document_title: Climb Ev'ry Mountain

question_text: who sang climb every mountain in the sound of music

root

text: Climb Ev'ry Mountain

text:
"Climb Ev'ry Mountain"

Song

Released
1959

Genre
Showtune

Composer(s)
Richard Rodgers

Lyricist(s)
Oscar Hammerstein II

tag: table

text: "Climb Ev'ry Mountain" is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music. It is sung at the close of the first act by the Mother Abbess. It is themed as an inspirational piece, to encourage people to take every step towards attaining their dreams.

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text: Background[edit]

text: This song shares inspirational overtones with the song "You'll Never Walk Alone" from Carousel. They are both sung by the female mentor characters in the shows, and are used to give strength to the protagonists in the story, and both are given powerful reprises at the end of their respective shows. As Oscar Hammerstein II was writing the lyrics, it developed its own inspirational overtones along the lines of an earlier Hammerstein song, "There's a Hill Beyond a Hill". He felt that the metaphors of climbing mountains and fording streams better fitted Maria's quest for her spiritual compass.[1] The muse behind the song was Sister Gregory, the head of Drama at Rosary College in Illinois. The letters that she sent to Hammerstein and to Mary Martin, the first Maria von Trapp on Broadway, described the parallels between a nun's choice for a religious life and the choices that humans must make to find their purpose and direction in life. When she read the manuscript of the lyrics, she confessed that it "drove [her] to the Chapel" because the lyrics conveyed a "yearning that … ordinary souls feel but cannot communicate."[2]

text: Although this song has parallels with "You'll Never Walk Alone," the song shares musical similarities with the song "Something Wonderful" from The King and I. Both songs are played at a similar broad tempo, and both songs have accompaniments punctuated by heavy chords in the orchestral score.

text: The song has often been sung by operatically trained voices in professional stage productions. In the original Broadway production it was sung by Patricia Neway, in the original London production it was sung by Constance Shacklock, and in the original Australian production it was sung by Rosina Raisbeck.

text: In the original stage play, the Mother Abbess sings the song at the end of the first act. When Ernest Lehman wrote the screenplay for the film adaptation, he shifted the scene so that this song would be the first major song of the second act. When Robert Wise and his film crew were filming this scene, Peggy Wood had some reservations about the words, which she felt were too "pretentious."[3] So they filmed Peggy Wood in silhouette, against the wall of the set for the Mother Abbess' office. Peggy Wood's singing voice is dubbed by Margery MacKay, the wife of the rehearsal pianist Harper MacKay, as Wood was not able to sing the high notes of the song. The last note that the Mother Abbess sings in the film is an F-sharp (F#5).

text: Other versions[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2015) (Learn how and when to remove this template message)

text:
"Climb Ev'ry Mountain"

Single by Shirley Bassey

from the album Shirley Bassey

B-side
"Reach for the Stars"

Released
July 1960

Format
7-inch single

Recorded
1959

Length
3:10

Label
Columbia

Songwriter(s)
Rodgers and Hammerstein

Shirley Bassey singles chronology

"You'll Never Know"
(1961)
"Climb Ev'ry Mountain"
(1960)
"I'll Get By"
(1961)

"You'll Never Know"
(1961)
"Climb Ev'ry Mountain"
(1960)
"I'll Get By"
(1961)

text:
1959: Tony Bennett had a minor hit single (#74) of the song
1960: Andy Williams on his album The Village of St. Bernadette
1990: The Fleetwoods on their album, The Best of The Fleetwoods
1961: Welsh singer Shirley Bassey, as part of a double A-sided single with "Reach for the Stars", which reached #1 in the UK and remained on the charts for 18 weeks[4]
1971: Judith Durham recorded and released a version as the first single from her album, Climb Ev'ry Mountain
1989: Sissel Kyrkjebø sang a Norwegian version, "Se Over Fjellet" on the album Soria Moria[5]
1992: Alex Burrall's version in the movie The Jacksons: An American Dream, portraying Michael Jackson (6–8 years of age) at a school pageant show
2000: Christina Aguilera on her concert DVD My Reflection
2003: Guy Sebastian's interpretation on Australian Idol season 1 when he performed it on the 1960s theme night (recorded it for the B-side of his #1 single "All I Need Is You")
2013: Australian operatic mezzo-soprano Jacqui Dark for ABC Classics as part of a compilation album, I Dreamed a Dream: The Hit Songs of Broadway[6]
2015: Jordan Smith on the season nine finale of The Voice
2016: Barbra Streisand recorded the song as a duet with Jamie Foxx for her 2016 album Encore: Movie Partners Sing Broadway.

tag: ul


document_title: Little Shop of Horrors (film)

question_text: what is the name of the venus flytrap in little shop of horrors

text: Little Shop of Horrors (film)

text: Plot[edit]

text: A three-girl "Greek chorus" – Crystal, Ronnette, and Chiffon – introduce the movie, warning the audience that some horror is coming their way ("Prologue: Little Shop of Horrors"). Seymour Krelborn (Rick Moranis) and his colleague, Audrey (Ellen Greene), work at Mushnik's Flower Shop in a run-down, rough neighborhood referred to as "Skid Row" in the slums of New York City. They lament that they cannot escape the neighborhood ("Skid Row" (Downtown)"). Struggling from a lack of customers, Mr. Mushnik (Vincent Gardenia) decides to close the store, but Audrey suggests he may have more success by displaying an unusual plant that Seymour owns. Immediately attracting a customer, Seymour explains he bought the plant, which he dubbed "Audrey II", from a Chinese flower shop during a solar eclipse ("Da-Doo"). Attracting business to Mushnik's shop, the plant soon starts dying, worrying Seymour. Accidentally pricking his finger, he then discovers Audrey II needs human blood to thrive ("Grow For Me").

text: Seymour takes Audrey II and is interviewed on the radio, and Audrey misses the broadcast due to being "hand-cuffed a little" by her sadistic, mean-spirited boyfriend Orin Scrivello (Steve Martin). The three girls suggest Audrey dump Orin and get another man to protect her, like Seymour, but Audrey states she doesn't deserve a nice guy. Despite this, Audrey has feelings for Seymour and secretly dreams of running off with him to the suburbs ("Somewhere That's Green"). Audrey II continues to grow rapidly and Seymour becomes a local celebrity ("Some Fun Now"). Seymour soon attempts to ask Audrey out, but she turns him down because she has a date with her boyfriend, revealed to be a dentist ("Dentist!"). After Seymour closes up shop, Audrey II begins to talk to Seymour, demanding more blood than Seymour can give. The plant proposes that Seymour murder someone in exchange for fame and fortune: Seymour initially refuses, but agrees after witnessing Orin beating Audrey ("Feed Me (Get It)").

text: After Orin finishes with his masochistic patient, Arthur Denton (Bill Murray), who requested "a long, slow, root canal", Seymour books an appointment with Orin and arms himself with a revolver; however, he cannot bring himself to use it. Orin, who abuses nitrous oxide, puts on a type of venturi mask to receive a constant flow of the gas. Accidentally breaking an intake valve and unable to remove the mask, Orin begs Seymour for help removing it, but Seymour does nothing. When Orin asks Seymour what he ever did to him, Seymour coldly replies, "Nothing, it's what you did to her." Orin dies from asphyxiation and Seymour drags his body back to Audrey II. While dismembering the body to feed to the plant, Seymour is unknowingly witnessed by Mushnik, who flees in fear.

text: After feeding Orin's parts to Audrey II, which has grown to enormous size, Seymour discovers the police investigating Orin's disappearance. Audrey, feeling guilty about wishing Orin would disappear, is comforted by Seymour and the two admit their feelings for each other ("Suddenly, Seymour"). That night, Mushnik confronts Seymour about what he saw and holds Seymour at gunpoint, threatening to report him to the police. Mushnik then changes his mind, saying that since Seymour was "like a son" to him, he'll allow Seymour to leave town, leaving the plant to Mushnik. With no choice, Seymour steadily backs him towards the plant, which swallows Mushnik whole ("Suppertime").

