document_title: Panic! at the Disco

question_text: when did panic at the disco get signed

question_tokens: when did panic at the disco get signed

text: Panic! at the Disco

text: History

text: Formation and early years (2004–2005)

text: Panic! at the Disco was formed in 2004 in the suburban area of Summerlin, Las Vegas, by childhood friends Ryan Ross, who sang and played guitar, and Spencer Smith, who played drums.[5] They both attended Bishop Gorman High School, and they began playing music together in ninth grade.[6][7] They invited friend Brent Wilson from nearby Palo Verde High School to join on bass, and Wilson invited classmate Brendon Urie to try out on guitar.[8] The quartet soon began rehearsing in Smith's grandmother's living room.[9] Urie grew up in a Mormon family in Las Vegas and early on missed some rehearsals to go to church.[10] Ross initially was the lead vocalist for the group, but after hearing Urie sing back-up during rehearsals, the group decided to make him the lead.[11] Initially, Panic! at the Disco was a Blink-182 cover band.[12]

text: In the group's early experimental demos, the band created a sound that was different from the many death-metal groups that were performing in Las Vegas at the time. The band signed a recording contract without having performed a live show. "We never went out and played shows before we got signed because the music scene in Las Vegas is so bad. There's not a lot going on," Smith said. "In our practice space, there were something like 30 bands, and every day we'd walk into that room and hear the exact same death-metal bands. So it kind of influenced us to be different. And to get out of Las Vegas."[13] Urie began working at Tropical Smoothie Cafe in Summerlin to afford rent for the band's new practice space.[14] The four left their educations behind to concentrate on music; Ross had a falling out with his father when he dropped out of college,[9] and when Urie dropped out of high school his parents kicked him out of the house. He stayed with friends until he could afford to rent an apartment.[15]

text: Ross and Urie soon began to commit to their laptops the demos they had been developing and posted three early demos ("Time to Dance," "Nails for Breakfast, Tacks for Snacks" and "Camisado") on PureVolume.[8] On a whim, they sent a link to Fall Out Boy bassist Pete Wentz via a LiveJournal account. Wentz, who was in Los Angeles at the time with the rest of Fall Out Boy working on the band's major-label debut, From Under the Cork Tree, drove to Las Vegas to meet with the young, unsigned band.[13] Upon hearing "two to three" songs during band practice, Wentz was impressed and immediately wanted the band to sign to his Fueled by Ramen imprint label Decaydance Records, which made the band the first on the new label. Around December 2004, the group signed to the label.[11] As news broke that Wentz had signed Panic! (who had yet to perform a single live show), fans on the internet began to bash the group. "Almost right away we knew what was going to happen," Ross explained in a 2006 interview. "We had two songs online and people were already making assumptions on what kind of band we were and what we were going to sound like."[16]

text: Meanwhile, Wentz began to hype the band wherever possible: from wearing "Pete! at the Disco" T-shirts onstage to mentioning the group in interviews. Wentz gave a quick shout-out to the band during a press junket on the day before the 2005 MTV Video Music Awards: "I've got a couple of bands coming out soon on Decaydance, one being this band called Panic! at the Disco," Wentz said. "Their record is going to be your next favorite record. It's called A Fever You Can't Sweat Out – get it before your little brother does."[16] At the time of the band's signing, all of the band members were still in high school (with the exception of Ross, who was forced to quit UNLV). Urie graduated in May 2005, and Wilson and Smith finished school online as the band left for College Park, Maryland, to record their debut record.[8]

text: A Fever You Can't Sweat Out (2005–2007)

text: The band relocated to College Park, Maryland, to record its debut album from June to September 2005. Although they only had shells of songs when they arrived, the rest of the album shaped up fast through the marathon session. "We didn't have a day off in the five-and-a-half weeks we were there, 12 or 14 hours a day," Ross said in a 2005 interview.[8] "We were making things up in our heads that weren't there, and on top of the stress of trying to finish the record, we were living in a one-bedroom apartment with four people on bunk beds," recalled Ross. "Everyone got on everybody's nerves. Someone would write a new part for a song and someone else would say they didn't like it just because you ate their cereal that morning."[17]

text: The album is split into two halves: the first half is mostly electronic dance punk, while the second half features Vaudevillian piano, strings, and accordion.[12] The band grew tired of writing only with drum machines and keyboards and, inspired by film scores (specifically the works of Danny Elfman and Jon Brion) decided to write a completely different half.[11] "By the end of that, we were completely exhausted," said Ross of the studio sessions. After its completion, "we had two weeks to come home and learn how to be a band," Ross said.[8] The group played its first live show during the summer of 2005 at local Las Vegas music venue The Alley on West Charleston.[8] Afterwards, the band toured nationally on the Nintendo Fusion Tour with mentors Fall Out Boy, as well as Motion City Soundtrack, The Starting Line, and Boys Night Out for the rest of 2005.[18]

text: The band's debut album, A Fever You Can't Sweat Out, was released September 27, 2005. Sales began relatively slow. It debuted at No. 112 on the Billboard 200 album chart, No. 6 on the Billboard Independent Albums chart, and No. 1 on the Billboard Top Heatseekers chart, with nearly 10,000 albums sold in the first week of release. Within a span of four months, Panic! would see the video for its first single, "I Write Sins Not Tragedies," rocket up the Billboard Hot 100 as sales of Fever passed the 500,000 mark.[16] At the end of March 2006, the band announced a headlining tour. By August, the group's debut record was certified platinum by the Recording Industry Association of America (RIAA), and the music video for "I Write Sins Not Tragedies" won Video of the Year at the 2006 MTV Video Music Awards.[19] "Some aspects of the fame are annoying, but at the end of the day it's something we're most grateful for. It's certainly opened the door to a whole new batch of opportunities," Ross said of the band's newfound fame and instant success.[16]

text: In May 2006, Panic! at the Disco announced that original bassist Brent Wilson had left the band, "posting a statement that was both diplomatic and entirely inscrutable […] yet [failing] to mention any reason why Wilson is leaving Panic," according to MTV News.[20] He was replaced in the band by Jon Walker. In June, Wilson asserted to MTV News that he was kicked out of the band via a phone call. "It was done as a phone call and the only person who spoke was Spencer. Apparently, Brendon and Ryan were on the speakerphone too, but they didn't say a word. They never even said they were sorry," explained Wilson. Smith wrote a lengthy e-mail back to James Montgomery of MTV News, stating, in part, "We made the decision based on Brent's lack of responsibility and the fact that he wasn't progressing musically with the band," and revealed that Wilson did not write nor play any bass present on Fever: Instead, Urie recorded these parts.[21] Wilson demanded a cut in royalties, and threatened to take his former band to court.[22]

text: In 2006, the band supported The Academy Is... on the band's worldwide tour "Ambitious Ones and Smoking Guns" from January to May.[23] Beginning in June, the group headlined its first unnamed national tour, that would last until August.[24] During the group's performance at the 2006 Reading Festival in August, the band was greeted by excessive bottling, one of which hit Urie in the face that knocked him unconscious. Despite this, the band continued with its set after Urie recovered.[25] The band's second headlining tour, dubbed the Nothing Rhymes with Circus Tour, began in November. In roughly one year, Panic! at the Disco went from being the opening act on a five-band bill to the headliners on a massive arena tour.[26]

text: The Nothing Rhymes with Circus Tour feature the band's first highly theatrical live shows, which featured every song with dance numbers, skits, and tricks performed by a six-member troupe, as the band donned intricate costumes, loosely re-enacting moments from the songs.[27] Kelefa Sanneh of The New York Times noted the sudden success and circus-inspired tour of the young band in a concert review: "There’s something charming about watching a band trying to navigate sudden success, aided by a contortionist, a ribbon dancer and all the rest of it."[28] MTV News favorably likened its theme and wardrobe to "Janet Jackson's audience-dividing, hypersexual The Velvet Rope Tour."[29] The group, fresh off the major success of A Fever You Can't Sweat Out, took a break after non-stop touring, and the group members began formulating ideas for their next album together during the winter of 2006.[30]

text: Pretty. Odd. and  ...Live in Chicago (2007–2009)

text: After a short period of development regarding the ideas of the album, on March 6, 2007 the band arrived at a cabin in the rural mountains of Mount Charleston, Nevada and began the writing process for the new album.[31] After recording the new tracks and performing them live over the summer, the band returned to its native Las Vegas as well as the group's old rehearsal studio, where the band members wrote their debut record.[32] The band grew uninterested in the songs previously written and by August scrapped the entire new album (which Ross later revealed was "three-quarters" done)[33] and started over. "We wanted to approach these songs in the most basic form," Ross said. "We wrote them all on one acoustic guitar and with someone singing. I think that we kind of skipped that part of songwriting on the first record, and this time we're sort of paying attention to that. […] We've written a bunch of songs since we've been home [Las Vegas]. I think it's the most fun and the happiest we've been since we started." With simplicity the new focus and the old album shelved, the group settled in and began recording what would become Pretty. Odd.[32] In October, the band entered the Studio at the Palms at the Palms Casino Resort in Las Vegas to begin recording the album.[33]

text: In January 2008, the band unveiled a new logo and dropped the exclamation point from the group's name, becoming Panic at the Disco.[1] Released on March 21, 2008, Pretty. Odd. was described by the band as "more organic and mellower" than A Fever You Can't Sweat Out, as well as unintentionally and coincidentally similar to music of the Beatles, in both songwriting and scope.[34] The record debuted at number two on the US Billboard 200 chart, with first-day sales of 54,000, and first-week sales of 139,000 copies in the United States.[35] Those figures marked the band's biggest sales week to that date, beating a previous record held by A Fever You Can't Sweat Out (which sold 45,000 during the winter of 2006). The record also debuted at "Current Alternative Albums" chart and No. 2 on the "Digital Albums" chart, the latter of which accounted for 26 percent of the disc's overall sales.[36] The album charted high in various other countries and was eventually certified gold in the United Kingdom, however, Pretty. Odd. received relatively disappointing sales in the face of its predecessor.[37] Pretty. Odd. was, however, critically acclaimed in contrast to Fever: Barry Walters of Spin called Panic's debut album "embarrassing" while regarding the new record as "[daring] to be optimistically beautiful at a time when sadness and ugliness might have won them easier credibility."[38]

text: The band announced plans to headline the 2008 Honda Civic Tour in January 2008, which took up the majority of early touring for the album.[39] Motion City Soundtrack, the Hush Sound and Phantom Planet opened for the tour, which performed across North America from April 10 to July 14, 2008 .[40] Throughout October and November 2008, the band toured with Dashboard Confessional and The Cab on the Rock Band Live Tour promoting the video game Rock Band 2.[41][42]

