document_title: Iron Man (2008 film)

question_text: who plays the bad guy in iron man

question_tokens: who plays the bad guy in iron man

text: Iron Man (2008 film)

text: Plot[edit]

text: Genius, billionaire, and playboy Tony Stark, who has inherited the defense contractor Stark Industries from his father, is in war-torn Afghanistan with his friend and military liaison Lieutenant Colonel James Rhodes to demonstrate the new "Jericho" missile. After the demonstration, the convoy is ambushed and Stark is critically wounded by one of his own company's rocket-propelled grenades. He is captured and imprisoned in a cave by a terrorist group, the Ten Rings; Yinsen, a fellow captive who is a doctor, implants an electromagnet into Stark's chest to keep the shrapnel shards that wounded him from reaching his heart and killing him. Ten Rings leader Raza offers Stark freedom in exchange for building a Jericho missile for the group, but Tony and Yinsen know that Raza will not keep his word.

text: Stark and Yinsen secretly build a small, powerful electric generator called an arc reactor to power Stark's electromagnet and a prototypical suit of powered armor to aid in their escape. Although they keep the suit hidden almost to completion, the Ten Rings discover their hostages' intentions and attack the workshop. Yinsen sacrifices himself to divert them while the suit is completed. The armored Stark battles his way out of the cave to find the dying Yinsen, then burns the Ten Rings' weapons in anger and flies away, crashing in the desert and destroying the suit in the process. After being rescued by Rhodes, Stark returns home and announces that his company will no longer manufacture weapons. Obadiah Stane, his father's old partner and the company's manager, advises Stark that this may ruin Stark Industries and his father's legacy. In his home workshop, Stark builds a sleeker, more powerful version of his improvised armor suit as well as a more powerful arc reactor for his chest. Personal assistant Pepper Potts places the original reactor inside a small glass showcase. Though Stane requests details, Stark keeps his work to himself because he is suspicious of his company.

text: At a charity event held by Stark Industries, reporter Christine Everhart informs Stark that his company's weapons, including the Jericho, were recently delivered to the Ten Rings and are being used to attack Yinsen's home village, Gulmira. Stark then learns that Stane has been arms trafficking to criminals worldwide, and is staging a coup to replace him as Stark Industries' CEO. Stark dons his new armor and flies to Afghanistan, where he saves the villagers. While flying home, Stark is shot at by two F-22 Raptor fighter jets. He reveals his secret identity to Rhodes over the phone in an attempt to end the attack. Meanwhile, the Ten Rings gather the pieces of Stark's prototype suit and meet with Stane, who subdues Raza and has the rest of the group killed. Stane has a massive new suit reverse engineered from the wreckage. Seeking to track his company's illegal shipments, Stark sends Potts to hack into its database. She discovers that Stane hired the Ten Rings to kill Stark, but the group reneged. Potts meets with Agent Phil Coulson of S.H.I.E.L.D., an intelligence agency, to inform him of Stane's activities.

text: Stane's scientists cannot duplicate Stark's miniaturized arc reactor, so Stane ambushes Stark at his home and takes the one from his chest. Stark manages to get to his original reactor to replace it. Potts and several S.H.I.E.L.D. agents attempt to arrest Stane, but he dons his suit and attacks them. Stark fights Stane, but is outmatched without his new reactor to run his suit at full capacity. The fight carries Stark and Stane to the top of the Stark Industries building, and Stark instructs Potts to overload the large arc reactor powering the building. This unleashes a massive electrical surge that causes Stane and his armor to fall into the exploding reactor, killing him. The next day, at a press conference, Stark defies suggestions from S.H.I.E.L.D. and publicly admits to being the superhero the press has dubbed "Iron Man".

text: In a post-credits scene, S.H.I.E.L.D. Director Nick Fury visits Stark at home, telling him that Iron Man is not "the only superhero in the world", and explaining that he wants to discuss the "Avenger Initiative".

text: Cast[edit]

text:
Robert Downey Jr. as Tony Stark / Iron Man:
An industrialist, genius inventor, and consummate playboy, he is CEO of Stark Industries and a chief weapons manufacturer for the U.S. military. Director Jon Favreau felt Downey's past made him an appropriate choice for the part,[6] and that the actor could make Stark a "likable asshole," but also depict an authentic emotional journey once he won over the audience.[7] Favreau was also attracted to Downey from his performance in Kiss Kiss Bang Bang, with Downey frequently conversing with that film's director, Shane Black, about the script and dialogue in Iron Man.[8] Downey had an office next to Favreau during pre-production, which allowed him greater involvement in the screenwriting process,[9] especially adding humor to the film.[10] Downey explained, "What I usually hate about these [superhero] movies [is] when suddenly the guy that you were digging turns into Dudley Do-Right, and then you're supposed to buy into all his 'Let's go do some good!' That Eliot Ness-in-a-cape-type thing. What was really important to me was to not have him change so much that he's unrecognizable. When someone used to be a schmuck and they're not anymore, hopefully they still have a sense of humor."[11] To prepare, Downey spent five days a week weight training and practiced martial arts to get into shape,[6] which he said benefited him because "it's hard not to have a personality meltdown [...] after about several hours in that suit. I'm calling up every therapeutic moment I can think of to just get through the day."[12]

text:
Terrence Howard as James "Rhodey" Rhodes:
A friend of Stark's, and the liaison between Stark Industries and the United States Air Force in the department of acquisitions, specifically weapons development. Favreau cast Howard because he felt he could play War Machine in a sequel.[13] Howard prepared for the role by visiting Nellis Air Force Base on March 16, 2007, where he ate with the pilots and observed HH-60 Pave Hawk rescue helicopters and F-22 Raptors.[14] While Rhodes is roguish in the comics after he met Stark, his earlier disciplinarian character forms a dynamic with Stark, and he is unsure whether or not Stark's actions are acceptable. "Rhodey is completely disgusted with the way Tony has lived his life, but at a certain point he realizes that perhaps there is a different way," Howard said. "Whose life is the right way; is it the strict military life, or the life of an independent?"[12] Howard and his father are Iron Man fans, partly because Rhodes was one of the few black superheroes when he was a child.[15] He was a Downey fan since he saw him in Weird Science, and the two competed physically on set.[16]
Jeff Bridges as Obadiah Stane:
Stark's business second-in-command, mentor and friend who turns on him to overtake the company, eventually building a giant exosuit to fight Stark. Bridges read the comics as a boy and liked Favreau's modern, realistic approach. He shaved his head, something he had wanted to do for some time, and grew a beard for the role. Bridges googled the Book of Obadiah, and was surprised to learn retribution is a major theme in that book of the Bible, something which Stane represents.[17] Many of Stane's scenes were cut to focus more on Stark, but the writers felt Bridges's performance allowed the application of "less is more".[18]
Shaun Toub as Yinsen:
Stark's fellow captive, who grafts an electromagnet to Stark's chest "to keep the shrapnel shell shards that wounded him from reaching his heart and killing him", and who helps Stark build the first Iron Man suit.[19][20]
Gwyneth Paltrow as Pepper Potts:
Stark's personal assistant and budding love interest. Paltrow asked Marvel to send her any comics they would consider relevant to her understanding of the character, who she considered to be very smart, levelheaded, and grounded. She said she liked "the fact that there's a sexuality that's not blatant." Favreau wanted Potts' and Stark's relationship to be reminiscent of a 1940s comedy, something which Paltrow considered to be fun in an "innocent yet sexy" way.[21]

text: Additionally, Faran Tahir appears as Raza, the leader of the Ten Rings; Paul Bettany voices J.A.R.V.I.S., Stark's personal AI system; Leslie Bibb portrays Christine Everhart, a reporter for Vanity Fair; and Clark Gregg appears as Phil Coulson, an agent of S.H.I.E.L.D..[22] Will Lyman provides the voiceover during the opening award ceremony.[23] Director Jon Favreau plays Happy Hogan, Stark's bodyguard and chauffeur,[10] and Samuel L. Jackson makes a cameo appearance as Nick Fury, director of S.H.I.E.L.D., in a post-credits scene.[24] Jackson's face was previously used as the model for the Ultimate Marvel imprint version of Nick Fury.[25] Other cameos in the film include Stan Lee as himself, being mistaken for Hugh Hefner by Stark at a party;[26] Tom Morello, who provided guitar music for the film, as a terrorist guard;[27] and Jim Cramer as himself.[28] Ghostface Killah had a cameo in a scene where Stark briefly stays in Dubai, but the scene was cut from the theatrical release for pacing reasons.[29]

text: Production[edit]

text: Development[edit]

text: In April 1990, Universal Studios bought the rights to develop Iron Man for the big screen,[30] with Stuart Gordon to direct a low-budget film based on the property.[12] By February 1996, 20th Century Fox had acquired the rights from Universal.[31] In January 1997, Nicolas Cage expressed interest in portraying the character,[32] while in September 1998, Tom Cruise expressed interest in producing as well as starring in an Iron Man film.[33] Jeff Vintar and Iron Man co-creator Stan Lee co-wrote a story for Fox, which Vintar adapted into a screenplay. It included a new science-fiction origin for the character, and featured MODOK as the villain. Tom Rothman, President of Production at Fox, credited the screenplay with finally making him understand the character. In May 1999, Jeffrey Caine was hired to rewrite Vintar and Lee's script.[34] That October, Quentin Tarantino was approached to write and direct the film.[35] Fox sold the rights to New Line Cinema the following December, reasoning that although the Vintar/Lee script was strong, the studio had too many Marvel superheroes in development, and "we can't make them all."[36]

text:
"We worked with Michael Crichton's researchers to find a grounded realistic way to deal with the suit. The idea was he needed the suit to stay alive. He's the same guy we used with Spider-Man 2 to come up with Doc Ock's inhibitor chips and what the arms are made of and how they work. [...] Mandarin was an Indonesian terrorist who masqueraded as a rich playboy who Tony knew."

—Alfred Gough on his draft for Nick Cassavetes' and New Line's aborted version[37]

tag: div

text: By July 2000, the film was being written for New Line by Ted Elliott, Terry Rossio,[34][38] and Tim McCanlies.[39] McCanlies' script used the idea of a Nick Fury cameo to set up his own film.[34] In June 2001, New Line entered talks with Joss Whedon, a fan of the character, to direct,[40] and in December 2002, McCanlies had turned in a completed script.[41] In December 2004, the studio attached director Nick Cassavetes to the project for a target 2006 release.[42] Screenplay drafts were written by Alfred Gough, Miles Millar, and David Hayter, and pitted Iron Man against his father Howard Stark, who becomes War Machine. After two years of unsuccessful development, and the deal with Cassavetes falling through, New Line Cinema returned the film rights to Marvel.[43]

text: In November 2005, Marvel Studios worked to start development from scratch,[44] and announced Iron Man as their first independent feature, as the character was their only major one not already depicted in live action.[9] According to associate producer Jeremy Latcham, "we went after about 30 writers and they all passed", saying they were uninterested in the project due to both the relative obscurity of the character and it being a solely Marvel production. Even the rewrites when the film had a script led to many refusals.[45] In order to build awareness for Iron Man from the general public, and put him on the same level of popularity as Spider-Man or Hulk, Marvel conducted focus groups to help remove the general perception that the character was a robot. After the groups proved successful, the information Marvel received helped them formulate an awareness-building plan, which included releasing three animated short films ahead of the film's release. The shorts were called "Iron Man Advertorials", and were produced by Tim Miller and Blur Studio.[46]

text: Pre-production[edit]

text: Jon Favreau was hired to direct the film in April 2006,[47] celebrating getting the job by going on a diet, losing 70 pounds (32 kg).[12] Favreau had wanted to work with Marvel producer Avi Arad on another film after they both worked on Daredevil.[9] The director found the opportunity to create a politically ambitious "ultimate spy movie" in Iron Man, citing inspiration from Tom Clancy, James Bond, and RoboCop,[48] and compared his approach to an independent film—"[i]f Robert Altman had directed Superman"—and Batman Begins.[9][49] Favreau wanted to make Iron Man a story of an adult man literally reinventing himself after discovering the world is far more complex than he originally believed.[50] He changed the Vietnam War origin of the character to Afghanistan, as he did not want to do a period piece.[13] Art Marcum & Matt Holloway were hired to write the script,[47] while Mark Fergus & Hawk Ostby wrote another version, with Favreau compiling both teams' scripts,[51] and John August then "polishing" the combined version.[52] Comic book staff Mark Millar, Brian Michael Bendis, Joe Quesada, Tom Brevoort, Axel Alonso, and Ralph Macchio were also called upon by Favreau to give advice on the script.[53]

text: Favreau planned to cast a newcomer in the title role, as "those movies don't require an expensive star; Iron Man's the star, the superhero is the star. The success of X-Men and Spider-Man without being star-driven pieces reassures [executives] that the film does have an upside commercially."[54] However, in September 2006, Robert Downey, Jr. was cast in the role.[55] Favreau chose Downey, a fan of the comic,[6] because he felt the actor's past made him an appropriate choice for the part, explaining "The best and worst moments of Robert's life have been in the public eye. He had to find an inner balance to overcome obstacles that went far beyond his career. That's Tony Stark."[6] Favreau faced opposition from Marvel in casting Downey, but would not take no for an answer, saying, "It was my job as a director to show that it was the best choice creatively ... everybody knew he was talented [and] certainly by studying the Iron Man role and developing that script I realized that the character seemed to line-up with Robert in all the good and bad ways.[56] While preparing for filming, Favreau and Downey were given a tour of SpaceX by Elon Musk. Downey said, "Elon was someone Tony probably hung out with and partied with, or more likely they went on some weird jungle trek together to drink concoctions with the shamans."[57]

text: Additional casting for the film occurred over the next few months: Terrence Howard was announced in the role of Stark's best friend Jim Rhodes in October 2006;[58] Gwyneth Paltrow was cast as love interest Virginia "Pepper" Potts in January 2007;[59] and Jeff Bridges was cast in an undisclosed role in February.[60] Choosing a character to be the villain of the film was difficult, as Favreau felt Iron Man's archnemesis the Mandarin would not feel realistic, especially after Mark Millar gave his opinion on the script.[53] He felt only in a sequel, with an altered tone, would the fantasy of the Mandarin's rings be appropriate.[61] The decision to push him into the background is comparable to Sauron in The Lord of the Rings,[49] or Palpatine in Star Wars.[61] Favreau also wanted Iron Man to face a giant enemy. The switch from Mandarin to Obadiah Stane was done after Bridges was cast in that role,[29] with Stane originally intended to become a villain in the sequel.[53] The Crimson Dynamo was also a villain in early drafts of the script.[10] Favreau felt it was important to include intentional inside references for fans of the comics, such as giving the two fighter jets that attack Iron Man the call signs of "Whiplash 1" and "Whiplash 2", a reference to the comic book villain Whiplash, and including Captain America's shield in Stark's workshop.[62]

text: Favreau wanted the film to be believable by showing the construction of the Iron Man suit in its three stages.[13] Stan Winston, a fan of the comic book, and his company, who Favreau worked with on Zathura, built metal and rubber versions of the armors.[17] The Mark I design was intended to look like it was built from spare parts. The back is less armored than the front, because Stark would use his resources for a forward attack. It also foreshadows the design of Stane's armor. A single 90-pound (41 kg) version was built, causing concern when a stuntman fell over inside it, though both the stuntman and the suit were unscathed. The armor was also designed to only have its top half worn at times.[17] Stan Winston Studios built a 10-foot (3.0 m), 800-pound (360 kg) animatronic version of "Iron Monger" (Obadiah Stane),[17] a name which Obadiah Stane calls Tony Stark and himself earlier in the film as a reference, but is never actually used for the suit itself in the film. The animatronic required five operators for the arm, and was built on a gimbal to simulate walking.[17] A scale model was used for the shots of it being built.[29] The Mark II resembles an airplane prototype, with visible flaps.[29] Iron Man comic book artist Adi Granov designed the Mark III with illustrator Phil Saunders.[63] Granov's designs were the primary inspiration for the film's, and he came on board the film after he recognized his work on Jon Favreau's MySpace page.[49] Saunders streamlined Granov's concept art, making it stealthier and less cartoonish in its proportions,[17] and also designed the War Machine armor, but it was "cut from the script about halfway through pre-production." He explained that the War Machine armor "was going to be called the Mark IV armor and would have had weaponized swap-out parts that would be worn over the original Mark III armor," and that it "would have been worn by Tony Stark in the final battle sequence."[64]

text: Filming[edit]

text: Production was based in the former Hughes Company soundstages in Playa Vista, Los Angeles, California.[65] Howard Hughes was one of the inspirations for the comic book, and the filmmakers acknowledged the coincidence that they would film Iron Man creating the flying Mark III where the Hughes H-4 Hercules was built.[17] Favreau rejected the East Coast setting of the comic books because many superhero films had already been set there.[13]

text: Filming began on March 12, 2007,[66] with the first few weeks spent on Stark's captivity in Afghanistan.[67] The cave where Stark is imprisoned was a 150-to-200-yard (140–180 m) long set, which had movable forks in the caverns to allow greater freedom for the film's crew.[13] Production designer J. Michael Riva saw footage of a Taliban fighter in Afghanistan, and saw the cold breath as he spoke: realizing remote caves are actually very cold, Riva placed an air conditioning system in the set. He also sought Downey's advice about makeshift objects in prison, such as a sock being used to make tea.[17] Afterwards, Stark's capture was filmed at Lone Pine, and other exterior scenes in Afghanistan were filmed at Olancha Sand Dunes, where the crew endured two days of 40-to-60-mile-per-hour (64–97 km/h) winds.[17] Filming at Edwards Air Force Base began in mid-April,[68] and ended on May 2.[69] Exterior shots of Stark's home were digitally added to footage of Point Dume in Malibu,[29] while the interior was built at Playa Vista, where Favreau and Riva aimed to make Stark's home look less futuristic and more "grease monkey".[17] Filming concluded on June 25, 2007, at Caesars Palace in Las Vegas, Nevada.[70] Favreau, a newcomer to action films, remarked, "I'm shocked that I [was] on schedule. I thought that there were going to be many curveballs". He hired "people who are good at creating action", so "the human story [felt] like it belongs to the comic book genre".[12]

text: There was much improvisation in dialogue scenes, because the script was not completed when filming began (the filmmakers had focused on the story making sense and planning the action). Favreau felt that improvisation would make the film feel more natural. Some scenes were shot with two cameras to capture lines said on the spot. Multiple takes were done, as Downey wanted to try something new each time.[29] It was Downey's idea to have Stark hold a news conference on the floor,[12] and he created the speech Stark makes when demonstrating the Jericho weapon.[7] Bridges described this approach as "a $200 million student film", and noted that it caused stress for Marvel executives when the stars were trying to come up with dialogue on the day of filming scenes. He also noted that in some instances, he and Downey would swap characters for rehearsal to see how their own lines sounded.[71] The dialogue for the Nick Fury cameo scene was also changed on set, with comic writer Brian Michael Bendis providing three pages of dialogue for the part, and the filmmakers choosing the best lines for filming on set.[53] The Nick Fury cameo was filmed with a skeleton crew in order to keep it a secret, but rumors appeared on the Internet only days later. Marvel Studios President Kevin Feige subsequently had the scene removed from all preview prints in order to maintain the surprise and keep fans guessing.[72]

text: Post-production[edit]

text: Favreau's main concern with the film's effects was whether the transition between the computer-generated and practical costumes would be too obvious.[73] He hired Industrial Light & Magic (ILM) to create the bulk of the visual effects for the film after seeing Pirates of the Caribbean: At World's End and Transformers. The Orphanage and The Embassy did additional work,[17] with the latter creating a digital version of the Mark I armor.[74] To help with animating the more refined suits, information was sometimes captured by having Downey wear only the helmet, sleeves and chest of the costume over a motion capture suit,[17] and skydivers were filmed in a vertical wind tunnel to study the physics of flying.[75] For shots of the Mark III flying, it was animated to look realistic by taking off slowly, and landing quickly. To generate shots of Iron Man and the F-22 Raptors battling, cameras were flown in the air to provide reference for physics, wind and frost on the lenses.[76]

text: Music[edit]

text: Composer Ramin Djawadi had been a fan of the character Iron Man as a child, saying that he always liked superheroes "that actually don’t have any superpowers". After Favreau's previous collaborator John Debney was unavailable to score the film,[77] Djawadi sought out the role himself.[78] Favreau had a clear vision of heavy metal music and guitars for the project,[78] saying that Tony Stark was more of a rock star than a traditional superhero.[79] Djawadi subsequently composed most of the film's score on guitar, before arranging it for orchestra.[78] Djawadi had help with arrangements and additional cues from Hans Zimmer and Remote Control Productions,[78] and Rage Against the Machine guitarist Tom Morello, who makes a cameo appearance in the film, contributed guitar performances to the score.[27] The film also features a big band-style arrangement of the Iron Man theme song from the 1966 cartoon The Marvel Super Heroes from frequent Favreau collaborators John O'Brien and Rick Boston.[80] A soundtrack featuring Djawadi's score was released by Lions Gate Records on April 29, 2008.[81]

text: Release[edit]

text: The premiere was held at the Greater Union theater at George Street, Sydney, on April 14, 2008.[82] The film was released in the United States on May 2, 2008,[83] while the international release was pushed to April 30, 2008.[84]

text: Marketing[edit]

text: Marvel and Paramount modeled their marketing campaign for Iron Man on that of Transformers.[85] In May 2008, Sega released an official tie-in video game based on the film on multiple gaming platforms. Downey, Howard and Taub reprise their roles from the film.[86] A 30-second spot for the film aired during a Super Bowl XLII break.[87] 6,400 7-Eleven stores in the United States helped promote the film, and LG Group also made a deal with Paramount.[85] Hasbro created figures of armors from the film, as well as Titanium Man (who appears in the video game) and the armor from the World War Hulk comics.[88] Worldwide, Burger King and Audi promoted the film. Jon Favreau was set to direct a commercial for the fast-food chain, as Michael Bay did for Transformers.[85] In the film, Tony Stark drives an Audi R8, and also has an "American cheeseburger" from Burger King after his rescue from Afghanistan, as part of the studio's product placement deal with the respective companies. Three other vehicles, the Audi S6 sedan, Audi S5 sports coupe and the Audi Q7 SUV, also appear in the film.[89][90] Audi created a tie-in website, as General Motors did for Transformers.[85] Oracle Corporation also promoted the film on its site.[91] Several tie-in comics were released for the film.[92]

text: Home media[edit]

text: The film was released by Paramount Home Media Distribution on DVD and Blu-ray Disc on September 30, 2008, in the United States and Canada, and October 27, 2008 in Europe.[93] DVD sales were very successful, selling over 4 million copies the first week and generating a gross of over US$93 million.[94][95] There were a total of 9 million copies sold and an accumulated total sales of over $160 million (not including Blu-ray).[94] For the home releases of the film, the image on the newspaper Stark reads before he announces he is Iron Man had to be altered because of amateur photographer Ronnie Adams filing a lawsuit against Paramount and Marvel for using his on-location spy photo in the scene.[96] A Wal-Mart-exclusive release included a preview of Iron Man: Armored Adventures.[97]

text: The film was also collected in a 10-disc box set titled "Marvel Cinematic Universe: Phase One – Avengers Assembled" which includes all of the Phase One films in the Marvel Cinematic Universe.[98] It was released by Walt Disney Studios Home Entertainment on April 2, 2013.[99]

text: Reception[edit]

text: Box office[edit]

text: Iron Man earned $318.4 million in the United States and Canada and $266.8 million in other territories, for a worldwide gross of $585.2 million.[5]

text: In its opening weekend, Iron Man grossed $98.6 million in 4,105 theaters in the United States and Canada, ranking first at the box office,[100] giving it the eleventh biggest-opening weekend at the time,[101] ninth-widest release in terms of theaters,[102] and the third highest-grossing opening weekend of 2008 behind Indiana Jones and the Kingdom of the Crystal Skull and The Dark Knight. It grossed $35.2 million on its first day, giving it the thirteenth biggest-opening day at the time.[103] Iron Man had the second-best premiere for a non-sequel, behind Spider-Man, and the fourth biggest-opening for a superhero film.[104] Iron Man was also the number one film in the U.S. and Canada in its second weekend, grossing $51.2 million,[100] giving it the twelfth-best second weekend and the fifth-best for a non-sequel.[105] On June 18, 2008, Iron Man became that year's first film to pass the $300 million mark for the domestic box office.[106][107]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported a 94% approval rating with an average rating of 7.7/10 based on 268 reviews. The website's consensus reads, "Director Jon Favreau and star Robert Downey Jr. make this smart, high impact superhero movie one that even non-comics fans can enjoy."[108] In May 2008, Rotten Tomatoes review aggregator Jen Yamato identified Iron Man as the "best-reviewed film of the year so far".[109] On Metacritic, the film achieved an average score of 79 out of 100, based on 38 critics, signifying "generally favorable reviews".[110]

text: Among the major trade journals, Todd McCarthy of Variety called the film an "expansively entertaining special effects extravaganza" with "fresh energy and stylistic polish",[111] while Kirk Honeycutt of The Hollywood Reporter praised the film, while nonetheless finding "disappointment [in] a climatic [sic] battle between different Iron Man prototypes ... how did Tony's nemesis learn how to use the suit?"[112] In one of the first major-daily newspaper reviews, Frank Lovece of Newsday lauded the film's "emotional truth ... pitch-perfect casting and plausibly rendered super-science" that made it "faithful to the source material while updating it – and recognizing what's made that material so enduring isn't just the high-tech cool of a man in a metal suit, but the human condition that got him there".[113] A. O. Scott of The New York Times called the film "an unusually good superhero picture. Or at least – since it certainly has its problems – a superhero movie that's good in unusual ways."[114] Among the specialty press, Garth Franklin of Dark Horizons commended the "impressive sets and mechanics that combine smoothly with relatively seamless CG", and said, "Robert Downey Jr., along with director Jon Favreau ... help this rise above formula. The result is something that, whilst hardly original or groundbreaking, is nevertheless refreshing in its earnestness to avoid dark dramatic stylings in favor of an easy-going, crowd-pleasing action movie with a sprinkle of anti-war and redemption themes".[115]

text: Among major metropolitan weeklies, David Edelstein of New York magazine called the film "a shapely piece of mythmaking ... Favreau doesn't go in for stylized comic-book frames, at least in the first half. He gets real with it – you'd think you were watching a military thriller",[116] while conversely, David Denby of The New Yorker gave a negative review, claiming "a slightly depressed, going-through-the-motions feel to the entire show ... Gwyneth Paltrow, widening her eyes and palpitating, can't do much with an antique role as Stark's girl Friday, who loves him but can't say so; Terrence Howard, playing a military man who chases around after Stark, looks dispirited and taken for granted".[117] IGN's Todd Gilchrist recognized Downey as "the best thing" in a film that "functions on autopilot, providing requisite story developments and character details to fill in this default 'origin story' while the actors successfully breathe life into their otherwise conventional roles".[118] Noting the cultural elements of the film, Cristobal Giraldez Catalan of Bright Lights Film Journal wrote, "Iron Man is far more than playboy fantasy; it is American foreign policy realized without context [... and] with narrative and directorial precision, once again provides the high-fidelity misogyny and anti-Muslim rhetoric Hollywood is known for."[119]

text: Accolades[edit]

text:
Year
Award
Category
Recipient(s)
Result
Ref(s)

2008
MTV Movie Awards
Best Summer Movie So Far
Iron Man
Won
[120]

Teen Choice Awards
Choice Movie: Action
Iron Man
Nominated
[121]

Choice Movie Actor: Action
Robert Downey Jr.
Nominated

Choice Movie Actress: Action
Gwyneth Paltrow
Nominated

Choice Movie: Villain
Jeff Bridges
Nominated

Scream Awards
Best Actress in a Science Fiction Movie or TV Show
Gwyneth Paltrow
Nominated
[122]

2009
People's Choice Awards
Favorite Movie
Iron Man
Nominated
[123]

Favorite Male Action Star
Robert Downey Jr.
Nominated

Favorite Male Movie Star
Robert Downey Jr.
Nominated

Favorite Superhero
Robert Downey Jr. as Iron Man
Nominated

Screen Actors Guild Awards
Outstanding Performance by a Stunt Ensemble

Nominated
[124]

USC Scripter Awards
USC Libraries 21st Annual Scripter Award
Mark Fergus & Hawk Ostby and Art Marcum & Matt Holloway
Nominated
[125]

British Academy Film Awards
Best Special Visual Effects
Shane Mahan, John Nelson, Ben Snow
Nominated
[126]

Grammy Awards
Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media
Ramin Djawadi
Nominated
[127]

VES Awards
Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture
Ben Snow, Hal Hickel, Victoria Alonso, John Nelson
Nominated
[128]

Best Single Visual Effect of the Year
Ben Snow, Wayne Billheimer, Victoria Alonso, John Nelson
Nominated

Outstanding Animated Character in a Live Action Motion Picture
Hal Hickel, Bruce Holcomb, James Tooley, John Walker
Nominated

Outstanding Models and Miniatures in a Feature Motion Picture
Aaron McBride, Russell Paul, Gerald Gutschmidt, Kenji Yamaguchi for "Suit Up Machine"
Nominated

Outstanding Compositing in a Feature Motion Picture
Jonathan Rothbart, Dav Rauch, Kyle McCulloch, Kent Seki for "HUD Compositing"
Nominated

Academy Awards
Best Visual Effects
John Nelson, Ben Snow, Dan Sudick, and Shane Mahan
Nominated
[129]

Best Sound Editing
Frank Eulner and Christopher Boyes
Nominated

Nickelodeon Kids' Choice Awards
Favorite Movie
Iron Man
Nominated
[130]

Empire Awards
Best Film
Iron Man
Nominated
[131]

Best Actor
Robert Downey Jr.
Nominated
[132]

Best Sci-Fi/Fantasy/Superhero
Iron Man
Nominated
[133]

Taurus World Stunt Awards
Hardest Hit
Iron Man
Won
[134]

Best Stunt Coordinator and/or 2nd Unit Director
Thomas R. Harper, Phil Neilson, Keith Woulard
Nominated

Best Fire Stunt
Mike Justus, Damien Moreno, Timothy P. Trella
Won

MTV Movie Awards
Best Movie
Iron Man
Nominated
[135]

Best Male Performance
Robert Downey Jr.
Nominated

Saturn Awards
Best Science Fiction Film
Iron Man
Won
[136][137]

Best Actor
Robert Downey Jr.
Won

Best Actress
Gwyneth Paltrow
Nominated

Best Supporting Actor
Jeff Bridges
Nominated

Best Director
Jon Favreau
Won

Best Screenplay
Mark Fergus & Hawk Ostby and Art Marcum & Matt Holloway
Nominated

Best Score
Ramin Djawadi
Nominated

Best Visual Effects
Iron Man
Nominated

Hugo Awards
Best Dramatic Presentation — Long Form
Iron Man
Nominated
[138]

text: Roger Ebert and Richard Corliss named Iron Man as among their favorite films of 2008.[139][140] It was selected by the American Film Institute as one of the ten best films of the year,[141] and by Empire magazine as one of The 500 Greatest Movies of All Time.[142] Tony Stark was also selected by Empire as one of The 100 Greatest Movie Characters of All Time,[143] and on their list of the 100 Greatest Fictional Characters, Fandomania.com ranked him at number 37.[144]

text: Sequels[edit]

text: Iron Man 2[edit]

text: A sequel written by Justin Theroux and released in the United States on May 7, 2010, saw Favreau, Downey, Paltrow, and Jackson returning. Don Cheadle replaced Terrence Howard in the role of Colonel Rhodes, who is also seen as War Machine. Also starring are Mickey Rourke as villain Ivan Vanko, Sam Rockwell as Justin Hammer, and Scarlett Johansson as S.H.I.E.L.D. agent Natasha Romanoff.

text: Iron Man 3[edit]

text: Walt Disney Studios and Marvel Studios released a second sequel on May 3, 2013,[145] with Favreau opting to direct Magic Kingdom instead, but still reprising his role as Happy Hogan.[146] Downey, Paltrow, and Cheadle also return, while Shane Black took over directing,[147] from a screenplay by Drew Pearce. Guy Pearce also starred as Aldrich Killian, and Ben Kingsley as Trevor Slattery.


document_title: Baby, It's Cold Outside

question_text: who sang the original baby it's cold outside

question_tokens: who sang the original baby it 's cold outside

root

text: Baby, It's Cold Outside

text: Background[edit]

text: Loesser wrote the duet in 1944 and premiered the song with his wife, Lynn Garland, at their Navarro Hotel in New York housewarming party, and performed it toward the end of the evening, signifying to guests that it was nearly time to end the party. Loesser would introduce himself as the "Evil of Two Loessers", a play on the theme of the song, trying to keep the girl from leaving, and on the phrase "lesser of two evils". This was a period when the Hollywood elite's chief entertainment was throwing parties and inviting guests who were expected to perform. Garland wrote that after the first performance, "We become instant parlor room stars. We got invited to all the best parties for years on the basis of 'Baby.' It was our ticket to caviar and truffles. Parties were built around our being the closing act." Garland considered it their song and was furious when Loesser told her he was selling the song. Garland wrote, "I felt as betrayed as if I'd caught him in bed with another woman."[2]

tag: p

text: Lyrics[edit]

text: The lyrics in this duet are designed to be heard as a conversation between two people, identified as "mouse" (usually female) and "wolf" (usually male) on the printed score; they are at the wolf's home and the mouse decides it is time to go home, but the wolf flirtatiously invites the mouse to stay as it is late and "it's cold outside." The mouse states that he/she has enjoyed the time and agrees at one point to another drink, but the mouse also says "the answer is no" and tries to return home, worried what family and neighbors will think.[3] Every line in the song features a statement from the mouse followed by a response from the wolf, which is musically known as a call and response song.

text: Although some critical analyses of the song have highlighted parts of the lyrics such as "What's in this drink?" and the wolf's unrelenting pressure to stay despite the mouse's repeated suggestions that she should go home,[4] others noted that cultural expectations of the time period were such that women were not socially permitted to spend the night with a boyfriend or fiancé, and that the mouse states that she wants to stay, while "What's in this drink?" was a common idiom of the period used to rebuke social expectations by blaming one's actions on the influence of alcohol.[4][5]

text: Publication[edit]

text: In 1948, after years of informally performing the song at various parties, Loesser sold the rights to MGM, which inserted the song into its 1949 motion picture, Neptune's Daughter.[2] The film featured two performances of the song: one by Ricardo Montalbán and Esther Williams and the other by Red Skelton and Betty Garrett, the second of which has the roles of wolf and mouse reversed. These performances earned Loesser an Academy Award for Best Original Song.[1]

text: In at least one published version the tempo of the song is given as "Loesserando", a humorous reference to the composer's name.[6]

text: 1949 recordings[edit]

text: The following versions were recorded in 1949:

text:
The recording by Dinah Shore and Buddy Clark was recorded on March 17 and released by Columbia Records as catalog number 38463. It first reached the Billboard Best Seller chart on June 4, 1949, and lasted 15 weeks on the chart, peaking at No. 6.[7]
The recording by Margaret Whiting and Johnny Mercer was recorded on March 18 and released by Capitol Records as catalog number 567. It first reached the Billboard Best Seller chart on May 6, 1949, and lasted 19 weeks on the chart, peaking at No. 4.[8]
The recording by Don Cornell and Laura Leslie with the Sammy Kaye orchestra was recorded on April 12 and released by RCA Victor Records as catalog number 20-3448. It first reached the Billboard Best Seller chart on June 24, 1949, and lasted 10 weeks on the chart, peaking at No. 13.[8]
The recording by Ella Fitzgerald and Louis Jordan was recorded on April 28 and released by Decca Records as catalog number 24644. It first reached the Billboard Best Seller chart on June 17, 1949, and lasted seven weeks on the chart, peaking at No. 17.[8]
A recording by Lynn Garland and Frank Loesser (credited as Lynn & Frank Loesser) was released by Mercury Records as catalog number 5307.[9]
A parody recording was made by Homer and Jethro with June Carter; it went to No. 9 on the country charts and No. 22 on the pop charts.

tag: ul

text: Other recordings[edit]

text: "Baby, It's Cold Outside" has been recorded by numerous other artists over the years. At least five different versions of the song have made at least one singles chart in the United States.

text:
1957: Sammy Davis Jr. and Carmen McRae on Boy Meets Girl.[10][11]
1961: Ray Charles and Betty Carter on their self-titled album (peaked at No. 91 on the Billboard Hot 100 singles chart in March 1962)
1964: Al Hirt and Ann Margret on Hirt's album, Beauty and the Beard.
1999: Tom Jones and Cerys Matthews on Jones's album Reload (No. 17 on the UK Singles Chart)
2002: Brian Setzer and Ann Margret on The Brian Setzer Orchestra’s Boogie Woogie Christmas
2003: Zooey Deschanel and Leon Redbone on the movie soundtrack for Elf
2004: Rod Stewart with Dolly Parton on his album Stardust: The Great American Songbook, Volume III (No. 2 on the U.S. Adult Contemporary chart)
2007: Martina McBride recorded an overdubbed duet with Dean Martin (from his original version recorded in 1959), and the song was added to her third re-release of her album White Christmas (No. 36 on the Hot Country Songs chart)
2008: Lady Antebellum as a promotional single (No. 1 on the Bubbling Under Hot 100)
2009: Willie Nelson with Norah Jones on his album American Classic (No. 55 on the Hot Country Songs chart)
2010: Chris Colfer and Darren Criss performed it on the TV show Glee in the episode "A Very Glee Christmas"; released the month before on Glee: The Music, The Christmas Album, and although not released as a single, it charted at No. 57 on the Billboard Hot 100, after the episode aired[12]
2011: Folk/indie rock band She & Him on their first Christmas album (and third studio album) A Very She & Him Christmas
2011: American Idol Season 10 alumni Haley Reinhart and Casey Abrams with a single, charting at No. 120 on the Billboard 200[13]
2013: Lady Gaga (as wolf) and Joseph Gordon-Levitt on Lady Gaga and the Muppets Holiday Spectacular. Gaga also performed a version of the song with Tony Bennett in a 2015 Barnes & Noble commercial.[14]
2013: Jimmy Fallon and Cecily Strong on Saturday Night Live. The song begins in the traditional manner, but after sex, roles reverse and Fallon tries to get Strong out of his apartment.[15][16]
2014: Canadian pop artists Virginia to Vegas and Alyssa Reid with a single, charting at No. 5 on the Canadian Hot 100[17]
2014: Seth MacFarlane and Sara Bareilles on MacFarlane's album Holiday for Swing (No. 10 on Billboard's Adult Contemporary chart)
2014: Idina Menzel and Michael Bublé on Menzel's album Holiday Wishes (No. 78 on the Billboard Hot 100, and No. 1 on the Adult Contemporary chart, spending three weeks on top)[18]
2014: Darius Rucker and Sheryl Crow on Rucker's album Home for the Holidays (No. 13 on the Adult Contemporary chart)
2016: Brett Eldredge and Meghan Trainor on Eldredge's album Glow (No. 1 on the Adult Contemporary chart)
2016: Amy Grant and Vince Gill on Grant's album "Tennessee Christmas"
2017: VoicePlay and Shoshana Bean


document_title: Reggae genres

question_text: which type of music popularized by bob marley

text: Reggae genres

text: Pre-reggae styles[edit]

text: Mento[edit]

text: Reggae grew out of earlier musical styles such as mento, ska and rocksteady. Mento is a Jamaican folk music based on traditions brought to Jamaica by West African slaves which blended with later influences such as the quadrille.[1][2] Mento reached its peak of popularity in the 1950s with the success of acts such as Louise Bennett, Count Lasher, Lord Flea, Laurel Aitken, and Harry Belafonte, but is sometimes confused with calypso, a similar style from Trinidad.[3]

text: Ska[edit]

text: Ska began in the 1950s, coinciding with Jamaica's independence from Great Britain.[4] By the 1950s, musicians began to absorb the influences R&B and jazz from the United States, resulting in the development of ska. It incorporates elements of mento and calypso, as well as American Jazz and R&B, which were popular on Jamaican radio.[5] The style is characterized chord chops on the offbeat, sometimes called "upstrokes".[4] The tempo is usually upbeat and often features horns, usually trumpets, saxophones, and trombones, as well and pianos and keyboards, bass, and drums. In the early-to-mid 1960s, ska became the most popular form of music in Jamaica and set the stage for rocksteady and reggae.[4] Many of ska's popular acts such as Desmond Dekker & the Aces, Bob Marley and the Wailers, the Skatalites, Toots & the Maytals, Byron Lee & the Dragonaires, and the Melodians, later beame associated with reggae.[4]

text: Rocksteady[edit]

text: In 1966, many ska musicians began to favour slower rhythms and beats, and the form began to evolve into rocksteady.[6] A successor of ska and a precursor to reggae, rocksteady was performed by Jamaican vocal harmony groups such as the Gaylads, Toots & the Maytals, the Heptones and the Paragons.

text: Early reggae[edit]

text: The "early reggae" era can be traced as starting in roughly 1968. The influence of funk music from American record labels such as Stax began to permeate the music style of studio musicians and the slowing in tempo that occurred with the development of rocksteady had allowed musicians more space to experiment with different rhythmic patterns. One of the developments which separated early reggae from rocksteady was the "bubble" organ pattern, a percussive style of playing that showcased the eighth-note subdivision within the groove.

text: The guitar "skanks" on the second and fourth beat of the bar began to be replaced by a strumming pattern similar to mento and the so-called double chop that can be heard so audibly in the introduction of Bob Marley's "Stir It Up" was developed during this time. More emphasis was put on the groove of the music, and there was a growing trend of recording a "version" on the B-side of a single. The mass popularity of instrumental music in the ska and rocksteady eras continued in reggae, producing some of the most memorable recordings of the early reggae era. Cover versions of Motown, Stax and Atlantic Records soul songs remained popular in early reggae, often helping Jamaican artists gain a foothold in foreign markets such as the UK.

text: As a testament to its far reaching impact in other markets, this era and sound of reggae is sometimes referred to in retrospect as "skinhead reggae" because of its popularity among the working class skinhead subculture in the UK during the late 1960s and early 1970s. One Caribbean band based in London, The Pyramids, even released an entire album dedicated to the unruly English youth culture under the name Symarip which featured songs such as "Skinhead Moonstomp" and "Skinhead Girl". Eventually the, often experimental, sounds of early reggae gave way to the more refined sound made popular by Bob Marley's most famous recordings. Indeed, this era seems fittingly capped off by the 1973 release of Catch a Fire. Notable artists from this era include John Holt, Toots & the Maytals and The Pioneers.

text: Roots reggae[edit]

text: Roots reggae usually refers to the most recognizable kind of reggae, popularized internationally by artists like Bob Marley and Peter Tosh, which dominated Jamaican recordings from around 1972 into the early 1980s. While there are distinct musical characteristics to this era of reggae music, the term "roots" often implies more the message of the music than specifically its musical style and is still often used today to refer either to a musical style/subgenre or to give context to an artists music that may, in fact, cover several subgenres of reggae. Roots reggae, in this descriptive sense, can be typified by lyrics grounded in the Rastafarian movement's "Back to Africa" message, equation of colonialism and slavery with the Biblical captivity in Babylon, and, of course, the belief in one living God, Jah, manifested as Ethiopia's Emperor Haile Selassie. Recurrent lyrical themes include poverty and resistance to economic and racial oppression as well as more poetic meditations on spiritual or topical themes.

text: Musically, the "roots" sound and era have a number of distinct features. Drummers developed more complex kick drum patterns based around the "one drop" of rocksteady and incorporated influences from funk and R&B. The guitar, piano and keyboard patterns in the music were refined from the creative explorations of the early reggae era into the patterns most recognizable as reggae throughout the world. Simple chord progressions were often used to create a meditative feeling to compliment the lyrical content of the songs. This refining of rhythmic patterns and simplification of chord progressions brought the bass guitar entirely to the forefront, helping to make bass one of the most definitive features of reggae as a genre. Producer/engineers like King Tubby, Lee "Scratch" Perry and Prince Jammy (before he became a king) also played a large role in the development of the roots sound, with their heavy use of tape delay and reverb effects becoming one of the most recognizable features of the music. The roots sound can be best identified in the Jamaican recordings of the late 1970s by artists such as Burning Spear, Max Romeo, The Abyssinians, Culture and Israel Vibration.

