document_title: Country Strong (soundtrack)

question_text: who sang give into me in country strong

question_tokens: who sang give into me in country strong

root

text: Country Strong (soundtrack)

text: Critical reception[edit]

text: Stephen Thomas Erlewine of Allmusic wrote the soundtrack "follows the blueprint of its star, McGraw, and the early work of his wife Faith Hill, delivering a collection of crisp, clean, and melodic country where the Hank Williams Jr. cameo is used as rowdy flavoring. If Paltrow never quite sounds convincing as a country singer -- she seems just a little too mannered to be 'Country Strong' -- Gossip Girl Leighton Meester pulls off the sweet 'Words I Couldn’t Say' with ease, and the rest of the soundtrack is handed over to professionals".[7]

tag: p

text: Empire Online's Danny Graydon gave the soundtrack a four stars rating out of five explaining Gwyneth Paltrow is really good. "[She] more than holds her own among such esteemed company as Lee Ann Womack (Liars Lie), Hank Williams Jr. (Thirsty) and Faith Hill (Give In To Me), her voice driving the stomping 'Shake That Thing', the anthemic title track, and 'Me & Tennessee', a gorgeous duet with Tim McGraw."[8] Entertainment Weekly writer Mikael Wood was convinced by Paltrow in the title track but not in "Shake That Thing". For the rest, he said "Elsewhere you get solid new songs from the likes of Sara Evans, Ronnie Dunn, and Patty Loveless"[9]

text: Matt Bjorke of Roughstock described Paltrow's "Country Strong" as a "solid, down the middle 'I will survive' ballad." Though he shared the same opinion as Mikael Wood concerning her performance on "Shake That Thing" by saying the song doesn't suit her, he liked "Coming Home", calling it an "Oscar worthy ballad". He continued, "While Gwyneth acquits herself nicely on two out of three songs, the biggest surprises on the album are her co-stars Garrett Hedlund and Leighton Meester." He praised Hedlund's performance on "Chances Are" by saying "the best song on this album belongs to him." He noted his voice recalls Charlie Robison with a slice of Kris Kristofferson which suits country music quite well. He also explained, "Meester certainly comes off sounding closely along the lines of the folksy singer/songwriters like Colbie Caillat and Sara Bareilles and the obvious comparison, Taylor Swift.[10]

text: Country Weekly gave the release three stars saying "While the album holds together better than many soundtracks, it’s divided between country songs and pop-country songs. Some are super, some so-so; some are sung by actors (Garrett Hedlund being the most convincing of the bunch) and some are delivered by serious country singers."[11]

text: The Boston Phoenix was negative about the soundtrack, "This steaming pile of songs is emblematic of the state of mainstream country music – all artifice, no heart, calculated anthems written to formula and meant, like the film itself, to do no more than capitalize on the genre's current success and rob its undiscriminating fans." He found Paltrow's performances "pointless". He also disliked the tracks by Sara Evans, Lee Ann Womack, Trace Adkins, and Tim McGraw because of their lack of character. He pointed out the drinking songs – Hank Williams Jr.'s "Thirsty" and Ronnie Dunn's "She's Actin' Single (I'm Drinkin' Doubles)" – are the only ones "offering humor and humanity".[12]

text:
Professional ratings

Review scores

Source
Rating

Allmusic
[7]

Empire Online
[8]

Entertainment Weekly
B[9]

Roughstock
[10]

Country Weekly
[11]

The Boston Phoenix
[12]

tag: table

text: Track listing[edit]

text:
Country Strong: Original Motion Picture Soundtrack

No.
Title
Writer(s)
Artist(s)
Length

1.
"Country Strong"
Jennifer Hanson, Tony Martin, Mark Nesler
Gwyneth Paltrow
4:15

2.
"Love Don't Let Me Down"
Marv Green, Troy Olsen
Chris Young and Patty Loveless
2:57

3.
"A Little Bit Stronger"
Luke Laird, Hillary Lindsey, Hillary Scott
Sara Evans
5:03

4.
"Chances Are"
Nathan Chapman, Lori McKenna, Liz Rose
Garrett Hedlund
3:25

5.
"Liars Lie"
Sally Barris, Morgane Hayes, Rose
Lee Ann Womack
5:19

6.
"She's Actin' Single (I'm Drinkin' Doubles)"
Wayne Carson Thompson
Ronnie Dunn
3:28

7.
"Shake That Thing"
Mark Irwin, Josh Kear, Chris Tompkins
Gwyneth Paltrow
3:54

8.
"Thirsty"
Dallas Davidson, Rhett Akins, