document_title: The Marshall Tucker Band

question_text: where did the marshall tucker band get their name

text: The Marshall Tucker Band

text: Origin of the name[edit]

text: The "Marshall Tucker" in the band's name does not refer to a band member, but rather a Spartanburg-area blind piano tuner.[4]  While the band was discussing possible band names one evening in an old warehouse they had rented for rehearsal space, someone noticed that the warehouse's door key had the name "Marshall Tucker" inscribed on it, and suggested they call themselves "The Marshall Tucker Band," not realizing it referred to an actual person.  It later came to light that Marshall Tucker, the blind piano tuner, had rented the space before the band, and his name was inscribed on the key.[5] Music historian Joel Whitburn erroneously attributes "Marshall Tucker" to the owner of the band's rehearsal hall in his book, Top Pop Singles, 1955-2002.[6]

text: History[edit]

text: Early history[edit]

text: The original members (and some later members) of the Marshall Tucker Band had been playing in various lineups under different band names around the Spartanburg area since the early 1960s.  In 1966, members of several such bands merged to form the Toy Factory, named after guitarist Toy Caldwell.  The Toy Factory's constantly shifting lineup included, at times, Caldwell, his younger brother Tommy, Doug Gray, Jerry Eubanks, George McCorkle, and Franklin Wilkie.  In the late 1960s, four of the bandmembers served in the U.S. Armed Forces;[7][8][9] Toy Caldwell was wounded in Vietnam.[10]

text: By the 1970s, Toy Caldwell and George McCorkle had returned to Spartanburg, and the Toy Factory had resumed playing in area clubs.[11]  In 1970 the Toy Factory was the opening act for the Allman Brothers when the Allmans played at the "Sitar" music lounge in Spartanburg.[citation needed]

text: In 1972, Caldwell and McCorkle once again revamped the band's lineup, eventually settling on Tommy Caldwell on bass, George McCorkle rhythm guitar, vocalist Doug Gray, and Jerry Eubanks, flute/tenor sax, while adding Paul Riddle on drums; the new lineup adopted the name "Marshall Tucker Band." Wet Willie lead singer Jimmy Hall told Toy Caldwell to book the band at Grant's Lounge in Macon which he did. After hearing the band play at Grant's, Buddy Thornton and Paul Hornsby recorded the band's demo at Capricorn Studios in Macon, Ga.  Frank Fenter and Phil Walden signed The Marshall Tucker Band based on those demos.

text: The Marshall Tucker Band's self-titled debut, produced by Paul Hornsby, was released in 1973, and certified gold in 1975.[12] All of the tracks were written by Toy Caldwell, including "Can't You See", which was released in 1973 on Capricorn 0023 ("Bubbled Under" at No. 108 on 1 September 1973) and re-released in 1977 on Capricorn 0278 (peaked at No. 75 on 24 September 1977). After the album's release, the band began touring, playing upwards of 300 shows per year throughout the decade.[12] Southern rock fiddler Charlie Daniels later recalled that the Marshall Tucker Band "came onstage and just blew it out from start to finish."[13]

text: Daniels' first of many collaborations with the Marshall Tucker Band came on the band's second album, A New Life,[13] which was released in 1974, and certified gold in 1977.[12]  Daniels and blues guitarist Elvin Bishop were among several musicians that joined the band for Where We All Belong,[13] a double-album (one studio album and one live album) released by the band in 1974 and certified gold that same year.  The following year the band's Searchin' for a Rainbow was also certified gold the year of its release, and contained the track "Fire on the Mountain," which peaked at No. 38 on the Billboard charts. Long Hard Ride, the band's fifth consecutive gold album, was released in 1976,[13] and its instrumental title track (which again features Charlie Daniels on fiddle) was nominated for a Grammy.[14] Carolina Dreams, released in 1977 and certified platinum that same year, proved to be the band's most commercially successful album, and included the track "Heard It in a Love Song," which reached No. 14 on the Billboard charts.[12]  The band's final Capricorn release came with 1978's Together Forever, which was produced by Stewart Levine.[13] Following the bankruptcy of Capricorn, The Marshall Tucker Band moved to Warner Bros. Records for their ninth album, Running Like the Wind (the band's eighth release was a compilation album entitled Greatest Hits), and they retained Levine as the album's producer.

text: Following the completion of the band's tenth album, entitled Tenth, tragedy struck The Marshall Tucker Band. On April 22, 1980, the band's bassist and co-founder, Tommy Caldwell, suffered massive head trauma in a car wreck and died six days later. Former Toy Factory bassist Franklin Wilkie replaced Caldwell, but the band was never able to recapture its commercial success of the 1970s. On 1982's Tuckerized, only two songs were written by band members; 'Sea, Dreams & Fairy Tales' by Toy Caldwell and 'Sweet Elaine' by George McCorkle. Main songwriter Toy Caldwell only contributed three songs to each of the two albums released in 1983; Just Us and Greetings from South Carolina. After 1983's Greetings from South Carolina, all the rest of the original band members split, sans Doug Gray and Jerry Eubanks.[1]

text: In 1988 Gray and Eubanks recorded the album Still Holdin' On, their one and only release on the Mercury Records label. Although Gray and Eubanks added new members Rusty Milner, Stuart Swanlund, and Tim Lawter, Still Holdin' On was primarily recorded with studio musicians. The newer members (including newly added keyboardist Don Cameron) had a much greater role, however, on the band's 1990 album, Southern Spirit, released on the Sisaspa label. The album marked a return to the band's country and blues roots.[15]

text: In 1992, the Marshall Tucker Band produced its first album for the Cabin Fever label, Still Smokin', which managed to crack the top 70 on the Billboard charts. The band's 1993 release, Walk Outside the Lines, marked a transition to a more country sound, relying less on long improvised jams that were the trademark of the band's early career.[16] The album's title track was co-written by country music star Garth Brooks, a long-time fan of the band who considered writing a track for them a "milestone" in his career.[12]

text: For 1998's Face Down In the Blues, the band added Spartanburg-area guitarist Ronald Radford and Firefall's multi-instrumentalist David Muse, the latter replacing Jerry Eubanks, who had retired in 1996.[13] Gospel, the band's 1999 album, featured the band's rendition of traditional songs such as The Wayfaring Stranger and Will the Circle Be Unbroken, and several original tracks.

text: Recent history[edit]

text: The Marshall Tucker Band continued recording and performing into the 21st century, playing between 150 and 200 shows per year.[5] The band reissued many of its albums from the 1970s on its new Ramblin' Records label, as well as two two-disc compilations, the first (Anthology) being a 30-year retrospective and the second (Where a Country Boy Belongs) being a collection of the band's country songs. In 2004, they released another studio album, Beyond the Horizon, and the following year released a Christmas album, Carolina Christmas.

text: Can't You See was used for the opening and closing credits of the Kevin Costner 2008 motion picture Swing Vote. Take the Highway was also used in the movie.

text: "Can't You See" is also used in the 2001 film Blow, and the 2017 film I, Tonya.

text: Music style[edit]

text: The band has incorporated throughout its career elements of diverse genres into its sound, most frequently blues,[17][18][19][20] country[17][18][20] and jazz.[17][20] The band has also drawn from boogie,[19] psychedelic,[21] R&B,[21]gospel,[21] folk[21] and rock and roll.[18] According to Allmusic's Jeff Tamarkin, Toy Caldwell's guitar playing style was categorized by "flashy, jazzy llicks; the band has also been noted for extensive jamming.[22]

text: The band's eclectic musical style has predominately been categorized as Southern rock.[18][20][23][24][25][26] The band's music has also been categorized as blues rock,[22] country rock,[23] jazz rock[23] and as a "proto-jam band".[22] Billboard charts have categorized the band as country, blues and adult contemporary.[20]

text: The band's self-titled debut album was categorized as country rock,[21] progressive rock[23] and "a Southern rock classic".[27] Guitarist/songwriter Toy Caldwell drew heavily from bluegrass and country while writing songs for the band's debut.[19] The follow-up album, A New Life, was categorized as having more of a country sound.[17][28] Where We All Belong has been described as a "classic rock and roll album".[29] The band's 1979 album Running Like the Wind features a pop rock and jazz fusion sound.[23] The follow-up Tenth album featured a boogie rock sound.[30] The band's 1998 album Face Down in the Blues consisted, as its title implies, entirely of blues music.[20]

text: Discography[edit]

text: Studio albums[edit]

text:
Year

Album

Chart positions

RIAA

Label

US

US Country

CAN

1973

The Marshall Tucker Band

29

—

—

Gold

Capricorn

1974

A New Life

37

—

35

Gold

Where We All Belong

54

—

91

Gold

1975

Searchin' for a Rainbow

15

21

—

Gold

1976

Long Hard Ride

32

21

64

—

1977

Carolina Dreams

23

22

7

Platinum

1978

Together Forever

22

26

24

Gold

1979

Running Like the Wind

30

—

—

—

Warner Bros.

1980

Tenth

32

—

—

—

1981

Dedicated

53

—

—

—

1982

Tuckerized

95

—

—

—

1983

Just Us

204

—

—

—

Greetings from South Carolina

202

—

—

—

1988

Still Holdin' On

—

—

—

—

Mercury

1990

Southern Spirit

—

—

—

—

Capitol

1992

Still Smokin'

—

—

—

—

Cabin Fever

1993

Walk Outside the Lines

—

—

—

—

1998

Face Down in the Blues

—

—

—

—

K-Tel

1999

Gospel

—

—

—

—

2003

Stompin' Room Only

—

—

—

—

Shout! Factory

2004

Beyond the Horizon

—

—

—

—

2005

Carolina Christmas

—

—

—

—

2007

The Next Adventure

—

—

—

—

text: Live albums[edit]

text:
Year

Album

Chart positions

RIAA

Label

US

US Country

CAN

2006

Live on Long Island 04-18-80

—

—

—

—

Shout! Factory

2008

Carolina Dreams Tour '77

—

—

—

—

2010

Way Out West! Live From San Francisco 1973

—

—

—

—

2013

Live! From Spartanburg, South Carolina

—

—

—

—

2015

Live in the UK 1976

—

—

—

—

Ramblin'

text: Compilation albums[edit]

text:
Year

Album

Chart positions

RIAA

Label

US

US Country

CAN

1978

Greatest Hits

67

19

68

Platinum

Capricorn

1994

The Capricorn Years

—

—

—

—

Era

1996

Country Tucker

—

—

—

—

K-Tel

1997

The Encore Collection

—

—

—

—

BMG

MT Blues

—

—

—

—

K-Tel

2005

Anthology

—

—

—

—

Shout! Factory

2006

Where a Country Boy Belongs

—

—

—

—

2008

Collector's Edition

—

—

—

—

Madacy

2009

Love Songs

—

—

—

—

Shout! Factory

Essential 3.0

—

—

—

—

2011

Greatest Hits

—

—

—

—

Ramblin'

text: Singles[edit]

text:
Year

Single

Peak chart positions

Album

US

US Country

US Rock

CAN

CAN Country

CAN AC

1973

"Can't You See"

108

—

—

—

—

—

The Marshall Tucker Band

"Take the Highway"

—

—

—

—

—

—

1974

"Another Cruel Love"

—

—

—

—

—

—

A New Life

1975

"This Ol' Cowboy"

78

—

—

—

—

—

Where We All Belong

"Fire on the Mountain"

38

—

—

81

—

—

Searchin' for a Rainbow

1976

"Searchin' for a Rainbow"

104

82

—

—

—

—

"Long Hard Ride"

