky's score, recorded and released on LP as The Nutcracker Suite.[45] In 1999, this suite was supplemented with additional arrangements from the score by David Berger for The Harlem Nutcracker, a production of the ballet by Donald Byrd set during the Harlem Renaissance.[46]
In 1960, Shorty Rogers released The Swingin' Nutcracker, featuring jazz interpretations of pieces from Tchaikovsky's score.
In 1962, American poet and humorist Ogden Nash wrote verses inspired by the ballet,[47] and these verses have sometimes been performed in concert versions of the Nutcracker Suite. It has been recorded with Peter Ustinov reciting the verses, and the music is unchanged from the original.[48]
In 1962 a novelty boogie piano arrangement of the "Marche", titled "Nut Rocker", was a No.1 single in the UK, and No.21 in the USA. Credited to B. Bumble and the Stingers, it was produced by Kim Fowley and featured studio musicians Al Hazan (piano), Earl Palmer (drums), Tommy Tedesco (guitar) and Red Callender (bass). "Nut Rocker" has subsequently been covered by many others including The Shadows, Emerson, Lake & Palmer, The Ventures, Dropkick Murphys, The Brian Setzer Orchestra, and the Trans-Siberian Orchestra. The Ventures' own instrumental rock cover of "Nut Rocker", known as "Nutty", is commonly connected to the NHL team, the Boston Bruins, from being used as the theme for the Bruins' telecast games for over two decades, from the late 1960s. In 2004, The Invincible Czars arranged, recorded, and now annually perform the entire suite for rock band.
The Trans-Siberian Orchestra's first album, Christmas Eve and Other Stories, includes an instrumental piece titled "A Mad Russian's Christmas", which is a rock version of music from The Nutcracker.
On the other end of the scale is the humorous Spike Jones version released in December 1945 and again in 1971 as part of the long play record Spike Jones is Murdering the Classics, one of the rare comedic pop records to be issued on the prestigious RCA Red Seal label.
The Disco Biscuits, a trance-fusion jam band from Philadelphia, have performed "Waltz of the Flowers" and "Dance of the Sugar Plum Fairy" on multiple occasions.
The Los Angeles Guitar Quartet (LAGQ) recorded the Suite arranged for four acoustic guitars on their CD recording Dances from Renaissance to Nutcracker (1992, Delos).
In 1993, guitarist Tim Sparks recorded his arrangements for acoustic guitar on The Nutcracker Suite.
The Shirim Klezmer Orchestra released a klezmer version, titled "Klezmer Nutcracker," in 1998 on the Newport label. The album became the basis for a December 2008 production by Ellen Kushner, titled "The Klezmer Nutcracker" and staged off Broadway in New York City.[49]
In 2002, The Constructus Corporation used the melody of Sugar Plum Fairy for their track Choose Your Own Adventure.
In 2008 a progressive metal / instrumental rock version of The Nutcracker Suite was released by Christmas at the Devil's House. It includes Overture Miniature, March, Dance of the Sugar Plum Fairy, Russian Dance, Chinese Dance, Arabian Dance, Dance of the Reed Flutes, and Waltz of the Flowers.
In 2009, Pet Shop Boys used a melody from "March" for their track "All Over the World", taken from their album Yes.
In 2010, Belgian rapper Lunaman had a hit single "Nutcracka", whose chorus quoted portions of the "Dance of the Sugar Plum Fairy".
In 2012, jazz pianist Eyran Katsenelenbogen released his renditions of Dance of the Sugar Plum Fairy, Dance of the Reed Flutes, Russian Dance and Waltz of the Flowers from the Nutcracker Suite.
In 2012, Duo Symphonious recorded an extended version of the Suite arranged for two classical guitars on their debut album "The Portable Nutcracker". Their version includes "A Pine Forest in Winter" as well as the entire "Pas de Deux".
In 2014, Canadian electronic music producer Brado Popcorn released three versions of the song, titled "The Distorted Dance of The Sugarplum Fairy" on his "A Tribute to the Music of Tetris" album.[50]
In 2014, Pentatonix released an a cappella arrangement of "Dance of the Sugar Plum Fairy" on the holiday album That's Christmas to Me and received a Grammy Award on 16 February 2016 for best arrangement.
In 2016, Jennifer Thomas included an instrumental version of "Dance of the Sugar Plum Fairy" on her album Winter Symphony.
In 2017, Lindsey Stirling released her version of "Dance of the Sugar Plum Fairy" on her holiday album Warmer in the Winter.[51]

text: In popular culture[edit]

text: For a comprehensive list of stage, film and television adaptations of The Nutcracker, see: List of productions of The Nutcracker

text: Film[edit]

text: Several films having little or nothing to do with the ballet or the original Hoffmann tale have used its music:

text:
The 1940 Disney animated film Fantasia features a segment using The Nutcracker Suite. This version was also included both as part of the 3-LP soundtrack album of Fantasia (since released as a 2-CD set), and as a single LP, with Dance of the Hours, another Fantasia segment, on the reverse side.[52][53]
The Spirit of Christmas, a 1950 marionette made-for-TV featurette in color narrated by Alexander Scourby, utilizes the poem A Visit from St. Nicholas, and this sequence also includes music from The Nutcracker.
A 1951 thirty-minute short, Santa and the Fairy Snow Queen, issued on DVD by Something Weird Video, features several dances from The Nutcracker.[54]
A 1954 16mm short subject version of The Little Match Girl features a dream sequence in which music from The Nutcracker is played.
The Nutcracker (1973) features a nameless girl (slightly similar to Clara) who works as a maid. She befriends and falls in love with a nutcracker ornament, who was a young prince cursed by the three headed Mouse King.
Sanrio released a stop-motion adaptation of The Nutcracker entitled Nutcracker Fantasy in 1979.
A 1990 animated film titled The Nutcracker Prince uses cuts of the music throughout and its story is based heavily on that of the ballet.
In 2001, Barbie appeared in her first film, Barbie in the Nutcracker. It used excerpts by Tchaikovsky, which were performed by the London Symphony Orchestra. Though it heavily altered the story, it still made use of ballet sequences which had been rotoscoped using real ballet dancers.[55]
In the 2006 remake of Black Christmas, 'Dance of the sugar plum fairy' appears numerous times throughout the movie including being the ringtone of the protagonist's cellphone, a music box and playing during the end credits.
In 2007, Tom and Jerry: A Nutcracker Tale also used 'The Nutcracker' excerpts, which were performed by The Chamber Orchestra of Philadelphia.
In 2010, The Nutcracker in 3D (Elle Fanning) abandoned the ballet and most of the story, retaining much of Tchaikovsky's music with lyrics by Tim Rice. The $90 million film became the year's biggest box office bomb.
In 2013, Puella Magi Madoka Magica: The Movie the ending scene is a reference to the Nutcracker Witch.
Disney is developing a live-action adaptation titled The Nutcracker and the Four Realms, Lasse Hallström would direct from a script by Ashleigh Powell.[56]

