document_title: Maltose

question_text: maltose is broken down by maltase into two molecules of

text: Maltose

text: History[edit]

text: Maltose was 'discovered' by Augustin-Pierre Dubrunfaut, although this discovery was not widely accepted until it was confirmed in 1872 by Irish chemist and brewer Cornelius O'Sullivan.[5][6] Its name comes from malt, combined with the suffix '-ose' which is used in names of sugars and other carbohydrates.[4]

tag: p

text: Maltose making and use in China goes as far back as the Shang dynasty. In Japan, history of maltose has been recorded since the period of Emperor Jimmu.

text: Structure and nomenclature[edit]

text:
Maltose is a disaccharide: the carbohydrates are generally divided into monosaccharides, oligosaccharides, and polysaccharides depending on the number of sugar subunits. Maltose, with two sugar units, is an oligosaccharide, specifically a disaccharide, because it consists of two glucose molecules. Glucose is a hexose: a monosaccharide containing six carbon atoms. The two glucose units are in the pyranose form and are joined by an O-glycosidic bond, with the first carbon (C1) of the first glucose linked to the fourth carbon (C4) of the second glucose, indicated as (1 → 4). The link is characterized as α because the glycosidic bond to the anomeric carbon (C1) is in the opposite plane from the CH
2OH substituent in the same ring (C6 of the first glucose). If the glycosidic bond to the anomeric carbon (C1) were in the same plane as the CH
2OH substituent, it would be classified as a β(1 → 4) bond, and the resulting molecule would be cellobiose. The anomeric carbon (C1) of the second glucose molecule, which is not involved in a glycosidic bond, could be either an α- or β-anomer depending on the bond direction of the attached hydroxyl group relative to the CH
2OH substituent of the same ring, resulting in either α-maltose or β-maltose.

text: An isomer of maltose is isomaltose. This is similar to maltose but instead of a bond in the α(1 → 4) position, it is in the α(1 → 6) position, the same bond that is found at the branch points of glycogen and amylopectin.

text: Properties[edit]

text: Like glucose, maltose is a reducing sugar, because the ring of one of the two glucose units can open to present a free aldehyde group; the other one cannot because of the nature of the glycosidic bond. Maltose can be broken down to glucose by the maltase enzyme, which catalyses the hydrolysis of the glycosidic bond.

text: Maltose in aqueous solution exhibits mutarotation, because the α and β isomers that are formed by the different conformations of the anomeric carbon have different specific rotations, and in aqueous solutions, these two forms are in equilibrium.

text: It has a sweet taste, but is only about 30-60% as sweet as sugar, depending on the concentration.[7] A 10% solution of maltose is 35% as sweet as sucrose.[8]

text: Sources and absorption[edit]

text: Maltose is a component of malt, a substance which is obtained in the process of allowing grain to soften in water and germinate. It is also present in highly variable quantities in partially hydrolysed starch products like maltodextrin, corn syrup and acid-thinned starch.[9]

text: In humans, maltose is broken down by various maltase enzymes, providing two glucose molecules which can be further processed: either broken down to provide energy, or stored as glycogen. The lack of the sucrase-isomaltase enzyme in humans causes sucrose intolerance, but because there are four different maltase enzymes, complete maltose intolerance is extremely rare.[10]


document_title: Pulitzer Prize for Fiction

question_text: what book won the pulitzer prize for fiction in 1980

root

text: Pulitzer Prize for Fiction

text: Winners[edit]

text: In 31 years under the "Novel" name, the prize was awarded 27 times; in its first 69 years to 2016 under the "Fiction" name, 62 times. In 11 years, no novel received the award. It has never been shared by two authors.[2] Three writers have won two prizes each in the Fiction category: Booth Tarkington, William Faulkner, and John Updike.

text:
1918: His Family by Ernest Poole
1919: The Magnificent Ambersons by Booth Tarkington

tag: ul

text:
1920: no award given[3]
1921: The Age of Innocence by Edith Wharton
1922: Alice Adams by Booth Tarkington
1923: One of Ours by Willa Cather
1924: The Able McLaughlins by Margaret Wilson
1925: So Big by Edna Ferber
1926: Arrowsmith by Sinclair Lewis (declined prize)
1927: Early Autumn by Louis Bromfield
1928: The Bridge of San Luis Rey by Thornton Wilder
1929: Scarlet Sister Mary by Julia Peterkin

text:
1930: Laughing Boy by Oliver La Farge
1931: Years of Grace by Margaret Ayer Barnes
1932: The Good Earth by Pearl S. Buck
1933: The Store by Thomas Sigismund Stribling
1934: Lamb in His Bosom by Caroline Miller
1935: Now in November by Josephine Winslow Johnson
1936: Honey in the Horn by Harold L. Davis
1937: Gone with the Wind by Margaret Mitchell
1938: The Late George Apley by John Phillips Marquand
1939: The Yearling by Marjorie Kinnan Rawlings

text:
1940: The Grapes of Wrath by John Steinbeck
1941: no award given[4]
1942: In This Our Life by Ellen Glasgow
1943: Dragon's Teeth by Upton Sinclair
1944: Journey in the Dark by Martin Flavin
1945: A Bell for Adano by John Hersey
1946: no award given
1947: All the King's Men by Robert Penn Warren
1948: Tales of the South Pacific by James A. Michener
1949: Guard of Honor by James Gould Cozzens

text:
1950: The Way West by A. B. Guthrie, Jr.
1951: The Town by Conrad Richter
1952: The Caine Mutiny by Herman Wouk
1953: The Old Man and the Sea by Ernest Hemingway
1954: No award given
1955: A Fable by William Faulkner
1956: Andersonville by MacKinlay Kantor
1957: No award given[5]

The Voice At The Back Door by Elizabeth Spencer

1958: A Death in the Family by James Agee (posthumous win)
1959: The Travels of Jaimie McPheeters by Robert Lewis Taylor

text:
1960: Advise and Consent by Allen Drury
1961: To Kill a Mockingbird by Harper Lee
1962: The Edge of Sadness by Edwin O'Connor
1963: The Reivers by William Faulkner (posthumous win)
1964: No award given
1965: The Keepers of the House by Shirley Ann Grau
1966: The Collected Stories of Katherine Anne Porter by Katherine Anne Porter
1967: The Fixer by Bernard Malamud
1968: The Confessions of Nat Turner by William Styron
1969: House Made of Dawn by N. Scott Momaday

text:
1970: The Collected Stories of Jean Stafford by Jean Stafford
1971: No award given[6]
1972: Angle of Repose by Wallace Stegner
1973: The Optimist's Daughter by Eudora Welty
1974: No award given[7]

Gravity's Rainbow by Thomas Pynchon

1975: The Killer Angels by Michael Shaara
1976: Humboldt's Gift by Saul Bellow
1977: No award given[8]

A River Runs Through It by Norman MacLean
Roots by Alex Haley (special Pulitzer Prize)

1978: Elbow Room by James Alan McPherson
1979: The Stories of John Cheever by John Cheever

text: Entries from this point on include the finalists listed after the winner for each year.

text:
1980: The Executioner's Song by Norman Mailer

Birdy by William Wharton
The Ghost Writer by Philip Roth

1981: A Confederacy of Dunces by John Kennedy Toole (posthumous win)

Godric by Frederick Buechner
So Long, See You Tomorrow by William Maxwell

1982: Rabbit Is Rich by John Updike

A Flag for Sunrise by Robert Stone
Housekeeping by Marilynne Robinson

1983: The Color Purple by Alice Walker

Dinner at the Homesick Restaurant by Anne Tyler
Rabbis and Wives by Chaim Grade

1984: Ironweed by William Kennedy

Cathedral by Raymond Carver
The Feud by Thomas Berger

1985: Foreign Affairs by Alison Lurie

I Wish This War Were Over by Diana O'Hehir
Leaving the Land by Douglas Unger

1986: Lonesome Dove by Larry McMurtry

The Accidental Tourist by Anne Tyler
Continental Drift by Russell Banks

1987: A Summons to Memphis by Peter Taylor

Paradise by Donald Barthelme
Whites by Norman Rush

1988: Beloved by Toni Morrison

Persian Nights by Diane Johnson
That Night by Alice McDermott

1989: Breathing Lessons by Anne Tyler

Where I'm Calling From by Raymond Carver

text:
1990: The Mambo Kings Play Songs of Love by Oscar Hijuelos

Billy Bathgate by E. L. Doctorow

1991: Rabbit at Rest by John Updike

Mean Spirit by Linda Hogan
The Things They Carried by Tim O'Brien

1992: A Thousand Acres by Jane Smiley

Jernigan by David Gates
Lila: An Inquiry into Morals by Robert M. Pirsig
Mao II by Don DeLillo

1993: A Good Scent from a Strange Mountain by Robert Olen Butler

At Weddings and Wakes by Alice McDermott
Black Water by Joyce Carol Oates

1994: The Shipping News by E. Annie Proulx

The Collected Stories of Reynolds Price by Reynolds Price
Operation Shylock: A Confession by Philip Roth

1995: The Stone Diaries by Carol Shields

The Collected Stories of Grace Paley by Grace Paley
What I Lived For by Joyce Carol Oates

1996: Independence Day by Richard Ford

Mr. Ives' Christmas by Oscar Hijuelos
Sabbath's Theater by Philip Roth

1997: Martin Dressler: The Tale of an American Dreamer by Steven Millhauser

The Manikin by Joanna Scott
Unlocking the Air and Other Stories by Ursula K. Le Guin

1998: American Pastoral by Philip Roth

Bear and His Daughter: Stories by Robert Stone
Underworld by Don DeLillo

1999: The Hours by Michael Cunningham

Cloudsplitter by Russell Banks
The Poisonwood Bible by Barbara Kingsolver

text:
2000: Interpreter of Maladies by Jhumpa Lahiri

Close Range: Wyoming Stories by Annie Proulx
Waiting by Ha Jin

2001: The Amazing Adventures of Kavalier & Clay by Michael Chabon

Blonde by Joyce Carol Oates
The Quick and the Dead by Joy Williams

2002: Empire Falls by Richard Russo

The Corrections by Jonathan Franzen
John Henry Days by Colson Whitehead

2003: Middlesex by Jeffrey Eugenides

Servants of the Map: Stories by Andrea Barrett
You Are Not a Stranger Here by Adam Haslett

2004: The Known World by Edward P. Jones

American Woman by Susan Choi
Evidence of Things Unseen by Marianne Wiggins

2005: Gilead by Marilynne Robinson

An Unfinished Season by Ward Just
War Trash by Ha Jin

2006: March by Geraldine Brooks

The Bright Forever by Lee Martin
The March by E. L. Doctorow

2007: The Road by Cormac McCarthy

After This by Alice McDermott
The Echo Maker by Richard Powers

2008: The Brief Wondrous Life of Oscar Wao by Junot Díaz

Shakespeare's Kitchen by Lore Segal
Tree of Smoke by Denis Johnson

2009: Olive Kitteridge by Elizabeth Strout

All Souls by Christine Schutt
The Plague of Doves by Louise Erdrich

text:
2010: Tinkers by Paul Harding

In Other Rooms, Other Wonders by Daniyal Mueenuddin
Love in Infant Monkeys by Lydia Millet

2011: A Visit From the Goon Squad by Jennifer Egan

The Privileges by Jonathan Dee
The Surrendered by Chang-Rae Lee

2012: No award given.[9]

Train Dreams by Denis Johnson
Swamplandia! by Karen Russell
The Pale King by David Foster Wallace (posthumous nominee)

2013: The Orphan Master's Son by Adam Johnson

What We Talk About When We Talk About Anne Frank by Nathan Englander
The Snow Child by Eowyn Ivey

2014: The Goldfinch by Donna Tartt

The Son by Philipp Meyer
The Woman Who Lost Her Soul by Bob Shacochis

2015: All the Light We Cannot See by Anthony Doerr

Let Me Be Frank with You by Richard Ford
The Moor's Account by Laila Lalami
Lovely, Dark, Deep by Joyce Carol Oates

2016: The Sympathizer by Viet Thanh Nguyen[10]

Get in Trouble: Stories by Kelly Link
Maud's Line by Margaret Verble

2017: The Underground Railroad by Colson Whitehead[11]

Imagine Me Gone by Adam Haslett
The Sport of Kings by C.E. Morgan

text: Repeat winners[edit]

text: Three writers to date have won the Pulitzer Prize for Fiction multiple times, one nominally in the novel category and two in the general fiction category. Ernest Hemingway was selected by the 1941 and 1953 juries, but the former was overturned and no 1941 award was given.[4]

text:
Booth Tarkington, 1919, 1922
William Faulkner, 1955, 1963 (awarded posthumously)
John Updike, 1982, 1991


document_title: Romeo and Juliet (1968 film)

question_text: when was the first time romeo saw juliet

text: Romeo and Juliet (1968 film)

text: Plot[edit]

text: One summer morning in Verona, Italy, a longstanding feud between the Montague and the Capulet clans breaks out in a street brawl. The brawl is broken up by the Prince, who warns both families that any future violence between them will result in harsh consequences. That night, two teenagers of the two families — Romeo and Juliet — meet at a Capulet masked ball and become deeply infatuated. Later, Romeo stumbles into the secluded garden under Juliet's bedroom balcony and the two exchange impassioned pledges. They are secretly married the next day by Romeo's confessor and father figure, Friar Laurence, with the assistance of Juliet's nursemaid.

text: That afternoon, Juliet's first cousin Tybalt, enraged that Romeo had attended his family's ball, insults him and challenges him to a brawl. Romeo regards Tybalt as family and he refuses to fight him, which leads Romeo's best friend, Mercutio, to fight Tybalt instead. Despite Romeo's efforts to stop the fight, Tybalt badly wounds Mercutio, who curses both the Montague and Capulet houses before dying. Enraged over his friend's death, Romeo retaliates by fighting Tybalt and killing him. Romeo is subsequently punished by the Prince with banishment from Verona, with the threat of death if he ever returns. Romeo, however, sees his banishment as worse than the death penalty, as Verona is the only home he has known and he does not want to be separated from Juliet. Friar Laurence eventually convinces Romeo that he is very lucky and that he should be more thankful for what he has. Romeo then secretly spends his wedding night together with Juliet and the couple consummate their marriage before Romeo flees.

text: Juliet's father and mother, unaware of their daughter's secret marriage, have arranged for Juliet to marry wealthy Count Paris. Juliet pleads with her parents to postpone the marriage, but they refuse and threaten to disown her. Juliet seeks out Friar Laurence for help, hoping to escape her arranged marriage to Paris and remain faithful to Romeo. At Friar Laurence's behest, she reconciles with her parents and agrees to their wishes. On the night before the wedding, Juliet consumes a potion prepared by Friar Laurence intended to make her appear dead for forty-two hours. Friar Laurence plans to inform Romeo of the hoax so that Romeo can meet Juliet after her burial and escape with her when she recovers from her swoon, so he sends Friar John to give Romeo a letter describing the plan. However, when Balthasar, Romeo's servant, sees Juliet being buried under the impression that she is dead, he goes to tell Romeo and reaches him before Friar John. In despair, Romeo goes to Juliet's tomb and kills himself by drinking poison. Soon afterwards, Juliet awakens and discovers her husband dead. Juliet refuses to leave Romeo and kills herself by piercing her abdomen with his dagger. Later, the two families attend their joint funeral and are chastised by the Prince.

text: Cast[edit]

text:
Leonard Whiting as Romeo Montague
Olivia Hussey as Juliet Capulet
John McEnery as Mercutio
Milo O'Shea as Friar Laurence
Pat Heywood as The Nurse
Robert Stephens as The Prince
Michael York as Tybalt
Bruce Robinson as Benvolio
Paul Hardwick as Lord Capulet
Natasha Parry as Lady Capulet
Antonio Pierfederici as Lord Montague
Esmeralda Ruspoli as Lady Montague
Keith Skinner as Balthasar
Roberto Bisacco as Paris
Bruno Filippini as Leonardo, the singer (uncredited)
Laurence Olivier as Chorus and voice of Lord Montague (uncredited)

text: Production[edit]

text: Casting[edit]

text: It is often rumored that Franco Zeffirelli considered Paul McCartney of The Beatles for the role of Romeo. Although Zeffirelli does not mention it in his autobiography, McCartney provided plenty of details on this account (including meeting with Olivia Hussey and exchanging telegrams with her) in his co-written autobiography [5]

text: The director engaged in a worldwide search for unknown teenage actors to play the parts of the two lovers. Leonard Whiting was 17 at the time, and Olivia Hussey was 16, and Zeffirelli adapted the play in such a way as to play to their strengths and hide their weaknesses: for instance, long speeches were trimmed, and he emphasized reaction shots.[6]

text: Laurence Olivier's involvement in the production was by happenstance. He was in Rome to film The Shoes of the Fisherman and visited the studio where Romeo and Juliet was being shot. He asked Zeffirelli if there was anything he could do, and was given the Prologue to read, then ended up dubbing the voice of Lord Montague as well as other assorted roles.[6]

text: Filming locations[edit]

text: Set in a 14th-century Renaissance Italy in varying locations:[7]

text:
The balcony scene: At the Palazzo Borghese, built by Cardinal Scipione Borghese in the 16th century, in Artena, 40 km southeast of Rome.
The interior church scenes: At a Romanesque church named St. Pietro Somaldi in, Lucca, Tuscania, 90 km northwest of Rome.
The tomb scene: Also in Tuscania.
The palace of the Capulets' scenes: At Palazzo Piccolomini, built between 1459–62 by Pope Pius II, in the city of Pienza, in Siena province.
The dueling scenes with swords were set in the old Umbrian town of Gubbio.
The film also has some scenes filmed in Montagnana.
The street scenes: Also in Pienza, and on Cinecitta Studios back lot, Rome.

text: Reception[edit]

text: The film earned $14.5 million in domestic rentals at the North American box office during 1969.[8] It was re-released in 1973 and earned $1.7 million in rentals.[9]

text: Film critic Roger Ebert has written: "I believe Franco Zeffirelli's Romeo and Juliet is the most exciting film of Shakespeare ever made".[10]

text: Review aggregator website Rotten Tomatoes gives the film a 'Fresh' score of 97% based on 34 reviews, with an average rating of 7.8/10; it is accompanied by the consensus: "The solid leads and arresting visuals make a case for Zeffirelli's Romeo and Juliet as the definitive cinematic adaptation of the play.".[11]

text: Awards and nominations[edit]

text: Academy Awards

text:
Best Picture (Anthony Havelock-Allan, John Brabourne) – Nominated
Best Director (Franco Zeffirelli) – Nominated
Best Cinematography (Pasqualino De Santis) – Won
Best Costume Design (Danilo Donati) – Won

text: Golden Globe Awards

text:
English-Language Foreign Film – Won
Best Director (Franco Zeffirelli) – Nominated
New Star of the Year – Actor (Leonard Whiting) – Won
New Star of the Year – Actress (Olivia Hussey) – Won
Best Original Score (Nino Rota) – Nominated

text: BAFTA Awards

text:
Best Direction (Franco Zeffirelli) – Nominated
Best Actor in a Supporting Role (John McEnery) – Nominated
Best Actress in a Supporting Role (Pat Heywood) – Nominated
Best Film Music (Nino Rota) – Nominated
Best Production Design (Renzo Mongiardino) – Nominated
Best Costume Design (Danilo Donati) – Won
Best Editing (Reginald Mills) – Nominated

text: Other accolades for Romeo and Juliet included the David di Donatello and National Board of Review awards for Best Director for Zeffirelli, as well as appearing on the National Board of Review's Top Ten Films list for 1968.

text: Soundtrack[edit]

text: Two releases of the score of the film, composed by Nino Rota, have been made.[12][13]

text: "Love Theme from Romeo and Juliet" The film's love theme was widely disseminated, notably in "Our Tune", a segment of BBC disc jockey Simon Bates's radio show. In addition, various versions of the theme have been recorded and released, including a highly successful one by Henry Mancini, whose instrumental rendition was a Number One success in the United States during June 1969.[14]

text: There are two different sets of English lyrics to the song.

text:
The film's version is called "What Is a Youth?", featuring lyrics by Eugene Walter, and sung by Glen Weston. This version has been released on the complete score/soundtrack release.
An alternate version, called "A Time for Us", featuring lyrics by Larry Kusik and Eddie Snyder. This version has been recorded by Johnny Mathis and Andy Williams, among others. Josh Groban performed "Un Giorno Per Noi", an Italian version of "A Time for Us". Jonathan Antoine, classically trained tenor from Great Britain, performed "Un Giorno Per Noi" as one of the tracks on his second solo album, "Believe", which was released in August 2016. A third version is called "Ai Giochi Addio", featuring lyrics by Elsa Morante, and has been performed by opera singers such as Luciano Pavarotti and Natasha Marsh.

text: In popular culture[edit]

text:
Thom Yorke cites the film as one of the inspirations for the Radiohead song "Exit Music (For a Film)", which was written specifically for the ending credits of the 1996 film William Shakespeare's Romeo + Juliet. Said Yorke, "I saw the Zeffirelli version when I was 13, and I cried my eyes out, because I couldn't understand why the morning after they shagged, they didn't just run away. The song is written for two people who should run away before all the bad stuff starts. A personal song."
Kevin and Paul go to see the film in the episode "Wayne on Wheels" in season three of The Wonder Years.
Celine Dion referenced this film, in particular the "hand dance" scene, in the video for her 1992 single "Nothing Broken but My Heart".
Japanese manga artist Rumiko Takahashi referenced the Zeffirelli film in two of her manga and anime works. In one episode of Urusei Yatsura, devious troublemaker Ryoko Mendou invites the series' male protagonist, Ataru Moroboshi, to have a "Romeo and Juliet" rendezvous with her, and wears a dress based on Hussey's from the film. Later, Takahashi's Ranma 1/2 featured a storyline in which the lead characters, Ranma Saotome and Akane Tendo, are cast as Romeo and Juliet in a production of the play at their high school. Takahashi designed Ranma and Akane's costumes for the play with Whiting and Hussey's outfits in the Zeffirelli film in mind.[15]


document_title: Rainy Night in Georgia

question_text: who sang rainy night in georgia with conway twitty

text: Rainy Night in Georgia

text: This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2011) (Learn how and when to remove this template message)

tag: table

text:
"Rainy Night in Georgia"
Single by Brook Bentonfrom the album Brook Benton TodayB-side
"Where Do I Go From Here?"Released
December 1969Format
Vinyl record (7" 45 RPM)Recorded
1969Genre
R&B, SoulLength
3:29Label
Cotillion/AtlanticSongwriter(s)
Tony Joe WhiteProducer(s)
Arif Mardin

text: "Rainy Night in Georgia" is a song written by Tony Joe White in 1967 and popularized by R&B vocalist Brook Benton in 1970. It was originally released by White on his 1969 album, "Continued" on Monument Records, shortly before Benton's hit single was issued.

text: In a January 17, 2014 interview with music journalist Ray Shasho, Tony Joe White explained the thought process behind the making of "Rainy Night in Georgia" and "Polk Salad Annie".

text: When I got out of high school I went to Marietta, Georgia, I had a sister living there. I went down there to get a job and I was playing guitar too at the house and stuff. I drove a dump truck for the highway department and when it would rain you didn't have to go to work. You could stay home and play your guitar and hangout all night. So those thoughts came back to me when I moved on to Texas about three months later. I heard "Ode to Billie Joe" on the radio and I thought, man, how real, because I am Billie Joe, I know that life. I've been in the cotton fields. So I thought if I ever tried to write, I'm going to write about something I know about. At that time I was doing a lot of Elvis and John Lee Hooker onstage with my drummer. No original songs and I hadn't really thought about it. But after I heard Bobbie Gentry I sat down and thought … well I know about Polk because I had ate a bunch of it and I knew about rainy nights because I spent a lot of rainy nights in Marietta, Georgia. So I was real lucky with my first tries to write something that was not only real and hit pretty close to the bone, but lasted that long. So it was kind of a guide for me then on through life to always try to write what I know about.

text: In 1969, after several years without a major hit, Benton had signed to a new record label, Cotillion Records (a subsidiary of Atlantic Records) by label A&R chief and producer Jerry Wexler. Benton recorded the song in November 1969 with arranger/producer Arif Mardin. Session personnel on the record included Billy Carter on organ, Dave Crawford on piano, Cornell Dupree and Jimmy O'Rourke on guitar, Harold Cowart on bass, Tubby Ziegler on drums, and Toots Thielemans on harmonica.

text: Included on his "come-back" album Brook Benton Today, the melancholy song became an instant hit. In the spring of 1970, the song had topped the Billboard Best Selling Soul Singles chart. It also reached number four on the Billboard Hot 100,[1] and number two on the Adult Contemporary chart. In Canada, the song made #2 on the RPM Magazine Hot Singles chart, #2 on the AC Chart, and #58 in the 1970 Year End Chart.

text: The RIAA certified the single gold for sales of one million copies. In 2004, it was ranked #498 on the List of Rolling Stone's 500 Greatest Songs of All Time.

text: Covers[edit]

text:
"Rainy Night in Georgia"
Single by Randy Crawfordfrom the album Secret CombinationB-side
"I Got Myself A Happy Song"Released
1981Genre
R&BLength
4:22Label
Warner Bros. RecordsSongwriter(s)
Tony Joe WhiteProducer(s)
Tommy LiPumaRandy Crawford singles chronology

"You Might Need Somebody" (1981)

"Rainy Night in Georgia" (1981)

"Secret Combination" (1981)

"You Might Need Somebody"(1981)

"Rainy Night In Georgia"(1981)

"Secret Combination"(1981)

text: The song has been covered by a number of musicians, including Ray Charles, Otis Rush, Gil Parris, Little Milton, Dolla, Hearts Of Stone, Randy Crawford, Tennessee Ernie Ford, Al Hirt, Johnny Rivers, Amos Garrett, Hank Williams, Jr.(#21 Can.), Nat Stuckey, a Conway Twitty/Sam Moore duet (#33 Can.), Arthur Prysock, Aaron Neville, Chris Young, Ana Popovic and Shelby Lynne.[2] Randy Crawford's version from the album Secret Combination reached No. 18 in the UK Singles Chart in 1981.[3]

text: David Ruffin recorded a cover version of the song the same year as Benton, but Motown did not release the album until the 2000s. B.J. Thomas also recorded the song the same year as Benton for his album Most of All.[4]

text: Several reggae covers have been recorded including ones by: Ken Parker, Lord Tanamo, Nicky Thomas, John Holt, and reggae bands The Gladiators and The Congos. In 1967 Prince Buster rewrote the lyrics and recorded a sexually explicit reggae version of this song called "Big Five", usually found with certain words bleeped out. Gregory Isaacs did a dancehall style version at the start of the 90s.

text: More recent covers include those by indie folk-rock band Hem from their album No Word from Tom (2006), and by Boz Scaggs from his album Memphis (2013). Australian band Ross Hanniford Trio recorded a cover of the song on their 1994 album. In 2000, guitarist Eric Essix covered the song on his album Southbound.[5] An electronic-influenced downtempo/chillout version was recorded by Boozoo Bajou and Tony Joe White in 2006. Rod Stewart included the song on his 2009 album Soulbook. Singer Frank Shiner released the song as the first single and video from his 2017 album Lonely Town, Lonely Street.

text: The song is featured in Haruki Murakami's novel Hear the Wind Sing.


document_title: Grease (film)

question_text: where was the final scene of grease filmed

text: Grease (film)

text: Plot[edit]

text: In the summer of 1958, Danny Zuko (John Travolta) and vacationing Sandy Olsson (Olivia Newton-John) met at the beach and fell in love. When the summer comes to an end, Sandy, who is going back to Australia, frets that they may never meet again, but Danny tells her that their love is "only the beginning", and they will stay friends. The film moves to the start of the new school year at Rydell High School ("Grease"). Danny, a greaser, is a member of the T-Birds, consisting of his best friend Kenickie (Jeff Conaway), Doody (Barry Pearl), Sonny (Michael Tucci), and Putzie (Kelly Ward). The Pink Ladies, a sassy, popular clique of girls, also arrive, consisting of Rizzo (Stockard Channing), Frenchy (Didi Conn), Marty (Dinah Manoff), and Jan (Jamie Donnelly).

text: After her parents unexpectedly decide to move from Australia, Sandy enrolls at Rydell and is befriended by Frenchy, who considers dropping out of high school to become a beautician by going to a beauty school. Unaware of each other's presence at Rydell, Danny and Sandy tell their curious groups the accounts of events during the pair's brief romance, without initially mentioning the other's name. Sandy's version emphasizes the romance of the affair,and the truth and purity, while Danny's version is more sexual (and therefore presumably less honest) ("Summer Nights" song).

text: When Sandy finally tells everyone it was Danny Zuko, Rizzo arranges a surprise reunion for the two at a pep rally, where Sandy is cheering along with high-achiever and resident swot, Patty Simcox (Susan Buckner). At the rally, Sandy catches the eye of a muscly member of the football team (Lorenzo Lamas). When Sandy and Danny are reunited, they are initially elated, but Danny soon slips back into his greaser attitude, which offends Sandy. At the same rally, Kenickie reveals his new car, a dilapidated used jalopy, and announces he has entered it into a "pinks" street race at Thunder Road.

text: Frenchy invites Sandy to her house for a sleepover. Sandy vomits at trying her first cigarette, drinking a dessert wine, and getting her ears pierced by Frenchy. While she recovers in the bathroom, Rizzo makes fun of her innocent and virtuous nature ("Look At Me, I'm Sandra Dee"). The T-Birds arrive in Kenickie's car, and Rizzo departs with Kenickie, leaving the other T-Birds stranded. Sandy laments over her feelings towards Danny, despite his earlier behavior ("Hopelessly Devoted to You"). As Kenickie and Rizzo start making love, the condom Kenickie is using breaks. The two are also interrupted by Leo Balmudo (Dennis C. Stewart), leader of the T-Birds' rival gang, the Scorpions, and his tall and brash girlfriend Cha-Cha (Annette Charles).

text: The next day, the T-Birds are looking over Kenickie's car, and although they are initially skeptical of its potential, Danny and Kenickie explain the modifications they could add to make it a hot-rodding sex machine ("Greased Lightnin'"). In an attempt to impress Sandy, Danny approaches Coach Calhoun (Sid Caesar) in an effort to become a high school athlete. Danny's pride and lack of experience lead to him picking fights with the jocks when he tries to play basketball, wrestling or baseball, so Calhoun suggests cross-country running, in which Danny excels. Danny's running proves to impress Sandy, prompting the two to reconcile for a date at the Frosty Palace; when the other greasers arrive, Danny and Sandy promptly leave in discomfort. Kenickie and a noticeably distressed Rizzo get into an argument and break up, while Putzie and Jan arrange to go to the dance. Left alone, Frenchy—who dropped out of Rydell to enroll in beauty school, only to quit when she turned her own hair bright pink—is visited by a guardian angel (Frankie Avalon) who advises her to return to Rydell ("Beauty School Dropout").

text: The school dance arrives, broadcast live on television and hosted by DJ Vince Fontaine (Edd Byrnes), who flirts with Marty. Rizzo and Kenickie attempt to spite one another by bringing Leo and Cha-Cha as their dates, while Danny and Sandy arrive together. Danny and Sandy dance well and appear to be on their way to winning the competition, but a drunken Sonny pulls Sandy off the floor partway through. Cha-Cha joins Danny for the rest of the dance, and the two win ("Born to Hand Jive"). During the last dance ("Blue Moon"), Putzie leads Sonny and Doody in a mooning of the national TV audience, which Principal McGee (Eve Arden) vows to put on their permanent records.

text: Danny apologizes to Sandy and tries to make it up to her by taking her to a drive-in theater. She's unmoved by his pleas for forgiveness until he gives Sandy his ring, which she gleefully accepts. Moments later, Danny tries to aggressively make out with her, causing Sandy to angrily throw his ring at him and depart, leaving Danny distraught ("Sandy"). Meanwhile, because she skipped a period, Rizzo quietly admits she may be pregnant to Marty, who in turn tells Sonny, and the rumor spreads like wildfire through the drive-in, reaching Kenickie just as Rizzo is walking past. He attempts to talk to Rizzo about it, telling her he doesn't run away from his mistakes. Rizzo tells him it was someone else's mistake, a response that angers Kenickie. At school the next day, word of Rizzo's pregnancy fears reaches Patty Simcox, who has spread the gossip to her clique and sneers at Rizzo as they walk by. A visibly hurt Rizzo, who thanks Sandy for her offer of help, sings to herself about how her sins are not as bad as they could be ("There Are Worse Things I Could Do").

text: On the day of the race, Kenickie asks Danny to be on standby in case he decides to back out. Moments before the race is set to begin, Kenickie suffers a concussion when he bends over to pick up a penny for good luck and Putzie opens the car door on Kenickie's head, and Danny takes the helm of the car. Leo and Danny run a tight race, with Leo attempting to shred Danny's tires with bladed hubcaps (in a sequence paying homage to Ben-Hur); Danny eventually wins when Leo skids out. Sandy watches from afar and concludes that she still loves Danny. She decides to change her attitude and image to impress him and asks Frenchy for help ("Look At Me, I'm Sandra Dee (Reprise)").

text: On the last day of school, a sobbing Principal McGee and her equally nostalgic assistant Blanche (Dody Goodman), in a speech over the intercom, tell the students that they could be future leaders. Sonny and Putzie learn that, because they either never took or failed physical education, they have to take summer school with Coach Calhoun in order to get their diplomas.

text: Kenickie approaches Rizzo and demands to talk to her, only to have her reveal she is not pregnant after all. Overjoyed, they reunite. Danny shows up wearing a Letterman's sweater and reveals he is now a letterman for the cross-country team, to the T-Birds' dismay. Danny confesses it is a decision he has made in an effort to clean up his image so that he can be together with Sandy, telling the T-Birds that they too will have to grow up and stop following people all the time. The group is subsequently stunned when Sandy appears seconds later sporting a new hairstyle, dressed in black leather, and smoking a cigarette. In song, the two admit they love each other and reunite ("You're the One That I Want") and Sandy also tells Danny that if she was willing to change for him then it is only fair that he do the same for her by being faithful and more mature.

text: The gang realizes that high school is now over, and worries that they'll never see each other again. Danny insists, "Nah, that'll never happen," and everyone celebrates their friendship ("We Go Together"). As the song nears its conclusion, Danny and Sandy depart in a red hot rod, which takes flight, and the pair wave goodbye to their friends.

text: Cast[edit]

text: Principal cast[edit]

text:
John Travolta as Danny Zuko, who lives a double life as leader of the greaser gang the T-Birds and as Sandy's love interest
Olivia Newton-John as Sandy Olsson, an Australian expatriate and ingenue
Stockard Channing as Betty Rizzo, Danny’s former fling and the cynical leader of the Pink Ladies clique
Jeff Conaway as Kenickie, Danny's best friend, Rizzo's love interest and the owner of Greased Lightnin'
Barry Pearl as Doody, a member of the T-Birds
Michael Tucci as Sonny LaTierri, a trouble-making wannabe womanizer
Kelly Ward as Putzie, a member of the T-Birds and Jan's boyfriend
Didi Conn as Frenchy, Sandy's closest friend in the Pink Ladies
Jamie Donnelly as Jan, a member of the Pink Ladies and Putzie's girlfriend
Dinah Manoff as Marty Maraschino, a member of the Pink Ladies whose attractiveness regularly draws the attention of men

text: School staff/others[edit]

text:
Eve Arden as Principal Greta McGee, who shows discomfort at the goings-on at Rydell High.
Dody Goodman as Secretary Blanche Hodel, who enjoys even the wilder antics at the school.
Sid Caesar as Coach Vince Calhoun, the tough-talking gym teacher and coach of all the school's perennially losing sports teams
Eddie Deezen as Eugene Felsnick, the class nerd
Susan Buckner as Patty Simcox, the head cheerleader and a rival for Danny's affections
Lorenzo Lamas as Tom Chisum, a popular jock who competes for Sandy's affections
Dennis C. Stewart as Leo "Craterface" Balmudo, head of the Scorpions, a rival greaser gang
Annette Charles as Charlene "Cha-Cha" DiGregorio, Leo's girlfriend
Joan Blondell as Vi, a waitress at the Frosty Palace
Ellen Travolta as Waitress
Frankie Avalon as Teen Angel
Edd Byrnes as Vince Fontaine, on-air personality at KZAZ radio and television
Sha-Na-Na as Johnny Casino and the Gamblers, a rock and roll band
Alice Ghostley as Mrs. Murdock, a rogue auto shop teacher who helps build Greased Lightnin' for the T-Birds
Darrell Zwerling as Mr. Lynch
Dick Patterson as Mr. Rudie
Fannie Flagg as Nurse Wilkins
Michael Biehn (uncredited) as Mike, a jock at Rydell high

text: Production[edit]

text: Casting[edit]

text: John Travolta had previously worked with producer Robert Stigwood on Saturday Night Fever, had a nascent singing career at the time (including the top-10 hit "Let Her In" in 1976), and had previously appeared as Doody in a touring production of the stage version of Grease. He made a number of casting recommendations that Stigwood ultimately accepted, including suggesting Randal Kleiser (who had never directed a theatrical feature before this but had directed Travolta in the 1976 telefilm The Boy in the Plastic Bubble) as director, and Olivia Newton-John, then known almost exclusively as a country music singer, as Sandy.[4] Newton-John had done little acting before this film, with only one film credit (the unreleased 1970 film Toomorrow, which predated her singing breakthrough) to her name up to that time. Before accepting the role, Newton-John requested a screen test for Grease to avoid another career setback.[5] The screen test was done with the drive-in movie scene. Newton-John, who is native to England and lived most of her life in Australia, was unable to perform with a convincing American accent, and thus her character was rewritten to be Australian. Before Newton-John was hired, Allan Carr was considering numerous names such as Ann-Margret, Susan Dey and Marie Osmond for the lead role; Newton-John agreed to a reduced asking price in exchange for star billing.[5] In a case of life imitating art, Newton-John's own musical career would undergo a transformation similar to that of the Sandy Olsson character; her next album after Grease, the provocatively titled Totally Hot, featured a much more sexual and pop-oriented approach, with Newton-John appearing on the album cover in similar all-leather attire and teased hair.[6]

text: Jeff Conaway, like Travolta, had previously appeared in the stage version of Grease; he had played Danny Zuko during the show's run on Broadway.[7] Jamie Donnelly reprised her role as Jan from the Broadway show, the only cast member to do so; as her hair had begun to gray by this point, she had to dye her hair to resemble her stage character.[8] Kelly Ward had previously appeared as a similar sarcastic supporting character in The Boy in the Plastic Bubble with Travolta under Kleiser; the role was substantially rewritten from the musical. Whereas "Rump" in the musical sang lead on two songs and was particularly known for his mooning, the renamed "Putzie" did not sing and shares the mooning scene with two of the other T-Birds, Sonny and Doody.

text: Lorenzo Lamas was a last-minute replacement for Steven Ford, who developed stage fright shortly before filming and backed out. His role contained no spoken dialogue and required Lamas to dye his hair blond to avoid looking like most of the other T-Birds (although Conaway and Ward were also blonds).[8]

text: Henry Winkler was once considered for a lead in the film. Winkler, who was playing Arthur Fonzarelli on Happy Days, was originally chosen to play Danny. His lack of singing experience and fear of being typecast after Happy Days and the film The Lords of Flatbush led him to decline the role.[citation needed] Adult film star Harry Reems was originally signed to play Coach Calhoun; however, executives at Paramount nixed the idea due to Reems' previous work in adult films, and producers cast Sid Caesar instead.[9] Caesar was one of several veterans of 1950s television (Eve Arden, Frankie Avalon, Joan Blondell, Edd Byrnes, Alice Ghostley, Dody Goodman) to be cast in supporting roles. Coincidentally, Frankie Avalon and Randal Kleiser had both appeared in 1966's Fireball 500, the latter as an extra.