text: Despite widespread success, Seymour worries about Audrey II's growth and unbridled appetite ("The Meek Shall Inherit"). Offered money and a contract for a botany TV show, Seymour plans to escape Skid Row with Audrey using the money, leaving the plant to starve. After Audrey accepts Seymour's marriage proposal, Audrey II catches Seymour leaving and demands another meal: Seymour agrees, but insists on meat from a butcher. While Seymour is gone, the plant telephones Audrey, coaxes her into the shop, and then tries to eat her. Seymour, returning in time to save Audrey, escapes the store with her. Explaining that he fed the plant to become successful and win Audrey's heart, Seymour discovers she has always loved him. Approached by an executive from a botanical company named Patrick Martin (James Belushi), Seymour is offered a contract to breed Audrey II and sell the saplings worldwide. Horrified by the idea, Seymour drives Martin away, and realizes he must destroy Audrey II for the sake of humanity.

text: Returning to the shop, Seymour learns that Audrey II is actually an alien from outer space ("Mean Green Mother from Outer Space"). Audrey II traps Seymour and destroys the shop, but Seymour grabs an exposed electrical cable and electrocutes Audrey II. Leaving the destroyed shop, Seymour safely reunites with Audrey. The two wed and move to the suburbs: arriving at their new home, which is the one seen in Audrey's daydreams, a smiling Audrey II bud can be seen among the flowers in their front yard.

text: Original ending[edit]

text: During production, director Oz shot a 23-minute ending based on the off-Broadway musical's ending. However, after audiences at the preview screenings did not react positively to it, the ending had to be rewritten and re-shot for the theatrical release with a "happier ending."[3] The changes also comprised re-edits to many scenes, amounting to a lighter tonal shift throughout the whole movie in order to appease test audiences and accommodate the new ending. These were either moments foreshadowing the original ending or establishing the tragic karma of the characters; most notably in the darker editing of the scenes in which Seymour feeds Orin and Mushnik to the plant and the alternative dialogue between Seymour and Audrey before a cut "Suddenly Seymour" reprise.[4] [5]

text: In the original ending, when Audrey is attacked by the plant, Seymour pulls her from its jaws but is too late to save her, as she is mortally wounded. As she is dying she tells him what the plant said about Orin and Mushnik, and then Seymour confesses that he fed them to the plant. Audrey requests that Seymour feed her to the plant too, so that it will live and Seymour can earn the success he deserves ("Somewhere That's Green (Reprise)"). After fulfilling her dying wish, he attempts suicide by jumping off the roof of a building, only to be stopped by Patrick Martin. Martin offers to reproduce and sell Audrey IIs, and has already grown a smaller Audrey II from one of the clippings that he harvested earlier. He also warns Seymour that his consent isn't necessary, as plants are considered to be in the public domain. Realizing Audrey II is planning global domination, Seymour climbs down from the roof with the resolution to destroy the plant. Returning to the shop, he confronts and tries to kill Audrey II, who tears down the shop, fishes him from the rubble and eats him alive. The plant then spits out Seymour's glasses and laughs victoriously ("Mean Green Mother from Outer Space)".

text: The three chorus girls appear in front of a large American flag and tell how although Audrey II buds became a worldwide consumer craze, the buds grew into an army of monstrous plants who begin to take over the Earth.[6] Giant Audrey II plants are shown destroying cities, toppling buildings, as well as eating people. The United States Army attempts to fight the buds as they ascend the Statue of Liberty and Audrey II eventually bursts through the movie screen ("Finale (Don't Feed The Plants)").

text: Cast[edit]

text:
Rick Moranis as Seymour Krelborn, a nerdy florist who loves "strange and interesting" plants. He is nice and well-intentioned, but is easily influenced: the plant, Audrey II, tricks him into feeding it humans.
Ellen Greene as Audrey, a kind, shy, friendly, and awkward coworker who is the object of Seymour's affections, but who is dating the sadistic Orin Scrivello.
Vincent Gardenia as Mr. Mushnik, the grumpy, stingy owner of Mushnik's Flower Shop.
Steve Martin as Orin Scrivello, DDS, a sadistic, nitrous oxide-addicted dentist and Audrey's violent, abusive boyfriend.
Levi Stubbs as the voice of Audrey II, an evil and boisterous flytrap-like extraterrestrial plant with plans to take over the planet.
Tichina Arnold, Michelle Weeks, and Tisha Campbell as Crystal, Ronette, and Chiffon, the three mysterious girls who act as a Greek chorus and often provide back-up to the songs throughout the film.
James Belushi as Patrick Martin, a Licensing and Marketing executive from World Botanical Enterprises who offers Seymour a proposal to sell Audrey IIs worldwide. Belushi appears in the theatrical release after re-shoots, as actor Paul Dooley (who played Martin in the original ending) was unavailable to reprise his scenes.
John Candy as Wink Wilkinson, the DJ for WSKID who puts on a radio show about "weird stuff" called "Wink Wilkinson's Weird World".
Christopher Guest as The First Customer, the first customer to enter the flower shop and notice Audrey II.
Bill Murray as Arthur Denton, a hyperactive masochist who visits Orin the dentist for "a long, slow root canal."
Miriam Margolyes as a Dental Nurse, Orin's cynical nurse/secretary who Orin frequently appears to enjoy hurting.
Stanley Jones as the Narrator, whose voice is heard reading the opening words.
Mak Wilson, Danny John-Jules, Danny Cunningham, Gary Palmer, and Paul Swaby as the doo-wop backup singers.
Jim Henson's daughter Heather Henson cameos as one of Orin's patients.
Vincent Wong as the Chinese Florist
Kerry Shale as 'Life' Magazine assistant
Audrey II was operated by John Alexander, Anthony Asbury, Don Austen, David Barclay, Michael Barclay, James Barton, Michael Bayliss, Marcus Clarke, Sue Dacre, Graham Fletcher, Brian Henson, Terry Lee, Christopher Leith, Toby Philpott, Mike Quinn, Paul Springer, William Todd-Jones, Ian Tregonnian, Robert Tygner, and Mak Wilson.

text: Musical numbers[edit]

text:
"Prologue: Little Shop of Horrors"– Chiffon, Ronette, Crystal
"Skid Row (Downtown)"– Seymour, Audrey, Mushnik, Chiffon, Ronette, Crystal, Company
"Da-Doo"– Seymour, Chiffon, Ronette, Crystal
"Grow for Me"– Seymour, Chiffon, Ronette, Crystal (off-screen)
"Somewhere That's Green"– Audrey
"Some Fun Now"– Chiffon, Ronette, Crystal
"Dentist!"– Orin, Chiffon, Ronette, Crystal
"Feed Me (Git It)"– Audrey II, Seymour
"Suddenly, Seymour"– Seymour, Audrey, Chiffon, Ronette, Crystal
"Suppertime"– Audrey II, Chiffon, Ronette, Crystal
"The Meek Shall Inherit"– Chiffon, Ronette, Crystal, Company
"Suppertime (Reprise)"– Audrey II, Audrey, Chiffon, Ronette and Crystal (off screen)
"Suddenly, Seymour (Reprise)"– Audrey, Seymour
"Mean Green Mother from Outer Space"– Audrey II, the Pods
"Little Shop of Horrors medley" (end credits)– Company

tag: ol

text:
"Somewhere That's Green (Reprise)"– Audrey, Seymour
"Mean Green Mother from Outer Space"– Audrey II, the Pods
"Finale (Don't Feed the Plants)"– Chiffon, Ronette, Crystal, Company

text: Production[edit]

text: Development[edit]

text: David Geffen was one of the original producers of the off-Broadway show and he began planning to produce a feature film adaptation. He originally wanted Steven Spielberg to executive produce the film and Martin Scorsese to direct. Scorsese wanted to shoot the film in 3-D, but plans fell through and Scorsese's first 3-D film would be Hugo 25 years later.[citation needed] John Landis was also attached to the project for a time. [7]

text: Geffen then offered the film to Frank Oz, who was finishing work on The Muppets Take Manhattan around the same time. Oz initially rejected it, but he later had an idea that got him into the cinematic aspect of the project, which he did not figure out before. Oz spent a month and a half to restructure the script which he felt was stage-bound. Geffen and Ashman liked what he had written and decided to go with what he did. Oz was also studying the Off-Broadway show and how it was thematically constructed, all in order to reconstruct it for a feature film.[3]

text: The film differs only slightly from the stage play. The title song is expanded to include an additional verse to allow for more opening credits.[citation needed] The song "Ya Never Know" was re-written into a calypso-style song called "Some Fun Now", although some of the lyrics were retained.[citation needed] Four other songs ("Closed for Renovation", "Mushnik and Son", "Now (It's Just the Gas)", as well as "Call Back in the Morning") were cut from the original production score. An original song written by Ashman and Menken, "Mean Green Mother from Outer Space", was created for the film.