text: Television[edit]

text:
A 1954 Christmas episode of General Electric Theater featured Fred Waring and his choral group, the Pennsylvanians, singing excerpts from The Nutcracker with specially written lyrics. While the music was being sung, the audience saw ballet dancers performing.[57] The episode was hosted by Ronald Reagan.
A 1996 episode of The Magic School Bus ("Holiday Special", season 3, episode 39), Wanda is planning to see a performance of The Nutcracker. Some of the music for this episode was based on the score of the ballet.[58]
Princess Tutu, a 2002 anime series that uses elements from many ballets as both music and as part of the storyline, uses the music from The Nutcracker in many places throughout its run, including using an arranged version of the overture as the theme for the main character. Both the first and last episodes feature The Nutcracker as their 'theme', and one of the main characters is named Drosselmeyer.
A 2002 episode of Courage the Cowardly Dog titled "The Nutcracker", set in a junkyard, portrayed the title character using a broken nutcracker to defend his masters against two enormous rats intent on devouring them.
A House of Mouse special, Snowed in at the House of Mouse, included an animated short, starring Mickey Mouse as the Nutcracker, Minnie Mouse as Maria, Ludwig von Drake as a character based on Herr Drosselmeyer, Goofy as the Sugar Plum Fairy and Donald Duck as the "Duck-stroke-Mouse-stroke-King-type-person" (or the Mouse King), and portrayed a brief overview of the story, sarcastically narrated by John Cleese. The story ran with modern rock-style adaptations of Tchaikovsky's music.
The "Toon TV" episode of Tiny Toon Adventures and The Plucky Duck Show features a song called "Video Game Blues", set to the melodies of "Dance of the Sugar Plum Fairy" and the "Russian Dance".
A 2005 episode of The Simpsons called "Simpsons Christmas Stories" (Season 17, episode 9), features a montage in which are seen residents of Springfield on Christmas, singing to the tune of pieces from The Nutcracker Suite.[59]
The Wonder Pets on Nick Jr. includes a Christmas themed episode called "Save the Nutcracker", featuring the Nutcracker and Mouse King from the original ballet, as well as much of the music.
An episode of the PBS Kids series Super Why features the Mouse King as a central character.
In an episode of Angelina Ballerina: The Next Steps, Angelina sees a performance of The Nutcracker.
The Animaniacs cartoon Nutcracker Slappy featured Slappy and Skippy trying to crack open a walnut in various ways only to find it was empty, all to the music of The Nutcracker.
A two part episode of the Care Bears cartoon series in the 1980s features the Care Bears as the main characters, with Beastley as the Rat King.
During the Christmas music special of Beavis and Butt-head, one of the incidental bits of music they hear is the Dance of the Sugar Plum Fairy, at which Beavis is impressed (saying it's like Ozzy) and he even chants along to the tune before humming Iron Man. The song also appears in the episode The Mystery Of Morning Wood while they sleep and the Morning Wood Fairy comes out of the TV.
In the 2009 MythBusters Demolition Derby Special, Adam and Jamie are testing the "Need for Speed" myth. As Adam and Jamie are preparing the bus for testing, Adam is aggressively preparing the bus to the sound of heavy metal, while Jamie is gently preparing the roll cage to the tune of “Dance of the Reed Flutes.”
Monty Python's Flying Circus, episode 25 (series 2, episode 12) titled, "Spam." Within this episode is the "Hospital for Over-Actors" sketch, which includes several patients acting as the Mouse King.
In the early 1980s, a commercial for the breakfast cereal Smurfberry Crunch used a portion of The Nutcracker Suite as music for an advertising jingle sung by Smurfs.[60]
The season 1 episode of SpongeBob SquarePants, "Suds", "Dance of the Sugar Plum Fairy" is heard in its background music soundtrack a number of times.
In episode 9 of Time Bokan 24, "Dance of the Reed Flutes" plays when the Akudama Trio holds signs in Space to get Gagarin to say "The Earth is Blue".

text: Video games[edit]

text:
In the Game Boy version of Tetris, "Russian Dance".
In the NES version of Tetris, the "Dance of the Sugar Plum Fairy" is available as background music (referred to in the settings as "Music 1").
In the NES game, Winter Games, "Waltz of the Flowers" is used as the music for the figure skating event.
In the game BioShock, the main character Jack meets an insane musician named Sander Cohen who tasks Jack with killing and photographing four of Sander's ex-disciples. When the third photograph is given to Sander, in a fit of pique he unleashes waves of splicer enemies to attack Jack while playing "Waltz of the Flowers" from speakers in the area.
In the original Lemmings "Dance of the Reed Flutes" and "Miniature Overture" is used in several levels.
In Weird Dreams, there is also a fat ballerina dancing to the "Dance of the Sugar Plum Fairy" in the Hall of Tubes.
In the Baby Bowser levels of Yoshi's Story, a variation of the "Dance of the Sugar Plum Fairy" is used as the background music.
In Mega Man Legends, the "Waltz of the Flowers" can be heard in the Balloon Fantasy minigame.
In the Wii Winter Olympics game, a piece from "The Nutcracker" is used as background music for a figure skating event.[61]
In Kingdom Hearts 3D: Dream Drop Distance the "Waltz of Flowers", "The Arabian Dance", "The Russian Dance", "The Dance of the Reed Flutes" and "The Chinese Dance" are the background themes that play when Riku is in the world based on Disney's Fantasia.
In Hatoful Boyfriend, the "Dance of the Sugar Plum Fairy" is used as the character theme for Iwamine Shuu.
In a TV advertisement for Army Men: Sarge's Heroes 2, the plastic army men work together using a train playset to move a firecracker under the Christmas tree and place it between the Nutcracker doll's legs, while "Dance of the Sugar Plum Fairy" plays.
In Fantasia: Music Evolved, a medley of "The Nutcracker" is listed and consists of the "Marche", "Dance of the Sugar Plum Fairy", and "Trepak"; besides the original mix, there is also the "D00 BAH D00" mix and the "DC Breaks" mix.
In Dynamite Headdy, the "March" is used in the Mad Dog boss battle.
In Grand Theft Auto V one of the classical horns, that can be bought for cars, plays the "Dance of the Sugar Plum Fairy".[62]
The "Waltz of the Flowers" appears during a baby's death scene in What Remains of Edith Finch.
In Rainbow Six: Siege, the piece: The Nutcracker, Miniature Overture, composed by Pyotr Ilyich Tchaikovsky can be overheard playing in the Cigar Lounge on the second floor of Kafe Dostoyevsky.