text: Dub[edit]

text: Dub is a genre of reggae that was pioneered in the early days by studio producers Lee 'Scratch' Perry and King Tubby. It involves extensive remixing of recorded material, and particular emphasis is placed on the drum and bass line. The techniques used resulted in an even more visceral feel described by King Tubby as sounding "jus’ like a volcano in yuh head."[7] Augustus Pablo and Mikey Dread were two of the early notable proponents of this music style, which continues today.

text: Rockers[edit]

text: The term "rockers" refers to a particular sound of roots reggae, pioneered in the mid-1970s by Sly & Robbie, and very popular in the late seventies. Rockers is best described as a somewhat more mechanical and aggressive style of playing reggae[8] with a greater use of syncopated drum patterns.

text: Lovers rock[edit]

text: The lovers rock subgenre originated in South London in the mid-1970s. The lyrics are usually about love. It is similar, if not a continuation, to Rocksteady. Notable lovers rock artists include: Janet Kay, Kofi, Louisa Marks, the Investigators and Tradition.

text: Newer styles and spin-offs[edit]

text: Hip hop and rap[edit]

text: Toasting is a style of talking over music, making heavy use of rhythmic phrasing and rhyme patterns, that was developed in the 1950s by Jamaican disc jockeys looking to add excitement to the mainly American R&B records they played in outdoor venues, called "lawns", and dancehalls. This style was developed by pioneers Count Machuki, King Stitt and Sir Lord Comic who took the current style of introducing and speaking over records played by sound systems and developed it into a unique style. As ska moved to rocksteady, this style of vocals gained a wider audience among Jamaican listeners. One of the earliest examples of this style is Sir Lord Comic's 1966 recording, "The Great Wuga Wuga". This style finally gained chart topping popularity in the late 1960s with deejays such as U-Roy and Dennis Alcapone scoring numerous hits. This style of speaking over records may have had a great impact on a young Jamaican DJ named Kool Herc, who had emigrated to New York City in the late 1960s where he began holding parties in the Bronx. It was Kool Herc's parties and the scene that sprung up around them that is generally credited as birth of hip hop and rap. Mixing techniques developed later in dub music have also influenced hip hop.

text: Dancehall[edit]

text: The dancehall genre was developed in the late 1970s by pioneers such as Yellowman and Eek-A-Mouse. The style is characterized by a deejay singing and rapping over riddims and was originally developed in the sound system culture in the wake of the increased popularity of early pioneers like Big Youth. The style of these early deejays was developed into a more continual rhythmic pattern of rapping that contained much more melody than the rapping style being developed in America around this time. It is important to note that the rhythmic patterns dancehall deejays developed in their rapping are based around the phrasing and speech patterns of Jamaican patois. An important characteristic of dancehall was the role of the selectors (and later operators) on the sound systems, who would routinely use the volume control on their mixers to remix the riddim around the vocalists rhythmic patterns. Musicians took the rhythms created by this mixing technique and began incorporating them into the music they played and recorded, a style still often referred to today as the "mix". An early example of this in recording would be Barrington Levy's 1984 hit, "Here I Come". Ragga (or raggamuffin) is usually used to refer to the type of dancehall music that emerged since the 1980s which is based almost entirely around these "mix" rhythms and contains almost no elements of what is traditionally perceived as reggae. In recording, ragga instrumentation primarily consists of synthesizers and drum machines. Sampling and MIDI sequencing is also often used in ragga production. A definitive example of "ragga" might be Beenie Man's 1998 hit, "Who Am I". Dancehall is a style and genre that was developed primarily by urban youth in Jamaica, as such its lyrical content is based in the lives of the people who made it and often contains lyrical content considered by many Jamaicans to be overly sexual or violent. In a word, dancehall might be described as "raw" and it has often been maligned in a similar way to gangsta rap despite the fact that many "conscious" artists continue to release dancehall music. In February 2009, dancehall with lyrical content "deemed explicitly sexual and violent" was banned from the airwaves by the Broadcasting Commission of Jamaica.[9][10]

text: Raggamuffin[edit]

text: Raggamuffin, usually abbreviated as ragga, is a subgenre of reggae that is closely related to dancehall and dub. The term raggamuffin is an intentional misspelling of ragamuffin, and the term raggamuffin music describes the music of Jamaica's "ghetto youths". The instrumentation primarily consists of electronic music. Sampling often serves a prominent role as well. As ragga matured, an increasing number of dancehall artists began to appropriate stylistic elements of hip hop music, while ragga music, in turn, influenced more and more hip hop artists. Ragga is now mainly used as a synonym for dancehall reggae or for describing dancehall with a deejay chatting rather than deejaying or singing on top of the riddim.

text: Reggaeton[edit]

text: Reggaeton is a form of urban music that first became popular with Latin American youths in the early 1990s. Reggaeton's predecessor originated in Panama as reggae en español. After the music's gradual exposure in Puerto Rico, it eventually evolved into reggaeton.[11] It blends West-Indian reggae and dancehall with Latin American genres such as bomba, plena, salsa, merengue, Latin pop and bachata, as well as hip hop, contemporary R&B and electronica.

text: Reggae fusion[edit]

text: Reggae fusion is a mixture of reggae or dancehall with elements of other genres, such as hip hop, R&B, jazz, rock, drum and bass, punk or polka.[12] Although artists have been mixing reggae with other genres from as early as the early 1970s, it was not until the late 1990s when the term was coined.


document_title: Practice What You Preach (Barry White song)

question_text: who wrote barry white practice what you preach

text: "Practice What You Preach" is the title of a number-one R&B single by singer Barry White, written by Barry White, Gerald Levert, Edwin Nicholas, from White's 1994 album The Icon Is Love. The hit song spent three weeks at number-one on the US R&B chart and reached 18 on the pop chart.[1] It became a gold record. The 1994 single also won a Soul Train Music Award for Best R&B/Soul Song of the Year.


document_title: List of oldest trees

question_text: how old is the oldest living tree on earth

text: List of oldest trees

text: Individual trees with verified ages[edit]

text:
Name
Age(years)
Species
Location
Country
Notes

?[nb 1]
7006185110900000000♠5,068
Great Basin bristlecone pinePinus longaeva
White Mountains, California
United States
Oldest-known currently living tree. Tree cored by Edmund Schulman, age determined by Tom Harlan.[6]

Methuselah
7006177151200000000♠4,850[nb 2]
Great Basin bristlecone pinePinus longaeva
White Mountains, California
United States
Until 2012, it was the oldest-known living tree in the world.[8]

Prometheus(WPN-114)
4,844
Great Basin bristlecone pinePinus longaeva
Wheeler Peak, Nevada
United States
Cut down by Donald Rusk Currey in 1964.[6]

Gran Abuelo
7006133226100000000♠3,647
Patagonian cypressFitzroya cupressoides
Cordillera Pelada, Los Ríos
Chile
Alive.[6][9] Located within Alerce Costero National Park.[10]

CBR26
3,266
Giant sequoiaSequoiadendron giganteum
Sierra Nevada, California
United States
Dead.[6]

D-21
3,220
Giant sequoiaSequoiadendron giganteum
Sierra Nevada, California
United States
Dead.[6]

D-23
3,075
Giant sequoiaSequoiadendron giganteum
Sierra Nevada, California
United States
Dead.[6]

CMC 3
3,033
Giant sequoiaSequoiadendron giganteum
Sierra Nevada, California
United States
Dead.[6]

Scofield Juniper
2,675
Western JuniperJuniperus occidentalis
Sierra Nevada, California
United States
Dead.[6]

CB-90-11
7005898922000000000♠2,461
Rocky Mountain Bristlecone PinePinus aristata
central Colorado
United States
[6][11]

Panke Baobab
2,419
African BaobabAdansonia digitata
Matabeleland North
Zimbabwe
Dead in 2011; the oldest non-clonal angiosperm ever documented.[12]

Jaya Sri Maha Bodhi
2,305
Sacred figFicus religiosa
Anuradhapura, North Central Province
Sri Lanka
A sapling from the historical Bodhi tree under which the Buddha became enlightened. It was planted in 288 BC and is the oldest living human-planted tree in the world with a known planting date.[6]

?
2,200
Coast RedwoodSequoia sempervirens
northern California
United States
Dead.[6]

Bennett Juniper
2,200
Western JuniperJuniperus occidentalis
Sierra Nevada, California
United States
[6]

SHP 7
2,110
Foxtail PinePinus balfouriana
Sierra Nevada California
United States
[6]

?
7005710395000000000♠1,944
Subalpine LarchLarix lyallii
Kananaskis, Alberta
Canada
[6][13]

CRE 175
1,889
Rocky Mountain JuniperJuniperus scopulorum
northern New Mexico
United States
[6]

Miles Juniper
7005668528000000000♠1,830
Western JuniperJuniperus occidentalis
Sierra Nevada, California
United States
[6][14]

?
7005660024000000000♠1,807
SugiCryptomeria japonica
Yakushima Island
Japan
[15]

KET 3996
7005628520000000000♠1,720
Limber PinePinus flexilis
Ketchum, Idaho
United States
[6][16]

BFR-46
1,697
Limber PinePinus flexilis
Wasatch Mountains, Utah
United States
[6]

FL117
7005613699000000000♠1,680
Northern WhitecedarThuja occidentalis
Ontario
Canada
[6][17]

ERE
1,670
Limber PinePinus flexilis
northern New Mexico
United States
[6]

RCR 1
1,666
Foxtail PinePinus balfouriana
Sierra Nevada, California
United States
[6]

?
1,661
Limber PinePinus flexilis
South Park, Colorado
United States
[6]

BBL 2
1,649
Foxtail PinePinus balfouriana
Sierra Nevada, California
United States
[6]

BCK 69
7005603503000000000♠1,652
BaldcypressTaxodium distichum
Bladen County, North Carolina
United States
[6][18]

?
1,636
Nootka CypressCallitropsis nootkatensis
Vancouver Island
Canada
[6]

FL101
1,567
Northern WhitecedarThuja occidentalis
Ontario
Canada
[6]

?
1,542
Limber PinePinus flexilis
central Colorado
United States
[6]

tag: table

text: Old trees with estimated ages[edit]

text: Note: The ages of the trees in this list are speculative and probably unreliable.

text:
Name
Age(years)
Species
Location
Country
Notes

?
4,112
YewTaxus baccata
Zonguldak
Turkey
Alive, found in 2016.[19]

Llangernyw Yew
4,000–5,000
Common YewTaxus baccata
Llangernyw, Conwy
Wales
Girth of 10.75 m. Situated in the churchyard of St Dygain's Church in Llangernyw village. One of the 50 Great British Trees.