text: As expected and predicted by several music publications, the band adopted a very different style for the touring in support of Pretty. Odd., in contrast to the dark, circus-themed elements of the band's previous stage shows.[43] Each show contained "woodsy set pieces, projections of flora and fauna, and mic stands wrapped in lights and flowers," and each band member dressed in a vest.[44] While reflecting on the theatrical nature of A Fever You Can't Sweat Out touring, Urie commented: "We did it and it was a lot of fun when we did it, but this time around I think we wanted to get back to a more intimate, personal setting, and scale it down a little bit." Ryan Ross explained that: "It's more about connecting with the audience and seeing what's gonna happen every night. It's not as scripted out and pre-planned. It makes it more exciting for us, and less monotonous every night."[44] A live album, ...Live in Chicago, based on live recordings from Chicago during the Honda Civic Tour, was released December 2, 2008.[45] An accompanying DVD contains photos from the tour, each music video from the album as well as behind-the-scenes footage of the videos and the tour, the short film Panic! at the Disco In: American Valley, and the documentary feature based on the tour, All In A Day's.[46]

text: Pretty. Odd.'s touring was also defined by a larger effort to remain environmentally conscious. On the tour, the band worked with two non-profit eco organizations: Reverb, which facilitates environmentally friendly touring; and Global Inheritance, which seeks to inspire more eco-activism.[44] In a 2008 interview, Ross revealed that the band traveling on a biodiesel bus, to re-using plastics, and recycling more backstage.[47] The band went as far as to print tour booklets on recycled paper, with soy ink, and organize an "eco-contest," in which profits from the tour went straight to environmental organizations.[44]

text: Lineup change and Vices & Virtues (2009–2012)

text: In spring 2009, the band began recording material for its third studio album.[48] However, on July 6, 2009, Ryan Ross and Jon Walker announced via the band's official website that the two were leaving the band.[49] In an interview following the split, Ross explained that he first brought the idea to Smith in late June 2009 over lunch: "Spencer and I had lunch and caught up for a while, and then the big question came up, like, 'Well, what do you want to do?' and I said, 'Well, I think it might be best if we kind of do our own thing for a while,' and he said, 'I'm glad you said that, because I was going to say the same thing,'" Ross recalled. "And there was really no argument, which is really the best way that could've worked out." Ross said the split was largely due to creative differences between him and Urie. Urie wanted the band to explore a more polished pop sound, while Ross – and, by extension, Walker – was interested in making retro-inspired rock.[50]

text: The news asserted that both tour plans with blink-182 in August 2009 and new album production "will continue as previously announced."[49] The following day, Alternative Press broke the news that "New Perspective," the first song recorded without Ross and Walker, would debut the following month on radio and as a part of the soundtrack to the film Jennifer's Body.[51] On July 10, 2009, Alternative Press also reported that the band had regained the exclamation point, becoming, once again, Panic! at the Disco. "New Perspective" was released on July 28, 2009.[52] Former guitarist of pop rock band The Cab, Ian Crawford and Dallon Weekes, frontman of indie rock band The Brobecks, filled in for Ross and Walker on tour during the blink-182 Summer Tour in August 2009.[53]

text: The band re-entered the studio during early 2010 and spent much of the year recording the group's third studio album.[48] During this time, touring bassist Dallon Weekes joined the band's official lineup along with Urie and Smith, making the band a three-piece. Although Weekes did not perform on the upcoming album, he was responsible for the conceptualization of the cover art of the album and was also featured on the album cover, masked and standing in the background behind Smith and Urie.[54] On January 18, 2011, the band revealed that an album titled Vices & Virtues would officially be released on March 22, 2011. The album was produced by Butch Walker and John Feldmann.[55] The record's first single, "The Ballad of Mona Lisa," was released digitally on February 1, 2011, with the music video being released February 8, 2011. Vices & Virtues was officially released March 22, 2011, to relatively positive critical reviews.[56]

text: The band began touring in support of the album, christened the Vices & Virtues Tour, in earnest beginning in February 2011.[57] The tour has sported the same electric, over-the-top theatricality the band was known for during the Fever era. "I really miss wearing costumes and makeup," Urie told Spin. "I love throwing a big production. I've recently been reading about Tesla coils and I'm trying to figure out how I can get one that sits on the stage and shoots sparks without hurting anybody."[58] The group was scheduled to play the Australian Soundwave Revolution festival in September/October but the festival was canceled. The band performed at the Counter-Revolution mini-festival, the festival that took its place.

text: On May 12, 2011, the band collaborated with indie pop band Fun. and the two groups embarked on an American tour, releasing a single together titled "C'mon." Panic! at the Disco contributed a new song "Mercenary" to the soundtrack for the video game Batman: Arkham City.[59]

text: Too Weird to Live, Too Rare to Die! (2012–2015)

text: After the Vices & Virtues tour cycle, Urie, Smith, and Weekes began writing and preparing for a fourth album. During the recording of the album, touring guitarist Ian Crawford, who joined the band in 2009 after the departure of Ryan Ross and Jon Walker, left the band citing his desire to make "real, genuine" music.[60] On July 15, 2013, the album was announced as Too Weird to Live, Too Rare to Die!, with a scheduled release date of October 8, 2013. The first single, "Miss Jackson," was released on July 15, 2013, along with its music video to promote the album. Panic! at the Disco opened for Fall Out Boy on the Save Rock And Roll Arena Tour with Kenneth Harris replacing Crawford.[61][62]

text: Shortly before the band began its first tour in support of the album, Smith wrote an open letter to fans regarding his abuse of alcohol and prescription medications since the recording of Pretty. Odd. Although Smith joined the band for the first handful of dates, he left the tour to "continue fighting addiction." Urie posted on the band's official website on August 7, 2013, that "It's become evident that Spencer still needs more time to take care of himself. I can't expect him to be fighting addiction one minute and be fully immersed in a national tour the next. With that said, the tour will continue without Spencer while he is away getting the help he needs."[63] Since Spencer's leave of absence, Dan Pawlovich of the band Valencia has filled in on tour.[64]

text: In an interview with Pure Fresh on September 23, 2014, Urie stated that he had already thought about ideas on the fifth studio album; however, he was not sure if it would be a Panic! at the Disco album, or a solo album.[65] Urie has also stated there are no current plans for Smith to return to the band.[66]

text: Departure of Spencer Smith and Death of a Bachelor (2015–2017)

text: On April 2, 2015, Smith announced that he had officially left the band.[67] That same month, Urie revealed in an interview with Kerrang! that he was working on new material for the band's fifth studio album.[68]

text: On April 20, 2015, Urie released "Hallelujah" as a single without any previous formal announcements.[69][70] It debuted on the Billboard Hot 100 at No. 40, the band's second highest ever after "I Write Sins Not Tragedies." The band performed at the KROQ Weenie Roast on May 16, 2015.[71] On September 1, 2015, another song from the fifth studio album, "Death of a Bachelor", premiered on an Apple Music broadcast hosted by Pete Wentz.[72] The second single, "Victorious" was released at the end of the month.[73] On October 22, 2015, through the band's official Facebook page, Urie announced the new album as Death of a Bachelor with a scheduled release date of January 15, 2016.[74] It is the first album written and composed by Urie with a team of writers, as the status of Weekes changed from an official member to that of a touring member once again. Weekes' status was rumored during the promotion of Death of a Bachelor that he was no longer an official member,[75][76] until it was confirmed by Weekes himself on October 24, 2015, via Twitter that he was "not contributing creatively anymore."[77] The third single "Emperor's New Clothes" was released on the same day, along with the official music video. "LA Devotee" was released November 26 as a promotional single.[78] On December 31, 2015, the band released "Don't Threaten Me with a Good Time."[79]

text: The band co-headlined the Weezer & Panic! at the Disco Summer Tour 2016 with Weezer from June to August 2016.[80] The band released a cover of Queen's "Bohemian Rhapsody" in August 2016, on the Suicide Squad soundtrack album.[81][82]

text: On September 22, 2016, the band released the music video for "LA Devotee." With the release came the announcement of the Death of a Bachelor Tour in 2017. MisterWives and Saint Motel were announced as the opening acts.[83] In a December 2016 interview, Urie said that he hoped to make a music video for every song on the album Death of a Bachelor.[84][85]

text: Departure of Dallon Weekes and Pray for the Wicked (2017–present)

text: On December 15, 2017, the band released their fourth live album All My Friends We're Glorious: Death of a Bachelor Live. It was released as a limited-edition double-vinyl and digital download.[86][87][88] Five days later, the band released a non-album Christmas song titled "Feels Like Christmas."[89] On December 27, bassist Dallon Weekes officially announced his departure from Panic! at the Disco after over eight years of performing in the band, subsequently shifting his focus as the frontman of the band I Don't Know How But They Found Me.[90] On March 19, 2018, the band played a surprise show in Cleveland, Ohio with new touring bassist, Nicole Row.[91][92] On March 21, 2018, the band released two new songs "Say Amen (Saturday Night)" and "(Fuck A) Silver Lining."[93] At the same time, the band also announced the Pray for the Wicked Tour and a new album called Pray for the Wicked.[94][95]

text: On June 7, 2018, the band performed at the fountains at the Bellagio prior to game 5 of the Stanley Cup Finals. The performance is said to have had sentimental value to the band as they took to the stage in their hometown.[96][97] The band also performed as a headliner at the Reading and Leeds Festival 2018 which lasted over the weekend from August 24 to 26, 2018.[98][99] On August 27, 2018, the band dropped the music video for the single "High Hopes".[100]

text: On September 22, 2018, the band announced that longtime touring guitarist Kenneth Harris would be dismissed following multiple allegations of sexual misconduct involving fans.[101] He was replaced by Mike Naran.[102]

text: Musical style and influences

text: This section needs to be updated. Please update this article to reflect recent events or newly available information. (August 2018)

text:
Panic! at the Disco – "I Write Sins Not Tragedies"

30-second sample from Panic! at the Disco "I Write Sins Not Tragedies", from the album A Fever You Can't Sweat Out.
Problems playing this file? See media help.

text: Panic! at the Disco have been known to change their sound each album. Musically, they have mainly been described as pop rock,[103][104][105][106] pop,[5][107] pop punk,[5][108][109] baroque pop,[110][111] electropop,[112][113] synth-pop,[110][114] dance-punk,[115] power pop,[116] alternative rock,[110][113][116][117] emo pop,[103][5][118][119] vaudeville,[120] and emo.[5][110][120]

text: Panic! at the Disco went on record many times saying that the group's second album would be completely different from A Fever You Can't Sweat Out, as Rolling Stone wrote in an article: "The group cemented its next direction with their first single, called "Nine in the Afternoon." "It's influenced by the music our parents listened to: the Beach Boys, the Kinks, the Beatles," says Ross. "Our new songs are more like classic rock than modern rock. We got older and started listening to different music – and this seems like the natural thing to do right now."[121] Pretty. Odd. has been described as being like "[Panic] dropping the entire Beatles catalog into a blender, adding some modern alternative ice and the horn section from Sonia Dada, then churning out a new-millennium Liverpool smoothie."[122] In his review of the band's live album, Stephen Thomas Erlewine noted, "...Pretty. Odd. suggests that they're becoming that rare thing in 2008: a pop-oriented rock band. They might not be doing this knowingly, but the results are entertaining all the same."[123] Urie has cited bands/artists such as Frank Sinatra, Queen, David Bowie, Weezer, Green Day and My Chemical Romance as his biggest influences.[124][125]

text: Band members

text: Current members

text: Brendon Urie – lead vocals, guitar, piano, keyboards (2004–present); bass guitar (2005–2010, 2015–present); drums (2015–present)

text: Former members

text:
Ryan Ross – lead guitar, vocals, piano, keyboards, synthesizers (2004–2009); lead vocals (2004)
Spencer Smith – drums, percussion (2004–2015; inactive 2013–2015)[67]
Brent Wilson – bass guitar (2004–2006)
Jon Walker – bass guitar, backing vocals, piano, keyboards, guitar (2006–2009)
Dallon Weekes – bass guitar, vocals, piano, keyboards, guitar (2010–2015; touring member 2009–2010, 2015–2017)

text: Discography

text:
A Fever You Can't Sweat Out (2005)
Pretty. Odd. (2008)
Vices & Virtues (2011)
Too Weird to Live, Too Rare to Die! (2013)
Death of a Bachelor (2016)
Pray for the Wicked (2018)

text: Tours

text: Headlining

text:
2005 Tour (2005)
Nothing Rhymes with Circus (2006)
Pretty. Odd. Tour (2008)
Vices & Virtues Tour (2011-12)
Too Weird to Live, Too Rare to Die! Tour (2014)[126]
Gospel Tour (2014)[127]
Death of a Bachelor Tour (2017)[128]
Pray for the Wicked Tour (2018-19)

text: Co-headlining

text:
Nintendo Fusion Tour (with Fall Out Boy, The Starting Line, Motion City Soundtrack and Boys Night Out) (2005)[129]
Honda Civic Tour (with Motion City Soundtrack, Death Cab for Cutie, Phantom Planet and The Hush Sound) (2008)[130]
Rock Band Live Tour (with Dashboard Confessional) (2008)[131]
Summer Tour 2016 (with Weezer) (2016)[80]

text: Opening Act

text:
Take Cover Tour (for Acceptance and The Receiving End of Sirens) (2005)[132]
Ambitious Ones and Smoking Guns Tour (for The Academy Is...) (2006)[133]
Truckstops & Statelines Tour (for The Academy Is...) (2006)[134][135]
Blink-182 in Concert (Blink-182) (2009)[136]
Save Rock and Roll Tour (for Fall Out Boy) (2013)[137][138]

text: Awards and nominations

text: American Music Awards

text:
Year
Category
Nominated work
Result
Ref.

2018
Favorite Artist - Alternative Rock
Panic! at the Disco
Won
[139]

text: Grammy Awards

text:
Year
Category
Nominated work
Result
Ref.

2017
Best Rock Album
Death of a Bachelor
Nominated
[140]

text: MTV Europe Music Awards

text:
Year
Category
Nominated work
Result
Ref.

2018
Best Alternative
Panic! at the Disco
Pending
[141]

text: MTV Video Music Awards

text:
Year
Category
Nominated work
Result
Ref.

2006
Video of the Year
"I Write Sins Not Tragedies"
Won
[142]

Best New Artist in a Video
Nominated
[143]

Best Group Video
Nominated
[142]

Best Rock Video
Nominated
[144]

Best Art Direction
Nominated
[145]

2008
Best Pop Video
"Nine in the Afternoon"
Nominated
[146]

Best Direction
Nominated
[147]

2016
Best Rock Video
"Victorious"
Nominated
[148]

2018
Best Rock Video
"Say Amen (Saturday Night)"
Nominated
[149]

text: Other Awards

text:
Year
Award
Category
Nominated work
Result
Ref.

2006
Teen Choice Awards
Rock Track
"I Write Sins Not Tragedies"
Nominated
[150]

TMF Awards
Best Video International
Won
[151]

2007
Los Premios MTV Latinoamérica
Best International Rock Group
Panic! at the Disco
Nominated
[152]

Kerrang! Awards
Best International Band
Nominated
[153]

2008
Los Premios MTV Latinoamérica
Best International Rock Group
Nominated
[154]

MTV Asia Awards
The Style Award
Won
[155]

Teen Choice Awards
Rock Track
"Nine in the Afternoon"
Nominated
[156]

2011
Kerrang! Awards
Best Single
"The Ballad of Mona Lisa"
Nominated
[157]

2014
Alternative Press Music Awards
Best Vocalist
Brendon Urie
Won
[158]

Artist of the Year
Panic! at the Disco
Nominated

2015
Best Bassist
Dallon Weekes
Nominated
[159]

Best Live Band
Panic! at the Disco
Nominated

Rock Sound Readers Poll
Video of the Year
"Emperor's New Clothes"
Won
[160]

2016
Alternative Press Music Awards
Best Music Video
Won
[161]

Song of the Year
"Hallelujah"
Won

Artist of the Year
Panic! at the Disco
Nominated
[162]

2017
People's Choice Awards
Favorite Group
Nominated
[163]

2018
Teen Choice Awards
Rock Artist
Panic! at the Disco
Nominated
[164]

Rock/Alternative Song
"High Hopes"
Nominated


document_title: Wedding anniversary

question_text: what is a traditional first wedding anniversary gift

root

text: Wedding anniversary

text: Official recognition[edit]

text: The historic origins of wedding anniversaries date back to the Holy Roman Empire, when husbands crowned their wives with a silver wreath on their twenty-fifth anniversary, and a gold wreath on the fiftieth. Later, principally in the twentieth century, commercialism led to the addition of more anniversaries being represented by a named gift.[1]

tag: p

text: In the Commonwealth realms, one can receive a message from the monarch for 60th, 65th, and 70th wedding anniversaries, and any wedding anniversary after that.[2] This is done by applying to Buckingham Palace in the United Kingdom, or to the Governor-General's office in the other Commonwealth realms.[3]

text: In Australia, where one can receive a letter of congratulations from the Governor-General on the 50th and all subsequent wedding anniversaries; the Prime Minister, the federal Opposition leader, local members of both state and federal parliaments, and state Governors may also send salutations for the same anniversaries.[4]

text: In Canada, one can also receive a message from the Governor-General for the 50th anniversary, and every fifth anniversary after that.[5]

text: In the United States, a couple can receive a greeting from the President for any wedding anniversary on or after the 50th.[6]

text: Roman Catholics may apply for a Papal blessing through their local diocese for wedding anniversaries of a special nature (25th, 50th, 60th, etc.).[7][8]

text: Celebration and gifts[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. (August 2018) (Learn how and when to remove this template message)

tag: table

text: The names of some anniversaries provide guidance for appropriate or traditional gifts for the spouses to give each other; if there is a party these can be brought by the guests or influence the theme or decoration. These gifts vary in different countries, but some years have well-established connections now common to most nations: 5th Wood, 10th Tin, 15th Crystal, 20th China, 25th Silver, 30th Pearl, 35th Jade, 40th Ruby, 45th Sapphire, 50th Gold, 60th Diamond, and 70th Platinum. In English speaking countries the first, wooden, gift was cut on the day of celebration and then presented to the wife as a finished article before the next two quarter days had passed. The modern tradition may have originated in medieval Germany where, if a married couple lived to celebrate the 25th anniversary of their wedding, the wife was presented by her friends and neighbours with a silver wreath to congratulate them for the good fortune that had prolonged the lives of the couple for so many years. On celebration of the 50th, the wife received a wreath of gold. Over time the number of symbols expanded and the German tradition came to assign gifts that had direct connections with each stage of married life. The symbols have changed over time. For example, in the United Kingdom, diamond was a well known symbol for the 75th anniversary, but this changed to the now more common 60th anniversary after Queen Victoria's 60 years on the throne was widely marked as her Diamond Jubilee.

text: The origins of the current gift conventions date to 1937.[citation needed] Before that, only the 1st, 5th, 10th, 15th, 20th, 25th, 50th, and 75th anniversaries had an associated gift. In 1937, the American National Retail Jeweler Association (now known as Jewelers of America as a result of an organizational merger) introduced an expanded list of gifts. The revamped list gave a gift for each year up to the 25th, and then for every fifth anniversary after that.[9]

text: Traditional and modern anniversary gifts [edit]

text: Lists of wedding anniversary gifts vary by country. The traditional and modern U.S. versions were compiled by librarians at the Chicago Public Library.[10][11][12][13]

text:
Year

Traditional (U.S.)

Traditional (U.K.)[14]

Modern list created by Chicago Public Library

1st

Paper

Cotton

Clock

2nd

Cotton

Paper

China

3rd

Leather

Crystal, glass

4th

Linen, silk

Fruit and flowers

Appliances (electrical)

5th

Wood

Silverware

6th

Iron

Sugar

Wood objects

7th

Wool, copper

Woollen

Desk sets / Pen and Pencil sets

8th

Bronze

Salt

Linens, lace

9th

Pottery

Copper

Leather goods

10th

Tin, aluminium

Tin

Diamond jewelry

11th

Steel

Fashion jewelry, accessories

12th

Silk

Silk and fine linen

Pearls, colored gems

13th

Lace

Textiles, furs

14th

Ivory

Gold jewelry

15th

Crystal

Watches

16th

Silver holloware

17th

Furniture

18th

Porcelain

19th

Bronze

20th

China

Platinum

21st

Brass, Nickel

22nd

Copper

23rd

Silver plate

24th

Opal

Musical instruments

25th

Silver

30th

Pearl

Diamond

35th

Coral, jade

Coral

Jade

40th

Ruby

45th

Sapphire

50th

Gold

55th

Emerald

60th

Diamond (yellow)

Diamond

65th

Blue sapphire

70th

Platinum[15][16][17]

75th

Diamond, gold

80th

Oak[18][19]