text: Children's recordings[edit]

text: There have been several recorded children's adaptations of the E.T.A. Hoffmann story (the basis for the ballet) using Tchaikovsky's music, some quite faithful, some not. One that was not was a version titled The Nutcracker Suite for Children, narrated by Metropolitan Opera announcer Milton Cross, which used a two-piano arrangement of the music. It was released as a 78-RPM album set in the 1940s.[63] For the children's label Peter Pan Records, actor Victor Jory narrated a condensed adaptation of the story with excerpts from the score. It was released on one side of a 45-RPM disc.[64] A later version, titled The Nutcracker Suite, starred Denise Bryer and a full cast, was released in the 1960s on LP and made use of Tchaikovsky's music in the original orchestral arrangements. It was quite faithful to Hoffmann's story The Nutcracker and the Mouse King, on which the ballet is based, even to the point of including the section in which Clara cuts her arm on the glass toy cabinet, and also mentioning that she married the Prince at the end. It also included a less gruesome version of "The Tale of the Hard Nut", the tale-within-a-tale in Hoffmann's story. It was released as part of the Tale Spinners for Children series.[65]

text: Another children's LP, The Nutcracker Suite with Words, featured Captain Kangaroo's Bob Keeshan narrating the story, and sung versions of the different movements, with special lyrics.[66]

text: Journalism[edit]

text: In 2009, Pulitzer Prize–winning dance critic Sarah Kaufman wrote a series of articles for The Washington Post criticizing the primacy of The Nutcracker in the American repertory for stunting the creative evolution of ballet in the United States:[67][68][69]

text: That warm and welcoming veneer of domestic bliss in The Nutcracker gives the appearance that all is just plummy in the ballet world. But ballet is beset by serious ailments that threaten its future in this country... companies are so cautious in their programming that they have effectively reduced an art form to a rotation of over-roasted chestnuts that no one can justifiably croon about... The tyranny of The Nutcracker is emblematic of how dull and risk-averse American ballet has become. There were moments throughout the 20th century when ballet was brave. When it threw bold punches at its own conventions. First among these was the Ballets Russes period, when ballet – ballet – lassoed the avant-garde art movement and, with works such as Michel Fokine's fashionably sexy Scheherazade (1910) and Léonide Massine's Cubist-inspired Parade (1917), made world capitals sit up and take notice. Afraid of scandal? Not these free-thinkers; Vaslav Nijinsky's rough-hewn, aggressive Rite of Spring famously put Paris in an uproar in 1913... Where are this century's provocations? Has ballet become so entwined with its "Nutcracker" image, so fearfully wedded to unthreatening offerings, that it has forgotten how eye-opening and ultimately nourishing creative destruction can be?[68]

text: In 2010, Alastair Macaulay, dance critic for The New York Times (who had previously taken Sarah Kaufman to task for her criticism of The Nutcracker[70]) began The Nutcracker Chronicles, a series of blog articles documenting his travels across the United States to see different productions of the ballet.[71]

text: Act I of The Nutcracker ends with snow falling and snowflakes dancing. Yet The Nutcracker is now seasonal entertainment even in parts of America where snow seldom falls: Hawaii, the California coast, Florida. Over the last 70 years this ballet – conceived in the Old World – has become an American institution. Its amalgam of children, parents, toys, a Christmas tree, snow, sweets and Tchaikovsky’s astounding score is integral to the season of good will that runs from Thanksgiving to New Year... I am a European who lives in America, and I never saw any Nutcracker until I was 21. Since then I’ve seen it many times. The importance of this ballet to America has become a phenomenon that surely says as much about this country as it does about this work of art. So this year I'm running a Nutcracker marathon: taking in as many different American productions as I can reasonably manage in November and December, from coast to coast (more than 20, if all goes well). America is a country I’m still discovering; let The Nutcracker be part of my research.[72]


document_title: Steve Tracy

question_text: who played nellie's husband on little house on the prairie

question_tokens: who played nellie 's husband on little house on the prairie

root

text: Steve Tracy

text: Biography[edit]

text: Life and education[edit]

text: He was born as Steven Crumrine into a Jewish family.[1] He attended Kent State University in Kent, Ohio, and the Theatre Department at Los Angeles City College in Los Angeles, California, as well as the Harvey Lembeck Comedy Workshop.

tag: p

text: Career[edit]

text: Tracy is best known for his recurring role as Percival Dalton in the television series Little House on the Prairie in the early 1980s.

text: After the end of the series, Tracy maintained a friendship with his on-screen wife Alison Arngrim (Nellie Oleson). Arngrim and Tracy were very close while filming on the set. During the series, there were rumors that he and Arngrim were having a love affair, but Arngrim says that was untrue. Arngrim has also stated that she was the only one on the set of who knew that Tracy was gay.[citation needed]

text: He appeared in several films and other television programs from 1977 to 1986, including Quincy, M.E., The Jeffersons, and National Lampoon's Class Reunion.[2] Six months before his death, he performed in the theater piece AIDS/US: Portraits in Personal Courage in Los Angeles. The piece featured true stories of having AIDS or losing family members to AIDS, with half the cast being heterosexual, at a time when AIDS still was stereotyped as affecting only gay men. Tracy was the only professional actor in the production, as all other participants were non-actors telling their stories on stage because "they wanted to say something."[3] When the play closed in August 1986, the closure was intended to be a hiatus to allow the cast to grieve the death of a cast member and cope with the deteriorating health of two others[4]

text: Death[edit]

text: Tracy died of AIDS-related complications in 1986, after which Arngrim became involved in AIDS activism.[5] His ashes were scattered under the Hollywood Sign in the Hollywood Hills, Los Angeles, under the letter "D".

text: Filmography[edit]

text:
Film and television

Year
Title
Role
Notes

1977
Heavy Equipment
Chester
Feature film

1978
James at 15
Ernie
Episode: "Queen of the Silver Dollar"

1979
Quincy M.E.
Kid
Episodes: "Walk Softly Through the Night: Part 1 & 2"

1979
Beneath the Valley of the Ultra-Vixens
Rhett
Feature film

1980-1981
Little House on the Prairie
Percival Dalton
Semi-regular role (11 episodes)