text: Casting[edit]

text: Greene was not the first choice for the role of Audrey. The studio wanted Cyndi Lauper, who turned it down. Barbra Streisand was also rumored to have been offered the part. Since Greene was the original off-Broadway Audrey, the role was given to her. "She's amazing", Oz said. "I couldn't imagine any other Audrey, really. She nailed that part for years off-Broadway."[3] The character of the masochistic dental patient, Arthur Denton, played in the original film by Jack Nicholson under the name "Wilbur Force," and cut from the stage version, was added back to the story and played by Bill Murray, who improvised all of his dialogue. It supposedly took Steve Martin six weeks to film all his scenes as Orin. He contributed ideas such as socking the nurse in the face (originally he was to knock her out using his gas mask) and ripping off the doll head.

text: Filming[edit]

text: All the scenes were filmed at Pinewood Studios in England, making use of every sound stage there, including the 007 Stage. Oz and his crew did not want to shoot on location as it would tamper with the fantastical mood of the film. Part of the giant 007 stage was used to film the 'Suddenly Seymour' number. But because of its size, the stage was impractical to heat properly and thus caused breath condensation to appear from the actor's lips. This was countered by having Ellen Greene and Rick Moranis put ice cubes in their mouths. This would be the first time Moranis and Martin starred in a film together and as they would later appear together in three more films: Parenthood, My Blue Heaven and L.A. Story.

text: As mentioned, additional sequences and songs from the original off-Broadway show were dropped or re-written in order for the feature version to be paced well. The notable change was for the "Meek Shall Inherit" sequence. As originally filmed, it detailed through a dream sequence Seymour's rising success and the need to keep the plant fed and impress Audrey. In the final cut, the dream sequence and much of the song is cut out. Oz said, "I cut that because I felt it just didn't work and that was before the first preview in San Jose. It was the right choice, it didn't really add value to the entire cut."[3] The full version of the song was included on the film's soundtrack album, as were the songs from the original ending. The sequence was deemed to be lost until in 2012 when it was rediscovered on a VHS workprint that contained alternate and extended takes and sequences.[8]

text: Operating the plant[edit]

text: The film's version of Audrey II was an extremely elaborate creation, using puppets designed by Lyle Conway.

text: While developing the mouth of the plant for the dialogue scenes and musical numbers, Oz, Conway and his crew were struggling to figure out how to make the plant move convincingly. "We kept trying and trying and it didn't work."[9] The solution presented itself while reviewing test footage of the puppet. When the film was run backwards or forward at a faster than normal speed, the footage looked much more convincing and lifelike. They realized they could film the puppet at a slower speed, making it appear to move faster when played back at normal speed. "By slowing it down it looked it was talking real fast. We then went 'holy cow, look at that. We can do it.'"[9] The frame rate for filming the plant was slowed to 12 or 16 frames per second, depending on the scene, and frequent screen cuts were used to minimize the amount of screen time the puppet spent with human actors, and when interaction was totally necessary, the actors (usually Moranis) would pantomime and lip sync in slow motion.[9] The film was then sped up to the normal 24 frames per second and voices were reinserted in post-production. Levi Stubbs' recordings were run through a harmonizer when slowed down so that they were coherent for Moranis or Ellen Greene.

text: There are no blue screens or opticals involved in any of Audrey II's scenes, with the exception of the reshot ending where the plant is electrocuted, designed by Visual Effects supervisor Bran Ferren, and in some shots during the rampage in the original ending. The plant was made in six different stages of growth and there were three different versions of Mushnik's shop, making it possible for two units to work with different sized plants at the same time. Each of the talking plants had to be cleaned, re-painted and patched up at the end of each shooting day, which would take up to three hours depending on the size. The "Suppertime" number uses two different sizes of Audrey II. When the plant is singing all alone in the shop, it is actually a smaller size: the same size as when it sang "Feed Me", but now standing on a scaled down set to make it look larger. The full size one that is seen to interact with Seymour and Mushnik was not provided with lip movement, but was built to swallow Mushnik's (mechanical) legs. During Audrey II's final stage of growth, 60 technicians were necessary to operate the one-ton puppet.[10]

text: The finale[edit]

text: Oz and Ashman wanted to retain the ending of the musical where Seymour and Audrey die and the plant succeeds and takes over the city of New York, but Geffen was actually against it. "He said you can't do that," Oz recounts. "But again he knew what Howard and I wanted to do, so he supported us."[3] A special effects team skilled in working with miniatures, and Special Visual Effects team, went to great lengths to create the finale. The model department was supervised by Richard Conway, known for his model work on Flash Gordon and Brazil. "It was all model stuff, that was the brilliant thing. He created the bridge, the buildings, several Audrey IIs and created all of it, all on tabletop. It's all old-fashioned, tabletop animation"[3] [although no stop motion animation was used in the film or in the ending]. The Visual Effects work was supervised by Bran Ferren (Altered States).

text: Reportedly the entire planned climax cost about $5 million to produce, and included elaborate special and visual effects.[citation needed] Oz said in an interview, "this was, I think, the most expensive film Warner Bros. had done at the time."[3] As the film was nearing completion, the excited studio set up a test screening in San Jose. Oz said, "For every musical number, there was applause, they loved it, it was just fantastic... until Rick and Ellen died, and then the theatre became a refrigerator, an ice box. It was awful and the cards were just awful. You have to have a 55 percent "recommend" to really be released and we got a 13. It was a complete disaster." Oz insisted on setting another test screening in L.A. to see if they would get a different reaction. Geffen agreed to this, but they received the same negative reaction as before.[3] Oz later recounted, "I learned a lesson: in a stage play, you kill the leads and they come out for a bow — in a movie, they don't come out for a bow, they're dead. They're gone and so the audience lost the people they loved, as opposed to the theater audience where they knew the two people who played Audrey and Seymour were still alive. They loved those people, and they hated us for it."[11]

text: Oz and Ashman scrapped Audrey and Seymour's grim deaths and the finale rampage, and Ashman rewrote a happier ending, with James Belushi replacing Paul Dooley (who was unavailable for the re-shoot) as Patrick Martin. The musical number "Mean Green Mother from Outer Space" was left mostly intact from the original cut, with new shots of Audrey observing from a window added in. A brief sequence from the "Mean Green Mother" number was also removed in which Seymour fires his revolver at Audrey II, only to discover that the bullets ricochet harmlessly off of the plant. In the happy ending, Audrey II is destroyed and Seymour, Audrey, and humanity survive. This happy ending is made somewhat ambiguous, however, with a final shot of a smiling Audrey II bud in Seymour and Audrey's front yard. Tisha Campbell was unavailable for the final appearance of the chorus girls in the yard and was replaced with a lookalike seen only from the waist down.[9]

text: "We had to do it," Oz recounted. "[and do it] in such a manner that the audience would enjoy the movie. It was very dissatisfying for both of us that we couldn't do what we wanted. So creatively, no, it didn't satisfy us and being true to the story. But we also understood the realities that they couldn't release the movie if we had that ending."[3] "We had to take [the workprint] apart, and we never made a dupe of [the original ending]." At the time, the only copies of it that were made to be viewed were VHS workprint tapes given to few crew members.[12] The scene in which Seymour proposes to Audrey originally contained the reprise of "Suddenly, Seymour". This scene was re-shot and the reprise was placed later in the new ending.[9] In the final theatrical cut, the only miniatures that are retained are the New York City streets passing behind Steve Martin's motorcycle ride at the beginning of "Dentist!"[9] "When we did re-shoot the ending, the crowd reaction went over 50 percent in our favor. Before it was a point where they hated it so much, Warner probably wouldn't even release the movie," Oz said.[12]

text: Release[edit]

text: Box office[edit]

text: Little Shop of Horrors, after a delay needed to complete the revised ending, was released on December 19, 1986 and was anticipated to do strong business over the 1986 holiday season.[13] The film grossed $38 million at the box office,[14] which, from the view point of the studio, was considered an underperformer. However, it became a smash hit upon its home video release in 1987 on VHS and Beta.

text: Critical reception[edit]

text: Rotten Tomatoes retrospectively collected reviews to give it a score of 90% based on reviews from 48 critics, the general consensus states: "Remixing Roger Corman's B-movie by way of the Off-Broadway musical, Little Shop of Horrors offers camp, horror and catchy tunes in equal measure — plus some inspired cameos by the likes of Steve Martin and Bill Murray."[15] On Metacritic, which uses an average of critics' reviews, the film has an 81% rating based on 15 reviews, indicating "universal acclaim" (14 positive reviews, 1 mixed, and no negative).[16] Richard Corliss of Time magazine said, "You can try not liking this adaptation of the Off-Broadway musical hit -- it has no polish and a pushy way with a gag -- but the movie sneaks up on you, about as subtly as Audrey II."[17]

text: In The New York Times, Janet Maslin called it "a full-blown movie musical, and quite a winning one".[18] Roger Ebert said in his review: "All of the wonders of Little Shop of Horrors are accomplished with an offhand, casual charm. This is the kind of movie that cults are made of, and after Little Shop finishes its first run, I wouldn't be at all surprised to see it develop as one of those movies that fans want to include in their lives".[19] Oz's friend and Muppet colleague Jim Henson praised the film and said "the lip sync on the plant in that film is just absolutely amazing".[12]

text: Accolades[edit]

text: The film was also nominated for two Academy Awards, one for Best Visual Effects (Lyle Conway, Bran Ferren, Martin Gutteridge), the other for Best Original Song (Alan Menken, Howard Ashman) for Audrey II's new number, "Mean Green Mother from Outer Space". "Mean Green" was the first Oscar-nominated song to contain profanity in the lyrics and thus had to be slightly censored for the show. It's also the first of only two songs sung by a villain to be nominated, the other being "Blame Canada" from South Park: Bigger, Longer & Uncut. It lost to "Take My Breath Away" from Top Gun. It was also nominated for Best Motion Picture - Comedy/Musical (it lost to Hannah and Her Sisters) and Best Original Score (Miles Goodman) during the 44th Golden Globe Awards. The Score went to Ennio Morricone for The Mission.

text: Home media[edit]

text: Little Shop of Horrors was the first DVD to be recalled for content.[6] In 1998, Warner Bros. released a special edition DVD that contained approximately 23 minutes of unfinished footage from Oz's original ending, although it was in black and white and was missing some sound, visual, and special effects.[citation needed] Producer and rights owner David Geffen was not aware of this release until it made it to the stores. Geffen said, "They put out a black-and-white, un-scored, un-dubbed video copy of the original ending that looked like shit." As a result, the studio removed it from shelves in a matter of days and replaced it with a second edition that did not contain the extra material. Geffen wanted to re-release the film to theaters with the original ending intact.[20] Geffen also claimed to have a color copy of the original ending, while the studio had lower quality, black and white duplicates as their own color print was destroyed in a studio fire years earlier. But Geffen had not known, until after the DVD was pulled, that the studio did not know there was no colored copy of the original ending in existence.[3]

text: In November 2011, Oz held a Q&A session at the Museum of the Moving Image in Astoria, Queens during a Henson themed exhibit. During the talk, he announced that the film would be released as a new special edition with the original ending restored.[21] Warner Bros. reconstructed and restored the ending in an alternate edit, with re-discovered color negatives of the sequence and the help of production notes from Frank Oz and others on the film's creative team. It was released on Blu-ray and DVD on October 9, 2012 with features returning from the original DVD.[22] It was initially subtitled as "The Intended Cut",[23] but changed to "The Director's Cut" once Oz began to support the release. The new edit was screened at the 50th New York Film Festival in the "Masterwork" line-up on September 29, 2012, alongside titles such as Laurence Olivier's Richard III and Heaven's Gate.[24] Frank Oz worried that the audience would give a negative reaction at the 2012 screening, however, "the audience accepted Audrey and Seymour's deaths with applause and roared in glee during the plant rampage," says Oz.


document_title: Upper middle class in the United States

question_text: what is the percentage of upper middle class in america

text: Upper middle class in the United States

text: Professions[edit]

text: Certain professions can be categorized as "upper middle class," though any such measurement must be considered subjective because of people's differing perception of class. Most people in the upper-middle class strata are highly educated white collar professionals such as physicians, dentists, lawyers, accountants, engineers, military officers, economists, urban planners, university professors, architects, stockbrokers, psychologists, scientists, actuaries, optometrists, pharmacists, high-level civil servants and the intelligentsia. Other common professions include corporate executives and CEOs, and successful business owners. Generally, people in these professions have an advanced post-secondary education and a comfortable standard of living.[1]

text: Values[edit]

text: Education is probably the most important part of middle-class childrearing as they prepare their children to be successful in school. Upper middle-class parents expect their children to attend college. Along with hard work, these parents view educational performance and attainment as necessary components of financial success. Consequently, the majority of upper middle-class children assume they will attend college. For these children, college is not optional—it's essential. This thought can be seen even more so from parents with higher education, whose greater appreciation for autonomy leads them to want the same for their children. Most people encompassing this station in life have a high regard for higher education, particularly towards Ivy League colleges and other top tier schools throughout the United States. They probably, more than any other socio-economic class, strive for themselves and their children to obtain graduate or at least four-year undergraduate degrees, further reflecting the importance placed on education by middle-class families.[4]

text: Members of the upper middle class tend to place a high value on foreign travel, the arts, and high culture in general. This value is in line with the emphasis placed on education, as foreign travel increases one's understanding of other cultures and helps create a global perspective.

text: Most mass affluent households and college-educated professionals tend to be center-right or conservative on fiscal issues.[5] A slight majority of college-educated professionals, who compose 15% of the population and 20% of the electorate, favor the Democratic Party.[6] Among those with six figure household incomes,[7] a slight majority favor the Republican Party. Per exit polls conducted by the television network CNN following the 2004 and 2006 U.S. elections, academia and those with postgraduate degrees (e.g., to include Ph.D. and J.D.) especially favor the Democratic Party.[8][9] In 2005, 72% of full-time faculty members at four-year institutions, the majority of whom are upper middle class,[1] identified as liberal.[10]

text: The upper middle class is often the dominant group to shape society and bring social movements to the forefront. Movements such as the Peace Movement, The Anti-Nuclear Movement, Environmentalism, the Anti-Smoking movement, and even in the past with Blue laws and the Temperance movement have been in large part (although not solely) products of the upper middle class. Some claim this is because this is the largest class (and the lowest class) with any true political power for positive change, while others claim some of the more restrictive social movements (such as with smoking and drinking) are based upon "saving people from themselves."[3]

text: American upper middle class[edit]

text: In the United States the term middle class and its subdivisions are an extremely vague concept as neither economists nor sociologists have precisely defined the term.[11] There are several perceptions of the upper middle class and what the term means. In academic models the term applies to highly educated salaried professionals whose work is largely self-directed. Many have graduate degrees with educational attainment serving as the main distinguishing feature of this class. Household incomes commonly exceed $100,000, with some smaller one-income earners household having incomes in the high 5-figure range.[1][7]

text:
“

"The upper middle class has grown...and its composition has changed. Increasingly salaried managers and professionals have replaced individual business owners and independent professionals. The key to the success of the upper middle class is the growing importance of educational certification...its lifestyles and opinions are becoming increasingly normative for the whole society. It is in fact a porous class, open to people...who earn the right credentials. "- Dennis Gilbert, The American Class Structure, 1998.[7]

”

text: In addition to having autonomy in their work, above-average incomes, and advanced educations, the upper middle class also tends to be influential, setting trends and largely shaping public opinion.[3][7] Overall, members of this class are also secure from economic down-turns and, unlike their counterparts in the statistical middle class, do not need to fear downsizing, corporate cost-cutting, or outsourcing—an economic benefit largely attributable to their graduate degrees and comfortable incomes, likely in the top income quintile or top third.[1] Typical professions for this class include professors, accountants, architects, urban planners, engineers, economists, pharmacists, executive assistants, physicians, optometrists, dentists, and lawyers.[3][12]

text: Income[edit]

text: While many Americans see income as the prime determinant of class, occupational status, educational attainment, and value systems are equally important. Income is in part determined by the scarcity of certain skill sets.[1] As a result an occupation that requires a scarce skill, the attainment of which is often achieved through an educational degree, and entrusts its occupant with a high degree of influence will usually offer high economic compensation.[13] There are also differences between household and individual income. In 2005, 42% of US households (76% among the top quintile) had two or more income earners; as a result, 18% of households but only 5% of individuals had six figure incomes.[14] To illustrate, two nurses each making $55,000 per year can out-earn, in a household sense, a single attorney who makes a median of $95,000 annually.[15][16]

text: Sociologists Dennis Gilbert, Willam Thompson and Joseph Hickey estimate the upper middle class to constitute roughly 15% of the population. Using the 15% figure one may conclude that the American upper middle class consists, strictly in an income sense, of professionals with personal incomes in excess of $62,500, who commonly reside in households with six figure incomes.[1][7][14][17] The difference between personal and household income can be explained by considering that 76% of households with incomes exceeding $90,000 (the top 20%) had two or more income earners.[14]

text:
Data
Top third
Top quarter
Top quintile
Top 15%
Top 10%
Top 5%

Household income[18]

Lower threshold (annual gross income)
$65,000
$80,000
$91,705
$100,000
$118,200
$166,200

Exact Percentage of households
34.72%
25.60%
20.00%
17.80%
10.00%
5.00%

Personal income (age 25+)[19]

Lower threshold (annual gross income)
$37,500
$47,500
$52,500
$62,500
$75,000
$100,000

Exact Percentage of individuals
33.55%
24.03%
19.74%
14.47%
10.29%
5.63%

text: SOURCE: US Census Bureau, 2006[18][19]


document_title: College Football Playoff

question_text: who won the national title in college football last year

text: College Football Playoff

text: Selection process[edit]

text: Selection committee[edit]

text: The first College Football Playoff selection committee was announced on October 16, 2013. The group consists of 13 members who generally serve three-year terms, although some initial selections served terms both shorter and longer than three years "to achieve a rotation" of members.[12][13]

text: The current members of the selection committee are:[12][14]

text:
Member
Position
Conference affiliation[a]
Recusals[b]
Term expires

Hocutt, KirbyKirby Hocutt (chairman)[16]
Texas Tech athletic director; former Kansas State linebacker
Big 12
Texas Tech
February 2018

Howard, Christopher B.Christopher B. Howard
Robert Morris University President; former Air Force running back
N/A
None
February 2020

Bower, JeffJeff Bower
Former Southern Miss head coach
N/A
Southern Miss
February 2019

Deromedi, HerbHerb Deromedi
Former Central Michigan head coach
N/A
Central Michigan
February 2019

Jernstedt, TomTom Jernstedt
Former NCAA executive vice president; former Oregon quarterback
N/A
None
February 2018

Johnson, BobbyBobby Johnson
Former Vanderbilt head coach; former Clemson player
N/A
None
February 2018

Long, JeffJeff Long
Former Arkansas athletic director
SEC
Arkansas, Missouri[c]
February 2018

Mullens, RobRob Mullens
Oregon athletic director
Pac-12
Oregon
February 2019

Radakovich, DanDan Radakovich
Clemson athletic director, father of current Clemson player
ACC
Clemson
February 2018

Beamer, FrankFrank Beamer
Former Virginia Tech head coach
N/A
Georgia, Virginia Tech[d]
February 2020

Wieberg, SteveSteve Wieberg
Former USA Today reporter
N/A
None
February 2018

Willingham, TyroneTyrone Willingham
Former Stanford, Notre Dame and Washington head coach
N/A
Duke, Stanford[e]
February 2018

Smith, GeneGene Smith
Ohio State athletic director
Big Ten
Ohio State
February 2020

text:
Jump up ^ Current or former, athletic department administration only.
Jump up ^ Any programs for which members are required to recuse themselves from voting or discussions.[15]
Jump up ^ In addition to Arkansas, Long is recused from Missouri because his daughter attends the school and works in its athletic department.[15]
Jump up ^ In addition to Virginia Tech, Beamer is recused from Georgia because his son Shane is the Bulldogs' tight ends coach and special teams coordinator.[15]
Jump up ^ Willingham is recused from Stanford because his son is currently on the Cardinal coaching staff, and from Duke because his daughter is employed at the school.[15]

text: The committee members include one current athletic director from each of the five "major" conferences—ACC, Big Ten, Big 12, Pac-12, and SEC—also known as the Power Five conferences.[17][18] Other members are former coaches, players, athletic directors, and administrators, plus a retired member of the media. The goal was for the panel to consist proportionally of current "Power Five" athletic directors, former coaches, and a third group of other voters,[17] excluding current conference commissioners, coaches, and media members.[19] During the selection process, organizers said they wanted the committee to be geographically balanced.[20] Conference commissioners submitted lists totaling more than 100 names from which to select the final committee members.[21][22]

text: Past members[edit]

text:
Member
Position
Conference affiliation[a]
Season(s)
Replaced by

Gould, Michael C.Michael C. Gould
Former Air Force Academy superintendent
N/A
2014–15
Jeff Bower

Osborne, TomTom Osborne
Former Nebraska coach and athletic director
Big Ten/Big 12
2014–15
Lloyd Carr

Tranghese, MikeMike Tranghese
Former Big East commissioner
The American
2014–15
Herb Deromedi

Haden, PatPat Haden[b]
USC athletic director; former USC quarterback
Pac-12
2014
Rob Mullens

Luck, OliverOliver Luck[c]
Former West Virginia athletic director
Big 12
2014
Kirby Hocutt

Manning, ArchieArchie Manning[d]
Former NFL and Ole Miss quarterback
N/A
-
Bobby Johnson

Carr, LloydLloyd Carr[e]
Former Michigan coach
Big Ten
-
Chris Howard

Rice, CondoleezzaCondoleezza Rice
Former Secretary of state
N/A
2014–16
Frank Beamer