—

63

—

—

—

—

Long Hard Ride

1977

"Heard It in a Love Song"

14

51

25

5

38

24

Carolina Dreams

"Can't You See" (Re-release)

75

—

—

57

—

39

Greatest Hits

1978

"Dream Lover"

75

—

—

80

—

—

Together Forever

"I'll Be Loving You"

—

—

—

—

—

—

1979

"Last of the Singing Cowboys"

42

—

—

97

—

—

Running Like the Wind

"Running Like the Wind"

—

—

—

—

—

—

1980

"It Takes Time"

79

—

—

—

—

—

Tenth

"Without You"

—

—

—

—

—

—

1981

"This Time I Believe"

106

—

—

—

—

—

Dedicated

"Silverado"

—

—

60

—

—

—

"Tell the Blues to Take Off the Night"

—

—

—

—

—

—

"Love Some"

—

—

—

—

—

—

1982

"Mr. President"

—

—

—

—

—

—

Tuckerized

"Reachin' for a Little Bit More"

—

—

—

—

—

—

1983

"A Place I've Never Been"

—

62

—

—

—

—

Just Us

1987

"Hangin' Out in Smokey Places"

—

44

—

—

—

—

Still Holdin' On

1988

"Once You Get the Feel of It"

—

79

—

—

—

—

"Still Holdin' On"

—

—

—

—

—

—

1990

"Stay in the Country"

—

26

—

—

—

—

Southern Spirit

1992

"Driving You Out of My Mind"

—

68

—

—

—

—

Still Smokin'

1993

"Walk Outside the Lines"

—

71

—

—

—

—

Walk Outside the Lines

"—" denotes releases that did not chart

text: Music videos[edit]

text:
Year

Video

Director

1981

"Even a Fool Would Let Go"

1990

"Stay in the Country"

1992

"Driving You Out of My Mind"

George Bloom[31]

"Frontline"

"Tan Yard Road"

1993

"Walk Outside the Lines"

D. Gray, J. Gerik

"Down We Go"

D. Gray, J. Gerik, K. Mandel[32]


document_title: The Princess and the Frog

question_text: who plays the crocodile in the princess and the frog

root

text: The Princess and the Frog

text: Plot[edit]

text: In 1912 New Orleans a seamstress, Eudora, is reading the story of The Frog Prince to her daughter, Tiana, and her friend, Charlotte La Bouff. Charlotte finds the story to be romantic, while Tiana proclaims she will never kiss a frog. Fourteen years later, Tiana has grown into an aspiring young chef who works as a waitress for two local diners, so she can save enough money to start her own restaurant, a dream she shared with her deceased father, James.

tag: p

text: Prince Naveen of Maldonia arrives in New Orleans to better his financial situation. After being cut off by his parents, Naveen intends to marry a rich southern belle, and Charlotte is the perfect candidate. Eli "Big Daddy" La Bouff, a rich sugar baron and Charlotte's father, is hosting a masquerade ball in Naveen's honor. Charlotte hires Tiana to make beignets for the ball, giving her enough money to buy an old sugar mill to convert into her restaurant. Meanwhile, Naveen and his valet, Lawrence, meet Dr. Facilier, a voodoo witch doctor who plans to rule the city of New Orleans. Inviting them into his emporium, Facilier convinces them that he can make their dreams come true, but neither man gets what they are expecting; Naveen is transformed into a frog, while Lawrence is given a voodoo charm that makes him resemble Naveen. Facilier intends for Lawrence to marry Charlotte, after which he will kill Big Daddy and claim his fortune.

text: At the ball, Tiana discovers she may lose the mill to a higher bidder. Tiana then meets Naveen, who, believing her to be a princess because of her costume, asks her to kiss him and break Facilier's spell. In exchange for the money needed, Tiana accepts, but when she kisses Naveen, she is turned into a frog herself. A chase ensues, and Tiana and Naveen escape to a bayou. In the bayou, Tiana and Naveen meet Louis, a trumpet-playing alligator who longs to be human, and Ray, a Cajun firefly who is in love with the morning star, whom he calls Evangeline. Louis and Ray offer to lead Tiana and Naveen to the hoodoo priestess Mama Odie, whom they believe can undo the curse. During this time, Tiana and Naveen develop feelings for each other. Meanwhile, Facilier makes a deal with the voodoo spirits, offering them the souls of the people of New Orleans; in exchange, the spirits grant Facilier the services of a host of shadow demons, whom he orders to find and capture Naveen.

text: When the four find Mama Odie, she tells them that Naveen must kiss a true princess in order to break the spell. They return to New Orleans to find Charlotte, who is the princess of the Mardi Gras Parade, but only until midnight. Naveen tells Ray he loves Tiana and is willing to give up his dreams for her, but before he can tell her, he is captured by the demons and brought to Facilier. After Ray tells Tiana that Naveen loves her, Tiana goes to the Mardi Gras parade to find a human "Naveen" marrying Charlotte; but Ray rescues the real Naveen and steals the charm that disguises Lawrence. Ray finds Tiana, gives her the charm and attempts to hold off the demons so she can escape, but Facilier stomps on him. Facilier then offers Tiana to make her restaurant dream come true in exchange for the charm. Realizing she would rather be with Naveen, and realizing Facilier's true intentions, Tiana destroys the charm. The angered voodoo spirits claim Facilier himself as payment for his debts to them and drag him into the spirit world.

text: Tiana and Naveen then reveal their love to each other and explain the situation to Charlotte, who agrees to kiss Naveen, as Lawrence is taken away by the police. However, the clock strikes midnight before she can kiss him, but the two decide they are content to live together as frogs. Then they bid farewell to Ray, along with Louis, later to find out Ray finally joined Evangeline. Tiana and Naveen are wed by Mama Odie; and because of Tiana's new status as princess, they are restored to human form after their kiss. Later, the couple returns to New Orleans to legally get married and celebrate, and together the two open their new restaurant, with Louis performing with a band in it. The movie ends with Tiana and Naveen dancing as the two stars, Ray and Evangeline, twinkle in the sky.

text: Cast[edit]

text:
Anika Noni Rose as Tiana/"Tia", a 19-year-old waitress and aspiring chef/restaurateur. She is a smart, hard-working, and independent young woman, but one who works so hard that she often forgets important things such as love, fun, and family.[4] Originally, Tiana was supposed to be known as "Maddy". Mark Henn served as the supervising animator for Tiana in both human and frog form, making her one of several Disney lead female characters he has animated.[5] Henn declared that he attempted to make a character that could stand on its own "without repeating what I've done on Belle, Ariel, and Jasmine", with Tiana having a more cynical and grounded personality. Rose's performance influenced much of the animation, with the actress even suggesting to Henn for Tiana to be left-handed like herself.[6]

Elizabeth Dampier voices Tiana as a child.

Bruno Campos as Prince Naveen, the prince of Maldonia. Naveen is a 24-year-old ne'er-do-well and playboy who has been cut off from his family's riches until he learns the value of responsibility. Randy Haycock served as the supervising animator of Naveen in both human and frog form.[7] As a prince from the fictional kingdom of Maldonia (which the directors describe as "located in an East of the Sun and West of the Moon location"), Campos adlibbed a French accent with his Brazilian accent to make up a Maldonian accent.[citation needed]
Michael-Leon Wooley as Louis, a friendly, neurotic, trumpet-playing alligator whose dream is to become human so he can join a jazz band. His name comes from the famous jazz artist and trumpeter, Louis Armstrong. Eric Goldberg, the supervising animator of Louis and other miscellaneous characters,[7] won the Annie Award for Character Animation in a Feature Production for his work on the film.[8]
Jim Cummings as Ray, a Cajun firefly. He and his vast family are close friends with Mama Odie, so he offers to help the frogs get to her. Ray has an unrequited love for the Evening Star, which he believes is another firefly named "Evangeline" (a reference to the 19th-century Longfellow poem).[9] Mike Surrey was the supervising animator for Ray. Ray's name comes from the blind pianist Ray Charles.[7]
Keith David as Doctor Facilier, also known as The Shadow Man, a voodoo bokor (witch doctor). Bruce W. Smith, supervising animator of Doctor Facilier, referred to the character as the "lovechild" of his two favorite Disney Villains: Captain Hook from Peter Pan (1953), and Cruella de Vil from One Hundred and One Dalmatians (1961).[10] Smith was nominated for the Annie Award for Character Animation in a Feature Production for his work.[8]
Jennifer Cody as Charlotte "Lottie" La Bouff, a wealthy Southern débutante and Tiana's best friend since childhood who dreams of marrying a prince. Nik Ranieri served as the supervising animator of Charlotte as an adult and child.[7] Jennifer Cody won the Annie Award for Voice Acting in a Feature Production for her performance.[8]

Breanna Brooks voices Charlotte as a child.

Jenifer Lewis as Mama Odie, a blind, 197-year-old voodoo priestess, who serves as the film's 'Fairy Godmother figure'. Andreas Deja was the supervising animator for both Mama Odie and her pet snake, Juju, and was nominated for the Annie Award for Character Animation in a Feature Production.[8][11]
Peter Bartlett as Lawrence, Prince Naveen's valet, whom Dr. Facilier recruits as a partner in his scheme by transforming him to look like Naveen using a blood charm. Anthony DeRosa was the supervising animator for the Lawrence character, whose design was influenced by the Mr. Smee character from Peter Pan.[9]
John Goodman as Eli "Big Daddy" La Bouff, a very wealthy Southern sugar mill owner and father of Charlotte La Bouff. While he spoils Charlotte with everything she asks for, he is a loving and generous man, and loves Tiana's cooking. Duncan Marjoribanks was the supervising animator for Eli "Big Daddy" La Bouff.[7]
Oprah Winfrey as Eudora, Tiana's mother who wants to see her happy and worries that Tiana focuses too much on her dream of owning a restaurant.[12] Ruben A. Aquino animated both Eudora and her husband, James.[7]
Terrence Howard as James, Tiana's father, who helped instil a strong work ethic in Tiana. He served in World War I as evidenced by a dresser-top portrait photo of him in a World War I uniform. The circumstances of his death were not stated in the film; however, his portrait is accompanied by the Distinguished Service Cross, a US medal awarded to soldiers who demonstrated great heroism or risk of life in battle.
Frank Welker as Stella (vocal effects), Charlotte's pet dog who talks to Tiana during the film, when she is chasing Tiana and Naveen as frogs on the table. She loves Tiana's beignets and begs at Tiana when she wants one.
Dee Bradley Baker as Juju, Mama Odie's green pet snake.
Corey Burton and Jerry Kernion as the Fenner Brothers, two real estate agents who eventually sell Tiana the sugar mill under duress after initially refusing because someone else was offering to pay for it in cash, and because they believed Tiana could not manage it because of her background.[13]
Ritchie Montgomery, Don Hall, and Paul Briggs as Reggie, Darnell, and Two-Fingers, three bumbling frog hunters who try to catch Tiana and Naveen as frogs. Their resemblance to the Three Stooges has been noted.
Kevin Michael Richardson and Emeril Lagasse as Ian and Marlon, the two alligators.