1981
Desperate Moves
Andy Steigler
Feature film

1982
The Jeffersons
Steve
Episode: "Jeffersons Greatest Hits"

1982
Class Reunion
Milt Friedman
Feature film

1984
Party Games for Adults Only
Steven
Feature film

1986
Say Yes
Clerk
Feature film

1987
Tales from the Darkside
Robber
Episode: "Miss May Dusa",
credited as Steve R. Tracy

tag: table


document_title: Ask Me How I Know

question_text: who sings the song ask me how i know

question_tokens: who sings the song ask me how i know

text: Ask Me How I Know

text:
"Ask Me How I Know"

Single by Garth Brooks

from the album Gunslinger

Released
March 17, 2017

Format
CD single, music download

Genre
Country

Length
3:34

Label
Pearl

Songwriter(s)
Mitch Rossell

Producer(s)
Mark Miller

Garth Brooks singles chronology

"Baby, Let's Lay Down and Dance"
(2016)
"Ask Me How I Know"
(2017)

"Baby, Let's Lay Down and Dance"
(2016)
"Ask Me How I Know"
(2017)

text: "Ask Me How I Know" is a song recorded by American country music singer Garth Brooks, and written by Mitch Rossell. It was released on March 17, 2017 as the second single off Brooks's 2016 album, Gunslinger.[1][2] The single's release coincided with the announcement of Brooks performing at South by Southwest, as well as the Houston Livestock Show and Rodeo. It became his first number one song since "More Than a Memory" in 2007.[3][4]

text: Charts[edit]

text:
Chart (2017)
Peak
position

Canada Country (Billboard)[5]
30

US Billboard Hot 100[6]
71

US Country Airplay (Billboard)[7]
1

US Hot Country Songs (Billboard)[8]
13

text: Year-end charts[edit]

text:
Chart (2017)
Position

US Billboard Country Airplay[9]
40

text:
Preceded by
"Greatest Love Story"
by Lanco
Billboard Country Airplay
number-one single
December 16, 2017
Succeeded by
"Light It Up"
by Luke Bryan


document_title: Way Down in the Hole

question_text: who sings the wire theme song season 1

question_tokens: who sings the wire theme song season 1

text: Way Down in the Hole

text:
"Way Down in the Hole"

Song by Tom Waits

from the album Franks Wild Years

Length
3:30

Songwriter(s)
Tom Waits

text: "Way Down in the Hole" is a song written by the singer-songwriter Tom Waits. It was included on his 1987 album Franks Wild Years, which was later made into a stage production.

text: The song was used as the theme for HBO's The Wire.[1] A different recording was used each season. Versions, in series order, were recorded by The Blind Boys of Alabama, Tom Waits, The Neville Brothers, DoMaJe, and Steve Earle. Season four's version, performed by the Baltimore teenagers Ivan Ashford, Markel Steele, Cameron Brown, Tariq Al-Sabir and Avery Bargasse, was arranged and recorded specifically for the show.[2] An extended version of the Blind Boys of Alabama recording was played over a montage in the series finale.


document_title: List of current National Football League stadiums

question_text: what is the largest seating capacity nfl stadium

text: Stadium characteristics[edit]

text: Stadiums represent a considerable expense to a community, and thus their construction, use, and funding often enters the public discourse.[2] Also, given the perceived advantage a team gets to playing in its home stadium, particular attention is given in the media to the peculiarities of each stadium's environment. Climate, playing surface (either natural or artificial turf), and the type of roof all contribute to giving each team its home-field advantage.

text: Stadiums are either open, enclosed, or have a retractable roof. For retractable roofs, the home team determines if the roof is to be opened or closed 90 minutes before kickoff. The roof remains open unless precipitation or lightning is within the vicinity of the stadium, the temperature drops below 40 °F (4 °C), or wind gusts are greater than 40 miles per hour (64 km/h), in which case the roof operators will close the roof.[3]

text: Seating[edit]

text: With a peak capacity of over 100,000 spectators, AT&T Stadium has the highest capacity of any NFL stadium, while MetLife Stadium has the highest listed seating capacity at 82,500. The smallest stadium is StubHub Center, which is hosting the Los Angeles Chargers in 2017 with a capacity of 27,000 seats; it is the smallest stadium to host a full NFL season for a team since a 25,000-seat City Stadium hosted its last Green Bay Packers games in 1956.

text: In their normal configurations, 29 of the league's 31 stadiums have a seating capacity of at least 60,000 spectators; of those, a majority (16) have less than 70,000 seats, while eight have between 70,000 and 80,000 and five can seat 80,000 or more. In contrast to college football stadiums, the largest of which can and regularly do accommodate over 100,000 spectators, no stadium in the league currently has a listed seating capacity of more than 82,500. Teams rarely build their stadiums far beyond the 80,000 seat threshold (and even then, only in the largest markets) because of the league's blackout policy, which prohibited the televising of any NFL game within 75 miles of its home market if a game does not sell all of its non-premium seating. For this reason, until the blackout was suspended in 2015, the Cowboys restricted capacity to 80,000 seats at AT&T Stadium, a stadium that can hold over 100,000 spectators at full capacity; likewise, the Los Angeles Rams cap capacity at the 93,607-seat Los Angeles Memorial Coliseum to 80,000 seats for most games. Oakland–Alameda County Coliseum, the stadium that hosts the Oakland Raiders, has over 60,000 seats, but the team has restricted capacity to under 57,000 in more recent seasons.[4] In the opposite direction, the league has a firm minimum on the number of seats an NFL stadium should have; since 1971 the league has not allowed any stadium under 50,000 seats to host a full-time NFL team (not counting the StubHub Center, there have been two exceptions to this; 45,000-seat Metropolitan Stadium in Minnesota was not replaced until 1982, and 40,000-seat Vanderbilt Stadium hosted the Tennessee Oilers for one season in 1998 after a planned two-year residency in Memphis was cut in half). In normal circumstances, all NFL stadiums are all-seaters.

text: Legend[edit]

text:
Denotes stadium with a retractable roof.