Alvarez, BarryBarry Alvarez
Former Wisconsin coach and athletic director
Big Ten
2014–16
Gene Smith

text: The selection of Condoleezza Rice, a former U.S. Secretary of State and Stanford University provost, was met with some backlash within the sport and the media. Critics questioned her qualifications, citing gender and lack of football experience.[28][29]

text:
Jump up ^ Current or former, athletic department administration only.
Jump up ^ Stepped down October 30, 2015, citing health reasons and instability at USC. Did not participate in 2015 season committee.[23]
Jump up ^ Left the committee in 2015, before his term expired, after resigning as West Virginia athletic director to work for the NCAA as executive vice president of regulatory affairs.[24]
Jump up ^ Took a leave of absence for health reasons in October 2014 and stepped down in March 2015. Never participated in any committee voting.[25][26]
Jump up ^ Left the committee in 2016 before the season started for health reasons. Committee stayed at 12 members rather than replacing him.[27]

text: Voting procedure[edit]

text: The committee releases its top 25 rankings weekly on Tuesdays in the second half of the regular season. The top four teams are seeded in that order for the playoff.[30] During the season, the committee meets and releases rankings six or seven times, depending on the length of the season (the number of games is consistent, but the number of weeks those games are played over can vary from year to year).[25] The group, which meets at the Gaylord Texan hotel in Grapevine, Texas,[31] reportedly meets in person up to 10 total times a year.[22]

text: A team's strength of schedule is one of the most pertinent considerations for the committee in making its selections.[32] Other factors that the committee weighs are conference championships, team records, and head-to-head results,[8] plus other points such as injuries and weather.[33] Unlike the BCS system, the AP Poll, Coaches' Poll, and the Harris Poll, computer rankings are not used to make the selections.[3][17] Advanced statistics and metrics are expected to be submitted to the committee, though like other analytics, they have no formal role in the decision.[34] Committee members are not required to attend games.[31]

text: Long said the panel considered less frequent rankings, but ultimately decided on a weekly release. "That's what the fans have become accustomed to, and we felt it would leave a void in college football without a ranking for several weeks," he said. Long also noted: "Early on there was some talk that we would go into a room at the end of the season and come out with a top four, but that didn't last long."[35] In analyzing this change in thinking, Stewart Mandel of Sports Illustrated commented: "The whole point of the selection committee was to replace the simplistic horse-race nature of Top 25 polls – where teams only move up if someone above them loses – with a more deliberative evaluation method. Now the playoff folks are going to try to do both."[36] Addressing the "pecking order" nature of traditional polls, George Schrodeder of USA Today wrote that "if it actually works as intended, we could see volatile swings" from week to week, with lower-ranked teams moving ahead of higher-ranked teams without either team losing (a rarity in traditional polls). Both Long and Bill Hancock, the CFP executive director, say they expect that to happen.[37]

text: The committee's voting method uses multiple ballots, similar to the NCAA basketball tournament selection process and the entire process is facilitated through custom software developed by Code Authority in Frisco, Texas.[38] From a large initial pool of teams, the group takes numerous votes on successive tiers of teams, considering six at a time and coming to a consensus on how they should be ranked, then repeating the process with the next tier of teams. Discussion and debate happens at each voting step. All votes are by secret ballot, and committee members do not make their ballots public.[35] Each week's ranking process begins anew, with no weight given to the previous week's selections.[37] In this fashion, the committee selects the four teams to compete for the national championship.

text: Committee members who are currently employed or financially compensated by a school, or have family members who have a current financial relationship (which includes football players), are not allowed to vote for that school. During deliberations about a team's selection, members with such a conflict of interest cannot be present, but can answer factual questions about the institution.[35] All committee members have past ties to certain NCAA institutions,[31] but the committee decided to ignore those ties in the recusal requirements. "We just boiled it down to where we felt this group was fit to its high integrity and would differentiate from those past relationships," Long said.[35] Some football writers, like Dodd and Mark Schlabach, have said the recusal arrangement isn't transparent or objective, suggesting that members' alma maters and former coaching jobs should be considered disqualifying conflicts of interest.[39][40]

text: Impact on scheduling[edit]

text:
"Strength of schedule will become such an important factor ... that if you want to be under consideration, you need to have a more meaningful schedule than perhaps you've had in previous years."

—Tom Jernstedt, selection committee member[41]

tag: div

text: Due to the increased emphasis on strength of schedule, teams have considered playing more challenging opponents during the non-conference portion of their schedules. Some teams have traditionally played three or four "weak" non-conference opponents, but wins against such low-level competition are unlikely to impress the committee. For teams on the cusp of making the playoff four, "I think one of the first things the committee will look at is strength of schedule," said selector Oliver Luck.[42]

text: Teams in the Big Ten, Big 12 and Pac-12 play nine conference games on their twelve-game schedules and thus only have flexibility in choosing their opponents for the three non-league games. Some programs are opting to increase their schedule strength by scheduling high-profile matchups at neutral sites and on weeknights, garnering primetime TV exclusivity.[43][44]

text: In response to the new playoff system, the Southeastern Conference considered increasing its conference schedule from eight to nine games, with Alabama coach Nick Saban a vocal proponent.[45] According to Jon Solomon of the Birmingham News, "The prevailing opinion among SEC athletics directors: The SEC is difficult enough that there's no need for a ninth game."[46] Some in the conference, like Mississippi State athletic director Scott Stricklin, opined that a nine-game SEC schedule would result in more teams with two losses. Commissioner Michael Slive and Vanderbilt AD David Williams, among others, supported a stronger out-of-league schedule, which would likely impress the committee.[46][47] In April 2014, the league voted to mandate that all SEC teams must play a Power Five foe (ACC, Big Ten, Big 12, Pac-12, or independent Notre Dame) in its non-conference slate beginning in 2016. Slive noted this rule "gives us the added strength-of-schedule we were seeking".[45] In 2014, the first year of the College Football Playoff, one team played two opponents from the Power Five, nine of the 14 teams played one Power Five conference opponent and three lower-level opponents (including one FCS school), and four teams did not face a Power Five foe.[43] In the spring of 2015, the SEC decided to count games played against Independents BYU and Army toward its Power Five requirement.

text: The ACC, whose teams also play eight conference games (plus Notre Dame at least once every three years), also considered moving to a nine-game conference schedule. However, the league opted to stay with the eight-plus-Notre Dame model, stipulating instead that teams would have to play one Power Five school in their non-league slates beginning in 2017, which would include the Notre Dame game or other ACC schools,[48] as will games against another FBS independent, BYU.[49] Despite the push to increase schedule strength, some ACC coaches preferred the scheduling flexibility available with fewer permanent fixtures on a team's slate.[50] Opinion was split among league athletic directors on moving to a nine-game schedule prior to the vote.[51] An SEC expansion to a nine-game schedule would limit the ACC's opportunities to play Power Five non-conference opponents.[52]

text: Semifinals[edit]

text: The College Football Playoff uses a four-team knockout bracket to determine the national champion. Six of the most historic bowl games—the Rose Bowl, Sugar Bowl, Orange Bowl, Cotton Bowl, Fiesta Bowl, and Peach Bowl– rotate as hosts for the semifinals.[53] The rotation is set on a three-year cycle with the following pairings: Rose/Sugar, Orange/Cotton, and Fiesta/Peach. The two semifinal bowls and the other four top-tier bowls are marketed as the "New Year's Six".[54] Three of these bowls played per day, typically on consecutive days that include New Year's Day.[2] The selection committee seeds and pairs the top four teams, and additionally assigns teams to the at-large bowls (Cotton, Fiesta, and Peach) in years when they do not host semifinals.[55]

text: The four-team format pits the No. 1-ranked team against No. 4 and No. 2 vs. No. 3. The selection committee seeds the two semifinal games, placing the top-seeded team at the closest site to prevent it from playing in a "road" environment. There are no limits on the number of teams per conference, a change from previous BCS rules.[2] However, some non-semifinal bowl selections still maintain their conference tie-ins, similarly to the BCS's automatic qualifier berths.[56] A team from one of the "Group of Five" conferences is guaranteed a spot in one of the New Year's Six bowls.[57]

text:
Season
Semifinal
Winner
Loser
Score
Venue

2014–15
Rose Bowl
2 Oregon
3 Florida State
59–20
Rose Bowl Stadium, Pasadena, California

Sugar Bowl
4 Ohio State
1 Alabama
42–35
Mercedes-Benz Superdome, New Orleans, Louisiana