text: Filming locations[edit]

text: The opening beach scene was shot at Malibu's Leo Carrillo State Beach, making explicit reference to From Here to Eternity. The exterior Rydell scenes, including the basketball, baseball and track segments, were shot at Venice High School in Venice, California, while the Rydell interiors, including the high school dance, were filmed at Huntington Park High School. The sleepover was shot at a private house in East Hollywood. The Paramount Pictures studio lot was the location of the scenes that involve Frosty Palace and the musical numbers "Greased Lightning" and "Beauty School Dropout". The drive-in movie scenes were shot at the Burbank Pickwick Drive-In (it was closed and torn down in 1989 and a shopping center took its place). The race was filmed at the Los Angeles River, between the First and Seventh Street Bridges, where many other films have been shot.[10] The final scene where the carnival took place used John Marshall High School.[11] And due to budget cuts a short scene was filmed at Hazard Park in Los Angeles.

text: Post-production[edit]

text: Scenes inside the Frosty Palace contain obvious blurring of various Coca-Cola signs.[12] Prior to the film's release, producer Allan Carr had made a product-placement deal with Coca-Cola's main competitor Pepsi (for example, a Pepsi logo can be seen in the animated opening sequence). When Carr saw the footage of the scene with Coca-Cola products and signage, he ordered director Randal Kleiser to either reshoot the scene with Pepsi products or remove the Coca-Cola logos from the scene. As reshoots were deemed too expensive and time-consuming, optical mattes were used to cover up or blur out the Coca-Cola references. The 'blurring' covered up trademarked menu signage and a large wall poster, but a red cooler with the logo could not be sufficiently altered so was left unchanged. According to Kleiser, "We just had to hope that Pepsi wouldn't complain. They didn't."[13][14]

text: In the 2010 sing-along version (see below), the blurred Coke poster has been digitally removed. In its place is more of the wavy wall design that surrounded it.[citation needed]

text: John Wilson did the animated title sequence for the start of the film.[citation needed]

text: Release and reception[edit]

text: Box office[edit]

text: Grease was originally released to North American theaters on June 16, 1978 and was an immediate box office success. In its opening weekend, the film grossed $8,941,717 in 862 theaters in the United States and Canada, ranking at No. 2 (behind Jaws 2) at the box office.[15] Grease has grossed $188,755,690 domestically and $206,200,000 internationally, totaling $394,955,690 worldwide. Globally, it was the highest-grossing musical ever, eclipsing the 13-year-old record held by The Sound of Music, but has since been overtaken by Les Misérables, Mamma Mia! and the 2017 release of Beauty and the Beast. Grease is now the fourth highest-grossing live action musical.[16]

text: Critical reception[edit]

text: Grease received mostly positive reviews from movie critics[17] and is considered by many as one of the best films of 1978.[18][19][20][21]

text: Vincent Canby on its initial release in June 1978 called the film "terrific fun", describing it as a "contemporary fantasy about a 1950s teen-age musical—a larger, funnier, wittier and more imaginative-than-Hollywood movie with a life that is all its own"; Canby pointed out that the film was "somewhat in the manner of Close Encounters of the Third Kind, which recalls the science-fiction films of the '50s in a manner more elegant and more benign than anything that was ever made then, Grease is a multimillion-dollar evocation of the B-picture quickies that Sam Katzman used to turn out in the '50s (Don't Knock the Rock, 1956) and that American International carried to the sea in the 1960s (Beach Party, 1963)."[22]

text: Grease was voted the best musical ever on Channel 4's 100 greatest musicals in 2004.[23] The film currently holds a 75% "Certified Fresh" rating on the review aggregate website Rotten Tomatoes based on 61 critic reviews with an average rating of 6.6/10 and with a consensus that reads, "Grease is a pleasing, energetic musical with infectiously catchy songs and an ode to young love that never gets old."[24] It holds a score of 70/100 on similar website Metacritic.[17]

text: Grease premiered for the first time on American television in 1981 on ABC-TV. It was re-released to theaters in 1998 to mark the 20th anniversary. The film was also ranked number 21 on Entertainment Weekly's list of the 50 Best High School Movies.[25][26]

text: Home video[edit]

text: Grease was first released in the US on VHS by Paramount Home Video in 1982, with reissues in 1989 and 1994; the last VHS release was on June 23, 1998 and titled the 20th Anniversary Edition following a theatrical re-release that March. On September 17, 2002, it was released on DVD for the first time. On September 19, 2006, it was re-released on DVD as the Rockin' Rydell Edition, which came with a black Rydell High T-Bird jacket cover, a white Rydell "R" letterman's sweater cover or the Target-exclusive Pink Ladies cover. It was released on Blu-ray Disc on May 5, 2009.

text: Awards[edit]

text:
Year
Nominee/work
Award
Result

1978
Grease
Golden Globe Award for Best Motion Picture – Musical or Comedy
Nominated

John Travolta
Golden Globe Award for Best Actor – Motion Picture Musical or Comedy
Nominated

Olivia Newton-John
Golden Globe Award for Best Actress – Motion Picture Musical or Comedy
Nominated

"Grease"
Golden Globe Award for Best Original Song
Nominated

"You're the One That I Want"
Nominated

1979
CIC
Golden Screen Award
Won

Stockard Channing
People's Choice Award for Favorite Motion Picture Supporting Actress
Won

Grease
People's Choice Award for Favorite Musical Motion Picture
Won

Grease
People's Choice Award for Favorite Overall Motion Picture
Won

"Hopelessly Devoted to You"
Academy Award for Best Original Song
Nominated

2006
Grease
Satellite Award for Best Classic DVD
Nominated

2008
"You're the One That I Want"
TV Land Award for Movie Dance Sequence You Reenacted in Your Living Room
Nominated

text: American Film Institute Recognition[edit]

text:
AFI's 100 Years...100 Passions: No. 97
AFI's 100 Years...100 Songs: No. 70 for "Summer Nights"
AFI's Greatest Movie Musicals: No. 20

text: Sequels and spin-offs[edit]

text: The sequel, Grease 2 (1982), stars Maxwell Caulfield and Michelle Pfeiffer. While only a few cast members from the original movie such as Dody Goodman, Sid Caesar, Eddie Deezen, Didi Conn, Dennis Stewart and Eve Arden reprise their respective roles. Dick Patterson returned, playing a different character. It was not as successful, grossing just $15 million on its $13 million budget. Patricia Birch, the original movie's choreographer, directed the ill-fated sequel. It would be the only movie that she would direct.

text: On July 8, 2010, a sing-along version of Grease was released to select theaters around the U.S.[27] A trailer was released in May 2010 with cigarettes digitally removed from certain scenes, implying heavy editing; however, Paramount confirmed these changes were done only for the film's advertising,[28] and the rating for the film itself changed from its original PG to that of PG-13 for "sexual content including references, teen smoking and drinking, and language."[29] The movie was shown for two weekends only; additional cities lobbied by fans from the Paramount official website started a week later and screened for one weekend.[30]

text: On March 12, 2013, Grease and Grease 2 were packaged together in a Double Feature DVD set from Warner Home Video.

text: Soundtrack[edit]

text: The soundtrack album ended 1978 as the second-best selling album of the year in the United States, exceeded only by another soundtrack album, from the film Saturday Night Fever, which also starred Travolta.[3] The song "Hopelessly Devoted to You" was nominated for an Academy Award for Best Music—Original Song. The song "You're the One That I Want" was released as a single prior to the film's release and became an immediate chart-topper, despite not being in the stage show or having been seen in the film at that time.[31] Additionally, the dance number to "You're the One That I Want" was nominated for TV Land's award for "Movie Dance Sequence You Reenacted in Your Living Room" in 2008.[32] In the United Kingdom, the two Travolta/Newton-John duets, "You're the One That I Want" and "Summer Nights", were both number one hits and as of 2011 are still among the 20 best-selling singles of all time (at Nos. 6 and 19 respectively).[33] The movie's title song was also a number-one hit single for Frankie Valli.[34]

text: The song "Look at Me, I'm Sandra Dee" references Sal Mineo in the original stage version. Mineo was stabbed to death a year before filming, so the line was changed to refer to Elvis Presley instead. The references to Troy Donohue, Doris Day, Rock Hudson and Annette Funicello are from the original stage version. Coincidentally, this scene as well as the scene before and the scene after it were filmed on August 16, 1977, the date of Elvis Presley's death.[35]

text: Some of the songs were not present in the film; songs that appear in the film but not in the soundtrack are "La Bamba" by Ritchie Valens, "Whole Lotta Shaking Going On" by Jerry Lee Lewis, "Alma Mater", "Alma Mater Parody", and "Rydell Fight Song". "Alone at a Drive-in Movie (instrumental)", "Mooning", and "Freddy My Love" are not present in the film, although all three are listed in the end credits in-addition to being on the soundtrack. (Both "Mooning" and "Rock'n'Roll Party Queen," the latter of which was played in the film as background music, were written in the musical for a character named Roger that was written out of the film, replaced by the non-singing Putzie. In general, all of the songs in the musical that were performed by characters other than Danny, Rizzo, Sandy or Johnny Casino were either taken out of the film or given to other characters, including Marty Maraschino's number "Freddy My Love," Kenickie's "Greased Lightnin'," and Doody's "Those Magic Changes.")