tag: ul

text: Production[edit]

text: Early development[edit]

text: Disney had once announced that 2004's Home on the Range would be their last traditionally animated film. After the company's acquisition of Pixar in early 2006, Ed Catmull and John Lasseter, the new president and chief creative officer of Disney Animation Studios, reversed this decision and reinstated hand-drawn animation at the studio.[14] Many animators who had either been laid off or had left the studio when the traditional animation units were dissolved in 2003 were located and re-hired for the project.[15] Lasseter also brought back directors Ron Clements and John Musker, whose earlier works include The Great Mouse Detective (1986), The Little Mermaid (1989), Aladdin (1992), Hercules (1997), and Treasure Planet (2002).[16][17] The duo had left the company in 2005, but Lasseter requested their return to Disney to direct and write the film and had let them choose the style of animation (traditional or CGI) they wanted to use.[9]

text: The story for the film began development by merging two projects in development at Disney and Pixar at the time, both based around the "Frog Prince" fairy tale.[9][15] One of the projects was based on E. D. Baker's The Frog Princess, in which the story's heroine (Princess Emma) kisses a prince turned frog (Prince Eadric), only to become a frog herself.[15] The Princess and the Frog returns to the musical film format used in many of the previously successful Disney animated films, with a style Musker and Clements declared, like with Aladdin and The Little Mermaid, had inspiration from Golden Age Disney features such as Cinderella.[6]

text: Musker and Clements thought that given all fairy tales were set in Europe, they could do an American fairy tale.[6] They stated that they chose New Orleans as a tribute to the history of the city, for its "magical" qualities, and because it was Lasseter's favorite city.[9][18] The directors spent ten days in Louisiana before starting to write the film.[6]

text: The Princess and the Frog was originally announced as The Frog Princess in July 2006,[14] and early concepts and songs were presented to the public at the Walt Disney Company's annual shareholders' meeting in March 2007.[19] These announcements drew criticism from African-American media outlets, due to elements of the Frog Princess story, characters, and settings considered distasteful.[20][21] African-American critics disapproved of the original name for the heroine, "Maddy", due to its similarity to the derogatory term "mammy".[20] Also protested were Maddy's original career as a chambermaid,[21] the choice to have the black heroine's love interest be a non-black prince, which upset opponents of on-screen interracial romance,[20] and the use of a black male voodoo witchdoctor as the film's villain.[20] The Frog Princess title was also thought by critics to be a slur on French people.[22] Also questioned was the film's setting of New Orleans, which had been heavily damaged by Hurricane Katrina in 2005, resulting in the expulsion of a large number of mostly black residents.[23] Critics claimed the choice of New Orleans as the setting for a Disney film with a black heroine was an affront to the Katrina victims' plight.[20][23]

text: In response to these early criticisms, the film's title was changed in May 2007 from The Frog Princess to The Princess and the Frog. The name "Maddy" was changed to "Tiana",[22][24] and the character's occupation was altered from chambermaid to waitress.[20] Talk-show host Oprah Winfrey was hired as a technical consultant for the film, leading to her taking a voice-acting role in the film as Tiana's mother, Eudora.[9]

text: Writing and themes[edit]

text: The head of story, Don Hall, described the plot as a fairy tale "twisted enough that it seems new and fresh", with a kingdom that is a modern city, a handsome prince that is a "knuckleheaded playboy" and a variation on the fairy godmother with Mama Odie. Co-writer Rob Edwards also said The Princess and the Frog was "a princess movie for people who don't like princess movies". As the writers thought Tiana's character motivation of simply dreaming of having her own restaurant was not appealing enough, they expanded so it was her father's as well, with the extra philosophy of "food bringing people together from all walks of life". Musker and Clements stated that while Tiana already starts as a sympathetic character, the events of the plot make her "understand things in a deeper level" and change people around her. Both protagonists would learn from each other—Naveen to take responsibilities, Tiana to enjoy life—as well as figuring from Ray's passion for Evangeline that the perfect balance is brought by having someone you love to share the experience.[6] Tiana became the first African-American Disney Princess.[25][26]

text: Voice cast[edit]

text: On December 1, 2006, a detailed casting call was announced for the film at the Manhattan Theatre Source forum.[27] The casting call states the film as being an American fairy tale musical set in New Orleans during the 1920s Jazz Age and provides a detailed list of the film's major characters.

text: In February 2007, it was reported that Dreamgirls actresses Jennifer Hudson and Anika Noni Rose were top contenders for the voice of Tiana, and that Alicia Keys directly contacted Walt Disney Studios chairman Dick Cook about voicing the role.[28] It was later reported that Tyra Banks was considered for the role as well.[29] By April 2007, it was confirmed that Rose would be voicing Tiana.[30] Three months later, it was reported that Keith David would be doing the voice of Dr. Facilier, the villain of the film.[31]

text: Animation and design[edit]

text: Clements and Musker had agreed early on that the style they were aiming for was primarily that of Lady and the Tramp (1955), a film which they and John Lasseter feel represents "the pinnacle of Disney's style".[32] "After that, everything started becoming more stylized, like Sleeping Beauty, 101 Dalmatians—which are fantastic films as well, but there's a particular style (to 'Lady and the Tramp') that's so classically Disney."[33] Lady and the Tramp also heavily informed the style of the New Orleans scenes, while Disney's Bambi (1942) served as the template for the bayou scenes.[32] Bambi was described as a stylistic reference for the painted backgrounds, as according to art director Ian Gooding "Bambi painted what it feels like to be in the forest instead of the forest" so The Princess and the Frog would in turn try capturing the essence of roaming through New Orleans.[6]

text: The former trend in Disney's hand-drawn features where the characters and cinematography were influenced by a CGI-look has been abandoned. Andreas Deja, a veteran Disney animator who supervised the character of Mama Odie, says "I always thought that maybe we should distinguish ourselves to go back to what 2D is good at, which is focusing on what the line can do rather than volume, which is a CG kind of thing. So we are doing less extravagant Treasure Planet kind of treatments. You have to create a world but [we're doing it more simply]. What we're trying to do with Princess and the Frog is hook up with things that the old guys did earlier. It's not going to be graphic…".[34] Deja also mentions that Lasseter was aiming for the Disney sculptural and dimensional look of the 1950s: "All those things that were non-graphic, which means go easy on the straight lines and have one volume flow into the other—an organic feel to the drawing."[34] Lasseter also felt that traditional animation created more character believability.[35] For example, with Louis the alligator, created by Eric Goldberg, Lasseter said: "It's the believability of this large character being able to move around quite like that."[35] Choreographer Betsy Baytos was brought by the directors to lead a team of eccentric dancers that gave reference to make each character a different style of movement. The character design tried to create beautiful drawings through subtle shapes, particularly for most characters being human. For the frog versions of Tiana and Naveen, while the animators started with realistic designs, they eventually went for cutesy characters "removing all that is unappealing in frogs", similar to Pinocchio's Jiminy Cricket.[6]

text: Toon Boom Animation's Toon Boom Harmony software was used as the main software package for the production of the film, as the Computer Animation Production System (CAPS) system that Disney developed with Pixar in the 1980s for use on their previous traditionally animated films had become outdated.[36] The Harmony software was augmented with a number of plug-ins to provide CAPS-like effects such as shading on cheeks and smoke effects.[11][34] The reinstated traditional unit's first production, a 2007 Goofy cartoon short entitled How to Hook Up Your Home Theater, was partly animated without paper by using Harmony and Wacom Cintiq pressure-sensitive tablets. The character animators found some difficulty with this approach, and decided to use traditional paper and pencil drawings, which were then scanned into the computer systems, for The Princess and the Frog.[11]

text: The one exception to the new Toon Boom Harmony pipeline was the "Almost There" dream sequence, which utilized an Art Deco graphic style based on the art of Harlem Renaissance painter Aaron Douglas.[37] Supervised by Eric Goldberg and designed by Sue Nichols,[38] the "Almost There" sequence's character animation was done on paper without going through the clean-up animation department,[9] and scanned directly into Photoshop. The artwork was then enhanced to affect the appearance of painted strokes and fills, and combined with backgrounds, using Adobe After Effects.[10][11]

text: The visual effects and backgrounds for the film were created digitally using Cintiq tablet displays.[11][39] Marlon West, one of Disney's veteran animation visual effects supervisors, says about the production; "Those guys had this bright idea to bring back hand-drawn animation, but everything had to be started again from the ground up. One of the first things we did was focus on producing shorts, to help us re-introduce the 2D pipeline. I worked as vfx supervisor on the Goofy short, How to Hook Up Your Home Theater. It was a real plus for the effects department, so we went paperless for The Princess and the Frog." The backgrounds were painted digitally using Adobe Photoshop, and many of the architectural elements were based upon 3D models built in Autodesk Maya.[11] Much of the clean-up animation, digital ink-and-paint, and compositing were outsourced to third-party companies in Orlando, Florida (Premise Entertainment), Toronto, Ontario, Canada (Yowza Digital Animation), and Brooklin, São Paulo, Brazil (HGN Produções).[7]

text: Music[edit]

text: During Disney's 2007 shareholder meeting, Randy Newman and the Dirty Dozen Brass Band performed the film's opening number, "Down in New Orleans", with famous New Orleans singer Dr. John singing, while slides of pre-production art from the film played on a screen.[19] Other songs in the film include "Almost There" (a solo for Tiana), "Dig a Little Deeper" (a song for Mama Odie), "When We're Human" (a song for Louis, Tiana and Naveen [as frogs]), "Friends on the Other Side" (a solo for Doctor Facilier), and "Gonna Take You There" and "Ma Belle Evangeline" (two solos for Ray).[19] Newman composed, arranged, and conducted the music for the film, a mixture of jazz, zydeco, blues, and gospel styles performed by the voice cast members for the respective characters while R&B singer-songwriter Ne-Yo wrote and performed the end title song "Never Knew I Needed", an R&B love song referring to the romance between the film's two main characters, Tiana and Naveen. Supported by a music video by Melina, "Never Knew I Needed" was issued to radio outlets as a commercial single from the Princess and the Frog soundtrack.[40]

text: The film's soundtrack album, The Princess and the Frog: Original Songs and Score, contains the ten original songs from the film and seven instrumental pieces. The soundtrack was released on November 23, 2009, the day before the limited release of the film in New York and Los Angeles.[41]

text: Release[edit]

text: The film premiered in theaters with a limited run in New York and Los Angeles beginning on November 25, 2009, followed by wide release on December 11, 2009.[42] The film was originally set for release on Christmas Day 2009, but its release date was changed due to a competing family film, Alvin and the Chipmunks: The Squeakquel, scheduled for release the same day.[43] The Princess and the Frog enjoyed a limited re-release in AMC Theatres, lasting from October 6–12, 2017 as part of the Dream Big, Princess campaign.[44][45]

text: Marketing[edit]

text: The Princess and the Frog was supported by a wide array of merchandise leading up to and following the film's release. Although Disney's main marketing push was not set to begin until November 2009, positive word-of-mouth promotion created demand for merchandise well in advance of the film.[46] Princess Tiana costumes were selling out prior to Halloween 2009, and a gift set of Tiana-themed hair-care products from Carol's Daughter sold out in seven hours on the company's website.[46] Other planned merchandise includes a cookbook for children and even a wedding gown.[46] Princess Tiana was also featured a few months before the release in the Disney on Ice: Let's Celebrate! show.[47] The film itself was promoted through advertisements, including one from GEICO where Naveen, as a frog, converses with the company's gecko mascot.[48]

text: A live parade and show called Tiana's Showboat Jubilee! premiered on October 25, 2009, at the Magic Kingdom theme park at Walt Disney World Resort in Florida,[49] and on November 5 at Disneyland in California.[50] In Disneyland, actors in New Orleans Square paraded to the Rivers of America and boarded the park's steamboat.[50] From there, the cast, starring Princess Tiana, Prince Naveen, Louis the alligator, and Doctor Facilier, would sing songs from the movie, following a short storyline taking place after the events of the film. The Disneyland version's actors actually partook in singing, while the Walt Disney World rendition incorporated lip-syncing.[50]