Denotes stadium with a fixed roof.

text: List of current stadiums[edit]

text: Some stadiums can be expanded to fit larger crowds for other events such as concerts or conventions. Official seating capacities do not include standing room.

text:
Image
Name
Seating capacity
Location
Playing surface
Roof type
Team(s)
Opened
Ref(s)

Arrowhead Stadium
76,416
Kansas City, Missouri
Latitude 36 Bermuda Grass
Open
Kansas City Chiefs
1972
[5]

AT&T Stadium
80,000
Arlington, Texas
Matrix RealGrass artificial turf
Retractable
Dallas Cowboys
2009
[6][7]

Bank of America Stadium
75,419
Charlotte, North Carolina
Voyager Bermuda Grass
Open
Carolina Panthers
1996
[8]

CenturyLink Field
68,000
Seattle, Washington
FieldTurf Revolution
Open
Seattle Seahawks
2002
[9]

FedExField
82,000
Landover, Maryland
Latitude 36 Bermuda Grass
Open
Washington Redskins
1997
[10]

FirstEnergy Stadium
67,895
Cleveland, Ohio
Kentucky Bluegrass
Open
Cleveland Browns
1999
[11][12]

Ford Field
65,000
Detroit, Michigan
FieldTurf Classic HD
Fixed
Detroit Lions
2002
[13]

Gillette Stadium
66,829
Foxborough, Massachusetts
FieldTurf Revolution
Open
New England Patriots
2002
[14]

Hard Rock Stadium
65,326
Miami Gardens, Florida
Platinum TE Paspalum
Open
Miami Dolphins
1987
[15]

Heinz Field
68,400
Pittsburgh, Pennsylvania
Kentucky Bluegrass
Open
Pittsburgh Steelers
2001
[16]

Lambeau Field
81,435
Green Bay, Wisconsin
Desso GrassMaster[17]
Open
Green Bay Packers
1957
[18]

Levi's Stadium
68,500
Santa Clara, California
Tifway II Bermuda Grass / Perennial Ryegrass mixture
Open
San Francisco 49ers
2014
[19]

Lincoln Financial Field
69,596
Philadelphia, Pennsylvania
Desso GrassMaster
Open
Philadelphia Eagles
2003
[20]

Los Angeles Memorial Coliseum
93,607
Los Angeles, California
Santa Ana Bermuda Grass
Open
Los Angeles Rams
1923
[21]

Lucas Oil Stadium
67,000
Indianapolis, Indiana
FieldTurf Classic HD
Retractable
Indianapolis Colts
2008
[22]

M&T Bank Stadium
71,008
Baltimore, Maryland
Tifway 419 Bermuda Grass
Open
Baltimore Ravens
1998
[23]

Mercedes-Benz Superdome
73,208
New Orleans, Louisiana
UBU Sports Speed Series S5-M Synthetic Turf[24]
Fixed
New Orleans Saints
1975
[25]

Mercedes-Benz Stadium
71,000
Atlanta, Georgia
FieldTurf Revolution[26]
Retractable
Atlanta Falcons
2017
[27]

MetLife Stadium
82,500
East Rutherford, New Jersey
UBU Sports Speed Series S5-M Synthetic Turf[28]
Open
New York Giants
New York Jets
2010
[29]

New Era Field
71,608
Orchard Park, New York
A-Turf Titan 50 (artificial)[30]
Open
Buffalo Bills
1973
[30]

Nissan Stadium
69,143
Nashville, Tennessee
TifSport Bermuda Grass
Open
Tennessee Titans
1999
[31]

NRG Stadium
72,220
Houston, Texas
UBU Sports Speed Series S5-M Synthetic Turf [32]
Retractable
Houston Texans
2002
[33]

Oakland–Alameda County Coliseum
53,286
Oakland, California
Tifway II Bermuda Grass
Open
Oakland Raiders
1966
[34]

Paul Brown Stadium
65,515
Cincinnati, Ohio
UBU Speed Series S5-M Synthetic Turf
Open
Cincinnati Bengals
2000
[35]

Raymond James Stadium
65,890
Tampa, Florida
Tifway 419 Bermuda Grass
Open
Tampa Bay Buccaneers
1998
[36]

Soldier Field
61,500
Chicago, Illinois
Kentucky Bluegrass
Open
Chicago Bears
1924[nb 1]
[37]

Sports Authority Field at Mile High
76,125
Denver, Colorado
Kentucky Bluegrass
Open
Denver Broncos
2001
[38]

StubHub Center
27,000
Carson, California
Bandera Bermuda Grass
Open
Los Angeles Chargers
2003
[39]

TIAA Bank Field
67,246
Jacksonville, Florida
Tifway 419 Bermuda Grass
Open
Jacksonville Jaguars
1995
[40]

University of Phoenix Stadium
63,400
Glendale, Arizona
Tifway 419 Bermuda Grass
Retractable
Arizona Cardinals
2006
[41]

U.S. Bank Stadium
66,655
Minneapolis, Minnesota
UBU Speed Series S5-M Synthetic Turf[42]
Fixed
Minnesota Vikings
2016
[43]

text: Map of current stadiums[edit]

text: Additional stadiums[edit]

text:
Image
Stadium
Capacity
Location
Playing surface
Roof type
Event(s)
Opened
Ref(s)

Camping World Stadium
65,000
Orlando, Florida
AstroTurf GameDay Grass 3D
Open
Pro Bowl
1936[nb 2]

Estadio Azteca
110,000
Mexico City, Mexico
Grass
Open
NFL International Series
1966

Tottenham Hotspur Stadium
62,062
London, England
Artificial turf
Open
NFL International Series
2018
[44]

Tom Benson Hall of Fame Stadium
22,364
Canton, Ohio
FieldTurf Classic HD
Open
Hall of Fame Game
1938[nb 3]
[45]

Wembley Stadium
86,000[nb 4]
London, England
Desso GrassMaster
Partially retractable
NFL International Series
2007

text: Future stadiums[edit]

text:
Under construction

Stadium
Capacity
Location
Playing surface
Roof type
Team(s)
Opening
Ref(s)

Las Vegas Stadium
65,000
Paradise, Nevada
Grass
Fixed
Oakland Raiders*
2020
[46]

Los Angeles Stadium at Hollywood Park
70,240
Inglewood, California
Artificial turf
Fixed
Los Angeles Rams
Los Angeles Chargers
2020
[47]

text:
Proposed

Stadium
Capacity
Location
Playing surface
Roof type
Team(s)
Opening
Ref(s)

New Era Field II

Buffalo, New York
Grass
Open
Buffalo Bills

text: *In 2020 the Oakland Raiders will move to Las Vegas and become the Las Vegas Raiders


document_title: Bleach (season 16)

question_text: when does the fullbring arc start in bleach

text: Bleach (season 16)

text:
Lost Agent Arc

The cover of the first DVD compilation released by Aniplex of Lost Agent Arc

Country of origin
Japan

No. of episodes
24

Release

Original network
TV Tokyo

Original release
October 11, 2011 (2011-10-11) – March 27, 2012 (2012-03-27)