text: The songs appear in the film in the following order:

text:
"Love is a Many-Splendored Thing"
"Grease"
"Alma Mater"
"Summer Nights" – Danny, Sandy, Pink Ladies and T-Birds
"Rydell Fight Song" – Rydell Marching Band
"Look at Me, I'm Sandra Dee" – Rizzo and Pink Ladies
"Hopelessly Devoted to You" – Sandy
"Greased Lightnin'" – Danny and T-Birds
"La Bamba"
"It's Raining on Prom Night"
"Whole Lotta Shakin' Goin' On"
"Beauty School Dropout" – Teen Angel and Female Angels
"Rock n' Roll Party Queen"
"Rock n' Roll is Here to Stay" – Johnny Casino and the Gamblers
"Those Magic Changes" – Johnny Casino and the Gamblers; Danny sings along onscreen
"Tears on My Pillow" – Johnny Casino and the Gamblers
"Hound Dog" – Johnny Casino and the Gamblers
"Born to Hand Jive" – Johnny Casino and the Gamblers
"Blue Moon" – Johnny Casino and the Gamblers
"Sandy" – Danny
"There Are Worse Things I Could Do" – Rizzo
"Look at Me, I'm Sandra Dee (Reprise)" – Sandy
"Alma Mater Parody" (instrumental)
"You're the One That I Want" – Danny, Sandy, Pink Ladies, and T-Birds
"We Go Together" – Cast
"Grease (Reprise)"

tag: ol

text: Television[edit]

text: On August 17, 2009, a television series inspired by the film premiered in Venezuela. The series was produced and directed by Vladimir Perez. The show will explore and expand on the characters and story from the film.[36][37]


document_title: Flight recorder

question_text: when did black boxes get installed in planes

text: Flight recorder

text: History[edit]

text: Early designs[edit]

text: One of the earliest and proven attempts was made by François Hussenot and Paul Beaudouin in 1939 at the Marignane flight test center, France, with their "type HB" flight recorder; they were essentially photograph-based flight recorders, because the record was made on a scrolling eight meters long by 88 millimeters wide photographic film. The latent image was made by a thin ray of light deviated by a mirror tilted according to the magnitude of the data to record (altitude, speed, etc.).[1][2] A pre-production run of 25 "HB" recorders was ordered in 1941 and HB recorders remained in use in French test centers well into the seventies.[3] In 1947, Hussenot founded the Société Française des Instruments de Mesure with Beaudouin and another associate, so as to market his invention, which was also known as the "hussenograph". This company went on to become a major supplier of data recorders, used not only aboard aircraft but also trains and other vehicles. SFIM is today part of the Safran group and is still present on the flight recorder market. The advantage of the film technology was that it could be easily developed afterwards and provides a durable, visual feedback of the flight parameters without needing any playback device. On the other hand, unlike magnetic bands or later flash memory-based technology, a photographic film cannot be erased and recycled, and so it must be changed periodically. As such, this technology was reserved for one-shot uses, mostly during planned test flights; and it was not mounted aboard civilian aircraft during routine commercial flights. Also, the cockpit conversation was not recorded.

text: Another form of flight data recorder was developed in the UK during World War II. Len Harrison and Vic Husband developed a unit that could withstand a crash and fire to keep the flight data intact. This unit used copper foil as the recording medium with various styli indicating various instruments / aircraft controls which indented the copper foil. The copper foil was periodically advanced at set periods of time therefore giving a history of the instruments / control settings of the aircraft. This unit was developed at Farnborough for the Ministry of Aircraft Production. At the war's end the Ministry got Harrison and Husband to sign over their invention to them and the Ministry patented it under British patent 19330/45. This unit was the forerunner of today's black boxes being able to withstand conditions that aircrew could not.

text: The first modern flight recorder, called "Mata Hari", was created in 1942 by Finnish aviation engineer Veijo Hietala. This black high-tech mechanical box was able to record all important aviation details during test flights of World War II fighter aircraft that the Finnish army repaired or built in their main aviation factory in Tampere, Finland. The "Mata Hari" black box is displayed in the Vapriikki Museum (fi) in Tampere, Finland.[citation needed]

text: Australia[edit]

text: In 1953, Australian engineer David Warren conceived a device that would record not only the instruments reading, but also the cockpit voices, when working with the Australian Research Laboratories.[4] He built the first prototype in 1958.[5]

text: Warren, when working with the Defence Science and Technology Organisations' Aeronautical Research Laboratory (Melbourne, Australia),[6] published a 1954 report entitled "A Device for Assisting Investigation into Aircraft Accidents" and built a prototype FDR called "The ARL Flight Memory Unit" in 1957. The first coupled FDR / CVR prototype designed with civilian aircraft in mind, for explicit post-crash examination purposes, was produced in 1958.[7][8] However, aviation authorities from around the world were largely uninterested. This changed in 1958 when Sir Robert Hardingham, the Secretary of the British Air Registration Board, visited the ARL and was introduced to Warren.

text: The Aeronautical Research Laboratory allocated Warren an engineering team to develop the prototype to airborne stage. The team, consisting of electronics engineers Lane Sear, Wally Boswell and Ken Fraser developed a working design incorporating a fire and shockproof case, a reliable system for encoding and recording aircraft instrument readings and voice on one wire, and a ground-based decoding device. The ARL system became the "Red Egg", made by the British firm of S. Davall & Sons, Ltd., of Greenford, Middlesex. The "Red Egg" got its name from its shape and bright red color.

text: In 1965 the units were redesigned and moved to the rear of airplanes to improve the probability of successful data retrieval after a crash.

text: United States[edit]

text: The "Flight Recorder" was invented and patented in the United States by Professor James J. "Crash" Ryan, a professor of mechanical engineering at the University of Minnesota from 1931 to 1963. Ryan's "Flight Recorder" patent was filed in August 1953 and approved on November 8, 1960; see US Patent 2,959,459.[9] A second patent by Ryan for a "Coding Apparatus For Flight Recorders and the Like" is US Patent 3,075,192[10] dated January 22, 1963. An early prototype of the Ryan Flight Data Recorder is described in the January 2013 Aviation History Magazine article "Father of the Black Box" by Scott M. Fisher.[11] Ryan, also the inventor of the retractable safety seat belt now required in automobiles, began working on the idea of a flight recorder in 1946, and invented the device in response to the 1948 request from the Civil Aeronautics Board for development of a flight recorder as a means of accumulating data that could be used to get information useful in arriving at operating procedures designed to reduce air mishaps. The original device was known as the "General Mills Flight Recorder". The benefits of the flight recorder and the coding apparatus for flight recorders were outlined by Ryan in his study entitled "Economies in Airline Operation with Flight Recorders" which was entered into the Congressional Record in 1956. Ryan's Flight Recorder maintained a continuing recording of aircraft flight data such as engine exhaust, temperature, fuel flow, aircraft velocity, altitude, control surfaces positions, and rate of descent.

text: A "Cockpit Sound Recorder" (CSR) was independently invented and patented by Edmund A. Boniface, Jr., an aeronautical engineer at Lockheed Aircraft Corporation.[12][13][14] He originally filed with the US Patent Office on February 2, 1961, as an "Aircraft Cockpit Sound Recorder".[15] The 1961 invention was viewed by some as an "invasion of privacy". Subsequently Boniface filed again on February 4, 1963 for a "Cockpit Sound Recorder" (US Patent 3,327,067)[12] with the addition of a spring-loaded switch which allowed the pilot to erase the audio/sound tape recording at the conclusion of a safe flight and landing. Boniface's participation in aircraft crash investigations in the 1940s[16] and in the accident investigations of the loss of one of the wings at cruise altitude on each of two Lockheed Electra turboprop powered aircraft (Flight #542 operated by Braniff Airlines in 1959 and Flight #710 operated by Northwest Orient Airlines in 1961) led to his wondering what the pilots may have said just prior to the wing loss and during the descent as well as the type and nature of any sounds or explosions that may have preceded or occurred during the wing loss. His patent was for a device for recording audio of pilot remarks and engine or other sounds to be "contained with the in-flight recorder within a sealed container that is shock mounted, fireproofed and made watertight" and "sealed in such a manner as to be capable of withstanding extreme temperatures during a crash fire". The CSR was an analog device which provided a progressive erasing/recording loop (lasting 30 or more minutes) of all sounds (explosion, voice, and the noise of any aircraft structural components undergoing serious fracture and breakage) which could be overheard in the cockpit.[17]

text: Terminology[edit]

text: The origin of the term "black box" is uncertain. In a systems engineering context (since the 1960s when the term was spreading), the meaning is that the aircraft is modeled as a black box, and its behaviour can be understood from its recorded inputs, such as pilot instructions, and outputs, such as flight level data.[citation needed]

text: The term "black box" is almost never used within the flight safety industry or aviation, which prefers the term "flight recorder".[citation needed] The recorders are not permitted to be black in color, and must be bright orange, as they are intended to be spotted and recovered after incidents.[18] The term "black box" has been popularised by the media in general.[citation needed]

text: One explanation for popularization of the term "black box" comes from the early film-based design of flight data recorders, which required the inside of the recorder to be perfectly dark to prevent light leaks from corrupting the record, as in a photographer's darkroom.[19][20]

text: Another explanation of the "black box" term popularization came from a meeting about Warren's "Red Egg", when afterwards a journalist told Warren: "This is a wonderful black box."[citation needed] The unit itself was based on an EMI Minifon wire recorder (originally a 1950s espionage gadget from the West-German manufacturer Protona Monske) fitted into a perspex box firmly screwed together.[citation needed]

text: Another possible origin of the term is World War II RAF jargon. Prior to the end of the war in 1945, new electronic innovations, such as Oboe, GEE and H2S, were added to bombers on a regular basis. The prototypes were roughly covered in hand-made metal boxes, painted black to prevent reflections. After a time any piece of "new" electronics was referred to as the "box-of-tricks" (as illusionist box) or the "black box".[21]

text: The first recorded use of the term "black box" in reference to flight data recorders and cockpit voice recorders was by Mr E. Newton of the AAIB at a meeting of the Aeronautical Research Council in August 1958.[22]

text: Components[edit]

text: Flight data recorder[edit]

text: A flight data recorder (FDR) (also ADR, for accident data recorder) is an electronic device employed to record instructions sent to any electronic systems on an aircraft. Another kind of flight recorder is the cockpit voice recorder (CVR), which records conversation in the cockpit, radio communications between the cockpit crew and others (including communication with air traffic control personnel), as well as ambient sounds.[citation needed]

text: The data recorded by the FDR are used for accident and incident investigation. Due to their importance in investigating accidents, these ICAO-regulated devices are carefully engineered and constructed to withstand the force of a high speed impact and the heat of an intense fire. Contrary to the popular term "black box", the exterior of the FDR is coated with heat-resistant bright orange paint for high visibility in wreckage, and the unit is usually mounted in the aircraft's tail section, where it is more likely to survive a severe crash. Following an accident, the recovery of the FDR is usually a high priority for the investigating body, as analysis of the recorded parameters can often detect and identify causes or contributing factors.[23]

text: Modern day FDRs receive inputs via specific data frames from the Flight Data Acquisition Units (FDAU). They record significant flight parameters, including the control and actuator positions, engine information and time of day. There are 88 parameters required as a minimum under current US federal regulations (only 29 were required until 2002), but some systems monitor many more variables. Generally each parameter is recorded a few times per second, though some units store "bursts" of data at a much higher frequency if the data begin to change quickly. Most FDRs record approximately 17–25 hours of data in a continuous loop.[citation needed] It is required by regulations that an FDR verification check (readout) is performed annually in order to verify that all mandatory parameters are recorded.[citation needed]

text: Modern FDRs are typically double wrapped in strong corrosion-resistant stainless steel or titanium, with high-temperature insulation inside. Modern FDRs are accompanied by an underwater locator beacon that emits an ultrasonic "ping" to aid in detection when submerged. These beacons operate for up to 30 days and are able to operate while immersed to a depth of up to 6,000 meters (20,000 ft).[24][25]

text: Cockpit voice recorder[edit]

text: A cockpit voice recorder (CVR) is a flight recorder used to record the audio environment in the flight deck of an aircraft for the purpose of investigation of accidents and incidents. This is typically achieved by recording the signals of the microphones and earphones of the pilots' headsets and of an area microphone in the roof of the cockpit. The current applicable FAA TSO is C123b titled Cockpit Voice Recorder Equipment.[26]

text: Where an aircraft is required to carry a CVR and uses digital communications the CVR is required to record such communications with air traffic control unless this is recorded elsewhere. As of 2008[update] it is an FAA requirement that the recording duration is a minimum of two hours.[27]

text: A standard CVR is capable of recording 4 channels of audio data for a period of 2 hours. The original requirement was for a CVR to record for 30 minutes, but this has been found to be insufficient in many cases, significant parts of the audio data needed for a subsequent investigation having occurred more than 30 minutes before the end of the recording.