2015–16
Orange Bowl
1 Clemson
4 Oklahoma
37–17
Sun Life Stadium, Miami Gardens, Florida

Cotton Bowl
2 Alabama
3 Michigan State
38–0
AT&T Stadium, Arlington, Texas

2016–17
Fiesta Bowl
2 Clemson
3 Ohio State
31–0
University of Phoenix Stadium, Glendale, Arizona

Peach Bowl
1 Alabama
4 Washington
24–7
Georgia Dome, Atlanta, Georgia

2017–18
Rose Bowl
2 Oklahoma*
3 Georgia*

Rose Bowl Stadium, Pasadena, California

Sugar Bowl
1 Clemson*
4 Alabama*

Mercedes-Benz Superdome, New Orleans, Louisiana

2018–19
Orange Bowl

Hard Rock Stadium, Miami Gardens, Florida

Cotton Bowl

AT&T Stadium, Arlington, Texas

2019–20
Fiesta Bowl

University of Phoenix Stadium, Glendale, Arizona

Peach Bowl

Mercedes-Benz Stadium, Atlanta, Georgia

text: * In the case of 2018 Semifinals games, winner and loser columns only denote rank. These games have yet to be played and a winner has yet to be determined.

text: Championship game[edit]

text: Cities around the country bid to host each year's championship game. The playoff group's leaders make a selection from those proposals, in a similar fashion to other large sporting events, such as the Super Bowl or NCAA Final Four. Officials say the championship game will be held in a different city each year, and that bids must propose host stadiums with a capacity of at least 65,000 spectators.[58] Under the system, cities cannot host both a semifinal game and the title game in the same year.

text:
Season
Champion
Runner-up
Score
Venue

2014–15
4 Ohio State
2 Oregon
42–20
AT&T Stadium, Arlington, Texas

2015–16
2 Alabama
1 Clemson
45–40
University of Phoenix Stadium, Glendale, Arizona

2016–17
2 Clemson
1 Alabama
35–31
Raymond James Stadium, Tampa, Florida

2017–18

Mercedes-Benz Stadium, Atlanta, Georgia

2018–19

Levi's Stadium, Santa Clara, California

2019–20

Mercedes-Benz Superdome, New Orleans, Louisiana

2020–21

Hard Rock Stadium, Miami Gardens, Florida

2021–22

Lucas Oil Stadium, Indianapolis, Indiana

2022–23

Los Angeles Stadium at Hollywood Park, Inglewood, California

2023–24

NRG Stadium, Houston, Texas

text: Appearances[edit]

text: Playoff appearances by team[edit]

text:
App
School
W
L
Pct
Games

4
Alabama
3
2
.600
Lost 2015 Sugar Bowl

Won 2015 Cotton Bowl (December 2015)
Won 2016 College Football Playoff National Championship

Won 2016 Peach Bowl
Lost 2017 College Football Playoff National Championship

3
Clemson
3
1
.750
Won 2015 Orange Bowl
Lost 2016 College Football Playoff National Championship

Won 2016 Fiesta Bowl (December 2016)
Won 2017 College Football Playoff National Championship

2
Ohio State
2
1
.667
Won 2015 Sugar Bowl
Won 2015 College Football Playoff National Championship

Lost 2016 Fiesta Bowl (December 2016)

2
Oklahoma
0
1
.000
Lost 2015 Orange Bowl

1
Georgia
0
0
–

1
Oregon
1
1
.500
Won 2015 Rose Bowl
Lost 2015 College Football Playoff National Championship

1
Florida State
0
1
.000
Lost 2015 Rose Bowl

1
Michigan State
0
1
.000
Lost 2015 Cotton Bowl (December 2015)

1
Washington
0
1
.000
Lost 2016 Peach Bowl

text: Playoff appearances by conference[edit]

text:
App
Conference
W
L
Pct
Championships
# of Schools
School(s)

5
SEC
3
2
.600
1
2
Alabama (4)
Georgia (1)

4
ACC
3
2
.600
1
2
Clemson (3)
Florida State (1)

3
Big Ten
2
2
.500
1
2
Ohio State (2)
Michigan State (1)

2
Pac-12
1
2
.333
0
2
Oregon (1)
Washington (1)

2
Big 12
0
1
.000
0
1
Oklahoma (2)

text: Playoff appearance streaks[edit]

text:
Team
Post-season streak
Last missed playoffs
Championships during streak

Alabama
04 seasons
Berth in each playoff
1 : 2015–16

Clemson
03 seasons
2014–15
1 : 2016–17

Georgia
01 season
2016–17

Oklahoma
01 season
2016–17

text: Broadcasting[edit]

text: The television broadcast rights to all six CFP bowls and the National Championship are owned by ESPN through at least the 2025 season.[59] ESPN then reached 12-year agreements to retain rights to the Rose Bowl, Orange Bowl, and Sugar Bowl following the dissolution of the Bowl Championship Series.[60] In November, ESPN reached a 12-year deal to broadcast the remaining three bowls, the championship game, as well as shoulder programming such as ranking shows; as a whole, the contract is valued at around $470 million per year, or nearly $5.7 billion for the life of the contract.[61]

text: Ratings[edit]

text: The inaugural College Football Playoff games in January 2015 generated larger ratings than previous BCS games. The 2015 College Football Playoff National Championship had an 18.9 Nielsen rating[62] and was watched by approximately 33.4 million people, the largest broadcast audience of all time on American cable television (non-broadcast), according to AdWeek. That was a 31 percent audience increase over the previous year's championship game and a 22 percent increase over the BCS title game's best rating on cable (a 16.1 rating in 2011).[63] The semifinal games, the 2015 Rose Bowl and 2015 Sugar Bowl, saw 28.16 million and 28.27 million viewers, respectively.[64] According to ESPN, these games also set (and briefly held) all-time records for cable TV viewership.[65][66]

text: In 2015, the ratings for the two semifinal games were down from the prior season's equivalents, with the Orange Bowl reaching a 9.7 rating (in comparison to 15.5 for the 2015 Rose Bowl) and the Cotton Bowl reaching a 9.9 rating (in comparison to a 15.3 rating for the 2015 Sugar Bowl). On the online WatchESPN streaming service, excluding 2014 FIFA World Cup games, the Cotton Bowl and the Orange Bowl drew the second and third-largest streaming audiences in the service's history, behind the 2015 national championship. The ratings drops were attributed to the New Year's Eve time slot, as fewer people were at home to watch the game.[67] The decline in ratings were a factor in changes for the scheduling of future CFP semi-final games.[7]

text: Revenue[edit]

text: In 2012, ESPN reportedly paid about $7.3 billion over 12 years for broadcasting rights to all seven games, an average of about $608 million per year. That includes $215 million per year which was already committed to the Rose, Sugar and Orange bowls,[68] plus $470–475 million annually for the rest of the package.[69] By comparison, the most recent contract with the BCS and the Rose Bowl had paid approximately $155 million per year for five games.[70]

text: The average revenue to the new system over 12 years is to be about $500 million per year. After $125–150 million in expenses, the Power Five conferences split about 71.5 percent of the remaining money, for an approximate average payout of $250 million a year ($50 million per league) over the life of the contract. The "Group of Five" conferences split 27 percent, about $90 million a year ($18 million per league). Notre Dame receives around one percent, about $3.5-4 million, and other FBS independents get about 0.5 percent of the deal.[71][72]

text: Extra revenue goes to conferences in contracts with the Rose, Sugar, and Orange bowls, which split revenue 50/50 between their participating leagues.[71] In non-semifinal years, the Rose Bowl's TV revenue would be divided between the Big Ten and Pac-12 conferences; likewise, the Sugar Bowl and Orange Bowl revenue to its participant conferences. When those bowls are semifinal games, the money is distributed by the playoff system to all FBS conferences.[68] ESPN has paid about $80 million a year each for the Rose and Sugar bowls over 12 years. The Orange Bowl deal is worth $55 million per year.[73] For example, in a non-semifinal year, the Big Ten could receive about $90 million (half of its $80 million Rose Bowl deal plus about $50 million from the playoff system).[71]