text: Tiana's Showboat Jubilee! ran at both parks until January 3, 2010.[49][50] At Disneyland Park, the show was replaced by a land-based event called Princess Tiana's Mardi Gras Celebration, which features Princess Tiana along with five of the original presentation's "Mardi Gras dancers" and the park's "Jambalaya Jazz Band" as they perform songs from the movie.[51] "Tiana's Mardi Gras Celebration" officially ended on October 3, 2010. However, it returned to Disneyland from 2011-2013 as part of the "Limited Time Magic" family-fun weekends.[52][53][54]

text: Tiana also appears in Disneyland Paris' New Generation Festival.[55] Some of the characters appear frequently during World of Color, the nightly fountain and projection show presented at Disney California Adventure. Disney announced on June 4, 2009, that they would release a video game inspired by the film and it was released on November 2009 exclusively for Wii and Nintendo DS platforms. It has been officially described an "adventure through the exciting world of New Orleans in a family-oriented video game", featuring events from the film and challenges for Princess Tiana.[56]

text: Home media[edit]

text: The Princess and the Frog was released in North America on DVD and Blu-ray Disc on March 16, 2010.[57]

text: The film is available on DVD, Blu-ray Disc, and Blu-ray Disc combo pack editions; the combo pack includes DVD and digital copies of the film, along with the Blu-ray Disc version.[57] The film was released on DVD and Blu-ray Disc in Australia on June 2, 2010, and on June 21, 2010, in the United Kingdom. As of December 2010 the DVD has sold 4,475,227 copies and has made $71.3 million in DVD sales,[58] making it the ninth-best-selling DVD of 2010.[59]

text: Reception[edit]

text: The financial and critical success of The Princess and the Frog persuaded Disney to green-light at least one new hand-drawn animated film to be released every two years.[15] However, the blog /Film noted in July 2014 with the release of hand-drawn concept art for the 2013 computer animated film Frozen, that any future hand-drawn animated films have been "killed" for the time being due to The Princess and the Frog failing "to ignite the box office".[60] Two months later, however, many Disney artists announced they were working on a new independent hand drawn animated film, Hullabaloo as part of an attempt to bring back hand-drawn animation.[61] Despite such speculation, Walt Disney Animation Studios has continued to use both hand-drawn animation and computer animation in subsequent films.

text: Box office[edit]

text: On its limited day release, the film grossed $263,890 at two theaters and grossed $786,190 its opening weekend.[62][63] On its opening day in wide release, the film grossed $7 million at 3,434 theaters.[64] It went on to gross $24.2 million over the opening weekend averaging $7,050 per theater,[65] ranking at #1 for the weekend, and making it the highest-grossing start to date for an animated movie in December, a record previously held by Beavis and Butt-Head Do America.[66] The film went on to gross $104.4 million (in the United States and Canada) and $267 million (worldwide), making it a box office success, and became the fifth-highest-grossing animated film of 2009.[67] While the film did out-gross Disney's more recent hand-drawn films such as The Emperor's New Groove, Atlantis: The Lost Empire, Treasure Planet, Brother Bear, and Home on the Range, it was less auspicious than the animated films from Walt Disney Animation Studios' 1990s heyday. Disney animator Tom Sito compared the film's box office performance to that of The Great Mouse Detective (1986), which was a step up from the theatrical run of the 1985 box office bomb The Black Cauldron.[68]

text: Looking back on the experience four years later, Catmull acknowledged that Disney had made a "serious mistake" in the process of marketing and releasing the film.[69] The Walt Disney Studios' marketing department had warned Disney Animation that the word "princess" in the title "would lead moviegoers to think that the film was for girls only," but the animation studio's management insisted on keeping the "princess" title because they truly believed that the film's excellent quality and beautiful hand-drawn animation would bring in all quadrants anyway.[69] In Catmull's words, this belief "was our own version of a stupid pill."[69] The marketing department turned out to be correct in their prediction that many moviegoers would and did avoid the film because they thought it was "for little girls only."[69] This error was further compounded by the fact that the film opened five days before Avatar.[69]

text: Looking back seven years later, Lasseter told Variety: "I was determined to bring back [hand-drawn animation] because I felt it was such a heritage of the Disney studio, and I love the art form … I was stunned that Princess didn't do better. We dug into it and did a lot of research and focus groups. It was viewed as old-fashioned by the audience."[70]

text: Critical reception[edit]

text: The film received largely positive reviews from critics, praising the animation, characters, music and themes. Review aggregator Rotten Tomatoes reported that 85% of 185 critics have given the film a positive review, with a rating average of 7.4 out of 10.[71] The site's general consensus is that "The warmth of traditional Disney animation makes this occasionally lightweight fairy-tale update a lively and captivating confection for the holidays."[72] Metacritic, which assigns a weighted average score out of 0–100 from film critics, has a rating score of 73 based on 29 reviews.[73]

text: Lisa Schwarzbaum of Entertainment Weekly gave the film an "A" grade and applauded the film's creative team for "uphold[ing] the great tradition of classic Disney animation".[74] Kirk Honeycutt of The Hollywood Reporter praised Walt Disney Animation for "rediscovering its traditional hand-drawn animation" and for "a thing called story".[75] David Germain of the Associated Press wrote that "The Princess and the Frog is not the second coming of Beauty and the Beast or The Lion King. It's just plain pleasant, an old-fashioned little charmer that's not straining to be the next glib animated compendium of pop-culture flotsam."[76] Justin Chang of Variety was less receptive, stating "this long-anticipated throwback to a venerable house style never comes within kissing distance of the studio's former glory".[77] Joe Neumaier of the New York Daily News gave the film 3/5 stars while saying "The Princess and the Frog breaks the color barrier for Disney princesses, but is a throwback to traditional animation and her story is a retread".[78] Village Voice's Scott Foundas found that "the movie as a whole never approache[d] the wit, cleverness, and storytelling brio of the studio's early-1990s animation renaissance (Beauty and the Beast, The Lion King) or pretty much anything by Pixar".[79] Betsy Sharkey of the Los Angeles Times gave the film a positive review claiming that "the dialogue is fresh-prince clever, the themes are ageless, the rhythms are riotous and the return to a primal animation style is beautifully executed."[80] Chicago Sun-Times film critic Roger Ebert gave the film three out of four stars and admired Disney's step back to traditional animation, writing, "No 3-D! No glasses! No extra ticket charge! No frantic frenzies of meaningless action! And…good gravy! A story! Characters! A plot! This is what classic animation once was like!", but stated that the film "inspires memories of Disney's Golden Age it doesn't quite live up to, as I've said, but it's spritely and high-spirited, and will allow kids to enjoy it without visually assaulting them."[81]

text: S. Jhoanna Robledo of Common Sense Media gave the film three out of five stars, writing, "First African-American Disney princess is a good role model".[82] Saint Bryan of the NBC-TV Seattle praised the film and called it "The Best Disney Movie Since The Lion King".[83]

text: Upon its release, the film created controversy among some Christians over its use of Louisiana Voodoo as a plot device.[84] Christianity Today's review of the film cited its sexual undertones and use of voodoo, arguing that the scenes with Dr. Facilier and his "friends on the other side" contain many horror elements and that young children might be frightened by the film.[85] The film's treatment of Louisiana voodoo as a type of magic instead of a religion also drew criticism from non-Christian factions.[86]

text: Awards and nominations[edit]

text: The film was nominated for the Academy Award for Best Animated Feature and twice for the Academy Award for Best Original Song, but lost to Up and Crazy Heart, respectively.[3][87] It was also nominated for eight Annie Awards and, at the 37th Annie Awards Ceremony on February 6, 2010, won three.[8]

text:
Award
Category
Nominee
Result

2009 Satellite Awards[88]
Best Motion Picture, Animated or Mixed Media
The Princess and the Frog
Nominated

Best Original Song
Randy Newman
(Almost There)

Randy Newman
(Down in New Orleans)

African-American Film Critics Association Awards 2009
Top 10 Films
The Princess and the Frog
Won

Best Screenplay
John Musker, Ron Clements and Rob Edwards — Tied with Geoffrey Fletcher for Precious: Based on the Novel "Push" by Sapphire

2009 Producers Guild of America Awards[89]
Animated Theatrical Motion Pictures
Peter Del Vecho
Nominated

2009 Online Film Critics Society Awards[90]
Best Animated Feature
The Princess and the Frog

67th Golden Globe Awards[91]
Best Animated Feature Film

2009 Chicago Film Critics Association[92]
Best Animated Feature

2009 Critics Choice Awards[93]
Best Animated Feature

Best Score
Randy Newman

Best Song
(Almost There)

2009 Black Reel Awards[94]
Best Film
The Princess and the Frog

Best Song, Original or Adapted
Ne-Yo
(Never Knew I Needed)

Anika Noni Rose
(Almost There)
Won

Anika Noni Rose
(Down in New Orleans)
Nominated

Best Voice Performance
Keith David

Anika Noni Rose
Won

Best Ensemble
The Princess and the Frog
Nominated

37th Annie Awards[8]
Best Animated Feature

Animated Effects
James DeValera Mansfield
Won

Production Design in a Feature Production
Ian Gooding
Nominated

Character Animation in a Feature Production
Andreas Deja

Eric Goldberg
Won

Bruce W. Smith
Nominated

Voice Acting in a Feature Production
Jennifer Cody ("Charlotte")
Won

Jenifer Lewis ("Mama Odie")
Nominated

82nd Academy Awards[3][87]

Best Animated Feature
John Musker and Ron Clements

Best Music, Original Song
Randy Newman
(Almost There)

Randy Newman
(Down in New Orleans)

41st NAACP Image Awards
Outstanding Motion Picture

Outstanding Actress in a Motion Picture
Anika Noni Rose

36th Saturn Awards[95]
Best Animated Film
The Princess and the Frog

2010 Teen Choice Awards[96][97]
Choice Movie: Animated

2011 Grammy Awards[98]
Best Song Written for a Motion Picture, Television or Other Visual Media
Randy Newman
(Down in New Orleans)

Women Film Critics Circle
Best Animated Females
Anika Noni Rose (Tiana), Jennifer Cody (Charlotte La Bouff), Oprah Winfrey (Eudora), Jenifer Lewis (Mama Odie), and all other female characters in The Princess and the Frog.
Won

tag: table

text: Television[edit]

text:
Tiana made a guest-appearance on Sofia the First in the season 2 episode titled "Winter's Gift".[99]
A live-action version of Tiana is also a main character on the seventh season of Once Upon a Time.[100][101][102]


document_title: Mary Poppins (film)

question_text: who plays the chairman of the bank in mary poppins

text: Mary Poppins (film)

text: Plot[edit]

text: In Edwardian London, 1910, Bert entertains a crowd as a one-man band when he senses a change in the wind. Afterwards, he directly addresses the audience, and gives them a tour of Cherry Tree Lane, stopping outside the Banks family’s home. George Banks returns home to learn from Winifred that Katie Nanna has left their service after Jane and Michael ran away again. They are returned shortly after by Constable Jones, who reveals the children were chasing a lost kite. The children ask their father to help build a better kite, but he dismisses them. Taking it upon himself to hire a new nanny, Mr. Banks advertises for a stern, no-nonsense nanny. Instead, Jane and Michael present their own advertisement for a kinder, sweeter nanny. Mr. Banks rips up the letter, and throws the scraps in the fireplace, but the remains of the advertisement magically float up and out into the air.