text: The earliest CVRs used analog wire recording, later replaced by analog magnetic tape. Some of the tape units used two reels, with the tape automatically reversing at each end. The original was the ARL Flight Memory Unit produced in 1957 by Australian David Warren and an instrument maker named Tych Mirfield.[citation needed]

text: Other units used a single reel, with the tape spliced into a continuous loop, much as in an 8-track cartridge. The tape would circulate and old audio information would be overwritten every 30 minutes. Recovery of sound from magnetic tape often proves difficult if the recorder is recovered from water and its housing has been breached. Thus, the latest designs employ solid-state memory and use digital recording techniques, making them much more resistant to shock, vibration and moisture. With the reduced power requirements of solid-state recorders, it is now practical to incorporate a battery in the units, so that recording can continue until flight termination, even if the aircraft electrical system fails.

text: Like the FDR, the CVR is typically mounted in the rear of the airplane fuselage to maximize the likelihood of its survival in a crash.[28]

text: Combined units[edit]

text: With the advent of digital recorders, the FDR and CVR can be manufactured in one fireproof, shock proof, and waterproof container as a combined digital Cockpit Voice and Data Recorder (CVDR). Currently a CVDR is manufactured by L-3 Communications[29] as well as other manufacturers.

text: Solid state recorders became commercially practical in 1990, having the advantage of not requiring scheduled maintenance and making the data easier to retrieve. This was extended to the two-hour voice recording in 1995.[30]

text: Additional equipment[edit]

text: Since the 1970s, most large civil jet transports have been additionally equipped with a "quick access recorder" (QAR). This records data on a removable storage medium. Access to the FDR and CVR is necessarily difficult because of the requirement that they survive an accident. They also require specialized equipment to read the recording. The QAR recording medium is readily removable and is designed to be read by equipment attached to a standard desktop computer. In many airlines, the quick access recordings are scanned for 'events', an event being a significant deviation from normal operational parameters. This allows operational problems to be detected and eliminated before an accident or incident results.

text: Many modern aircraft systems are digital or digitally controlled. Very often, the digital system will include Built-In Test Equipment which records information about the operation of the system. This information may also be accessed to assist with the investigation of an accident or incident.

text: Specifications[edit]

text: The design of today's FDR is governed by the internationally recognized standards and recommended practices relating to flight recorders which are contained in ICAO Annex 6 which makes reference to industry crashworthiness and fire protection specifications such as those to be found in the European Organisation for Civil Aviation Equipment[31] documents EUROCAE ED55, ED56 fiken A and ED112 (Minimum Operational Performance Specification for Crash Protected Airborne Recorder Systems). In the United States, the Federal Aviation Administration (FAA) regulates all aspects of US aviation, and cites design requirements in their Technical Standard Order,[32] based on the EUROCAE documents (as do the aviation authorities of many other countries).

text: Currently, EUROCAE specifies that a recorder must be able to withstand an acceleration of 3400 g (33 km/s²) for 6.5 milliseconds. This is roughly equivalent to an impact velocity of 270 knots (310 mph; 500 km/h) and a deceleration or crushing distance of 45 cm.[33] Additionally, there are requirements for penetration resistance, static crush, high and low temperature fires, deep sea pressure, sea water immersion, and fluid immersion.

text: EUROCAE ED-112 (Minimum Operational Performance Specification for Crash Protected Airborne Recorder Systems) defines the minimum specification to be met for all aircraft requiring flight recorders for recording of flight data, cockpit audio, images and CNS / ATM digital messages and used for investigations of accidents or incidents.[34] When issued in March 2003 ED-112 superseded previous ED-55 and ED-56A that were separate specifications for FDR and CVR. FAA TSOs for FDR and CVR reference ED-112 for characteristics common to both types.

text: In order to facilitate recovery of the recorder from an aircraft accident site they are required to be coloured bright yellow or orange with reflective surfaces. All are lettered "FLIGHT RECORDER DO NOT OPEN" on one side in English and the same in French on the other side. To assist recovery from submerged sites they must be equipped with an underwater locator beacon which is automatically activated in the event of an accident.

text: Regulation[edit]

text: In the investigation of the 1960 crash of Trans Australia Airlines Flight 538 at Mackay (Queensland), the inquiry judge strongly recommended that flight recorders be installed in all (Australian) airliners. Australia became the first country in the world to make cockpit-voice recording compulsory.[35][36]

text: The United States' first CVR rules were passed in 1964, requiring all turbine and piston aircraft with four or more engines to have CVRs by March 1, 1967.[37] As of 2008[update] it is an FAA requirement that the CVR recording duration is a minimum of two hours,[27] following the NTSB recommendation that it should be increased from its previously-mandated 30-minute duration.[38] As of 2014[update], the United States requires flight data recorders and cockpit voice recorders on aircraft that have 20 or more passenger seats, or those that have six or more passenger seats, are turbine-powered, and require two pilots.[39]

text: For US air carriers and manufacturers, the National Transportation Safety Board (NTSB) is responsible for investigating accidents and safety-related incidents. The NTSB also serves in an advisory role for many international investigations not under its formal jurisdiction. The NTSB does not have regulatory authority, but must depend on legislation and other government agencies to act on its safety recommendations.[40] In addition, 49 USC Section 1114(c) prohibits the NTSB from making the audio recordings public except by written transcript.[41]

text: The ARINC Standards are prepared by the Airlines Electronic Engineering Committee (AEEC). The 700 Series of standards describe the form, fit, and function of avionics equipment installed predominately on transport category aircraft. The FDR is defined by ARINC Characteristic 747. The CVR is defined by ARINC Characteristic 757.[42]

text: Proposed requirements[edit]

text: Deployable recorders[edit]

text: The NTSB recommended in 1999 that operators be required to install two sets of CVDR systems, with the second CVDR set being "deployable or ejectable". The "deployable" recorder combines the cockpit voice/flight data recorders and an emergency locator transmitter (ELT) in a single unit. The "deployable" unit would depart the aircraft before impact, activated by sensors. The unit is designed to "eject" and "fly" away from the crash site, to survive the terminal velocity of fall, to float on water indefinitely, and would be equipped with satellite technology for immediate location of crash impact site. The "deployable" CVDR technology has been used by the US Navy since 1993.[43] The recommendations would involve a massive retrofit program. However, government funding would negate cost objections from manufacturers and airlines. Operators would get both sets of recorders for free: they would not have to pay for the one set they are currently required by law to carry. The cost of the second "deployable/ejectable CVDR" (or "Black Box") was estimated at US$30 million for installation in 500 new aircraft (about $60,000 per new commercial plane).[citation needed]

text: In the United States, the proposed SAFE Act calls for implementing the NTSB 1999 recommendations. However, so far the SAFE ACT legislation has failed to pass Congress, having been introduced in 2003 (H.R. 2632), in 2005 (H.R. 3336), and in 2007 (H.R. 4336).[44] Originally the "Safe Aviation Flight Enhancement (SAFE) Act of 2003"[45] was introduced on June 26, 2003 by Congressman David Price (NC) and Congressman John Duncan (Tennessee) in a bipartisan effort to ensure investigators have access to information immediately following commercial accidents.[43]

text: On July 19, 2005, a revised SAFE Act was introduced and referred to the Committee on Transportation and Infrastructure of the US House of Representatives. The bill was referred to the House Subcommittee on Aviation during the 108th, 109th, and 110th Congresses.[46][47][48]

text: Image recorders[edit]

text: The NTSB has asked for the installation of cockpit image recorders in large transport aircraft to provide information that would supplement existing CVR and FDR data in accident investigations. They have recommended that image recorders be placed into smaller aircraft that are not required to have a CVR or FDR.[49] The rationale is that what is seen on an instrument by the pilots of an aircraft is not necessarily the same as the data sent to the display device. This is particularly true of aircraft equipped with electronic displays (CRT or LCD). A mechanical instrument is likely to preserve its last indication, but this is not the case with an electronic display. Such systems, estimated to cost less than $8,000 installed, typically consist of a camera and microphone located in the cockpit to continuously record cockpit instrumentation, the outside viewing area, engine sounds, radio communications, and ambient cockpit sounds. As with conventional CVRs and FDRs, data from such a system is stored in a crash-protected unit to ensure survivability.[49] Since the recorders can sometimes be crushed into unreadable pieces, or even located in deep water, some modern units are self-ejecting (taking advantage of kinetic energy at impact to separate themselves from the aircraft) and also equipped with radio emergency locator transmitters and sonar underwater locator beacons to aid in their location.[citation needed]

text: After Malaysia Airlines Flight 370[edit]

text: On March 12, 2014, in response to the missing Malaysia Airlines Flight 370, David Price re-introduced the SAFE Act in the US House of Representatives.[50]