Diamond, pearl

85th

Moonstone

Wine

Wife's birthstone

90th

Stone

Engraved marble, granite[20]

text: Flower gifts[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2018) (Learn how and when to remove this template message)

text:
Year

Flower

1st

Carnation

2nd

Lily of the Valley

3rd

Sunflower

4th

Hydrangea

5th

Daisy

6th

Calla

7th

Freesia

8th

Lilac

9th

Bird of paradise

10th

Daffodil

11th

Tulip

12th

Peony

13th

Chrysanthemum

14th

Dahlia

15th

Rose

20th

Aster

25th

Iris

28th

Orchid

30th

Lily

40th

Gladiolus

50th

Yellow rose, violet

text: Gemstone gifts[edit]

text:
Year

Gemstone[21]

1st

Mother of Pearl

2nd

Garnet

3rd

Moonstone

4th

Blue Topaz

5th

Rose Quartz

6th

Amethyst

7th

Onyx

8th

Tourmaline

9th

Lapis Lazuli

10th

Crystal or green Tourmaline

11th

Turquoise

12th

Jade

13th

Citrine

14th

Opal

15th

Rhodolite

20th

Emerald

25th

Tsavorite

30th

Pearl

40th

Ruby

50th

Gold

60th

Diamond

65th

Sapphire


document_title: Second Temple

question_text: who gave permission to construct the second temple of jerusalem

text: Second Temple

text: Biblical narrative[edit]

text: The accession of Cyrus the Great of the Persian Empire in 559 BCE made the re-establishment of the city of Jerusalem and the rebuilding of the Temple possible.[1][2] According to the Bible, when the Jewish exiles returned to Jerusalem following a decree from Cyrus the Great (Ezra 1:1–4, 2 Chron 36:22–23), construction started at the original site of Solomon's Temple. After a relatively brief halt due to opposition from peoples who had filled the vacuum during the Jewish captivity (Ezra 4), work resumed ca. 521 BCE under Darius the Great (Ezra 5) and was completed during the sixth year of his reign (ca. 516 BCE), with the temple dedication taking place the following year.[citation needed]

text: The events take place in the second half of the 5th century BCE. Listed together with the Book of Ezra as Ezra-Nehemiah, it represents the final chapter in the historical narrative of the Hebrew Bible.[1]

text: The original core of the book, the first-person memoir, may have been combined with the core of the Book of Ezra around 400 BCE. Further editing probably continued into the Hellenistic era.[3]

text: The book tells how Nehemiah, at the court of the king in Susa, is informed that Jerusalem is without walls and resolves to restore them. The king appoints him as governor of the province Yehud Medinata and he travels to Jerusalem. There he rebuilds the walls, despite the opposition of Israel's enemies, and reforms the community in conformity with the law of Moses. After 12 years in Jerusalem, he returns to Susa but subsequently revisits Jerusalem. He finds that the Israelites have been backsliding and taking non-Jewish wives, and he stays in Jerusalem to enforce the Law.

text: Based on the biblical account, after the return from Babylonian captivity, arrangements were immediately made to reorganize the desolated Yehud Province after the demise of the Kingdom of Judah seventy years earlier. The body of pilgrims, forming a band of 42,360,[4] having completed the long and dreary journey of some four months, from the banks of the Euphrates to Jerusalem, were animated in all their proceedings by a strong religious impulse, and therefore one of their first concerns was to restore their ancient house of worship by rebuilding their destroyed Temple[5] and reinstituting the sacrificial rituals known as the korbanot.

text: On the invitation of Zerubbabel, the governor, who showed them a remarkable example of liberality by contributing personally 1,000 golden darics, besides other gifts, the people poured their gifts into the sacred treasury with great enthusiasm.[6] First they erected and dedicated the altar of God on the exact spot where it had formerly stood, and they then cleared away the charred heaps of debris which occupied the site of the old temple; and in the second month of the second year (535 BCE), amid great public excitement and rejoicing, the foundations of the Second Temple were laid. A wide interest was felt in this great movement, although it was regarded with mixed feelings by the spectators (Haggai 2:3, Zechariah 4:10</ref>).[5]

text: The Samaritans made proposals for co-operation in the work. Zerubbabel and the elders, however, declined all such cooperation, feeling that the Jews must build the Temple without help. Immediately evil reports were spread regarding the Jews. According to Ezra 4:5, the Samaritans sought to "frustrate their purpose" and sent messengers to Ecbatana and Susa, with the result that the work was suspended.[5]

text: Seven years later, Cyrus the Great, who allowed the Jews to return to their homeland and rebuild the Temple, died (2 Chronicles 36:22–23) and was succeeded by his son Cambyses. On his death, the "false Smerdis," an impostor, occupied the throne for some seven or eight months, and then Darius became king (522 BCE). In the second year of his rule the work of rebuilding the temple was resumed and carried forward to its completion (Ezra 5:6–6:15), under the stimulus of the earnest counsels and admonitions of the prophets Haggai and Zechariah. It was ready for consecration in the spring of 516 BCE, more than twenty years after the return from captivity. The Temple was completed on the third day of the month Adar, in the sixth year of the reign of Darius, amid great rejoicings on the part of all the people (Ezra 6:15,16), although it was evident that the Jews were no longer an independent people, but were subject to a foreign power. The Book of Haggai includes a prediction that the glory of the second temple would be greater than that of the first (Haggai 2:9).[5]

text: Some of the original artifacts from the Temple of Solomon are not mentioned in the sources after its destruction in 597 BCE, and are presumed lost. The Second Temple lacked the following holy articles:

text:
The Ark of the Covenant[2][5] containing the Tablets of Stone, before which were placed[7] the pot of manna and Aaron's rod[5]
The Urim and Thummim[2][5] (divination objects contained in the Hoshen)
The holy oil[5]
The sacred fire.[2][5]

tag: ul

text: In the Second Temple, the Kodesh Hakodashim (Holy of Holies) was separated by curtains rather than a wall as in the First Temple. Still, as in the Tabernacle, the Second Temple included:

text:
The Menorah (golden lamp) for the Hekhal
The Table of Showbread
The golden altar of incense, with golden censers.[5]

text: According to the Mishnah (Middot iii. 6), the "Foundation Stone" stood where the Ark used to be, and the High Priest put his censer on it on Yom Kippur.[2]

text: The Second Temple also included many of the original vessels of gold that had been taken by the Babylonians but restored by Cyrus the Great.[5][8] According to the Babylonian Talmud (Yoma 22b),[2] however, the Temple lacked the Shekinah, the dwelling or settling divine presence of God, and the Ruach HaKodesh, the Spirit of Holiness, present in the first.

text: Rabbinical literature[edit]

text: Traditional rabbinic literature state that the Second Temple stood for 420 years and based on the 2nd-century work Seder Olam Rabbah, placed construction in 350 BCE (3408 AM), 166 years later than secular estimates, and destruction in 70 CE (3829 AM).[9]

text: Rededication by the Maccabees[edit]

text: Following the conquest of Judea by Alexander the Great, it became part of the Ptolemaic Kingdom of Egypt until 200 BCE, when King Antiochus III the Great of Syria defeated King Ptolemy V Epiphanes of Egypt at the Battle of Paneion.[10] Judea became at that moment part of the Seleucid empire of Syria. When the Second Temple in Jerusalem was looted and its religious services stopped, Judaism was effectively outlawed. In 167 BCE, Antiochus IV Epiphanes ordered an altar to Zeus erected in the Temple. He also banned circumcision and ordered pigs to be sacrificed at the altar of the Temple.[11]

text: Following the Maccabean Revolt against the Seleucid empire, the Second Temple was rededicated and became the religious pillar of the Jewish Hasmonean kingdom, as well as culturally associated with the Jewish holiday of Hanukkah.

text: Hasmonean dynasty and Roman conquest[edit]

text: There is some evidence from archaeology that further changes to the structure of the Temple and its surroundings were made during the Hasmonean rule. Salome Alexandra, the queen of Hasmonean Kingdom appointed her elder son Hyrcanus II as the high priest of Judaea. Her younger son Aristobulus II was determined to have the throne, and as soon as she died he seized the throne. Hyrcanus, who was in line to be the king, agreed to be contented with being the high priest. Antipater, the governor of Idumæa, encouraged Hyrcanus not to give up his throne. Eventually Hyrcanus fled to Aretas III, king of the Nabateans, and returned with an army to take back the throne. He defeated Aristobulus and besieged Jerusalem. The Roman general Pompey, who was in Syria fighting against the Armenians in the Third Mithridatic War, sent his lieutenant to investigate the conflict in Judaea. Both Hyrcanus and Aristobulus appealed to him for support. Pompey was not diligent in making a decision about this which caused Aristobulus to march off. He was pursued by Pompey and surrendered but his followers closed Jerusalem to Pompey's forces. The Romans besieged and took the city in 63 BCE. The priests continued with the religious practices inside the Temple during the siege. The temple was not looted or harmed by the Romans. Pompey himself, perhaps inadvertently, went into the Holy of Holies and the next day ordered the priests to repurify the Temple and resume the religious practices.[12]

text: Herod's Temple[edit]

text: Reconstruction of the temple under Herod began with a massive expansion of the Temple Mount. Religious worship and temple rituals continued during the construction process.[13] When the Roman emperor Caligula planned to place his own statue inside the temple, Herod's grandson Agrippa I was able to intervene and convince him against this.

text: Construction[edit]

text: Herod's Temple was one of the larger construction projects of the 1st century BCE.[14] Josephus records that Herod was interested in perpetuating his name through building projects, that his construction programs were extensive and paid for by heavy taxes, but that his masterpiece was the Temple of Jerusalem.[14]

text: The old temple built by Zerubbabel was replaced by a magnificent edifice. An agreement was made between Herod and the Jewish religious authorities: the sacrificial rituals, called offerings, were to be continued unabated for the entire time of construction, and the Temple itself would be constructed by the priests. Later the Exodus 30:13 sanctuary shekel was reinstituted to support the temple as the temple tax.

text: Platform[edit]

text: Mt. Moriah had a plateau at the northern end, and steeply declined on the southern slope. It was Herod's plan that the entire mountain be turned into a giant square platform. The Temple Mount was originally intended to be 1600 feet wide by 900 feet broad by 9 stories high, with walls up to 16 feet thick, but had never been finished. To complete it, a trench was dug around the mountain, and huge stone "bricks" were laid. Some of these weighed well over 100 tons, the largest measuring 44.6 feet by 11 feet by 16.5 feet and weighing approximately 567 to 628 tons,[15][16] while most were in the range of 2.5 by 3.5 by 15 feet (approximately 28 tons). King Herod had architects from Greece, Rome and Egypt plan the construction. The blocks were presumably quarried by using pickaxes to create channels. Then they hammered in wooden beams and flushed them with water to force them out. Once they were removed, they were carved into precise squares and numbered at the quarry to show where they would be installed. The final carving would have been done by using harder stones to grind or chisel them to create precise joints. They would have been transported using oxen and specialized carts. Since the quarry was uphill from the temple they had gravity on their side but care needed to be taken to control the descent. Final installation would have been done using pulleys or cranes. Roman pulleys and cranes weren't strong enough to lift the blocks alone so they may have used multiple cranes and levers to position them.[17] As the mountainside began to rise, the western side was carved away to a vertical wall and bricks were carved to create a virtual continuation of the brick face, which was continued for a while until the northern slope reached ground level. Part of the Antonian hill to the north of Moriah was annexed to the complex and the area between was filled up with landfill.