text: Conferences receive an additional $6 million each year for each team it places in the semifinals and $4 million for a team in one of the three at-large bowls; Notre Dame receives the same amount in either scenario. No additional money is awarded for reaching the championship game.[71]

text: The Power Five conferences and the "Group of Five" have not decided on their respective revenue-sharing formulas, though the SEC initially receives more revenue than the other four Power Five conferences due to its BCS success.[71][72] Reports say the money is to be divided based on several criteria such as "on-field success, teams' expenses, marketplace factors and academic performance of student-athletes."[74] The playoff system awards academic performance bonuses of $300,000 per school for meeting the NCAA's Academic Progress Rate standard of 930.[71] In a hypothetical 14-team conference, $4.2 million ($300,000 x 14) would be allocated to that league, and if only 12 of the 14 members meet the APR standard, then each of the 12 schools would receive $350,000 ($4.2 million / 12),[72] penalizing schools that fall below the threshold.[75]

text: Leadership[edit]

text: BCS Properties, LLC holds all properties related to the College Football Playoff.[76] Previous BCS commissioner Bill Hancock is the executive director of the playoff organization,[77] with former ACC Senior Associate Commissioner Michael Kelly as COO.[78] Like the BCS, the playoff system's management committee[79] consists of the conference commissioners from the 10 FBS conferences[80] and Notre Dame's athletic director.[21] The playoff system's headquarters is in Irving, Texas.[77]

text: Board of Managers[edit]

text: According to the CFP website, the system's operations are controlled by the Board of Managers, which consists of presidents and chancellors of the playoff group's member universities. The eleven members have sole authority to develop, review and approve annual budgets, policies and operating guidelines. The group also selects the company's officers.[81]

text:
Rodney Bennett – President, Southern Mississippi (C-USA)
Anthony Frank – President, Colorado State (Mountain West)
Burns Hargis – President, Oklahoma State (Big 12)
Jack Hawkins – Chancellor, Troy (Sun Belt)
Rev. John I. Jenkins – President, Notre Dame (Independent)
Mark Keenum – President, Mississippi State (SEC)
Roderick McDavis – President, Ohio (MAC)
Max Nikias – President, USC (Pac-12)
Harvey Perlman (chair) – Chancellor, Nebraska (Big Ten)
Donna Shalala – President, Miami (Fla.) (ACC)
Steadman Upham – President, Tulsa (The American)

text: Athletics Directors Advisory Group[edit]

text: According to the CFP website, the Athletics Directors Advisory Group is appointed by the management committee to "offer counsel" on the operations of the system. As an advisory board, it has no authority in the management of the CFP.[81]

text:
Gary Barta, Iowa (Big Ten)
Tom Bowen, Memphis (The American)
Tom Burman, Wyoming (Mountain West)
Joe Castiglione, Oklahoma (Big 12)
Jeremy Foley, Florida (SEC)
Dan Guerrero, UCLA (Pac-12)
Chris Massaro, Middle Tennessee State (C-USA)
Terry Mohajir, Arkansas State (Sun Belt)
Mike O'Brien, Toledo (MAC)
Stan Wilcox, Florida State (ACC)

text: Criticism[edit]

text: Although being generally well received,[5] the College Football Playoff has been criticized much like its predecessor, the Bowl Championship Series, which had several controversies.[82]

text: Team selection[edit]

text: Chief among the criticisms was the subjective element of the selection process such as basing rankings on metrics such as strength of schedule and conference as opposed to solely basing rankings on a team's win-loss record.[83][84]

text: One particular similarity between the old BCS[85] and the current Playoff system is both have been alleged to be biased toward schools, programs and conferences with large financial endowments[86] (being the perceived favoritism with the SEC the most outstanding argument),[87][88] hurting the chances of smaller schools with fewer athletic resources.[89] Undefeated teams from less wealthy conferences can be passed over for teams with losses from richer conferences.[90]

text: Because the tournament has four teams, at least one Power Five champion misses the playoffs every season. However, not all teams selected have been conference winners. In the 2016–17 season, one of the teams selected was Ohio State, who did not qualify to the Big Ten Championship Game. As a result, both the Big Ten and Big 12 champions were not selected for the playoffs. In the 2017–18 season, two of the four selected teams were from the SEC: conference champions Georgia, winners of the SEC Championship Game, and Alabama, who lost to SEC Championship Game finalist Auburn. Analysts have discussed whether the committee should selected conference champions only.[91][92]

text: Another critique centered around a perceived bias against smaller conferences such as the Big 12 which used to not stage a conference championship game, but was reintroduced for the 2017 season. The American addressed this issue by adding Navy to its ranks for 2015, bringing its membership to 12 teams, which allowed it to stage a conference championship game under then-current NCAA rules.[93] Starting with the 2016 season, FBS conferences will be allowed to stage football championship games even if they do not have 12 members.[94]

text: There are opinions labeling the CFP system "just as" or "even more polarizing" than the BCS or the old wire-service poll system.[95][96][97][98]

text: Selection committee[edit]

text: The qualifications of selection committee members has also been scrutinized. As an outsider to the sports world, Condoleezza Rice was the focus of some criticism. Former Clemson head coach Tommy Bowden opined that the committee's members should be "people who played the game and preferably coached the game".[99] Former Auburn head coach Pat Dye said that "All she knows about football is what somebody told her ... or what she read in a book, or what she saw on television. To understand football, you've got to play with your hand in the dirt". Former Big East commissioner Mike Tranghese also gained membership on the selection committee despite having never played football in college.[100] Former sportswriter Steve Weiberg and retired U.S. Air Force General Michael Gould are other committee members without significant football playing, coaching or administrative experience.

text: Scheduling[edit]

text: The semifinal games for the 2015 season were scheduled for December 31; they were expected to have lower television viewership because the date is not a federal holiday, and because the second game faced heavy competition for television viewers in primetime from New Year's Eve specials (such as New Year's Rockin' Eve, which is aired by ESPN's sister broadcast network ABC). Under television contracts with ESPN that predate the College Football Playoff, both the Rose and Sugar Bowl games are guaranteed exclusive TV time slots on January 1 (or January 2 if New Year's Day falls on a Sunday), regardless of whether they are hosting a semifinal game.[101] In an interview with CBS Sports, CFP commissioner Bill Hancock suggested this scheduling issue would "change the paradigm of what New Year's Eve is all about," opining that "if you're hosting a New Year's Eve party, you better have a bunch of televisions around."[102] Although ESPN proposed moving the Thursday, December 31, 2015 semifinal games to Saturday, January 2, 2016, the idea was rejected.[103] The semifinal games' ratings were ultimately down significantly from those of the previous season.[67]

text: In an effort to reduce the impact of their New Year's Eve scheduling, the 2016 semifinal games, which fell on a Saturday, had earlier kickoff times, at 3:00 p.m. and 7:00 p.m. ET respectively. The 2016 Orange Bowl was played in primetime on December 30, 2016, rather than in an early afternoon window on New Year's Eve. Hancock considered the earlier start times to be a compromise to reduce the games' intrusion into New Year's Eve festivities, but reiterated that there were no plans to move the semi-final games from New Year's Eve outside of years where they are hosted by the Rose Bowl and Sugar Bowl.[104][105]

text: On July 28, 2016, however, Hancock reversed this stance and announced revisions to the scheduling for future College Football Playoff semi-final games. The games were rescheduled so that they will not necessarily be played on New Year's Eve yearly: outside of years when they are hosted by the Rose and Sugar Bowls (where they retain their traditional New Year's Day scheduling), they will now be scheduled primarily on the last Saturday or federally observed holiday of the year. In some years, this date will land on New Year's Eve. In 2021, the games will be played on Friday, December 31, because the day will be observed as a holiday.[7][106]