text: The next day, a number of elderly, sour-faced nannies wait outside the Banks' home, but a strong gust of wind blows them away, and Jane and Michael witness a young nanny descending from the sky using her umbrella. Presenting herself to Mr. Banks, Mary Poppins calmly produces the children's restored advertisement, and agrees with its requests, but promises the astonished banker she will be firm with his children. As Mr Banks puzzles over the advertisement's return, Mary Poppins hires herself, and convinces him it was originally his idea. She meets the children, then helps them tidy their nursery through song, before heading out for a walk in the park.

text: Outside, they meet Bert, working as a screever; Mary Poppins uses her magic to transport the group into one of the drawings. While the children ride on a carousel, Mary Poppins and Bert go on a leisurely stroll. Mary Poppins later enchants the carousel horses, and participates in a horse race, which she wins. While being asked to describe her victory, Mary Poppins announces the nonsense word "Supercalifragilisticexpialidocious". However, the outing is ruined when a thunderstorm demolishes Bert's drawings, returning the group to London. On another outing, the four meet Uncle Albert, who has floated up in the air due to his uncontrollable laughter; they join him for a tea party on the ceiling, telling jokes.

text: Mr. Banks becomes annoyed by the household's cheery atmosphere, and threatens to fire Mary Poppins. Instead, Mary Poppins inverts his attempt by convincing him to take the children to the bank for a day. Mr. Banks takes Jane and Michael to the bank, where they meet Mr. Dawes Sr. and his son. Mr. Dawes aggressively attempts to have Michael invest his tuppence in the bank, snatching it from him. Michael demands it back, causing other customers to misinterpret, and all demand their own money back, causing a bank run.

text: Jane and Michael flee the bank, getting lost in the East End until they run into Bert, now working as a chimney sweep, who escorts them home. The three and Mary Poppins venture onto the rooftops, where they have a song-and-dance number with other chimney sweeps, which spills out into the Banks' home. Mr. Banks returns and receives a phone call from his employers. He speaks with Bert, who tells him he should spend more time with his children before growing up. Jane and Michael give their father Michael's tuppence in the hope to make amends.

text: Mr. Banks walks through London to the bank, where he is given a humiliating cashiering, and is dismissed. Looking to the tuppence for words, he blurts out "Supercalifragilisticexpialidocious!", tells one of Uncle Albert's jokes, and happily heads home. Dawes mulls over the joke, but finally "gets" it, and floats up into the air, laughing.

text: The next day, the wind changes, meaning Mary Poppins must leave. A happier Mr. Banks is found at home, having fixed his children's kite, and takes the family out to fly it. In the park, the Banks meet Mr. Dawes Jr, who reveals his father died laughing from the joke, and re-employs Mr. Banks as a junior partner. With her work done, Mary Poppins flies away, with Bert bidding her farewell, telling her not to stay away too long.

text: Cast[edit]

text:
Julie Andrews as Mary Poppins, a magical and loving woman who descends down from the clouds in response to the Banks children's advertisement for a nanny. She is not only firm in her use of authority but gentle and kind as well, a major departure from the original books, in which the character was strict and pompous.[6]
Dick Van Dyke as Bert, a cockney jack-of-all-trades and Mary Poppins's closest friend, who is completely accustomed to her magic. Their playful interactions imply that they have known each other for a long time and that this kind of story has repeated itself many times. Bert has at least four jobs throughout the film: a one-man band, a pavement chalk artist, a chimney sweep, and a kite seller.

Dick Van Dyke also portrays Mr. Dawes Sr., the old director of the bank where Mr. Banks works. During the film's end titles, "Navckid Keyd", an anagram of Dick Van Dyke, is first credited as playing the role before the letters unscramble to reveal Van Dyke's name.

David Tomlinson as George Banks, Mary Poppins' employer and father of Jane and Michael. He works at the Dawes Tomes Mousley Grubbs Fidelity Fiduciary Bank in London. He is a driven and disciplined man.
Glynis Johns as Winifred Banks, the easily distracted wife of George Banks and the mother of Jane and Michael. She is depicted as a member of Emmeline Pankhurst's "Votes for Women" suffragette movement. Mrs. Banks was originally named Cynthia, but this was changed to the more English-sounding Winifred per Travers.[7]
Hermione Baddeley as Ellen, the maid of the Banks residence.
Karen Dotrice as Jane Banks.
Matthew Garber as Michael Banks.
Elsa Lanchester as Katie Nanna, the disgruntled nanny who quits the Banks family.
Arthur Treacher as Constable Jones, a police officer.
Reginald Owen as Admiral Boom, the Banks' eccentric neighbor and a naval officer. He has his first mate, Mr. Binnacle, fire a cannon from his roof every 8 a.m. and 6 p.m.
Ed Wynn as Uncle Albert, a jolly gentleman who suffers from an unknown condition where he floats in the air during fits of uncontrollable laughter. Although he likes having company over, he becomes very sad and cries when his guests have to leave (he falls back to the ground, since it is the inversion of laughing).
Reta Shaw as Mrs. Brill, the cook of the Banks residence.
Don Barclay as Mr. Binnacle, Admiral Boom's first mate.
Marjorie Bennett as Miss Lark, owner of the dog named Andrew, who frequently runs away.
Arthur Malet as Mr. Dawes Jr., the director's son and member of the board.
Jane Darwell as the "Bird Woman," an old woman who sells breadcrumbs for the pigeons on the steps of St Paul's Cathedral.
Marjorie Eaton as Miss Maya Persimmon.
Jimmy Logan as a doorman who chases after the children in the bank.
Alma Lawton as Mrs. Corry, an old shopkeeper of a gingerbread shop and mother of two daughters.
Betty Lou Gerson as Old Crone (uncredited)
Kay E. Kuter as Man in Bank (uncredited)
Doris Lloyd as Depositor (uncredited)
Queenie Leonard as Depositor (uncredited)

text: Voices[edit]

text:
Julie Andrews as Robin, Female Pearly
Marc Breaux as Cow
Daws Butler as Penguin Waiter, Turtles
Peter Ellenshaw as Penguin Waiter
Paul Frees as Barnyard Horse
Bill Lee as Ram
Sean McClory as Bloodhound, Reporter #4
Dallas McKennon as Fox, Bloodhound, Penguin Waiter, Horse, Carousel Guard
Alan Napier as Huntsman, Reporter #3, Bloodhound
Marni Nixon as Geese
J. Pat O'Malley as Bloodhound, Hunting Horse, Master of Hounds, Pearly Drummer, Penguin Waiter, Photographer, Reporter #2
George Pelling as Bloodhound, Reporter #1
Thurl Ravenscroft as Hog, Andrew's Whimper
Richard M. Sherman as Penguin Waiter, Male Pearly
Robert B. Sherman as the "Bird Woman," Pearly Banjo Player
David Tomlinson as Penguin Waiter, Jockey, Race Track Stewards, Mr. Binnacle, Mary Poppins' Parrot Umbrella[8]
Ginny Tyler as Lambs

text: Production[edit]

text: Development[edit]

text: The first book in the Mary Poppins book series was the film's main basis. According to the 40th Anniversary DVD release of the film in 2004, Disney's daughters fell in love with the Mary Poppins books and made him promise to make a film based on them. Disney first attempted to purchase the film rights to Mary Poppins from P. L. Travers as early as 1938 but was rebuffed because Travers did not believe a film version of her books would do justice to her creation. In addition, Disney was known at the time primarily as a producer of cartoons and had yet to produce any major live-action work. For more than 20 years, Disney periodically made efforts to convince Travers to allow him to make a Poppins film. He finally succeeded in 1961, although Travers demanded and got script approval rights. The Sherman Brothers composed the music score and were also involved in the film's development, suggesting the setting be changed from the 1930s to the Edwardian era. Pre-production and song composition took about two years.

text: Pre-production[edit]

text: Travers was an adviser to the production. However, she disapproved of the dilution of the harsher aspects of Mary Poppins' character, felt ambivalent about the music, and so hated the use of animation that she ruled out any further adaptations of the later Mary Poppins novels.[9] She objected to a number of elements that actually made it into the film. Rather than original songs, she wanted the soundtrack to feature known standards of the Edwardian period in which the story is set. She also objected to the animated sequence. Disney overruled her, citing contract stipulations that he had final say on the finished print. Much of the Travers-Disney correspondence is part of the Travers collection of papers in the Mitchell Library of New South Wales, Australia. The relationship between Travers and Disney is detailed in Mary Poppins She Wrote, a biography of Travers, by Valerie Lawson. The biography is the basis for two documentaries on Travers, The Real Mary Poppins, and Lisa Matthews' The Shadow of Mary Poppins.[10][11][12] Their relationship during the development of the film was also dramatized in the 2013 film, Saving Mr. Banks.

text: Casting[edit]

text: Julie Andrews, who was making her feature film acting debut after a successful stage career, got the prime role of Mary Poppins soon after she was passed over by Jack L. Warner and replaced with Audrey Hepburn for the role of Eliza Doolittle in his screen adaptation of My Fair Lady, even though Andrews had originated the role on Broadway.[13] When Disney first approached Andrews about taking on the role, Andrews was three months pregnant and therefore was not sure she should take it. Disney assured her that the crew would be fine with waiting to begin filming until after she had given birth so that she could play the part.[14] Julie Andrews also provided the voice in two other sections of the film: during "A Spoonful of Sugar," she provided the whistling harmony for the robin, and she was also one of the Pearly singers during "Supercalifragilisticexpialidocious." David Tomlinson, besides playing Mr. Banks, provided the voice of Mary's talking umbrella and numerous other voice-over parts (including that of Admiral Boom's first mate). During the "Jolly Holiday" sequence, the three singing Cockney geese were all voiced by Marni Nixon, a regular aural substitute for actresses with substandard singing voices. Nixon would later provide the singing voice for Hepburn in My Fair Lady and play one of Andrews' fellow nuns in The Sound of Music. Andrews later beat Hepburn for the Best Actress Award at the Golden Globes for their respective roles. Andrews would also win the Academy Award for Best Actress for her role. Hepburn did not receive a nomination. Richard Sherman, one of the songwriters, also voiced a penguin as well as one of the Pearlies.[15] Robert Sherman dubbed the speaking voice for Jane Darwell because Darwell's voice was too weak to be heard in the soundtrack. Sherman's voice is heard saying the only line: "Feed the Birds, Tuppence a bag."[16]

text: Disney cast Dick Van Dyke in the key supporting role of Bert after seeing his work on The Dick Van Dyke Show. After winning the role of Bert, Van Dyke lobbied to also play the senior Mr. Dawes, but Disney originally felt he was too young for the part. Van Dyke eventually won Disney over after a screen test.[17] Although he is fondly remembered for this film, Van Dyke's attempt at a Cockney accent is regarded as one of the worst film accents in history, cited as an example by actors since as something that they wish to avoid.[18] In a 2003 poll by Empire magazine of the worst film accents of all time, he came second.[19] Van Dyke claims that his accent coach was the Irish J. Pat O'Malley, who "didn't do an accent any better than I did".[20]

text: Filming[edit]

text: Filming took place between May and September 1963, with post-production and animation taking another 11 months.[21]

text: The film changed the book's storyline in a number of places. For example, Mary, when approaching the house, controlled the wind rather than the other way around. As another example, the father, rather than the mother, interviewed Mary for the nanny position. A number of other changes were necessary to condense the story into feature length. In the film, there are only two Banks children, Jane and Michael. The satirical and mysterious aspects of the original book gave way to a cheerful and "Disney-fied" tone. Mary Poppins' character as portrayed by Andrews in the film is somewhat less vain and more sympathetic towards the children compared to the rather cold and intimidating nanny of the original book. Bert, as played by Van Dyke, was a composite of several characters from Travers' stories. Travers demanded that any suggestions of romance between Mary and Bert be eliminated, so lyrics were written for "Jolly Holiday" that clearly indicated that their friendship was purely platonic; some subtle hints of romance, however, did remain in the finished film.