text: The project began with the building of giant underground vaults upon which the temple would be built so it could be larger than the small flat area on top of Mount Moriah. Ground level at the time was at least 20 ft. (6m) below the current level, as can be seen by walking the Western Wall tunnels. Legend has it that the construction of the entire complex lasted only three years, but other sources such as Josephus say that it took far longer, although the Temple itself may have taken that long. During a Passover visit by Jesus the Jews replied that it had been under construction for 46 years.[18] It is possible that the complex was only a few years completed when the future Emperor Titus destroyed the Temple in 70 CE.

text: Court of the Gentiles[edit]

text: This area was primarily a bazaar, with vendors selling souvenirs, sacrificial animals, food, as well as currency changers, exchanging Roman for Tyrian money because the Jews were not allowed to coin their own money and they viewed Roman currency as an abomination to the Lord,[19] as also mentioned in the New Testament account of Jesus and the Money Changers when Jerusalem was packed with Jews who had come for Passover, perhaps numbering 300,000 to 400,000 pilgrims.[20][21] Guides that provided tours of the premises were also available. Jewish males had the unique opportunity to be shown inside the temple itself.

text: The priests, in their white linen robes and tubular hats, were everywhere, directing pilgrims and advising them on what kinds of sacrifices were to be performed.

text: Behind them, as they entered the Court of the Gentiles from the south through the Huldah Gates, was the Royal Porch, which contained a marketplace, administrative quarters, and a synagogue. On the upper floors, the great Jewish sages held court, priests and Levites performed various chores, and from there, tourists were able to observe the events. The Royal Porch is widely accepted to be part of Herod's work; however, recent archaeological finds in the Western Wall tunnels suggest that it was built in the first century during the reign of Agripas, as opposed to the first century BCE,[22] while the theory that Herod began the extension and the Royal Porch is based mainly on Josephus's possibly politically motivated claim. During Herod's reign the porch was not yet open to the public)

text: To the east of the court was Solomon's Porch, and to the north, the soreg, the "middle wall of separation",[23] a stone wall separating the public area from the inner sanctuary where only Jews could enter, described as being 3 cubits high by Josephus (Wars 5.5.2 [3b] 6.2.4).

text: Pinnacle[edit]

text: The accounts of Jesus' temptations in Matthew's and Luke's gospels both suggest that the Second Temple had one or more pinnacles (Greek: το πτερυγιον του ιερου):

text: Inside the Soreg[edit]

text: According to Josephus, there were ten entrances into the inner courts, four on the south, four on the north, one on the east and one leading east to west from the Court of Women to the court of the Israelites, named the Nicanor Gate.[25] The gates were: On the south side (going from west to east) the Fuel Gate, the Firstling Gate, the Water Gate. On the north side, from west to east, are the Jeconiah Gate, the Offering Gate, the Women's Gate and the Song Gate. On the Eastern side, the Nicanor gate, which is where most Jewish visitors entered. A few pieces of the Soreg have survived to the present day.

text: Within this area was the Court of the Women, open to all Jews, male and female. Even a ritually unclean Cohen could enter to perform various housekeeping duties. There was also a place for lepers (considered ritually unclean), as well as a ritual barbershop for Nazirites. In this, the largest of the temple courts, one could see constant dancing, singing and music.

text: Only men were allowed to enter the Court of the Israelites, where they could observe sacrifices of the high priest in the Court of the Priests. The Court of the Priests was reserved for Levite priests.

text: Temple sanctuary[edit]

text: Between the entrance of the building and the curtain veiling the Holy of Holies were the famous vessels of the temple: the menorah, the incense-burning altar, and various other implements.

text: Pilgrimages[edit]

text: Jews from distant parts of the Roman Empire would arrive by boat at the port of Jaffa (now part of Tel Aviv), where they would join a caravan for the three-day trek to the Holy City and would then find lodgings in one of the many hotels or hostelries. Then they changed some of their money from the profane standard Greek and Roman currency for Jewish and Tyrian money, the latter two considered religious.[26][27] The pilgrims would purchase sacrificial animals, usually a pigeon or a lamb, in preparation for the following day's events.

text: The first thing pilgrims would do would be to approach the public entrance on the south side of the Temple Mount complex. They would check their animals, then visit a mikveh, where they would ritually cleanse and purify themselves. The pilgrims would then retrieve their sacrificial animals, and head to the Huldah gates. After ascending a staircase three stories in height, and passing through the gate, the pilgrims would find themselves in the Court of the Gentiles.

text: Destruction[edit]

text: In 66 CE the Jewish population rebelled against the Roman Empire. Four years later, in 70 CE, Roman legions under Titus retook and destroyed much of Jerusalem and the Second Temple. The Arch of Titus, located in Rome and built to commemorate Titus' victory in Judea, depicts a Roman victory procession with soldiers carrying spoils from the Temple, including the Menorah. According to an inscription on the Colosseum, Emperor Vespasian built the Colosseum with war spoils in 79 CE-possibly from the spoils of the Second Temple.[28]

text: The sects of Judaism that had their base in the Temple dwindled in importance, including the priesthood and the Sadducees.[29]

text: The destruction date according to the Hebrew calendar was the 9th of Av, also known as Tisha B'Av.[30] The Temple itself was located on the site of what today is the Dome of the Rock. The gates let out close to Al-Aqsa Mosque (which came much later).[13] Although Jews continued to inhabit the destroyed city, Emperor Hadrian established a new city called Aelia Capitolina. At the end of the Bar Kokhba revolt in 135 CE, many of the Jewish communities were massacred and Jews were banned from living inside Jerusalem. A pagan Roman temple was set up on the former site of Herod's Temple.[12]

text: Archaeology[edit]

text: In 1871, a hewn stone measuring 60 × 90 cm. and engraved with Greek uncials was discovered near a court on the Temple Mount in Jerusalem and identified by Charles Simon Clermont-Ganneau as being the Temple Warning inscription. The stone inscription outlined the prohibition extended unto those who were not of the Jewish nation to proceed beyond the soreg separating the larger Court of the Gentiles and the inner courts. The inscription read in seven lines:

text: Translation: "Let no foreigner enter within the parapet and the partition which surrounds the Temple precincts. Anyone caught [violating] will be held accountable for his ensuing death." Today, the stone is preserved in Istanbul's Museum of Antiquities.

text: In 1936 a fragment of a similar Temple warning inscription was found. After 1967, archaeologists found that the wall extended all the way around the Temple Mount and is part of the city wall near the Lions' Gate. Thus, the Western Wall is not the only remaining part of the Temple Mount. Currently, Robinson's Arch (named after American Edward Robinson) remains as the beginning of an arch that spanned the gap between the top of the platform and the higher ground farther away. This had been used by the priests as an entrance. Commoners had entered through the still-extant, but now plugged, gates on the southern side which led through colonnades to the top of the platform. One of these colonnades is still extant and reachable through the Temple Mount. The Southern wall was designed as a grand entrance. Recent archeological digs have found thousands of mikvehs (ceremonial bathtubs) for the ritual purification of the worshipers, as well as a grand stairway leading to the now blocked entrance. Inside the walls, the platform was supported by a series of vaulted archways, now called Solomon's Stables, which still exist and whose current renovation by the Waqf is extremely controversial. The temple itself was constructed of imported white marble that gleamed in the daylight.

text: On September 25, 2007 Yuval Baruch, archaeologist with the Israeli Antiquities Authority announced the discovery of a quarry compound which may have provided King Herod with the stones to build his Temple on the Temple Mount. Coins, pottery and an iron stake found proved the date of the quarrying to be about 19 BCE. Archaeologist Ehud Netzer confirmed that the large outlines of the stone cuts is evidence that it was a massive public project worked by hundreds of slaves.[31]

text: The Magdala stone, is thought to be a representation of the Second Temple carved before its destruction in the year 70.[32]

text:
Magdala Stone

Bar Kokhba tetradracm showing the Jerusalem Temple façade 132–135 CE

Arch of Titus showing spoils of Jerusalem Temple

The upper corner of Herod's temple colonnade with ancient Hebrew inscription

text:
The Warning Inscription found in 1871

A copy of the inscription found in 1871

Fragment of Second Temple Warning

The Trumpeting Place inscription, a stone (2.43x1 m) with Hebrew inscription "To the Trumpeting Place" excavated by Benjamin Mazar at the southern foot of the Temple Mount is believed to be a part of the Second Temple.

text: Second Temple Judaism[edit]

text: The period between the construction of the Second Temple in 515 BCE and its destruction by the Romans in 70 CE witnessed major historical upheavals and significant religious changes that would affect most subsequent Abrahamic religions. The origins of the authority of scripture, of the centrality of law and morality in religion, of the synagogue and of apocalyptic expectations for the future all developed in the Judaism of this period.


document_title: The Right Stuff (film)

question_text: who played chuck yeager's wife in the right stuff

question_tokens: who played chuck yeager 's wife in the right stuff

text: The Right Stuff (film)

text: Plot[edit]

text: In 1947, the Muroc Army Air Field in California has test pilots fly high-speed aircraft such as the rocket-powered Bell X-1, but they die as a result. After another pilot, Slick Goodlin, demands $150,000 to attempt to break the sound barrier, war hero Captain Chuck Yeager receives the chance to fly the X-1. While on a horseback ride with his wife Glennis, Yeager collides with a tree branch and breaks his ribs, which inhibits him from leaning over and locking the door to the X-1. Worried that he might not fly the mission, Yeager confides in friend and fellow pilot Jack Ridley. Ridley cuts off part of a broomstick and tells Yeager to use it as a lever to help seal the hatch to the X-1, and Yeager becomes the first person to fly at supersonic speed, defeating the "demon in the sky".

text: Six years later, Muroc, now Edwards Air Force Base, still attracts the best test pilots. Yeager (now a major) and friendly rival Scott Crossfield repeatedly break the other's speed records. They often visit the Happy Bottom Riding Club run by Pancho Barnes, who classifies the pilots at Edwards as either "prime" (such as Yeager and Crossfield) that fly the best equipment or newer "pudknockers" who only dream about it. Gordon "Gordo" Cooper, Virgil "Gus" Grissom and Donald "Deke" Slayton, captains of the United States Air Force, are among the "pudknockers" who hope to also prove that they have "the Right Stuff". The tests are no longer secret, as the military soon recognizes that it needs good publicity for funding, and with "no bucks, no Buck Rogers". Cooper's wife, Trudy, and other wives are afraid of becoming widows, but cannot change their husbands' ambitions and desire for success and fame.