Sarv-e Abarkuh
4,500
Mediterranean cypressCupressus sempervirens
Abarkuh, Yazd
Iran
Also called "Zoroastrian Sarv",[20][21]

The Senator
3,500
Pond cypressTaxodium ascendens
Longwood, Florida
United States
Destroyed by fire on January 16, 2012[22][23]

Oliveira do Mouchão (KNJ1/601)

3,350

European olive tree
Olea europea L. var. europaea

Mouriscas, Abrantes

Portugal

Alive.[24][25]

The President
3,200
Giant sequoiaSequoiadendron giganteum
Sierra Nevada, California
United States
Alive.

Alishan Sacred Tree
3,000
Formosan cypressChamaecyparis formosensis
Alishan National Scenic Area, Chiayi
Taiwan
Collapsed on July 1, 1997, following heavy rainstorms.[26]

S’Ozzastru
3,000–4,000
OliveOlea europaea
Luras, Sardinia
Italy
[27]

Patriarca da Floresta (pt)
3,020
Jequitibá-rosa
Cariniana legalis

Santa Rita do Passa Quatro, São Paulo
Brazil
Alive. Probably the oldest non-conifer in Brazil. Its name translates as "Patriarch of the Forest". Located at the Vassununga State Park. [28]

Raintree
3,000
Great Basin bristlecone pine
Spring Mountains, Nevada
United States
Great Basin Bristlecone Pine located near Kyle Canyon in the Spring Mountain range in Southern Nevada, USA. Estimated 3000 years old but never cored.

Oliveira de Santa Iria de Azóia (Wikidata)
2,850
OliveOlea europaea
Santa Iria de Azóia (pt), Loures, Lisbon
Portugal
Magnificent Olive tree, probably the last one from a large olive grove. Studied by UTAD University and now classified "Public interest tree" by the Portuguese National Forest Authority ; Tree ID [29]

Mother of the Forest
2,520
Giant sequoiaSequoiadendron giganteum
Calaveras Big Trees State Park, California
United States
Dead.

General Sherman

2,300–2,700

Giant sequoiaSequoiadendron giganteum

Giant Forest, Sequoia National Park, California

United States

Alive with a height of 83.8 meters (275 ft), a diameter of 11 m (36 ft) at its base, and an estimated bole volume of 1,487 m3 (52,513 cu ft), it is among the tallest, widest, and longest-lived of all trees on the planet.[30]

Kayano Ōsugi
2,300
Japanese cedarCryptomeria japonica
Yamanaka Onsen, Ishikawa
Japan
Girth of 9.6 m. One of the four trees believed to be sacred in the precincts in a Shinto shrine. Its name translates as "Great Sugi of Kayano".

Jōmon Sugi
2,170–7,200
Japanese cedarCryptomeria japonica
Yakushima
Japan
Girth of 16.4 m. Exact dating is made difficult by the rotten core of the trunk. Its name is a reference to the Jōmon period of Japanese prehistory.[31][32][33]

Koca Katran
2,022
Lebanon CedarCedrus libani
Antalya
Turkey
Alive.[34]

Ballyconnell Yew
2,000–5,000
YewTaxus baccata
Ballyconnell, Annagh
Ireland
Oldest tree in Ireland and possibly in Europe.[citation needed]

Fortingall Yew
2,000–3,000
YewTaxus baccata
Fortingall, Perthshire
Scotland
Possibly the oldest tree in Britain[35]

Elia Vouvon
2,000–5,000
OliveOlea europaea
Kolymvari, Crete
Greece
Its name translates as "Olive Tree of Vouves".[36]

Castagnu dê Centu Cavaddi
2,000–4,000
Sweet chestnutCastanea sativa
Sicily
Italy
Its name translates as the "Hundred Horse Chestnut".

Ulleungdo Hyangnamu
2,000–3,000
Chinese JuniperJuniperus chinensis
Ulleung-gun, Gyeongbuk
South Korea
Girth of 4.5 m. One of the main branch was broken in 1985 by typhoon "Brenda".

Lady Liberty
2,000
Bald cypressTaxodium distichum
Longwood, Florida
United States
Sometimes called the "Companion Tree" to 'Senator".

Tnjri
2,000
Oriental planePlatanus orientalis
Martuni Region
Artsakh
Oldest tree in Artsakh. Its trunk is hollow. Also known as "Sose's Tree".

Stara Maslina
2,000
OliveOlea europaea
Stari Bar, Bar
Montenegro

The Pechanga Great Oak Tree
2,000
Coast live oakQuercus agrifolia
Temecula, California
United States
Oldest oak tree in the United States, possibly in the world.

?
2,000
OliveOlea europaea
Tavira, Algarve
Portugal
Possibly oldest olive tree in Portugal.[37]

?
2,000
OliveOlea europaea
Exo Hora, Zakynthos
Greece
[38]

?
2,000
YewTaxus
Sochi, Krasnodar Krai
Russia
A grove known to possess several 2,000-year-old specimens.[39]

Houkisugi at Nakagawa
2,000
Japanese cedarCryptomeria japonica
Nakagawa Settlement, Yamakita town, Ashigarakami District, Kanagawa Prefecture
Japan

Methuselah
1,800
Coast redwoodSequoia sempervirens
Woodside, California
United States
[40]

Araucaria Madre
1,800
Araucaria Araucana
Araucanía
Chile
Located in Parque Nacional Conguillío. 1,800 rings account for at least 1,800 years.[41]

Granit oak
1,700
Pedunculate oakQuercus robur
Granit
Bulgaria

Kongeegen
1,500–2,000
Pedunculate oakQuercus robur
Jægerspris Nordskov, Zealand
Denmark
[42]

Stelmužė Oak
1,500-2,000
Pedunculate oakQuercus robur
Stelmužė, Zarasai
Lithuania
Oldest tree in the Baltic states. Supposedly oldest oak in Europe.

Aubépines
1,500
Common hawthornCrataegus monogyna
Saint-Mars-sur-la-Futaie, Mayenne
France
Oldest tree in France.[citation needed]

Seven Sisters Oak
1,500
Southern live oakQuercus virginiana
Mandeville, Louisiana
United States
Highly speculative; live oaks are extremely difficult to age, and rarely live more than 500 years.[43]

Jardine Juniper
1,500
Rocky Mountain juniperJuniperus scopulorum
Logan Canyon, Utah
United States
[44]

Árbol del Tule
1,433–1,600
Montezuma cypressTaxodium mucronatum
Santa María del Tule, Oaxaca
Mexico
Stoutest tree trunk in the world. Its name translates as the "Tule Tree".

Cedars of God
1000+
Cedrus libaniCedars of Lebanon
Mount Lebanon
Lebanon
Oldest forest of cedars in Lebanon[45]

Te Matua Ngahere
1,200–4,000
KauriAgathis australis
Waipoua Forest, Northland
New Zealand
Oldest tree in New Zealand. Its name translates as "Father of the Forest".

Algarrobo Abuelo
+ 1,200
Algarrobo blancoProsopis chilensis
Merlo Forest, Merlo, San Luis
Argentina
Oldest tree in Central Argentina.

text: Clonal trees[edit]

text: As with all long-lived plant and fungal species, no individual part of a clonal colony is alive (in the sense of active metabolism) for more than a very small fraction of the life of the entire clone. Some clonal colonies may be fully connected via their root systems, while most are not actually interconnected, but are genetically identical clones which populated an area through vegetative reproduction. Ages for clonal colonies, often based on current growth rates, are estimates.[citation needed]

text:
Name
Age(years)
Species
Location
Country
Notes

Pando
80,000[46]–1,000,000[47]
Quaking aspenPopulus tremuloides
Fishlake National Forest, Utah
United States
Covers 107 acres (0.43 km2) and has around 47,000 stems (average age 130 years), which continually die and are renewed by its roots. Is also the heaviest-known organism, weighing 6,000 tonnes.

Jurupa Oak[48]
13,000[49]
Palmer oakQuercus palmeri
Jurupa Mountains, California
United States
Quercus palmeri Engelm. = Quercus dunnii Kellogg.[49]

Old Tjikko
9,550
Norway sprucePicea abies
Fulufjället National Park, Dalarna
Sweden
The tree's stems live no more than 600 years, but its root system's age[50][51] was established using carbon dating and genetic matching.[52] Elsewhere in the Fulu mountains, 20 spruces have been found older than 8,000 years.[53]

Old Rasmus
9,500
Norway sprucePicea abies
Sonfjället, Härjedalen
Sweden
[54]

unknown
3,000[55]–10,000[56]
Huon PineLagarostrobos franklinii
Mount Read, Tasmania
Australia
Several genetically identical males that have reproduced vegetatively. Although single trees in this stand may be around 3 to 4 thousand years old, the stand itself as a single organism has existed for 10,000 years.[5]


document_title: We May Never Pass This Way (Again)

question_text: who sang we may never pass this way again

text: We May Never Pass This Way (Again)

text:
"We May Never Pass This Way (Again)"
Single by Seals and Croftsfrom the album Diamond GirlB-side
"Jessica"Released
September 1973Format
7" singleGenre
Soft rockLabel
Warner Bros. RecordsSongwriter(s)
Jim Seals, Dash CroftsProducer(s)
Louie SheltonSeals and Crofts singles chronology

"Diamond Girl" (1973)

"We May Never Pass This Way (Again)" (1973)

"Unborn Child" (1974)

"Diamond Girl"(1973)

"We May Never Pass This Way (Again)"(1973)

"Unborn Child"(1974)

text: "We May Never Pass This Way (Again)" is a song by American soft rock duo Seals and Crofts, released as a single in 1973. It was the second single from their fifth studio album, Diamond Girl. The song reached No. 21 on the US Billboard Hot 100 and spent two weeks at number 18 on the Cash Box Top 100.[1]

text: The song was a significantly greater hit on the Adult Contemporary chart, where it reached number two on both the American[2] and Canadian charts.[3]

text: Chart performance[edit]

text:
Chart (1973)

Peakposition

Australia KMR[4]

29

Canada RPM Adult Contemporary[5]

2

Canada RPM Top Singles[6]

33

US Billboard Easy Listening[2]

2

US Cash Box Top 100[7]

18

US Billboard Hot 100[8]

21


document_title: List of NRL Grand finals

question_text: who won the first ever nrl grand final

question_tokens: who won the first ever nrl grand final

text: List of NRL Grand finals

text: This article relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources. (February 2016)

text: All but 12 of the National Rugby League's (and its predecessors') 108 seasons had the premiers decided by the outcome of one final game, usually called a grand final.

text: The minor premiership is determined by who finishes first at the end of the season before the finals.

text: The premierships not decided by a grand final were determined by league ladder position.

text: Since 1954 the grand final was officially sanctioned as the only way to determine the premiership,[1] but it had been commonplace for decades before that.

text:
Year
Date
Winner
Score
Runner-up
Referee(s)
Ground
Attendance

1908 NSWRFL Final
29 Aug
South Sydney Rabbitohs1908 !South Sydney
14–12
Sydney Roosters1908 !Eastern Suburbs
C. Hutchison
RAS Showground, Sydney (now called Moore Park Showground)
4,000