text: Music[edit]

text: Buena Vista Records released the original motion picture soundtrack on LP and reel-to-reel tape.[22] Due to time constraints, some songs were edited (such as "Step in Time" and "Jolly Holiday", "A Spoonful of Sugar"), while songs also featured introductory passages ("Supercalifragilisticexpialidocious") or completed endings ("Sister Suffragette", "Fidelity Fiduciary Bank", "A Man Has Dreams"). Written by Richard and Robert Sherman, the songs were inspired by Edwardian British music hall music.[23] The score won two Grammy Awards and two Academy Awards.[24][25]

text: Walt Disney Records re-issued the soundtrack in 1997, including a 16-minute track of unreleased songs and demo versions.[26] In 2004, as part of the 40th Anniversary (also called Special Edition), a 28-track disc (as part of a two-disc set) was released.[27] In 2014 (the 50th anniversary of the film's release), the soundtrack was released in a 3-CD edition as part of the Walt Disney Records The Legacy Collection series; this edition includes demos of many "lost" tracks.[28]

text: Soundtrack[edit]

text: All tracks are written by Richard M. Sherman and Robert B. Sherman.

text: Deleted songs[edit]

text: A number of other songs were written for the film by the Sherman Brothers and either rejected or cut for time. Richard Sherman, on the 2004 DVD release, indicated that more than 30 songs were written at various stages of the film's development. No cast recordings of any of these songs have been released to the public, only demos or later performances done by the songwriters — with the exception of the rooftop reprise of "Chim Chim Cher-ee" and the "smoke staircase yodel" mentioned below.

text:
"The Chimpanzoo", was originally to follow "I Love to Laugh" during the Uncle Albert "ceiling tea party" sequence, but it was dropped from the soundtrack just before Julie Andrews and company were to record it. The fast-paced number was not unveiled to the public until Richard Sherman, aided by recently uncovered storyboards, performed it on the 2004 DVD edition. The re-creation suggests it was to have been another sequence combining animation and live action.
"Practically Perfect" was intended to introduce Mary but instead the melody of the piece was used for "Sister Suffragette" (used to introduce Mrs. Banks). A different song with the same name was written for the stage musical.
"The Eyes of Love", a romantic ballad intended for Bert and Mary, but according to Richard Sherman, Andrews suggested privately to Disney that this song was unsuitable. In response, "A Spoonful of Sugar" was written.
"Mary Poppins Melody" was to be performed when Mary introduces herself to the children. Elements of the song later became part of "Stay Awake". The melody was the basis for a couple of other songs that were ultimately cut from the film.
"A Name's a Name". Heard on a recording taken of a meeting between the Sherman Brothers and Travers, this song was originally intended for the nursery scene that later became "A Spoonful of Sugar". The melody was reused for "Mary Poppins Melody".
"You Think, You Blink" was a short piece that Bert was to sing just before entering the chalk painting (and starting the "Jolly Holiday" sequence). In the film, Dick Van Dyke simply recites the lyric instead of singing it.
"West Wind" was a short ballad to be sung by Mary. The song was later retitled "Mon Amour Perdu" and used in the later Disney film, Big Red.
"The Right Side" was to be sung by Mary to Michael after he gets out of bed cranky. It was recycled for the Disney Channel television series Welcome to Pooh Corner as Winnie the Pooh's personal theme song.
"Measure Up" was to accompany the scene in which Mary takes the tape measure to Jane and Michael.
"Admiral Boom" was to be the theme song for the cannon-firing neighbor of the Banks Residence, but it was cut by Walt Disney as being unnecessary. The melody of the song remains in the film, and the bombastic theme is heard whenever Boom appears onscreen. One line from this song ("The whole world takes its time from Greenwich, but Greenwich, they say, takes its time from Admiral Boom!") is spoken by Bert early in the film.
"Sticks, Paper and Strings" was an early version of "Let's Go Fly a Kite."
"Lead the Righteous Life", an intentionally poorly written hymn, was to have been sung by Katie Nanna (Elsa Lanchester) along with Jane and Michael prior to Mary Poppins' arrival. The melody was later reused for a similar song in The Happiest Millionaire
"The Pearly Song" was not deleted per se but was instead incorporated into "Supercalifragilisticexpialidocious".

tag: ol

text: The Compass Sequence, a precursor to "Jolly Holiday", was to be a multiple-song sequence. A number of possible musical components have been identified:

text:
"South Sea Island Symphony"
"Chinese Festival Song"
"Tim-Buc-Too" – elements of this were reused for "The Chimpanzoo" which was also cut
"Tiki Town" – the melody was reused for "The Chimpanzoo"
"North Pole Polka"
"Land of Sand" – later rewritten as "Trust in Me" for the animated version of The Jungle Book
"The Beautiful Briny" – later used in Bedknobs and Broomsticks
"East is East" – another variation on the unused "Mary Poppins Melody".

text: Deleted scores and music[edit]

text:
The "Step in Time" sequence ends with the chimney sweeps being scattered by an onslaught of fireworks fired from Admiral Boom's house. In the final film, the scene plays out with sound effects and no music. The DVD release included the original version of the scene which was accompanied by a complex instrumental musical arrangement that combined "Step in Time", the "Admiral Boom" melody (see above), and "A Spoonful of Sugar". This musical arrangement can be heard on the film's original soundtrack.
Andrews recorded a brief reprise of "Chim Chim Cher-ee" which was to have accompanied Mary, Bert, and the children as they marched across the rooftops of London (an instrumental reprise of "A Spoonful of Sugar" was used as a march instead; however, Andrews and Dick Van Dyke can still be seen and heard singing a reprise of "Chim Chim Cher-ee" in that sequence, just before the other chimney sweeps appear for the "Step in Time" number).
The robin Mary Poppins whistles with in "A Spoonful of Sugar" originally sang a lyric as well.
Andrews also recorded a brief yodel which breaks into the first line of "A Spoonful of Sugar" which was to have been used to "activate" the smoke staircase prior to the "Step in Time" number. Although cut from the film, footage of Andrews performing this exists and was included on the 2004 DVD. The DVD also indicates that an alternate version of the yodel performed by Dick Van Dyke may also exist.

text: Release[edit]

text: Mary Poppins premiered on August 27, 1964, at Grauman's Chinese Theatre in Los Angeles.[21][29] Travers was not extended an invitation to the event, but managed to obtain one from a Disney executive. It was at the after-party that Richard Sherman recalled her walking up to Disney and loudly announcing that the animated sequence had to go. Disney responded, "Pamela, the ship has sailed," and walked away.[12]

text: Home media[edit]

text: Mary Poppins was first released in late 1980 on VHS, Betamax, CED and LaserDisc. On October 28, 1994, August 26, 1997, and March 31, 1998, it was re-released three times as part of the Walt Disney Masterpiece Collection. In 1998, this film became Disney's first DVD. On July 4, 2000, it was released on VHS and DVD as part of the Gold Classic Collection. On December 14, 2004, it had a 2-Disc DVD release in a Digitally Restored 40th Anniversary Edition as well as its final issue in the VHS Format. The film's audio track featured an "Enhanced Home Theater Mix" consisting of replaced sound effects (to make the soundtrack more "modern") and improved fidelity and mixing and some enhanced music (this version was also shown on 2006–2012 ABC Family airings of the movie.) On January 27, 2009, the film was released on DVD again as a 45th anniversary edition, with more language tracks and special features (though the film's "Enhanced Home Theater Mix" was not included.) Walt Disney Studios Home Entertainment released the film on Blu-ray as the 50th Anniversary Edition on December 10, 2013.[30]

text: Reception[edit]

text: Critical reception[edit]

text: The film received universal acclaim from film critics.[31] Film review aggregator Rotten Tomatoes reports that 100% of critics gave the film a "fresh" rating, based on 44 reviews with an average score of 8.3/10. The site's consensus refers to it as "A lavish modern fairy tale celebrated for its amazing special effects, catchy songs, and Julie Andrews's legendary performance in the title role."[32]

text: Variety praised the film's musical sequences and the performances of Julie Andrews and Dick Van Dyke, in particular.[33] Time lauded the film, stating, "The sets are luxuriant, the songs lilting, the scenario witty but impeccably sentimental, and the supporting cast only a pinfeather short of perfection."[34]

text: Critic Drew Casper summarized the impact of Mary Poppins in 2011:

text: Disney was the leader, his musical fantasies mixing animation and truly marvelous f/x with real-life action for children and the child in the adult. Mary Poppins (1964) was his plum. ... the story was elemental, even trite. But utmost sophistication (the chimney pot sequence crisply cut by Oscared "Cotton" Warburton) and high-level invention (a tea party on the ceiling, a staircase of black smoke to the city's top) characterized its handling.[35]

text: Box office[edit]

text: The film earned $31 million in North American rentals during its initial run.[36] The film was re-released theatrically in 1973, in honor of Walt Disney Productions' 50th anniversary, and earned an estimated additional $9 million in North American rentals.[37] It was released once more in 1980 and grossed $14 million.[38] It returned a total lifetime rental of $45 million [39] to Disney from a gross of over $102 million from its North American theatrical releases.[3]

text: The film was the twentienth most popular sound film of the twentieth century in the UK with admissions of 14 million.[40]

text: The film was very profitable for Disney. Made on an estimated budget of $4.4–6 million,[2][41][42] it was reported by Cobbett Steinberg to be the most profitable film of 1965, earning a net profit of $28.5 million.[31][43] Walt Disney used his huge profits from the film to purchase land in central Florida and finance the construction of Walt Disney World.[44]

text: Accolades[edit]

text:
Awards

Award
Date of ceremony
Category
Recipients and nominees
Result

Academy Awards[25]
April 5, 1965
Best Picture
Walt Disney and Bill Walsh
Nominated

Best Director
Robert Stevenson

Best Actress in a Leading Role
Julie Andrews
Won

Best Adapted Screenplay
Don DaGradi and Bill Walsh
Nominated

Best Cinematography, Color
Edward Colman

Best Art Direction, Color
Carroll Clark, William H. Tuntke, Emile Kuri and Hal Gausman

Best Costume Design, Color
Tony Walton

Best Sound
Robert O. Cook

Best Film Editing
Cotton Warburton
Won

Best Visual Effects
Peter Ellenshaw, Eustace Lycett and Hamilton Luske

Best Original Song
"Chim Chim Cher-ee" – Richard M. Sherman and Robert B. Sherman

Best Score
Richard M. Sherman, Robert B. Sherman

Best Adaptation or Treatment Score
Irwin Kostal
Nominated

Golden Globe Awards[45]
February 8, 1965
Best Motion Picture – Musical or Comedy
Robert Stevenson, Walt Disney and Bill Walsh

Best Performance by an Actor in a Leading Role – Musical or Comedy
Dick Van Dyke

Best Performance by an Actress in a Leading Role – Musical or Comedy
Julie Andrews
Won

Best Original Score
Richard M. Sherman, Robert B. Sherman
Nominated

Grammy Awards[24]
April 13, 1965
Best Recording for Children
Richard M. Sherman, Robert B. Sherman, Julie Andrews, Dick Van Dyke, Glynis Johns, David Tomlinson, Ed Wynn
Won