text: In 1957, the launch of the Russian Sputnik satellite alarms the United States government. Politicians such as Senator Lyndon B. Johnson and military leaders demand that NASA help America defeat the Russians in the new Space Race. The search for the first Americans in space excludes Yeager because he lacks a college degree. Grueling physical and mental tests select the Mercury Seven astronauts, including John Glenn of the United States Marine Corps, Alan Shepard, Walter Schirra and Scott Carpenter of the United States Navy, as well as Cooper, Grissom and Slayton; they immediately become national heroes. Although many early NASA rockets explode during launch, the ambitious astronauts all hope to be the first in space as part of Project Mercury. Although engineers see the men as passengers, the pilots insist that the Mercury spacecraft have a window, a hatch with explosive bolts, and pitch-yaw-roll controls. However, Russia beats them into space on April 12, 1961 with the launch of Vostok 1 carrying Yuri Gagarin into space. The seven astronauts are determined to match and surpass the Russians.

text: Shepard is the first American to reach space on the 15-minute sub-orbital flight of Mercury-Redstone 3 on May 5. After Grissom's similar flight of Mercury-Redstone 4 on July 21, the capsule's hatch blows open and quickly fills with water. Grissom escapes, but the spacecraft, overweight with seawater, sinks. Many criticize Grissom for possibly panicking and opening the hatch prematurely. Glenn becomes the first American to orbit the Earth on Mercury-Atlas 6 on February 20, 1962, surviving a possibly loose heat shield, and receives a ticker-tape parade. He, his colleagues, and their families become celebrities, including a gigantic celebration in the Sam Houston Coliseum to announce the opening of the Manned Space Center in Houston, despite Glenn's wife Annie's fear of public speaking due to a stutter.

text: Although test pilots at Edwards mock the Mercury program for sending "spam in a can" into space, they recognize that they are no longer the fastest men on Earth, and Yeager states that "it takes a special kind of man to volunteer for a suicide mission, especially when it's on national TV." While testing the new Lockheed NF-104A, Yeager attempts to set a new altitude record at the edge of space but is nearly killed in a high-speed ejection when his engine fails. Though seriously burned, after reaching the ground Yeager gathers up his parachute and walks to the ambulance, proving that he still has the Right Stuff.

text: On May 15, 1963, Cooper has a successful launch on Mercury-Atlas 9, ending the Mercury program. As the last American to fly into space alone, he "went higher, farther, and faster than any other American ... for a brief moment, Gordon Cooper became the greatest pilot anyone had ever seen."

text: Cast[edit]

text:
Fred Ward as Virgil I. "Gus" Grissom, USAF
Dennis Quaid as Gordon Cooper, USAF
Ed Harris as John Glenn, USMC
Scott Glenn as Alan Shepard, USN
Sam Shepard as Chuck Yeager, Colonel, USAF
Lance Henriksen as Walter "Wally" Schirra, USN
Scott Paulin as Donald K. "Deke" Slayton, USAF
Barbara Hershey as Glennis Yeager
Veronica Cartwright as Betty Grissom
Jane Dornacker as Nurse Murch
Harry Shearer and Jeff Goldblum as the NASA recruiters sent to find astronaut candidates
Kim Stanley as Pancho Barnes
Pamela Reed as Trudy Cooper
Charles Frank as Scott Carpenter, USN
Donald Moffat as U.S. Senator and Vice President Lyndon B. Johnson
Levon Helm as Jack Ridley, USAF and the narrator
Mary Jo Deschanel as Annie Glenn

Scott Wilson as Scott Crossfield, a civilian test pilot for the North American Aviation Company
Kathy Baker as Louise Shepard
Mickey Crocker as Marge Slayton
Susan Kase as Rene Carpenter
Mittie Smith as Jo Schirra
Royal Dano as a Minister
David Clennon as a Liaison Man
Scott Beach as Head German Scientist based on Wernher von Braun
John P. Ryan as the Head of the Manned Space Program
Eric Sevareid as himself
William Russ as Slick Goodlin
Robert Beer as President Dwight D. Eisenhower
Peggy Davis as Sally Rand
John Dehner as Henry Luce
Royce Grones as the first X-1 pilot, who was Jack Woolams
Brigadier General Chuck Yeager, USAF (Ret) as Fred, the bartender at Pancho's saloon
Anthony Muñoz as Gonzales
David Gulpilil as Aboriginal Man

text: The following real people also appeared in archive footage: Ed Sullivan with Bill Dana (playing his character José Jiménez); Yuri Gagarin and Nikita Khrushchev seen embracing at a review, along with Georgi Malenkov, Nikolai Bulganin, Kliment Voroshilov, and Anastas Mikoyan in attendance; and Lyndon B. Johnson, John F. Kennedy, and James E. Webb. The real Alan Shepard also makes a brief cameo in archival footage during Kennedy's archival scenes. The real Chuck Yeager also appears briefly as a bartender.

text: Production[edit]

text: In 1979, independent producers Robert Chartoff and Irwin Winkler outbid Universal Pictures for the movie rights to Tom Wolfe's book,[4] hiring William Goldman to write the screenplay. At Winkler's suggestion, Goldman's adaptation focused on the astronauts, entirely ignoring Chuck Yeager.[5] Goldman was inspired to accept the job because he wanted to say something patriotic about America in the wake of the Iran hostage crisis.

text: In June 1980, United Artists agreed to finance the film up to $20 million, and the producers began looking for a director. Michael Ritchie was originally attached but fell through; so did John Avildsen who, four years prior, had won an Oscar for his work under Winkler and Chartoff on the original Rocky. (The Right Stuff would have reunited Avildsen with both producers, and also with a fourth Rocky veteran, composer Bill Conti.) [6] Ultimately, Chartoff and Winkler approached director Philip Kaufman, who agreed to make the film but did not like Goldman's script; Kaufman disliked the emphasis on patriotism, and wanted Yeager put back in the film.[7] Eventually, Goldman quit the project in August 1980 and United Artists pulled out.

text: When Wolfe showed no interest in adapting his own book, Kaufman wrote a draft in eight weeks.[4] His draft restored Yeager to the story because "if you're serious about tracing where the future - read: space travel - began, its roots lay with Yeager and the whole test pilot-subculture. Ultimately, astronautics descended from that point."[8]

text: After the financial failure of Heaven's Gate, the studio put The Right Stuff in turnaround. Then the Ladd Company stepped in with an estimated $17 million.

text: Actor Ed Harris auditioned twice in 1981 for the role of John Glenn. Originally, Kaufman wanted to use a troupe of contortionists to portray the press corps, but settled on the improvisational comedy troupe Fratelli Bologna, known for its sponsorship of "St. Stupid's Day" in San Francisco.[9] The director created a locust-like chatter to accompany the press corps whenever they appear, which was achieved through a sound combination of (among other things) motorized Nikon cameras and clicking beetles.[9]

text: Shot between March and October 1982, with additional filming continuing into January 1983, most of the film was shot in and around San Francisco, where a waterfront warehouse was transformed into a studio.[4][Note 1] Location shooting took place primarily at the abandoned Hamilton Air Force Base north of San Francisco which was converted into a sound stage for the numerous interior sets.[10] No location could substitute for the distinctive Edwards Air Force Base landscape which necessitated the entire production crew move to the Mojave Desert for the opening sequences that framed the story of the test pilots at Muroc Army Air Field, later Edwards AFB.[11] Additional shooting took place in California City in early 1983. During the filming of a sequence which portrayed Chuck Yeager's ejection from a smoke-filled F-104 stuntman Joseph Svec, a former Green Beret, was killed when he failed to open his parachute.[12]

text: Yeager was hired as a technical consultant on the film. He took the actors flying, studied the storyboards and special effects, and pointed out the errors. To prepare for their roles, Kaufman gave the actors playing the seven astronauts an extensive videotape collection to study.[4]

text: The efforts at making an authentic feature led to the use of many full size aircraft, scale models and special effects to replicate the scenes at Edwards Air Force Base and Cape Canaveral Air Force Station.[13] According to special visual effects supervisor Gary Gutierrez, the first special effects were too clean and they wanted a "dirty, funky, early NASA look."[4] Gutierrez and his team started from scratch, employing unconventional techniques—like going up a hill with model airplanes on wires and fog machines to create clouds, or shooting model F-104s from a crossbow device and capturing their flight with up to four cameras.[4] Avant garde filmmaker Jordan Belson created the background of the Earth as seen from high-flying planes and from orbiting spacecraft.[8]

text: Kaufman gave his five editors a list of documentary images the film required and they searched the country for film from NASA, the Air Force, and Bell Aircraft vaults.[4] They also discovered Russian stock footage not viewed in 30 years. During the course of the production, Kaufman met with resistance from the Ladd Company and threatened to quit several times.[4] In December 1982, 8,000 feet of film portraying John Glenn's trip in orbit and return to Earth disappeared or was stolen from Kaufman's editing facility in Berkeley, California. The missing footage was never found but the footage was reconstructed from copies.[9]

text: Historical accuracy[edit]

text: Although The Right Stuff was based on historical events and real people, as chronicled in Wolfe's book, some substantial dramatic liberties were taken. Neither Yeager's flight in the X-1 to break the sound barrier early in the film or his later, nearly fatal flight in the NF-104A were spur-of-moment, capriciously decided events, as the film seems to imply - they actually were part of the routine testing program for both aircraft. Yeager had already test-flown both aircraft a number of times previously and was very familiar with them.[14][15] Jack Ridley had actually died in 1957,[16] even though his character appears in several key scenes taking place after that, most notably including Yeager's 1963 flight of the NF-104A.

text: The Right Stuff depicts Cooper arriving at Edwards in 1953, reminiscing with Grissom there about the two of them having supposedly flown together at the Langley Air Force Base and then hanging out with Grissom and Slayton, including all three supposedly being present at Edwards when Scott Crossfield flew at Mach 2 in November 1953.[17] The film shows the three of them being recruited together there for the astronaut program in late 1957, with Grissom supposedly expressing keen interest in becoming a "star-voyager". According to their respective NASA biographies, none of the three was posted to Edwards before 1955 (Slayton)[18] or 1956 (Grissom and Cooper),[19][20] and neither of the latter two had previously trained at Langley. By the time astronaut recruitment began in late 1957 after the Soviets had orbited Sputnik, Grissom had already left Edwards and returned to Wright-Patterson Air Force Base, where he had served previously and was happy with his new assignment there. Grissom did not even know he was under consideration for the astronaut program until he received mysterious orders "out of the blue" to report to Washington in civilian clothing for what turned out to be a recruitment session for NASA.[19]

text: During the pivotal scenes depicting John Glenn's flight, Alan Shepard was shown as the capsule communicator, fiercely advocating that Glenn be fully informed about the perceived heat-shield problem with his capsule and fervently praying for his safety - a dramatic change from earlier in the film when the two men had bitterly clashed and had almost come to blows. But in reality, Scott Carpenter, who was Glenn's best friend among his fellow astronauts, was his capsule communicator and uttered the now-famous line "Godspeed, John Glenn."