1910 NSWRFL Final
17 Sep
Newtown
4–4
South Sydney
B. Finegan
RAS Showground, Sydney
14,000

1911 NSWRFL Final
16 Sep
Sydney Roosters1911 !Eastern Suburbs
11–8
Glebe
T. McMahon, Sr
RAS Showground, Sydney
20,000

1916 NSWRFL Final
26 Jul
Balmain
5–3
South Sydney Rabbitohs1916 !South Sydney
A. Farrow
SCG, Sydney
7,000

1922 NSWRFL Final
6 Sep
North Sydney
35–3
Glebe
T. McMahon, Sr
SCG, Sydney
15,000

1923 NSWRFL Final
12 Sep
Sydney Roosters1923 !Eastern Suburbs
15–12
South Sydney Rabbitohs1923 !South Sydney
T. McMahon, Sr
SCG, Sydney
15,000

1924 NSWRFL Final
29 Jul
Balmain
3–0
South Sydney Rabbitohs1925 !South Sydney
W. Neill
SCG, Sydney
15,000

1926 NSWRFL Final
18 Sep
South Sydney Rabbitohs1926 !South Sydney
11–5
University
W. Neill
RAS Showground, Sydney
20,000

1927 NSWRFL Final
17 Sep
South Sydney Rabbitohs1927 !South Sydney
20–11
St George
W. Neill
RAS Showground, Sydney
8,000

1928 NSWRFL Final
15 Sep
South Sydney Rabbitohs1928 !South Sydney
26–5
Sydney Roosters1928 !Eastern Suburbs
L. Deane
RAS Showground, Sydney
25,000

1929 NSWRFL Final
14 Sep
South Sydney Rabbitohs1929 !South Sydney
30–10
Newtown
L. Deane
Sports Ground, Sydney
16,360

1930 NSWRFL Final
4 Oct
Western Suburbs
27–2
St George
L. Deane
Sports Ground, Sydney
12,178

1931 NSWRFL Final
12 Sep
South Sydney Rabbitohs1931 !South Sydney
12–7
Sydney Roosters1931 !Eastern Suburbs
L. Deane
Sports Ground, Sydney
27,104

1932 NSWRFL Final
24 Sep
South Sydney Rabbitohs1932 !South Sydney
19–12
Western Suburbs
L. Deane
Sports Ground, Sydney
16,925

1933 NSWRFL Final
9 Sep
Newtown
18–5
St George
B. Fry
Sports Ground, Sydney
18,080

1934 NSWRFL Final
8 Sep
Western Suburbs
15–12
Sydney Roosters1934 !Eastern Suburbs
J. Murphy
Sports Ground, Sydney
25,174

1935 NSWRFL Final
14 Sep
Sydney Roosters1935 !Eastern Suburbs
19–3
South Sydney Rabbitohs1935 !South Sydney
T. McMahon, Jr
SCG, Sydney
22,106

1936 NSWRFL Final
12 Sep
Sydney Roosters1936 !Eastern Suburbs
32–12
Balmain
L. Deane
SCG, Sydney
14,395

1938 NSWRFL Final
3 Sep
Canterbury
19–6
Sydney Roosters1938 !Eastern Suburbs
T. McMahon, Jr
SCG, Sydney
20,287

1939 NSWRFL Final
2 Sep
Balmain
33–4
South Sydney Rabbitohs1939 !South Sydney
G. Bishop
SCG, Sydney
26,972

1940 NSWRFL Final
31 Aug
Sydney Roosters1940 !Eastern Suburbs
24–14
Canterbury
J. O'Brien
SCG, Sydney
24,167

1941 NSWRFL Final
30 Aug
St George
31–14
Sydney Roosters1941 !Eastern Suburbs
T. McMahon, Jr
SCG, Sydney
39,957

1942 NSWRFL Final
12 Sep
Canterbury
11–9
St George
J. O'Brien
SCG, Sydney
26,171

1943 NSWRFL Final
4 Sep
Newtown
34–7
North Sydney
J. O'Brien
SCG, Sydney
60,922

1944 NSWRFL Final
16 Sep
Balmain
12–8
Newtown
J. O'Brien
SCG, Sydney
24,186

1945 NSWRFL Final
1 Sep
Sydney Roosters1945 !Eastern Suburbs
22–18
Balmain
T. McMahon, Jr
SCG, Sydney
44,585

1946 NSWRFL Final
14 Sep
Balmain
13–12
St George
G. Bishop
Sports Ground, Sydney
32,296

1947 NSWRFL Final
20 Sep
Balmain
13–9
Canterbury
J. O'Brien
Sports Ground, Sydney
29,292

1948 NSWRFL Grand Final Chall.
18 Sep
Western Suburbs
8–5
Balmain
G. Bishop
Sports Ground, Sydney
29,122

1949 NSWRFL Grand Final Chall.
10 Sep
St George
19–12
South Sydney Rabbitohs1949 !South Sydney
G. Bishop
SCG, Sydney
56,534

1950 NSWRFL Final
16 Sep
South Sydney Rabbitohs1950 !South Sydney
21–15
Western Suburbs
T. McMahon, Jr
Sports Ground, Sydney
32,373

1951 NSWRFL Grand Final Chall.
23 Sep
South Sydney Rabbitohs1951 !South Sydney
42–14
Manly Warringah
J. O'Brien
Sports Ground, Sydney
28,505

1952 NSWRFL Grand Final Chall.
20 Sep
Western Suburbs
22–12
South Sydney Rabbitohs1952 !South Sydney
G. Bishop
SCG, Sydney
41,060

1953 NSWRFL Final
12 Sep
South Sydney Rabbitohs1953 !South Sydney
31–12
St George
D. Lawler
SCG, Sydney
44,581

1954 NSWRFL Grand Final
18 Sep
South Sydney Rabbitohs1954 !South Sydney
23–15
Newtown
J. O'Brien
SCG, Sydney
45,759

1955 NSWRFL Grand Final
17 Sep
South Sydney Rabbitohs1955 !South Sydney
12–11
Newtown
C. Pearce
SCG, Sydney
42,466

1956 NSWRFL Grand Final
8 Sep
St George
18–12
Balmain
D. Lawler
SCG, Sydney
61,987

1957 NSWRFL Grand Final
21 Sep
St George
31–9
Manly Warringah
D. Lawler
SCG, Sydney
54,399

1958 NSWRFL Grand Final
13 Sep
St George
20–9
Western Suburbs
D. Lawler
SCG, Sydney
62,283

1959 NSWRFL Grand Final
15 Aug
St George
20–0
Manly Warringah
D. Lawler
SCG, Sydney
49,457

1960 NSWRFL Grand Final
3 Sep
St George
31–6
Sydney Roosters1960 !Eastern Suburbs
D. Lawler
SCG, Sydney
53,156

1961 NSWRFL Grand Final
16 Sep
St George
22–0
Western Suburbs
D. Lawler
SCG, Sydney
61,196

1962 NSWRFL Grand Final
15 Sep
St George
9–6
Western Suburbs
J. Bradley
SCG, Sydney
41,184

1963 NSWRFL Grand Final
24 Aug
St George
8–3
Western Suburbs
D. Lawler
SCG, Sydney
69,860

1964 NSWRFL Grand Final
19 Sep
St George
11–6
Balmain
C. Pearce
SCG, Sydney
61,369

1965 NSWRFL Grand Final
18 Sep
St George
12–8
South Sydney Rabbitohs1965 !South Sydney
C. Pearce
SCG, Sydney
78,056

1966 NSWRFL Grand Final
17 Sep
St George
23–4
Balmain
C. Pearce
SCG, Sydney
61,129

1967 NSWRFL Grand Final
16 Sep
South Sydney Rabbitohs1967 !South Sydney
12–10
Canterbury
C. Pearce
SCG, Sydney
56,358

1968 NSWRFL Grand Final
21 Sep
South Sydney Rabbitohs1968 !South Sydney
13–9
Manly Warringah
C. Pearce
SCG, Sydney
54,255

1969 NSWRFL Grand Final
20 Sep
Balmain
11–2
South Sydney Rabbitohs1969 !South Sydney
K. Page
SCG, Sydney
58,825

1970 NSWRFL Grand Final
19 Sep
South Sydney Rabbitohs1970 !South Sydney
23–12
Manly Warringah
D. Lancashire
SCG, Sydney
53,241

1971 NSWRFL Grand Final
18 Sep
South Sydney Rabbitohs1971 !South Sydney
16–10
St George
K. Holman
SCG, Sydney
62,838

1972 NSWRFL Grand Final
16 Sep
Manly Warringah
19–14
Sydney Roosters1972 !Eastern Suburbs
K. Page
SCG, Sydney
54,357

1973 NSWRFL Grand Final
15 Sep
Manly Warringah
10–7
Cronulla
K. Page
SCG, Sydney
52,044

1974 NSWRFL Grand Final
21 Sep
Sydney Roosters1974 !Eastern Suburbs
19–4
Canterbury
L. Bruyeres
SCG, Sydney
57,214

1975 NSWRFL Grand Final
20 Sep
Sydney Roosters1975 !Eastern Suburbs
38–0
St George
L. Bruyeres
SCG, Sydney
63,047

1976 NSWRFL Grand Final
18 Sep
Manly Warringah
13–10
Parramatta
G. Cook
SCG, Sydney
57,343

1977 NSWRFL Grand Final
17 Sep
St George
9–9
Parramatta
G. Cook
SCG, Sydney
65,959

1977 NSWRFL Grand Final Rep.
24 Sep
St George
22–0
Parramatta
G. Cook
SCG, Sydney
47,828

1978 NSWRFL Grand Final
16 Sep
Manly Warringah
11–11
Cronulla
G. Hartley
SCG, Sydney
51,510

1978 NSWRFL Grand Final Rep.
19 Sep
Manly Warringah
16–0
Cronulla
G. Hartley
SCG, Sydney
33,552

1979 NSWRFL Grand Final
22 Sep
St George
17–13
Canterbury
G. Hartley
SCG, Sydney
50,991

1980 NSWRFL Grand Final
27 Sep
Canterbury
18–4
Sydney Roosters1980 !Eastern Suburbs
G. Hartley
SCG, Sydney
52,881

1981 NSWRFL Grand Final
27 Sep
Parramatta
20–11
Newtown
G. Hartley
SCG, Sydney
57,333

1982 NSWRFL Grand Final
26 Sep
Parramatta
21–8
Manly Warringah
J. Gocher
SCG, Sydney
52,186

1983 NSWRFL Grand Final
25 Sep
Parramatta
18–6
Manly Warringah
K. Roberts
SCG, Sydney
40,285

1984 NSWRL Grand Final
23 Sep
Canterbury
6–4
Parramatta
K. Roberts
SCG, Sydney
47,076

1985 NSWRL Grand Final
29 Sep
Canterbury
7–6
St George
K. Roberts
SCG, Sydney
44,569

1986 NSWRL Grand Final
28 Sep
Parramatta
4–2
Canterbury
M. Stone
SCG, Sydney
45,843

1987 NSWRL Grand Final
27 Sep
Manly Warringah
18–8
Canberra
M. Stone
SCG, Sydney
50,201

1988 NSWRL Grand Final
11 Sep
Canterbury
24–12
Balmain
M. Stone
SFS, Sydney (now called Allianz Stadium)
40,000

1989 NSWRL Grand Final
24 Sep
Canberra
19–14
Balmain
B. Harrigan
SFS, Sydney
40,500

1990 NSWRL Grand Final
23 Sep
Canberra
18–14
Penrith
B. Harrigan
SFS, Sydney
41,535

1991 NSWRL Grand Final
22 Sep
Penrith
19–12
Canberra
B. Harrigan
SFS, Sydney
41,815

1992 NSWRL Grand Final
27 Sep
Brisbane
28–8
St George
G. McCallum
SFS, Sydney
41,560

1993 NSWRL Grand Final
26 Sep
Brisbane
14–6
St George
G. McCallum
SFS, Sydney
42,329

1994 NSWRL Grand Final
25 Sep
Canberra
36–12
Canterbury
G. McCallum
SFS, Sydney
42,234

1995 ARL Grand Final
24 Sep
Canterbury
17–4
Manly Warringah
E. Ward
SFS, Sydney
41,127

1996 ARL Grand Final
29 Sep
Manly Warringah
20–8
St George
D. Manson
SFS, Sydney
40,985

1997 Super League Grand Final
20 Sep
Brisbane Broncos
26–8
Cronulla
B. Harrigan
QEII Stadium, Brisbane
58,912

1997 ARL Grand Final
28 Sep
Newcastle
22–16
Manly Warringah
D. Manson
SFS, Sydney
42,482

1998 NRL Grand Final
27 Sep
Brisbane
38–12
Canterbury
B. Harrigan
SFS, Sydney
40,857

1999 NRL Grand Final
26 Sep
Melbourne
20–18
St George Illawarra
B. Harrigan
Stadium Aus., Sydney (now called ANZ Stadium)
107,999