Season chronology

← Previous
Season 15

List of Bleach episodes

text: The sixteenth season of the Bleach anime series is known as the Lost Agent arc (死神代行消失篇, Shinigami Daikō Shōshitsu hen).[1] It is directed by Noriyuki Abe, and produced by TV Tokyo, Dentsu and Studio Pierrot.[2] Based on Tite Kubo's manga series, the season is set seventeen months after Ichigo Kurosaki lost his Soul Reaper powers and meets a man known as Kūgo Ginjō who proposes him to recover them.

text: The season aired from October 2011 to March 2012.[3] Aniplex collected it in six DVD volumes between August 22, 2012 and January 23, 2013.[4][5] The episodes of this season use three pieces of theme music; one opening and two endings. The opening theme is "Harukaze" by Scandal.[2] The first ending theme, "Re:pray" by Aimer is used from episodes 343 to 354[2] and the second ending theme, "MASK" by Aqua Timez is used from episode 355 to 366.

text: Episode list[edit]

text:
No.
Title
Original airdate
English airdate

343
"3rd Year High School Student! Dressed Up, and a New Chapter Begins!"
"Kōkō 3 Nensei! Yosoi Arata ni Shinshō Kaishi!" (高校３年生！装い新たに新章開始！)
October 11, 2011
May 3, 2014

Seventeen months after the defeat of Sōsuke Aizen at the cost of his Soul Reaper powers, Ichigo Kurosaki has been living in peace as a third year high school student. On the way home from school, Ichigo incapacitates a thief and returns the stolen bag to its owner. The next day, the thief and his gang seek out Ichigo at his school and are confronted by Uryū Ishida. Elsewhere, the owner of the stolen bag meets with his friends revealing he has found Ichigo.

344
"A Dispute in School!? Ichigo and Uryū, Fight Together!"
"Gakkō Kan Kōsō!? Ichigo to Uryū, Kyōtou!" (学校間抗争!?一護と雨竜、共闘！)
October 25, 2011
May 10, 2014

Ichigo and Uryū dispatch the gang with ease but are interrupted when Ichigo's part-time job boss, Ikumi Unagiya, kidnaps and forces him to work. Their client, the owner of the stolen bag, requests an investigation on Isshin Kurosaki, Ichigo's father. Ichigo declines but is intrigued when the owner reveals that one of his younger sisters, Karin Kurosaki, had been visiting Kisuke Urahara. The owner introduces himself as Kūgo Ginjō, gives Ichigo a Xcution business card and cryptically warns him to act before his family is hurt. Uryū, passing by Ichigo's house, pursues a strange man and is critically injured as a result.

345
"Uryū is Attacked, A Threat Draws Near the Friends!"
"Osowareta Uryū, Nakama-tachi ni Semaru Kyōi!" (襲われた雨竜、仲間達に迫る脅威！)
October 31, 2011
May 17, 2014

While walking at night, Ichigo decides to forget his past and throws his substitute badge into the river. Later, he hears from Orihime Inoue that Uryū is in the hospital. At the hospital, Ryūken Ishida sends Ichigo home and reveals to Orihime the assailant was a human with powers and cautions her to be careful. The next day, Ichigo's friends, Keigo Asano and Mizuiro Kojima, are attacked by the thief whom Ichigo had stopped prior. Ichigo saves them and meets Uryū's assailant who flees when Ryūken arrives. Ichigo, realizing he is being excluded from information due to his lack of powers, decides to contact Xcution.

346
"The Man with the Fullbring Ability: Kūgo Ginjō"
"Furuburingu no Nōryokusha: Ginjō Kūgo" (完現術の能力者・銀城空吾)
November 1, 2011
May 31, 2014

After contacting Ginjō, Ichigo is led to the Xcution headquarters and learns its members possess the ability dubbed as Fullbring, which allows them to manipulate the souls of inanimate objects. The cause of the power are residual spiritual energy from hollows who attacked their pregnant mothers. Yasutora "Chad" Sado, who had been missing, appears at the headquarters, shocking Ichigo. Ginjō reveals that Xcution plans to restore Ichigo's Soul Reaper powers in order to rid themselves of their Fullbring abilities. Ichigo declines, stating that he is only seeking information his family and friends are hiding from him.

347
"A Crisis Sneaking up on the Kurosaki Family!? Ichigo's Confusion!"
"Kurosaki-ka ni Shinobiyoru Kiki!? Ichigo no Mayoi!" (黒崎家に忍び寄る危機!?一護の迷い！)
November 8, 2011
June 7, 2014

Uryū's assailant stabs an incomplete hollow and asks for its cooperation. Ichigo returns home and resumes his life. Chad attempts to convince Ichigo to accept Xcution's offer, stating that Ichigo himself wants the power to protect his loved ones. While walking through town, Ichigo sees Uryū's assailant and pursues him but runs into his other younger sister, Yuzu Kurosaki, on the way. The hollow attacks them and are saved when Ginjō dispatches it. As a result, Ichigo returns to Xcution and accepts their offer, and Ginjō returns Ichigo's substitute badge back to him.

348
"Power of the Substitute Badge, Ichigo's 'Pride'!"
"Daikōshō no Chikara, Ichigo no "Hokori"!" (代行証の力、一護の“誇り”！)
November 15, 2011
June 14, 2014

The next day, Ichigo is called in to Xcution headquarters to learn how to use the Fullbring abilities. Ichigo is shrunken and placed in a dollhouse by Riruka Dokugamine, where he has to defeat an aggressive pig plushie under a time limit set by Giriko Kutsuzawa. When Chad advises Ichigo to use his pride, Ichigo uses his substitute badge as the focal item to materialize his Fullbring.

349
"Next Target, The Devil's Hand Aims at Orihime!"
"Tsugi no Hyōteki, Orihime o Nerau Ma no Te!" (次の標的、織姫を狙う魔の手！)
November 22, 2011
June 21, 2014

Ichigo defeats the pig plushie with his Fullbring and is freed from the dollhouse. Elsewhere, Orihime is confronted by Moe Shishigawara, who intends to kill her. Shishigawara is then interrupted by his superior, Uryū's assailant, who is revealed to be Shūkurō Tsukishima. Tsukishima prepares to punish Shishigawara for going against his orders, but Orihime decides to intervene.

350
"The Man Who Killed the Shinigami Substitute!? Tsukishima Makes His Move"
"Shinigami Daikō o Koroshita Otoko!? Ugokidasu Tsukishima" (死神代行を殺した男!?動き出す月島)
November 29, 2011
June 28, 2014

Tsukishima pretends to impale Orihime's chest and leaves her. Although Orihime suffered no cuts, she starts having a vague idea that Tsukishima was her friend. Unwilling to worry Ichigo about what happened, she only tells Chad about Tsukishima. Aware that Orihime is hiding information from him, Ichigo goes back to Xcution headquarters to continue his training to help his friends.