text: The disappearance of Malaysia Airlines Flight 370 demonstrated the limits of the contemporary flight recorder technology, namely how physical possession of the flight recorder device is necessary to help investigate the cause of an aircraft incident. Considering the advances of modern communication, technology commentators called for flight recorders to be supplemented or replaced by a system that provides "live streaming" of data from the aircraft to the ground.[51][52][53] Furthermore, commentators called for the underwater locator beacon's range and battery life to be extended, as well as the outfitting of civil aircraft with the deployable flight recorders typically used in military aircraft. Previous to MH370, the investigators of the 2009 Air France Flight 447 urged to extend the battery life as "rapidly as possible" after the crash's flight recorders went unrecovered for over a year.[54]

text: After Indonesia AirAsia Flight 8501[edit]

text: On December 28, 2014, Indonesia AirAsia Flight 8501, en route from Surabaya, Indonesia, to Singapore, crashed in bad weather, killing all 155 passengers and seven crew on board.[55]

text: On January 12 and 13, 2015, following the recovery of the flight recorders, an anonymous ICAO representative said: "The time has come that deployable recorders are going to get a serious look."[citation needed] Unlike military recorders, which jettison away from an aircraft, signaling their location to search and rescue bodies, recorders on commercial aircraft remain inside the fuselage. A second ICAO official said that public attention had "galvanized momentum in favour of ejectable recorders on commercial aircraft".[56]

text: Cultural references[edit]

text: The artwork for the band Rammstein's album Reise, Reise is made to look like a CVR; it also includes a recording from a crash. The recording is from the last 1–2 minutes of the CVR of Japan Airlines Flight 123, which crashed on August 12, 1985, killing 520 people; JAL 123 is the deadliest single-aircraft disaster in history.

text: Members of the performing arts collective Collective:Unconscious made a theatrical presentation[57] of a play called Charlie Victor Romeo with a script based on transcripts from CVR voice recordings of nine aircraft emergencies. The play features the famous United Airlines Flight 232 that landed in a cornfield near Sioux City, Iowa after suffering a catastrophic failure of one engine and most flight controls.

text: Survivor, a novel by Chuck Palahniuk, is about a cult member who dictates his life story to a flight recorder before the plane runs out of fuel and crashes.


document_title: List of Pittsburgh Steelers starting quarterbacks

question_text: who was the steelers quarterback before terry bradshaw

text: Seasons[edit]

text: The number of games they started during the season is listed to the right of their name:

text:
Season
Regular season
Postseason
References

1933
Tony Holm

[1]

1934
Warren Heller

[2]

1935
Johnny Gildea

[3]

1936
Ed Matesic

[4]

1937
Max Fiske / Johnny Gildea

[5]

1938
Max Fiske / Frankie Filchock / Byron White

[6]

1939
Hugh McCullough

[7]

1940
Billy Patterson

[8]

1941
Boyd Brumbaugh / Coley McDonough

[9]

1942
Bill Dudley

[10]

1943
Roy Zimmerman / Allie Sherman

[11]

1944
John Grigas / John McCarthy

[12]

1945
Buss Warren / Bill Dudley

[13]

1946
Bill Dudley / Johnny Clement

[14]

1947
Johnny Clement / Charley Seabright
Johnny Clement (1)
[15]

1948
Ray Evans / Joe Gasparella / Johnny Clement

[16]

1949
Joe Geri / Jim Finks

[17]

1950
Joe Geri

[18]

1951
Joe Geri / Chuck Ortmann

[19]

1952
Jim Finks (12)

[20]

1953
Jim Finks (9) / Bill Mackrides (3)

[21]

1954
Jim Finks (12)

[22]

1955
Jim Finks (12)

[23]

1956
Ted Marchibroda (11) / Jack Scarbath (1)

[24]

1957
Earl Morrall (11) / Len Dawson (1)

[25]

1958
Bobby Layne (10) / Earl Morrall (2)

[26]

1959
Bobby Layne (12)

[27]

1960
Bobby Layne (11) / Rudy Bukich (1)

[28]

1961
Bobby Layne (7) / Rudy Bukich (7)

[29]

1962
Bobby Layne (11) / Ed Brown (3)

[30]

1963
Ed Brown (14)

[31]

1964
Ed Brown (13) / Bill Nelsen (3)

[32]

1965
Bill Nelsen (12) / Tommy Wade (2)

[33]

1966
Ron C. Smith (7) / Bill Nelsen (5) / George Izo (2)

[34]

1967
Kent Nix (9) / Bill Nelsen (5)

[35]

1968
Dick Shiner (11) / Kent Nix (3)

[36]

1969
Dick Shiner (9) / Terry Hanratty (5)

[37]

1970
Terry Bradshaw (8) / Terry Hanratty (6)

[38]

1971
Terry Bradshaw (13) / Terry Hanratty (1)

[39]

1972
Terry Bradshaw (14)
Terry Bradshaw (2)
[40]

1973
Terry Bradshaw (9) / Terry Hanratty (4) / Joe Gilliam (1)
Terry Bradshaw (1)
[41]

1974
Terry Bradshaw (7) / Joe Gilliam (6) / Terry Hanratty (1)
Terry Bradshaw (3)
[42]

1975
Terry Bradshaw (14)
Terry Bradshaw (3)
[43]

1976
Terry Bradshaw (8) / Mike Kruczek (6)
Terry Bradshaw (2)
[44]

1977
Terry Bradshaw (14)
Terry Bradshaw (1)
[45]

1978
Terry Bradshaw (16)
Terry Bradshaw (3)
[46]

1979
Terry Bradshaw (16)
Terry Bradshaw (3)
[47]

1980
Terry Bradshaw (15) / Cliff Stoudt (1)

[48]

1981
Terry Bradshaw (14) / Mark Malone (2)

[49]

1982
Terry Bradshaw (9)
Terry Bradshaw (1)
[50]

1983
Cliff Stoudt (15) / Terry Bradshaw (1)
Cliff Stoudt (1)
[51]

1984
Mark Malone (9) / David Woodley (7)
Mark Malone (2)
[52]

1985
Mark Malone (8) / David Woodley (6) / Scott Campbell (2)

[53]

1986
Mark Malone (14) / Bubby Brister (2)

[54]

1987
Mark Malone (12) / Steve Bono (3)

[55]

1988
Bubby Brister (13) / Todd Blackledge (3)

[56]

1989
Bubby Brister (14) / Todd Blackledge (2)
Bubby Brister (2)
[57]

1990
Bubby Brister (16)

[58]

1991
Neil O'Donnell (8) / Bubby Brister (8)

[59]

1992
Neil O'Donnell (12) / Bubby Brister (4)
Neil O'Donnell (1)
[60]

1993
Neil O'Donnell (15) / Mike Tomczak (1)
Neil O'Donnell (1)
[61]

1994
Neil O'Donnell (14) / Mike Tomczak (2)
Neil O'Donnell (2)
[62]

1995
Neil O'Donnell (12) / Mike Tomczak (4)
Neil O'Donnell (3)
[63]

1996
Mike Tomczak (15) / Jim Miller (1)
Mike Tomczak (2)
[64]

1997
Kordell Stewart (16)
Kordell Stewart (2)
[65]

1998
Kordell Stewart (16)

[66]

1999
Kordell Stewart (12) / Mike Tomczak (4)

[67]

2000
Kordell Stewart (11) / Kent Graham (5)

[68]

2001
Kordell Stewart (16)
Kordell Stewart (2)
[69]

2002
Tommy Maddox (11) / Kordell Stewart (5)
Tommy Maddox (2)
[70]

2003
Tommy Maddox (16)

[71]

2004
Ben Roethlisberger (13) / Tommy Maddox (3)
Ben Roethlisberger (2)
[72]

2005
Ben Roethlisberger (12) / Tommy Maddox (2) / Charlie Batch (2)
Ben Roethlisberger (4)
[73]

2006
Ben Roethlisberger (15) / Charlie Batch (1)

[74]

2007
Ben Roethlisberger (15) / Charlie Batch (1)
Ben Roethlisberger (1)
[75]

2008
Ben Roethlisberger (16)
Ben Roethlisberger (3)
[76]

2009
Ben Roethlisberger (15) / Dennis Dixon (1)

[77]

2010
Ben Roethlisberger (12) / Charlie Batch (2) / Dennis Dixon (2)
Ben Roethlisberger (3)
[78]

2011
Ben Roethlisberger (15) / Charlie Batch (1)
Ben Roethlisberger (1)
[79]

2012
Ben Roethlisberger (13) / Charlie Batch (2) / Byron Leftwich (1)

[80]

2013
Ben Roethlisberger (16)

[81]

2014
Ben Roethlisberger (16)
Ben Roethlisberger (1)
[82]

2015
Ben Roethlisberger (11) / Michael Vick (3) / Landry Jones (2)
Ben Roethlisberger (2)
[83]

2016
Ben Roethlisberger (14) / Landry Jones (2)
Ben Roethlisberger (3)
[84]

2017
Ben Roethlisberger (15) / Landry Jones (1)
Ben Roethlisberger (1)
[85]

text: Most games started[edit]

text: These quarterbacks have the most starts for the Steelers in regular season games.

text:
Name
Period
Starts
Wins
Losses
Win %

1
Roethlisberger, BenBen Roethlisberger1
2004–present
198
135
63
.682

2
Bradshaw, TerryTerry Bradshaw
1970–1983
158
107
51
.677

3
Stewart, KordellKordell Stewart
1997–2002
75
46
29
.613

4
O'Donnell, NeilNeil O'Donnell
1991–1995
61
39
22
.639

5
Brister, BubbyBubby Brister
1986–1992
57
28
29
.491

text: Team career passing records[edit]

text:
Name
Completions
Attempts
Completion %
Yards
Touchdowns
Interceptions
QB rating

Roethlisberger, BenBen Roethlisberger 1
4,164
6,493
64.1
51,065
329
174
94.0

Layne, BobbyBobby Layne
569
1,159
49.2
9,030
66
78
65.5

Brister, BubbyBubby Brister
776
1,477
52.5
10,104
51
57
69.8

Stewart, KordellKordell Stewart
1,190
2,107
56.5
13,328
70
72
72.3

O'Donnell, NeilNeil O'Donnell
1,069
1,871
57.1
12,867
68
39
81.8

Bradshaw, TerryTerry Bradshaw
2,025
3,901
51.9
27,989
212
210
70.9