2000 NRL Grand Final
27 Aug
Brisbane
14–6
Sydney Roosters2000 !Sydney Roosters
B. Harrigan
Stadium Aus., Sydney
94,277

2001 NRL Grand Final
30 Sep
Newcastle
30–24
Parramatta
B. Harrigan
Stadium Aus., Sydney
90,414

2002 NRL Grand Final
6 Oct
Sydney Roosters2002 !Sydney Roosters
30–8
Warriors
B. Harrigan
Stadium Aus., Sydney
80,130

2003 NRL Grand Final
5 Oct
Penrith
18–6
Sydney Roosters2003 !Sydney Roosters
B. Harrigan
Stadium Aus., Sydney
81,166

2004 NRL Grand Final
3 Oct
Canterbury
16–13
Sydney Roosters2004 !Sydney Roosters
T. Mander
Stadium Aus., Sydney
82,127

2005 NRL Grand Final
2 Oct
Wests Tigers
30–16
North Queensland
T. Mander
Stadium Aus., Sydney
82,453

2006 NRL Grand Final
1 Oct
Brisbane
15-8
Melbourne
P. Simpkins
Stadium Aus., Sydney
79,609

2007 NRL Grand Final
30 Sep
Melbourne
34–8
Manly Warringah
T. Archer
Stadium Aus., Sydney
81,392

2008 NRL Grand Final
5 Oct
Manly Warringah
40–0
Melbourne
T. Archer
Stadium Aus., Sydney
80,388

2009 NRL Grand Final
4 Oct
Melbourne
23–16
Parramatta
T. Archer, S. Hayne
Stadium Aus., Sydney
82,538

2010 NRL Grand Final
3 Oct
St George Illawarra
32–8
Sydney Roosters2010 !Sydney Roosters
T. Archer, S. Hayne
Stadium Aus., Sydney
82,334

2011 NRL Grand Final
2 Oct
Manly Warringah
24–10
Warriors
M. Cecchin, T. Archer
Stadium Aus., Sydney
81,988

2012 NRL Grand Final
30 Sep
Melbourne
14-4
Canterbury
T. Archer, B. Cummins
Stadium Aus., Sydney
82,976

2013 NRL Grand Final
6 Oct
Sydney Roosters
26-18
Manly-Warringah
S. Hayne, B. Cummins
Stadium Aus., Sydney
81,491

2014 NRL Grand Final
5 Oct
South Sydney Rabbitohs
30-6
Canterbury-Bankstown Bulldogs
S. Hayne, G. Sutton
Stadium Aus., Sydney
83,833

2015 NRL Grand Final
4 Oct
North Queensland
17-16
Brisbane
G. Sutton, B. Cummins
ANZ Stadium, Sydney
82,758

2016 NRL Grand Final
2 Oct
Cronulla
14-12
Melbourne
M. Checcin, B. Cummins
ANZ Stadium, Sydney
83,625


document_title: Sequence (game)

question_text: what is a sequence in the game sequence

question_tokens: what is a sequence in the game sequence

text: Sequence (game)

text: Gameplay[edit]

text: Objective[edit]

text: The object of the game is to form rows of 5 poker chips on the board by placing the chips on the board spaces corresponding to cards played from your hand

text: Equipment[edit]

text: Playing Board 19 3⁄4 by 15 1⁄4 inches (500 mm × 390 mm); Instructions; 135 poker chips (50 blue, 50 green, 35 red); two full standard card decks (52 cards each, 104 cards total, no Jokers)

text: Directions[edit]

text: Sequence can be played with two to 12 players. If there are more than 12 players you can't play, they should divide evenly into two teams, three teams or one vs. one. With two teams, players alternate their physical positions with opponents around the playing surface. With three teams, players of a team must be positioned at every third player around the playing surface.

text: Place the game board on a flat surface (such as the floor or a table) with enough room to allow for the draw deck, a discard pile and marker chips. Remove the jokers, if any, from the deck as they are not used in the game.

text: To decide who goes first, one player then shuffles the card decks into one stack. Each player takes a card from the deck. The player with the lowest card deals. Shuffle once more. Each player or team then chooses a set of poker chips, and all members of each team must use the same color chips (red is only used if there are three teams).

text: The number of cards dealt to each player varies by the number of people playing:

text:
Two Players: Seven cards each
Three Players: Six cards each
Four Players: Six cards each
Six Players: Five cards each
Eight Players: Four cards each
Nine Players: Four cards each
Ten Players: Three cards each
Twelve Players: Three cards each.

text: Each card is pictured twice on the game board, and Jacks (while necessary for game strategy) do not appear on the board.

text: The player to the left of the dealer goes first.

text: Choose a card from your hand, and place a chip on one of the corresponding spaces of the game board (Example: you choose Ace of Diamonds from your hand and place a chip on the Ace of Diamonds on the board). Jacks are wild. Two-Eyed Jacks can represent any card and may be used to place a counter on any space on the board. One-Eyed Jacks can remove an opponent's token from a space. Players may use the Two-Eyed Jacks to complete a row or block an opponent, and One-Eyed Jacks can remove an opponent's advantage. One-Eyed Jacks cannot be used to remove a marker chip that is already part of a completed sequence; once a sequence is achieved by a player or team, it stands. Once a Jack is played, it ends the turn.

text: The played card then goes face-up into a "Discard" pile, and play passes to the left.

text: A player may place chips on either of the appropriate card spaces as long as it is not already covered by an opponent's marker chip.

text: If a player possesses a card which does not have an open space on the game board, the card is considered "dead" and may be exchanged for a new card. When it is your turn, place the dead on card on the discard pile, announce you are turning in a dead card, and take a replacement (one card per turn). Then proceed to play your normal turn.

text: Strategy[edit]

text: Each corner of the board has a "Free" space that all players can use to their advantage. This space acts as if it has a chip of each color on it at all times - chips are only used if there is 4 coins in a row and only need the free space to create a sequence.

text: To form rows, poker chips may be placed vertically, horizontally or diagonally. Each complete row of five (or four and a free corner space) is counted as a sequence. Sequences of the same color may intersect, but only at a single position.

text: If the draw deck becomes depleted during play, shuffle the discard pile and begin again.

text: Sequence rules dictate no table talk or coaching between team members and a precise order in which hands must be played (card, chip, replace card). If you forget to replace a card on your turn and if any of the other players points it out then, you cannot make it up in a later one and must continue playing the game with a reduced number of cards.

text: Winning[edit]

text: The game ends when a player or team completes 2 sequences [3]

text: Two Sequences: When two (2) sequences are required to win they can be in one straight row of ten chips. However this is accepted as a win only when one sequence does not interrupt the other. Once a sequence is made in the middle of the line it disrupts the ends. For example, 5+4 is acceptable but a 2+5+3 is unacceptable.

text: Variants[edit]

text: Unofficial variants[edit]

text: A fun alternative to standard Sequence game play is to go past the minimal number of sequences to win. Players compete to fill the entire board with complete sequences of five chips (in each player's preferred color). Keep score of one point per sequence created. Different from standard game play, a player may remove chips from completed sequences to prevent opponents from scoring. For added difficulty, do not reshuffle the deck should you run out of cards. Game play ends when the board is filled and no additional moves are possible. To declare a winner, tally up the points. Whoever has the most points wins the game.

text: A fun variation for turning sequence into a drinking game for adults is for each player to pick one (or two) number or face cards. Each time any of the chosen cards is discarded, by any player, the player who chose it has to drink. Last man standing (or the person who wins via the usual way) wins.

text: Official variations[edit]

text: Sequence comes in several versions, including: Sequence – States and Capitals; Sequence Numbers; Sequence 25th Anniversary Edition; Jumbo Sequence; Travel Sequence; Sequence Deluxe Edition; and Sequence for Kids. The major difference between the different Sequence versions is the game board sizes, shapes and topics.

text: There is also Sequence Dice which uses dice instead of cards. The object of Sequence Dice is to be the first person to connect a "sequence" of five chips in a row on the board, just as in the original game. However, a player only has to achieve one sequence in order to win instead of the two sometimes needed in the original. The board displays four interlocking arrangements of the numerals 1-9 and pictures of dice. The four corner spaces on the board depict dice arranged in a "snake eyes" pattern; that is, displaying one and one. The four spaces in the center of the board depict dice showing double-sixes. Players who roll "snake eyes" or double-sixes may roll again.

text: A variant allows pairs that become trapped by placing your color on each side of a pair of a single opponent to be removed from the board. One or three or more are not an option, but two, not a part of a sequence can be stolen by an opponent. Additionally, this allows for another option to win, as if a player captures any five pairs of any opponent, they win the game.

text: Legal issues[edit]

text: During a series of legal disputes, Douglas Reuter claimed Jax violated its licensing agreement which would provide grounds for contract termination. In response, Jax denied any violation. Meanwhile, both sides continue to profit from game sales. Jax garners 80 percent of its revenue from Sequence; Reuter receives a royalty on sales of Sequence. Mr. Reuter has also started a new game company called, "Game Inventors of America," which is located in Corinth, Texas.[4]

text: Unauthorized variations of Sequence have appeared many times over the years. Names of the unauthorized versions include, "One-Eyed Jack," "Jack Foolery," and "Jack Off." In "One-Eyed Jack," the board is constructed using actual playing cards.[5]

text: In March 2015, Jax Ltd. filed a legal claim against independent video game developer Iridium Studios over the name of their rhythm video game titled Sequence. Not wanting to pay legal fees challenging the claim, the video game developer promptly renamed their game to Before the Echo.[6]