351
"Fullbring, The Detested Power!"
"Furuburingu, Imikirawareta Chikara!" (フルブリング、忌み嫌われた力！)
December 6, 2011
July 12, 2014

Ichigo continues his training, but desires to actually battle one of the members of Xcution. Ginjō suggests that Jackie Tristan should be his opponent, but she refuses and storms off. Meanwhile, Tsukishima sends Shishigawara to tail Chad. However, while Chad is wary of Shishigawara's presence, no attack on him is attempted. Later, Jackie decides that she will fight Ichigo in a fish tank after seeing him pass his training in a bird cage, both set up by Riruka. She fully introduces herself, activates her Fullbring using her boots and proceeds to attack a surprised Ichigo.

352
"Tsukishima Attacks! The Training Has Been Thwarted"
"Tsukishima, Kyōshū! Bōgaisareta Shugyō" (月島、強襲！妨害された修行)
December 13, 2011
July 19, 2014

Ichigo continues his training with Jackie. While at first Jackie overwhelms him with her more experienced powers, Ichigo is able to activate a power of Fullbring known as Bringer Light to gain the advantage. As they go on with the battle, Ichigo's powers go out of control, but insist that he can still fight despite Jackie's insistence that they stop. It is then that Tsukishima attacks Xcution, wanting to kill Ichigo. When Tsukishima cuts the fish tank containing Ichigo and Jackie, Ichigo appears, revealing the next stage of his Fullbring.

353
"Ichigo, Mastering the Fullbring!"
"Ichigo, Furuburingu o Tsukaikonase!" (一護、完現術を使いこなせ！)
December 20, 2011
July 26, 2014

Ichigo, Chad and Xcution start their battle with Tsukishima. The battle is taken outside when Chad attacks Tsukishima before he reveals he was the one who attacked Uryū and Orihime, but Ichigo finds it out anyway. Enraged he starts to battle Tsukishima, but the expert Fullbringer overwhelms him. Ginjō then gets in the way and battles with Tsukishima instead, the two being more evenly matched. Yet Ichigo, who cannot just stand there and watch, attacks again and is able to land a hit, but is stopped by Yukio Hans Vorarlberna, who then proceeds to stop Tsukishima himself.

354
"Ichigo vs. Ginjō! To the Game's Space"
"Ichigo tai Ginjō, Gēmu no Kūkan e" (一護vs銀城、ゲームの空間へ)
December 27, 2011
August 2, 2014

While Ichigo is fully protected by Yukio's Fullbring, Chad, Ginjō and Riruka successfully manage to force Tsukishima to retreat. The group then moves to their second hideout to ponder what Tsukishima's motives really were, but they soon come to realize that they have been overthinking this. While Orihime heals Uryū, the two discuss the new threat but are unable to figure out if all the incidents so far were from the same culprit. Orihime later runs into Chad, who brings her back to the Xcution hideout to heal Ichigo, who has been training with Ginjō inside Yukio's Fullbring in a video game setting. Elsewhere, Urahara and Isshin plan to collect spiritual energy inside a vat with the help of a Soul Reaper, who is none other than Rukia Kuchiki.

355
"Shinigami at War! New Year in Seireitei Special!"
"Shinigami Sansen! Seireitei mo Oshōgatsu SP!" (死神参戦！瀞霊廷もお正月SP！)
January 10, 2012
August 9, 2014

During the time skip of the seventeen months, the Soul Reapers of the Soul Society celebrate the new year. Izuru Kira is tasked to organize a special event for this occasion, though at first he was reluctant to participate. He hosts a friendly kite-flying activity, but it slowly turns into a chaotic competition among many of the squad divisions. Kira attempts to stop the chaos, but his plan ultimately fails. Later on, Rukia prepares for an upcoming ceremonial dance her late sister had been in many years ago, but she is unimpressed with her own dancing abilities. Renji Abarai decides to help her out, but she gets angry when he later accidentally spills ink on her ceremonial kimono and tells him to leave. After Rukia is given her late sister's kimono instead, she realizes that Renji was trying to help relax her so she would not worry so much about the dance. Rukia sends a letter of apology to Renji, who was able to come to the dance which turns out to be a huge success.

356
"Friend or Foe!? Ginjō's True Intentions!"
"Teki ka Mikata ka!? Ginjō no Mienai Kokoro!" (敵か味方か!?銀城の見えない心！)
January 17, 2012
August 16, 2014

Ichigo continues his training with Ginjō while Orihime heals him. Yet when Ginjō blinds him and starts to say antagonastic things to make Ichigo angry, Ichigo begins to doubt Ginjō's true intentions. When Ginjō claims that he will kill Chad and Orihime, Ichigo is able to notice his spiritual pressure. Ichigo then manages to wound Ginjō with his Fullbring, reaching its final level, and Ginjō apologizes for his acting.

357
"Tsukishima's Ability, the Danger is Drawing Near!"
"Shinobiyoru Kyōi... Tsukishima no Nōryoku!" (忍び寄る脅威…月島の能力！)
January 24, 2012
August 23, 2014

After Ichigo achieves the final level of Fullbring, he spends his time perfecting it. With Xcution deciding to protect Ichigo so that they can complete their goal, Riruka goes to search Chad and Orihime, who are investigating Tsukishima. Riruka ends being ambushed by Tsukishima, who attacks her with his Fullbring. Tsukishima then confronts Chad and Orihime, who are unable to kill him as a result of his Fullbring causing him to be part of their memories.

358
"Clash!? Xcution attacks Ginjō"
"Gekitotsu!? Ginjō o Osou Ekusukyūshon" (激突!?銀城を襲うXCUTION)
January 31, 2012
September 6, 2014

After Ichigo puts the finishing touches on completing his Fullbring, Ginjō tells him to go home to see his sisters, but Tsukishima activates his Fullbring that was placed on Ichigo's friends and sisters in order to make them believe that he is a close relative of the Kurosaki family. After running out, Ichigo encounters Ginjō, who tells Ichigo that all the other members of Xcution have fallen under Tsukishima's control.

359
"The Sorrowful Battle! Ichigo vs. Sado & Orihime"
"Kanashimi no Tatakai! Ichigo tai Sado to Orihime" (哀しみの戦い！一護VS茶渡＆織姫)
February 7, 2012
September 13, 2014

Ichigo and Ginjō, figuring out Tsukishima's Fullbring can manipulate the memories of the people he cuts down, are found out by Yukio, who brings them to Tsukishima's mansion. The two are welcomed by Ichigo's affected friends and sisters, but Ichigo, unable to fight with all of them in the crosshairs, runs away to a safer location, only to be stopped by the brainwashed Xcution. Ginjō destroys the staircase and takes on his fellow members himself while Ichigo fights Tsukishima. Ichigo is able to gain the upper hand with his Fullbring and severely injures Tsukishima's arm. However, Chad and Orihime, also affected, arrive and stop him from finishing Tsukishima off, as they explain how he has been a part of their lives from the start.