text: While the film took liberties with certain historical facts as part of "dramatic license", criticism focused on one: the portrayal of Gus Grissom panicking when his Liberty Bell 7 spacecraft sank following splashdown. Most historians, as well as engineers working for or with NASA and many of the related contractor agencies within the aerospace industry, are now convinced that the premature detonation of the spacecraft hatch's explosive bolts was caused by mechanical failure not associated with direct human error or deliberate detonation by Grissom.[Note 2] This determination had been made long before the film was completed.[21] Both Schirra and Gordon Cooper were critical of The Right Stuff for its treatment of Grissom,[22][23] who was killed in the Apollo 1 launch pad fire in January 1967 and thus unable to defend himself when the film was being made. However, Kaufman was closely following Tom Wolfe's book, which focused not on how or why the hatch actually blew, but how NASA engineers and some of Grissom's colleagues (and even his own wife) believed he caused the accident; much of the dialogue in this sequence was taken directly from Wolfe's prose.[24][25]

text: There were other inaccuracies as well, notably about the engineers who built the Mercury craft.[8]

text: Film models[edit]

text: A large number of film models were assembled for the production; for the more than 80 aircraft appearing in the film, static mock-ups and models were used as well as authentic aircraft of the period.[26] Lieutenant Colonel Duncan Wilmore, USAF (Ret) acted as the United States Air Force liaison to the production, beginning his role as a technical consultant in 1980 when the pre-production planning had begun. The first draft of the script in 1980 had concentrated only on the Mercury 7 but as subsequent revisions developed the treatment into more of the original story that Wolfe had envisioned, the aircraft of late-1940s that would have been seen at Edwards AFB were required. Wilmore gathered World War II era "prop" aircraft including:

text:
Douglas A-26 Invader
North American P-51 Mustang
North American T-6 Texan and
Boeing B-29 Superfortress

text: The first group were mainly "set dressing" on the ramp while the Confederate Air Force (now renamed the Commemorative Air Force) B-29 "Fifi" was modified to act as the B-29 "mothership" to carry the Bell X-1 and X-1A rocket-powered record-breakers.[27]

text: Other "real" aircraft included the early jet fighters and trainers as well as current USAF and United States Navy examples. These flying aircraft and helicopters included:

text:
Douglas A-4 Skyhawk
LTV A-7 Corsair II
North American F-86 Sabre
Convair F-106 Delta Dart
McDonnell Douglas F-4 Phantom II
Sikorsky H-34 Choctaw
Sikorsky SH-3 Sea King
Lockheed T-33 Shooting Star
Northrop T-38 Talon[28]

text: A number of aircraft significant to the story had to be recreated. The first was an essentially static X-1 that had to at least roll and even realistically "belch flame" which was accomplished by a simulated rocket blast from the exhaust pipes.[26] A series of wooden mock-up X-1s were used to depict interior shots of the cockpit, the mating up of the X-1 to a modified B-29 fuselage and bomb bay and ultimately to recreate flight in a combination of model work and live-action photography. The "follow-up" X-1A was also an all-wooden model.[27]

text: The U.S. Navy's Douglas D-558-2 Skyrocket that Crossfield duelled with Yeager's X-1 and X-1A was recreated from a modified Hawker Hunter jet fighter. The climactic flight of Yeager in a Lockheed NF-104A was originally to be made with a modified Lockheed F-104 Starfighter but ultimately, Wilmore decided that the production had to make do with a repainted Luftwaffe F-104G, which lacks the rocket engine of the NF-104.[27]

text: Wooden mock-ups of the Mercury space capsules also realistically depicted the NASA spacecraft and were built from the original mold.[8]

text: For many of the flying sequences, scale models were produced by USFX Studios and filmed outdoors in natural sunlight against the sky. Even off-the-shelf plastic scale models were utilized for aerial scenes. The X-1, F-104 and B-29 models were built in large numbers as a number of the more than 40 scale models were destroyed in the process of filming.[29] The blending together of miniatures, full-scale mock-ups and actual aircraft was seamlessly integrated into the live-action footage. The addition of original newsreel footage was used sparingly but to effect to provide another layer of authenticity.[30]

text: Reception[edit]

text: Box office[edit]

text: The Right Stuff had its world premiere on October 16, 1983, at the Kennedy Center in Washington, D.C., to benefit the American Film Institute.[31][32] It was given a limited release on October 21, 1983, in 229 theaters, grossing $1.6 million on its opening weekend. It went into wide release on February 17, 1984, in 627 theaters where it grossed an additional $1.6 million on that weekend. But despite this, the movie bombed at the box office with $21.1 million. The failure of this and Twice Upon a Time caused The Ladd Company to shut down.

text: As part of the promotion for the film, Veronica Cartwright, Chuck Yeager, Gordon Cooper, Scott Glenn and Dennis Quaid appeared in 1983 at ConStellation, the 41st World Science Fiction Convention in Baltimore.[33]

text: Reviews[edit]

text: The Right Stuff received universal acclaim from critics and audience alike. The film currently holds a 98% approval rating on Rotten Tomatoes based on 40 reviews.[34] Film critic Roger Ebert named The Right Stuff best film of 1983, and wrote, "it joins a short list of recent American movies that might be called experimental epics: movies that have an ambitious reach through time and subject matter, that spend freely for locations or special effects, but that consider each scene as intently as an art film".[35] He later named it one of the best films of the decade and wrote, "The Right Stuff is a greater film because it is not a straightforward historical account but pulls back to chronicle the transition from Yeager and other test pilots to a mighty public relations enterprise". He later put it at #2 on his 10 best of the 1980s, behind Martin Scorsese's Raging Bull.[36] Gene Siskel, Ebert's co-host of At the Movies, also named The Right Stuff the best film of 1983, and said "It's a great film, and I hope everyone sees it." Siskel also went on to include The Right Stuff at #3 on his list of the best films of the 1980s, behind Shoah and Raging Bull.[37]

text: In his review for Newsweek, David Ansen wrote, "When The Right Stuff takes to the skies, it can't be compared with any other movie, old or new: it's simply the most thrilling flight footage ever put on film".[4] Gary Arnold in his review for the Washington Post, wrote, "The movie is obviously so solid and appealing that it's bound to go through the roof commercially and keep on soaring for the next year or so".[32] In his review for The New York Times, Vincent Canby praised Shepard's performance: "Both as the character he plays and as an iconic screen presence, Mr. Shepard gives the film much well-needed heft. He is the center of gravity".[38] Pauline Kael wrote, "The movie has the happy, excited spirit of a fanfare, and it's astonishingly entertaining, considering what a screw-up it is".[39]

text: Yeager said of the film: "Sam [Shepard] is not a real flamboyant actor, and I'm not a real flamboyant-type individual ... he played his role the way I fly airplanes".[4] Deke Slayton said that none of the film "was all that accurate, but it was well done".[40] Slayton later described the film as being "as bad as the book was good, just a joke".[41] Walter Schirra said, "They insulted the lovely people who talked us through the program - the NASA engineers. They made them like bumbling Germans".[40] Scott Carpenter felt that it was a "great movie in all regards".[40]

text: Robert Osborne, who introduced showings of the film on Turner Classic Movies, was quite enthusiastic about the film. The cameo appearance by the real Chuck Yeager in the film was a particular "treat" which Osborne cited. The recounting of many of the legendary aspects of Yeager's life was left in place, including the naming of the X-1, "Glamorous Glennis" after his wife and his superstitious preflight ritual of asking for a stick of Beemans chewing gum from his best friend, Jack Ridley.[Note 3]

text: When the film came out, the former (and future) astronaut Senator John Glenn of Ohio was running for the Democratic nomination for President of the United States. In the weeks before the movie's premiere media pundits as well as people in the Democratic Party wondered that if the film became a big success, it could give Glenn an advantage in the upcoming primaries, a speculation that eventually proved groundless.

text: Awards and nominations[edit]

text: The Right Stuff won four Academy Awards: for Best Sound Effects Editing (Jay Boekelheide), for Best Film Editing, for Best Original Score and for Best Sound (Mark Berger, Tom Scott, Randy Thom and David MacMillan).[42]

text: The film was also nominated for Best Actor in a Supporting Role (Sam Shepard), Best Art Direction (Art Direction: Geoffrey Kirkland, Richard Lawrence, W. Stewart Campbell and Peter R. Romero; Set Decoration: George R. Nelson), Best Cinematography (Caleb Deschanel) and Best Picture.[43] The movie was also nominated for the Hugo Award for Best Dramatic Presentation in 1984.[44] Scott Glenn was also nominated for the New York Film Critics' Award for Best Supporting Actor.

text: Media[edit]

text: On June 23, 2003, Warner Bros. released a two-disc DVD Special Edition that featured scene-specific commentaries with key cast and crew members, deleted scenes, three documentaries on the making of The Right Stuff including interviews with Mercury astronauts and Chuck Yeager, and a feature-length PBS documentary, John Glenn: American Hero. These extras are also included in the November 5, 2013 release of the 30th Anniversary edition, which also includes a 40-page book binding case, with the film in Blu-ray format. The extras are in standard DVD format.

text: In addition, the British Film Institute published a book on The Right Stuff by Tom Charity in October 1997 that offered a detailed analysis and behind-the-scenes anecdotes.

text: Soundtrack[edit]

text: Although an album mix had been prepared by Bill Conti in 1983 (and indeed the poster contains the credit "Original Soundtrack Available On Geffen Records"), the soundtrack album release was cancelled following the film's disappointing box office.[45] In 1986, Conti conducted a re-recording of selections from the score and from his music for North and South, performed by the London Symphony Orchestra and released by Varèse Sarabande[46] The original soundtrack was released by Varèse Sarabande on September 20, 2013, prepared from the 1983 album mix (as the original masters of the complete score were lost).[47]

text:
No.
Title
Artist
Length

1.
"Breaking The Sound Barrier"
Bill Conti
4:46

2.
"Mach I"
Bill Conti
1:23

3.
"Training Hard / Russian Moon"
Bill Conti
2:17

4.
"Tango"
Bill Conti
2:20

5.
"Mach II"
Bill Conti
1:58

6.
"The Eyes Of Texas Are Upon You / The Yellow Rose Of Texas / Deep In The Heart Of Texas / Dixie"
Bill Conti
2:50