Best Original Score Written for a Motion Picture or Television Show
Richard M. Sherman, Robert B. Sherman

New York Film Critics Circle[46]
January 23, 1965
Best Actress
Julie Andrews
Nominated

Directors Guild of America Award[47]

Outstanding Directorial Achievement in Motion Pictures
Robert Stevenson

Writers Guild of America Award[48]

Best Written American Musical
Don DaGradi and Bill Walsh
Won

text: Legacy[edit]

text: Mary Poppins is widely considered to be one of the greatest films of all time and Walt Disney's "crowning achievement".[49] It was the only film of Disney's to garner a "Best Picture" nomination at the Oscars in his lifetime.[50]

text: The film also inspired the eighth-season episode of The Simpsons entitled "Simpsoncalifragilisticexpiala(Annoyed Grunt)cious", featuring a parody of Mary called "Shary Bobbins" who helps out the Simpson family after Marge loses her hair due to stress, and spoofs of the songs "The Perfect Nanny", "A Spoonful of Sugar", "Feed The Birds" and "The Life I Lead".

text: Never at ease with the handling of her property by Disney or the way she felt she had been treated, Travers would never again agree to another Poppins/Disney adaptation. So fervent was Travers' dislike of the Disney adaptation and of the way she felt she had been treated during the production, that when producer Cameron Mackintosh approached her about the stage musical in the 1990s, she acquiesced on the condition that he used only English-born writers and no one from the film production were to be directly involved with creating the stage musical.[51]

text:
AFI's 100 Years...100 Songs:

"Supercalifragilisticexpialidocious" – #36

AFI's 100 Years of Musicals – #6[52]

text: Sequel[edit]

text: On September 14, 2015, it was reported that a new film was in development by Walt Disney Pictures. The film will take place 20 years after the first, featuring a standalone narrative based on the remaining seven books in the series. Rob Marshall has been hired to direct, while John DeLuca and Marc Platt will serve as producers.[53]


document_title: Grammy Award records

question_text: who won the most grammy awards this year

question_tokens: who won the most grammy awards this year

text: Grammy Award records

text: Awards[edit]

text: Most Grammys won[edit]

text: The record for the most Grammy Awards won in a lifetime is held by Sir Georg Solti, a Hungarian-British conductor who conducted the Chicago Symphony Orchestra for twenty-two years. He has won a total of 31 competitive Grammy Awards out of 74 nominations and was awarded a Grammy Lifetime Achievement Award in 1996.[1][2]

text:
Rank
Artist
Awards

1
Georg Solti
31

2
Quincy Jones
27

Alison Krauss

4
Pierre Boulez
26

5
Vladimir Horowitz
25

Stevie Wonder

7
John Williams
24

8
U2
22

Chick Corea

Beyoncé

11
Jay-Z
21

Kanye West

Vince Gill

14
Henry Mancini
20

Pat Metheny

Bruce Springsteen

Al Schmitt

text: Most Grammys won by a male artist[edit]

text: Georg Solti has won a total of 31 Grammy Awards.

text:
Rank
Artist
Awards

1
Georg Solti
31

2
Quincy Jones
27

3
Pierre Boulez
26

4
Vladimir Horowitz
25

Stevie Wonder

6
John Williams
24

7
Chick Corea
22

8
Kanye West
21

Vince Gill

Jay Z

11
Henry Mancini
20

Pat Metheny

Al Schmitt

Bruce Springsteen

15
Tony Bennett
18

Jimmy Sturr

Yo-Yo Ma

Paul McCartney

text: Most Grammys won by a female artist[edit]

text: Alison Krauss has, as a solo artist, collaborator and producer, won 27 Grammy Awards.[3]

text:
Rank
Artist
Awards

1
Alison Krauss[note 1]
27

2
Beyoncé[note 2]
22

3
Aretha Franklin
18

4
Adele
15

Alicia Keys

6
Ella Fitzgerald
13

Leontyne Price

Emmylou Harris

9
CeCe Winans
12

10
Shirley Caesar
11

11
Chaka Khan
10

Bonnie Raitt

Linda Ronstadt

Taylor Swift

15
Mary J. Blige
9

Natalie Cole

Sheryl Crow

Norah Jones

Hillary Scott[note 3]

Rihanna

text: Most Grammys won by a group[edit]

text: U2 holds the record for most Grammy Awards won by a group. They have won 22 awards.

text:
Rank
Artists
Awards

1
U2
22

2
Alison Krauss and Union Station
14

3
Dixie Chicks
13

4
Foo Fighters
12

5
Pat Metheny Group
10

6
The Manhattan Transfer
9

The Beatles

Emerson String Quartet

Asleep At The Wheel

10
Blackwood Brothers
8

Metallica

Santana

Take 6

14
Coldplay
7

Kentucky Thunder

Lady Antebellum

Simon & Garfunkel

Los Tigres del Norte

text: Most Grammys won by a producer[edit]

text: Quincy Jones with 27 awards holds the record for most Grammy Awards won by a producer (and eleven of those were awarded for production duties. Jones also received Grammys as an arranger and a performing artist). Some producers have also won awards as engineers, mixers and/or mastering engineers.

text:
Rank
Producer
Awards

1
Quincy Jones
27

2
Kanye West
21

3
David Foster
16

James Mallinson

David Frost

6
Steven Epstein
15

7
Phil Ramone
14

8
T Bone Burnett
13

Robert Woods

Jay David Saks

11
Arif Mardin
11

text: Most Grammys won by an engineer or mixer[edit]

text: Al Schmitt, with 20 awards, has won more Grammy Awards than any other engineer or mixer.

text: Youngest winners[edit]

text: The Peasall Sisters are the youngest Grammy winners, when they were credited artists on the O Brother, Where Art Thou? soundtrack, which won Album of the Year in 2002.[4] LeAnn Rimes is the youngest individual winner. She was 14 years old when she won her first two awards in 1997. She was also the first Country artist to win the Best New Artist Grammy.

text:
Rank
Age
Artist

1
7 years
Leah Peasall

2
9 years
Hannah Peasall

3
13 years
Sarah Peasall

4
14 years, 182 days
LeAnn Rimes

5
14 years, 313 days
Luis Miguel

6
17 years, 81 days
Lorde

7
18 years, 105 days
Daya

8
18 years, 123 days
Monica

9
19 years, 67 days
Christina Aguilera

10
19 years, 112 days
LaTavia Roberson

text: Youngest artists to win Album of the Year[edit]

text: Taylor Swift is the youngest artist to win Album of the Year. She was 20 years old when she won in 2010 for her album Fearless.

text:
Rank
Age
Artist

1
20 years, 49 days
Taylor Swift

2
21 years, 242 days
Alanis Morissette

3
22 years, 18 days
Barbra Streisand

4
23 years, 274 days
Lauryn Hill

5
23 years, 283 days
Adele

6
23 years, 293 days
Stevie Wonder

7
23 years, 330 days
Norah Jones

text: Oldest winners[edit]

text: Pinetop Perkins is the oldest person to win a Grammy. In 2011 he was awarded Best Traditional Blues Album for Joined At The Hip at 97 years of age.

text:
Rank
Age
Artist

1
97 years, 221 days
Pinetop Perkins

2
95 years, 31 days
George Burns

3
91 years, 137 days
Jimmy Carter

4
90 years, 52 days
Elizabeth Cotten

5
90 years, 26 days
Betty White

text: Note: Sources vary on the birth year of Elizabeth Cotten, with some stating it as 1893, while others say 1895. The above information credits it as 1895. With either year, Cotten is the oldest female Grammy winner.

text: Most honored albums[edit]

text: Santana's Supernatural and U2's How to Dismantle an Atomic Bomb hold the record for most honoured album having won nine awards. Supernatural won nine awards in 2000 and How to Dismantle an Atomic Bomb won three awards in 2005 and won a further six in 2006 giving it a total of nine awards.

text:
Rank
Albums and artists
Awards

1
How to Dismantle an Atomic Bomb — U2
9

Supernatural — Santana

3
Come Away With Me — Norah Jones
8

Genius Loves Company — Ray Charles

Thriller — Michael Jackson

6
All That You Can't Leave Behind — U2
7

Back on the Block — Quincy Jones

24K Magic — Bruno Mars

9
21 — Adele
6

Back To Black — Amy Winehouse

The Blueprint 3 — Jay Z

Bridge Over Troubled Water — Simon & Garfunkel

Raising Sand — Robert Plant & Alison Krauss

The Return of Roger Miller — Roger Miller

Taking the Long Way — Dixie Chicks

To Pimp a Butterfly — Kendrick Lamar

Toto IV — Toto

Unforgettable... with Love — Natalie Cole

Unplugged — Eric Clapton

text: Most Album of the Year wins[edit]

text: The record for most Album of the Year wins is four.

text: Tom Coyne, mastering engineer — 21 (2012), 1989 (2016), 25 (2017), 24K Magic (2018)

text: Three recording artists, four record producers, two mastering engineers and three engineer/mixers have won the award three times.

text:
Frank Sinatra, artist — Come Dance with Me! (1960), September of My Years (1966), A Man and His Music (1967)
Stevie Wonder, artist — Innervisions (1974), Fulfillingness' First Finale (1975), Songs in the Key of Life (1977)
Paul Simon, artist — Bridge over Troubled Water (1971), Still Crazy After All These Years (1976), Graceland (1987)
David Foster, producer — Unforgettable… with Love (1992), The Bodyguard: Original Soundtrack Album (1994), Falling into You (1997)
Phil Ramone, producer — Still Crazy After All These Years (1976), 52nd Street (1980), Genius Loves Company (2005)
Daniel Lanois, producer — The Joshua Tree (1988), Time Out of Mind (1998), How to Dismantle an Atomic Bomb (2006)
Bob Ludwig, mastering engineer — Babel (2013), Random Access Memories (2014), Morning Phase (2015)
Tom Elmhirst, engineer/mixer — 21 (2012), Morning Phase (2015), 25 (2017)
Ryan Tedder, producer — 21 (2012), 1989 (2016), 25 (2017)
Serban Ghenea, engineer/mixer — 1989 (2016), 25 (2017), 24K Magic (2018)
John Hanes, engineer/mixer — 1989 (2016), 25 (2017), 24K Magic (2018)

text: Most Record of the Year wins[edit]

text: Tom Coyne won Record of the Year four consecutive times as a mastering engineer.

text: Most Grammys won for consecutive albums[edit]

text: Pat Metheny and his band the Pat Metheny Group have won 20 Grammy Awards in total, including seven consecutive awards for seven consecutive albums.[5] Metheny held the record for Grammy wins in the most different categories as of the 2005 Grammy Awards:

text:
Best Jazz Fusion Performance (1983, 1984, 1985, 1988, 1990)
Best Instrumental Composition (1991)
Best Contemporary Jazz Performance/Album (1993, 1994, 1996, 1999, 2003, 2005)
Best Jazz Instrumental Performance, Individual or Group (1998, 2000, 2013)
Best Rock Instrumental Performance (1999)
Best Jazz Instrumental Solo (2001)
Best New Age Album (2004, 2012)

text: Most consecutive Grammys won for the same category[edit]

text: Aretha Franklin holds the record for winning the most consecutive Grammys in the same category. She won the Grammy Award for Best Female R&B Vocal Performance every year from 1968 to 1975, for an eight-year winning streak. She also won in this category in 1982, 1986, and 1988, giving her 11 wins in the category.