360
"Ichigo vs Uryū!? Who is the Traitor!?"
"Ichigo tai Uryū!? Uragirimono wa Dare da!" (一護vs雨竜!?裏切り者は誰だ！)
February 14, 2012
September 20, 2014

Chad and Orihime, who believe Ichigo has gone crazy, try to prevent him from attacking Tsukishima, even when the fight is taken outside. Meanwhile, Ginjō, while confronting his fellow members, runs into trouble with Shishigawara and his lucky punches. An overwhelmed Ichigo is soon about to be slashed by Tsukishima, but Ginjō takes the hit instead. After Ginjō seems to be unaffected, Uryū suddenly arrives and claims that Ginjō was his assailant instead of Tsukishima. Before Ichigo can react, he is stuck down by Ginjō, who reveals that he allowed Tsukishima to slash him twice to return to his original self. He stabs Ichigo with his sword and says he will take Ichigo's Fullbring.

361
"A New Appearance! The Gotei 13, Arrives!"
"Arata na Sugata! Gotei Jūsan-tai, Kenzan!" (新たな姿！護廷十三隊、見参！)
February 21, 2012
September 27, 2014

Ginjō is able to take Ichigo's Fullbring and apply its power to his own. Unable to do anything about his situation, Ichigo falls deep into despair and runs after Ginjō, demanding for Ginjō to give him his power back. Ichigo is then impaled by a sword held by Rukia which causes him to become a Soul Reaper once again. The sword is revealed to possess the powers from the Thirteen Court Guard Squads in order to assist Ichigo in his fight against Ginjō. Ichigo attacks Ginjō with a Getsuga Tenshō, which is powerful enough to clear away a thunderstorm and slice Tsukishima's mansion in half.

362
"Revival! Substitute Shinigami: Ichigo Kurosaki!"
"Fukkatsu! Shinigami Daikō: Kurosaki Ichigo!" (復活！死神代行･黒崎一護！)
February 28, 2012
October 4, 2014

Ichigo eventually overpowers Ginjō using his regained Soul Reaper powers, and he also learns that he regained his powers, thanks to the spiritual energies given by all of the captains and lieutenants. Tōshirō Hitsugaya reveals that Ginjō was the first Substitute Soul Reaper. Meanwhile, Chad and Orihime rush to Ichigo, confused as to why Ginjō is being attacked. Tsukishima appears behind them and tries to break their minds by adding new memories to their past, but Urahara and Isshin knock them out. As promised, Ginjō gives the other Xcution members new powers of their own. Ichigo attempts to take them down, but Yukio uses his new powers to protect them and separate the others. Kenpachi Zaraki quickly takes care of Kutsuzawa and cuts him in half, killing him instantly.

363
"Fierce Fight! Shinigami vs. XCUTION!"
"Gekitō! Shinigami tai Ekusukyūshon!" (激闘！死神vsXCUTION！)
March 6, 2012
October 11, 2014

Uryū comes to assist Ichigo in his battle against Ginjō. Byakuya Kuchiki prepares to start fighting Tsukishima while Riruka ambushes Rukia using stuffed animals. Renji encounters Jackie and defeats her without the use of his zanpakutō, having trained to fight an opponent at Aizen's level. As Yukio then attempts to destroy the dimension where Renji and Jackie are situated, he is confronted by Hitsugaya. Hitsugaya manages to capture Yukio in ice and attempts to force him to free his comrades. Meanwhile, Ikkaku Madarame confronts Shishigawara, managing to find his Fullbring's weakness and overpower him.

364
"Desperate Struggle!? Byakuya's Troubled Memories"
"Zettai Zetsumei!? Kioku o Hasamareta Byakuya" (絶体絶命!?記憶を挟まれた白哉)
March 13, 2012
October 18, 2014

Tsukishima, revealing that he can use his Fullbring on inanimate objects as well, hits Byakuya's zanpakuto, thus learning all he needs to know about Byakuya's weaknesses. Meanwhile, Rukia fights against Riruka and gets her body trapped in a stuffed animal, and attempting to fight with kido was ineffective. Riruka tells about how the Fullbringers, through their tragic childhood pasts, were gathered together to form Xcution. Using this distraction as an opportunity, Rukia touches Riruka with her zanpakuto, but Riruka, unable to dodge Rukia, uses a special ability from her Fullbring to vanish while causing Rukia to collapse. Meanwhile, Tsukishima is able to overwhelm Byakuya and manages to inflict a serious injury. However, Byakuya shoots out his bankai from his hand, piercing Tsukishima's chest. Before Tsukishima falls to the ground, Byakuya thanks him for an exciting battle.

365
"Ichigo vs. Ginjō! Secret of the Substitute Badge"
"Ichigo tai Ginjō! Daikōshō no Himitsu" (一護VS銀城！代行証の秘密)
March 20, 2012
October 25, 2014

Ichigo and Uryū continue their battle with Ginjō. However, when Ginjō senses that Tsukishima is near death, he tells Ichigo they have no longer have a reason to fight while revealing that the Substitute Soul Reapers have been constantly spied on by the Soul Society to monitor their actions. However, using his bankai to destroy the dimension with the other Soul Reapers looking on, Ichigo admits knowing about the revelation yet still intends to trust the Soul Society for aiding him in protecting the people close to him. This has Ginjō releases his own bankai in response to Ichigo's resolve as the two have a final clash.

366
"Changing History, Unchanging Heart"
"Kawariyuku Rekishi, Kawaranu Kokoro" (変わりゆく歴史、変わらぬ心)
March 27, 2012
November 1, 2014

The battle between Ichigo and Ginjō comes to a close when the latter receives a mortal wound. Just as Ginjō is about to die, the dying Tsukishima tries to kill Ichigo but is stopped by Riruka as she emerges from Rukia's body. Shishigawa proceeds to carry Tsukishima away while the other surviving Xcution members decide to separate. Ichigo later returns to the Soul Society and requests that Genryūsai Shigekuni Yamamoto let Ginjō's body be buried within the human world as the last thing he can do for him. Yamamoto agrees just as Ichigo accepts to continue being a Substitute Soul Reaper. Rukia sees Ichigo off, recalling their time together and silently thanks him. Ichigo returns to Karakura Town where he is greeted by his friends and family.