7.
"Yeager and the F104"
Bill Conti
2:26

8.
"Light This Candle"
Bill Conti
2:45

9.
"Glenn's Flight"
Bill Conti
5:08

10.
"Daybreak in Space"
Bill Conti
2:48

11.
"Yeager's Triumph"
Bill Conti
5:39

12.
"The Right Stuff (Single)"
Bill Conti
3:11

Total length:
37:31[48]


document_title: Mr. William Collins

question_text: who married mr collins in pride and prejudice

text: Mr. William Collins

text: Background[edit]

text: Mr William Collins, 25 years old as the novel begins, is Mr Bennet's distant second cousin, a clergyman, and the current heir presumptive to his estate of Longbourn House. While he is the current heir presumptive to Longbourn, the estate of his distant, gentry cousin, Mr Bennet, as Mr Bennet has no sons to inherit Longbourn; but if, before his death, one of Mr Bennet's daughters should be able to present him with a grandson, said-grandson would then become the new heir presumptive of the entailment, a grandson taking precedence over a distant cousin, by virtue of being his closest living male blood relative. This is likely why Mr Collins' late father, Mr Collins Sr, before his death, urged his son to "mend the rift" with the Bennets; for if his son were to be the husband of one of Mr Bennet's daughters, it would reinforce Collins' claim to Longbourn (making Collins' inheriting Longbourn less objectionable to the Bennets), and furthermore if he were to be the father of said-grandson.

text: Born to a father, Mr Collins Sr, who is described as an "illiterate and miserly father", the son, William Collins is not much better (sans the miser part)', the greatest part of his life having been spent under his father's guidance, the younger Collins is "not a sensible man, and the deficiency of nature had been but little assisted by education or society", further described as although having "belonged to one of the universities" (either Oxford or Cambridge), and that he'd "merely kept the necessary terms, without forming at it any useful acquaintance", nor accomplishments; he is an insensible man, obsequious and lacking in common sense, and all too easily defers and kowtows to his social superiors. His father passes away some point not too long prior to events at the beginning of the novel. His physical appearance is described as being "tall, heavy looking young man of five and twenty. His air was grave and stately, and his manners were very formal".

text: Austen writes that prior to his entry into the novel, his circumstances in early life, the 'subjection' in which his father had brought him up in had "originally given him great humility of manner". However, this characteristic has now been "now a good deal counteracted by the self-conceit of a weak head, living in retirement", altered greatly and been replaced with arrogance and vanity due to "early and unexpected prosperity";[2] this early prosperity having come by chance, at the hands of Lady Catherine de Bourgh, when a vacancy arose for the living of the Hunsford parish, "and the respect which he felt for her high rank and his veneration for her as his patroness, mingling with a very good opinion of himself, of his authority as a clergyman, and his rights as a rector, made him altogether a mixture of pride and obsequiousness, self-importance and humility". He has a ridiculously high regard for Lady Catherine de Bourgh and her daughter, of whom he is "eloquent in their praise".[3]

text: Elizabeth's rejection of Mr Collins's marriage proposal is welcomed by her father, regardless of the financial benefit to the family of such a match. Mr Collins then marries Elizabeth's friend, Charlotte Lucas. Mr Collins is usually considered to be the foil to Mr. Darcy, who is grave and serious, and acts with propriety at all times. On the other hand, Mr Collins acts with impropriety and exaggerated humility, which offers some comedic relief. He likes things, especially if they are expensive &/or numerous, but is indifferent to true beauty and value ("Here, leading the way through every walk and cross walk, and scarcely allowing them an interval to utter the praises he asked for, every view was pointed out with a minuteness which left beauty entirely behind. He could number the fields in every direction, and could tell how many trees there were in the most distant clump[4]).

text: Portrayal[edit]

text: Mr Collins is first mentioned when Mr. Bennet tells his wife that his cousin will be visiting them. Mr Bennet reads them a letter sent to him from Mr Collins where Collins speaks of making amends for any past disagreements between his father and Mr Bennet. In his letter, Mr Collins readily assumes that his overtures of peace will be gratefully accepted and presumes upon the family to announce that he will come stay with them for a week.

text: Upon the first night of his visit he spends time dining with the family and reading to them from Fordyce's Sermons in their parlour. It is at this point that Mr Collins seems to take a fancy to the eldest daughter, Jane Bennet. When discussing his intentions with Mrs. Bennet he is told that Jane may very soon be engaged.[2] It takes Mr Collins only a few moments to redirect his attentions to Elizabeth Bennet, who in he believes in "birth and beauty",[2] succeeds her sister.

text: He spends the rest of his stay making visits around the neighbourhood with the young Misses Bennet. They visit Mrs Phillips, Mrs Bennet's sister. Mr Collins is quite charmed by this encounter and seems extremely pleased to be treated so well by the family. He continues to pay specific attention to Miss Elizabeth.

text: Collins first gives Elizabeth a hint of his intentions prior to the Netherfield ball hosted by Charles Bingley. He asks Elizabeth if she will allow him the pleasure of being her partner for the first two dances.[5] Though Mr Collins quite enjoys himself during these dances, Elizabeth has entirely different feelings on the matter. Miss Elizabeth has a strong aversion for Mr Collins. However, she usually tries to avoid any conversation beyond what is polite and proper. At the Netherfield ball she describes her dances with Mr Collins as "dances of mortification". She comments that Mr Collins acts awkwardly and solemn and gives her "all the shame and misery which a disagreeable partner for a couple of dances can give".[5]

text: At the end of Mr Collins' weeklong visit he seeks a private audience with Miss Elizabeth. Oblivious to how Elizabeth might be feeling, Mr Collins tells her that "almost as soon as he entered the house, he singled her out as the companion of his future life". He also expounds upon his reasons for getting married which are:

text:
He 'feels' that every clergyman should set the example of matrimony in his parish.
he believes it will add to his own personal happiness.
Lady Catherine has 'urged' him to find a wife as quickly as possible (contradicting his first reason, cited above).[6]

tag: ol

text: When Elizabeth rejects his proposal, despite her mother's approval of the match, Collins is quite taken aback and does not believe that she is serious. Elizabeth has to tell him firmly that she is in fact serious. Mr Collins seems surprised and insulted. He had not considered that his proposal would ever be undesirable. Miss Elizabeth has to insistently repeat to Mr Collins that she does not intend to marry him since he believes she is really only trying to behave with propriety by refusing him. Collins only accepts her refusal once Mrs Bennet admits that it is not likely that Elizabeth intends changing her mind.

text: In a few short days after this rejection, Mr Collins' sentiments are quickly transferred to Elizabeth's friend Charlotte Lucas, who encourages his regard because she seeks to improve her own social position (and does not wish to remain a spinster). Since Collins has very good prospects, Charlotte is determined to gain his favour.[7] Her plan works well. A few days after this Elizabeth hears that Charlotte is now engaged to Mr Collins. Upon hearing this news from Charlotte herself, Elizabeth declares it impossible and wonders how it is that someone could find Mr Collins less than ridiculous, let alone choose to marry him. This engagement takes place rather quickly and later, Mr Collins comes to visit the Bennets with his new wife to pay their respects.

text: A few months later Elizabeth is invited to visit Charlotte at her new home in Hunsford. Mr Collins makes it his goal to show Elizabeth that she made a grave mistake when refusing to marry him. Later on, he seems intent on convincing the Bennets that his pride was never injured and that he never had intentions towards Miss Elizabeth or any of her sisters.[8]

text: Mr Collins is only mentioned a few more times throughout the novel in passing.

text: Extra-textual information[edit]

text: Some scholarly analysis has been conducted on Jane Austen's characterisation of Mr Collins. Possibly the most thorough examination of this character was made by Ivor Morris in his book Mr Collins Considered: Approaches to Jane Austen. Morris says "there is no one quite like Mr Collins [...] his name has become a byword for a silliness all of his own—a felicitous blend of complacent self-approval and ceremonious servility."[9] He continues to say that Austen designed Mr Collins as a flat character, yet he is one of her great accomplishments. Morris suggests that though Mr Collins has few dimensions, he is just as rounded as Sense and Sensibility's Edward Ferrars and Colonel Brandon, or Emma's Mr Knightley and Harriet Smith.[10] In another analysis, Deirdre Le Faye wrote "what does make Mr Collins a figure of fun and rightful mockery is his lack of sense, of taste, and of generosity of spirit contrasted to his own supreme unawareness of his shortcomings in these respects".[11] He has also been criticised for taking such a casual air of his own marriage, which is one of the primary concerns of the Church.[12]

text: In a book review written by Dinah Birch, a professor at the University of Liverpool, she examines the role of Mr Collins as a clergyman in Jane Austen's writing. Birch says that "one of the strongest points of Pride and Prejudice is its understanding that Jane Austen's Christianity ... is also an imaginative force in her writing", because Austen is "deeply interested in the role of the church", in her society.[13] She writes about the lack of religious dedication she sees in some clergyman through her character Mr Collins who is "by no means an aspirant to sainthood".[14] Margaret Kirkham regards the "asinine" Mr Collins, who will inherit Longbourn, as a way that Austen "mocks sexist pride and prejudice" in legal customs.[15]

text: Depictions in other media[edit]

text: Film[edit]

text:
Year
Actor
Role
Film
Notes

1940
Melville Cooper
Mr. William Collins
Pride and Prejudice

2003
Hubbel Palmer
William Collins
Pride and Prejudice: A Latter-day Comedy
Modern adaptation of Pride and Prejudice

2004
Nitin Ganatra
Mr. Kholi
Bride and Prejudice
A Bollywood-style adaptation of Pride and Prejudice

2005
Tom Hollander
Mr. William Collins
Pride & Prejudice

2016
Matt Smith
Parson Collins
Pride and Prejudice and Zombies
Based on the parody novel by Seth Grahame-Smith.

text: Television[edit]

text:
Year
Actor
Role
Television Program
Notes

1952
Lockwood West
Mr. Collins
Pride and Prejudice
Television mini-series

1967
Julian Curry
Mr. Collins
Pride and Prejudice

1980
Malcolm Rennie
Mr. Collins
Pride and Prejudice

1995
David Bamber
Mr. Collins
Pride and Prejudice

2008
Guy Henry
Mr. Collins
Lost in Austen
A fantasy adaptation of Pride and Prejudice

2012
Maxwell Glick
Ricky Collins
The Lizzie Bennet Diaries
A web series, modernized adaptation of Pride and Prejudice