text: After Franklin, Jimmy Sturr, Bill Cosby and John Williams are tied for second place for consecutive Grammy wins in the same category:

text: Sturr won six years in a row between 1987 and 1992 for Best Polka Album. He also won for three runs of four consecutive years (1996–1999, 2001–2004, and 2006–2009.) He won 18 out of the 24 Best Polka Album Grammys that were awarded since that category was added in 1985. The award was discontinued in 2009.

text: Cosby won six years in a row between 1965 and 1970 for Grammy Award for Best Comedy Album.

text: Williams won six years in a row between 1978 and 1983 for Grammy Award for Best Score Soundtrack for Visual Media.

text: Lenny Kravitz won the Best Male Rock Vocal Performance award four years in a row (1999, 2000, 2001, 2002).

text: Tom Coyne won Record of the Year four years in a row (2015–2018).

text: Artists who have won all four General Field awards[edit]

text: There have been only two artists who have won all four General Field awards. In 1981, Christopher Cross won Record, Album and Song of the Year as well as Best New Artist.[6] Adele is the second artist to win all four, and the first female to do so. In 2009, she won Best New Artist and in 2012 and 2017, she won Record, Album and Song of the Year.

text: Single ceremony[edit]

text: Most Grammys won in one night[edit]

text: The Record for Most Grammys won in one night is eight. Michael Jackson won eight in 1984 and Santana tied Jackson's record in 2000.[7]

text:
Rank
Artist(s)
Awards

1
Michael Jackson (1984)
8

Santana (2000)

3
Roger Miller (1966)
6

Paul Simon (1971)

Quincy Jones (1991)

Eric Clapton (1993)

Beyoncé (2010)

Adele (2012)

Bruno Mars (2018)

text: Most Grammys won by a male artist in one night[edit]

text: Michael Jackson won eight in 1984.

text:
Rank
Artist(s)
Awards

1
Michael Jackson (1984)
8

2
Roger Miller (1966)
6

Paul Simon (1971)

Quincy Jones (1991)

Eric Clapton (1993)

Bruno Mars (2018)

text: Most Grammys won by a female artist in one night[edit]

text: The record most Grammys won by a female artist in one night is six. Beyoncé and Adele each won six in 2010 and 2012, respectively.

text:
Rank
Artist
Awards

1
Beyoncé (2010)
6

Adele (2012)

3
Lauryn Hill (1999)
5

Alicia Keys (2002)

Norah Jones (2003)

Beyoncé (2004)

Amy Winehouse (2008)

Alison Krauss (2009)

Adele (2017)

text: Most Grammys won by a group in one night[edit]

text: In 2000, Santana was awarded a total of 8 awards. They won the awards for Record of the Year, Album of the Year, Best Pop Performance by a Duo or Group With Vocals, Best Pop Collaboration with Vocals, Best Pop Instrumental Performance, Best Rock Performance by a Duo or Group With Vocals, Best Rock Instrumental Performance and Best Rock Album.

text:
Rank
Artists
Awards

1
Santana (2000)
8

2
Simon & Garfunkel (1971)
5

U2 (2006)

Dixie Chicks (2007)

Lady Antebellum (2011)

Foo Fighters (2012)

text: Most Grammys won by a record producer in one night[edit]

text: The record for most awards won by a producer in one night is five. Rick Rubin won five awards in 2007 including Record of the Year, Album of the Year and Best Country Album for the Dixie Chicks, Best Rock Album for the Red Hot Chili Peppers as well as Producer of the Year, Non Classical.

text: Most Grammys won by an engineer or mixer in one night[edit]

text: The most Grammys won by an engineer or mixer in one night is six. At the 59th Annual Grammy Awards in 2017, Tom Elmhirst won Record of the Year, Album of the Year, Best Pop Vocal Album, Best Engineered Album Non Classical, Best Alternative Music Album and Best Rock Album for his work on Adele's '25', David Bowie's 'Blackstar' and Cage The Elephant's 'Tell Me I'm Pretty'.

text: Artist who has won all four General Field Awards at a single ceremony[edit]

text: Christopher Cross (1981) received all four General Field awards in one night. Cross won the Record of the Year ("Sailing"), Album of the Year ("Christopher Cross"), Song of the Year ("Sailing"), and Best New Artist Grammys in a single ceremony.[8]

text: Artists who have won Record, Album and Song of the Year in one night[edit]

text: The three biggest Grammy Awards are Record of the Year, Album of the Year and Song of the Year. Seven artists have won all three in one night. Adele is the only artist in Grammy history to accomplish this twice.

text:
Year
Artist

1971
Paul Simon

1972
Carole King

1981
Christopher Cross

1993
Eric Clapton

2007
Dixie Chicks

2012
Adele

2017

2018
Bruno Mars

text: Most Grammys won by an album in one night[edit]

text: The most awards awarded to an album in one night is nine. In 2000 Santana's Supernatural was awarded nine awards. It won Record of the Year, Album of the Year, Song of the Year, Best Pop Performance by a Duo or Group With Vocals, Best Pop Collaboration with Vocals, Best Pop Instrumental Performance, Best Rock Performance by a Duo or Group With Vocals, Best Rock Instrumental Performance and Best Rock Album.

text: Most posthumous Grammys won in one night[edit]

text: Ray Charles holds the record for most posthumous awards won in one night. He was awarded five Grammy Awards in 2005 including Album of the Year.

text: Nominations[edit]

text: Most Grammy nominations[edit]

text: Quincy Jones holds the record for the most Grammy nominations with 79.[9][10]

text:
Rank
Artist
Nominations

1
Quincy Jones
79

2
Paul McCartney[note 4]
78

3
Georg Solti
74

Stevie Wonder

Jay Z

6
Henry Mancini
72

7
Kanye West
68

8
Pierre Boulez
67

John Williams

10
Chick Corea
64

11
Leonard Bernstein
63

Beyoncé[note 5]

13
Jay David Saks
53

14
Thomas Z. Shepard
50

Bruce Springsteen

16
Willie Nelson
49

James Mallinson

Babyface

text: Most nominations in one night[edit]

text: Michael Jackson holds the record for most Grammy nominations in one night with 12 nominations.

text:
Rank
Artist
Nominations
Year

1
Michael Jackson
12
1984

2
Kendrick Lamar
11
2016

3
Lauryn Hill
10
1999

Kanye West
2005

Beyoncé
2010

Eminem
2011

7
Roger Miller
9
1966

Paul McCartney
1966

The Manhattan Transfer
1986

Jay Z
2014

Beyoncé
2017

text: Most nominations without winning[edit]

text: The record for most Grammy nominations without a win is 24, held by Morten Lindberg.

text:
Rank
Artist
Nominations

1
Morten Lindberg
24

2
Snoop Dogg
17

Brian McKnight

4
Joe Satriani
15

5
Toshiko Akiyoshi
14

Martina McBride

Dierks Bentley

Björk

9
Katy Perry
13

Nas

Spyro Gyra

Musiq Soulchild

13
Diana Ross
12

Alan Parsons

Busta Rhymes

Ledisi

Lenny Gomulka

Fred Hersch

Keith Jarrett

text: Most nominations in one night without winning[edit]

text:
Rank
Artist
Nominations

1
Paul McCartney (1966)
9

2
Kanye West (2017)
8

Rihanna (2017)

Jay-Z (2018)

5
Stevie Wonder (1983)
7

India.Arie (2002)

Kendrick Lamar (2014)

8
Henry Mancini (1959)
6

Thomas Z. Shepard (1970)

Mariah Carey (1996)

50 Cent (2006)

Bruno Mars (2012)

13
Robert M. Jones (1961)
5

Elvis Presley (1961)

Frank Sinatra (1961)

James Taylor (1971)

Eugene Ormandy (1971)

Paul McCartney (1983)

Sting (1986)

Jay David Saks (1986)

Leonard Bernstein (1989)

Joan Osborne (1996)

Avril Lavigne (2003)

50 Cent (2004)

Alicia Keys (2006)

Gwen Stefani (2006)

Prince (2007)

James Blunt (2007)

Jazmine Sullivan (2009)

B.o.B (2011)

Lil Wayne (2012)

Drake (2014, 2016)

Khalid (2018)

No I.D. (2018)

SZA (2018)

text: Grammy nominations in the most fields[edit]

text:
Rank
Artist
Number
Fields

1
Quincy Jones
15
Spoken word, arranging, music video/film, jazz, pop, rap, general field, r&b, children's, musical theatre, disco, composition, gospel/contemporary christian music, music for visual media and production, non-classical

2
Paul McCartney
11
General field, pop, arranging, rock, traditional, music for visual media, music video/film, spoken word, historical, alternative music and rap

3
David Foster
10
R&b, arranging, composition, music for visual media, production, music video/film, pop, traditional, musical theatre and general field

Bob Dylan
Country, general field, gospel/contemporary christian music, rock, music video/film, music for visual media, folk pop, american roots, and traditional

5
Jack White
9
Rock, general field, alternative, country, pop, package, music video/film, american roots and engineered album

Béla Fleck
Country, pop, jazz, american roots, world music, classical, folk, spoken word, composition and arranging

Janet Jackson
General field, pop, r&b, rock, arranging, rap, music video/film, dance and production, non-classical

8
Cyndi Lauper
8
Rock, pop, general field, music video/film, disco, arranging, american roots and musical theatre

Prince
General field, pop, r&b, rock, engineered album, music video/film, music for visual media and production, non-classical

Michael Jackson
General field, pop, r&b, rock, disco, children's, music video/film and production, non-classical

Danger Mouse
General field, pop, r&b, rock, rap, alternative, music video/film and production, non-classical

Herbie Hancock
General field, pop, r&b, rock, jazz, music video/film, music for visual media and composition

Lionel Richie
General field, pop, r&b, music for visual media, dance, arranging, gospel/contemporary christian music and production, non-classical

Justin Timberlake
General field, pop, r&b, country, rap, music for visual media, dance and music video/film

Stevie Wonder
General field, pop, r&b, arranging, composition, music for visual media, music video/film and production, non-classical

Beyoncé
General field, pop, r&b, rock, rap, music for visual media, surround sound and music video/film

Pharrell Williams
General field, pop, r&b, dance, rap, music for visual media, music video/film and production, non-classical

text: Artists who had been nominated for all four General Field awards in one night[edit]

text: Only ten artists have been nominated for all four General Field awards in one night.

text:
Year
Artist

1968
Bobbie Gentry

1980
Christopher Cross

1985
Cyndi Lauper

1989
Tracy Chapman

1991
Mariah Carey

1998
Paula Cole

2002
India.Arie

2008
Amy Winehouse

2013
Fun.

2015
Sam Smith

text: Youngest nominees[edit]

text: Leah Peasall of the Peasall sisters is the youngest ever Grammy nominee (and winner) as one of the credited artists on the O Brother, Where Art Thou? (soundtrack) in 2002.[4] Deleon Richards is the youngest performer to receive an individual nomination, for Best Soul/Gospel performance.[11]

text:
Rank
Age
Artist

1
7 years
Leah Peasall

2
8 years, 161 days
Deleon Richards

3
9 years
Hannah Peasall

4
12 years, 126 days
Zac Hanson

5
12 years, 155 days
Joey Alexander

6
12 years, 199 days
Michael Jackson

7
12 years, 273 days
Billy Gilman

8
13 years
Sarah Peasall

9
14 years, 45 days
Chris "Daddy Mac" Smith

10
14 years, 182 days
LeAnn Rimes

11
14 years, 197 days
Chris "Mac Daddy" Kelly

12
14 years, 313 days
Luis Miguel

13
14 years, 348 days
Taylor Hanson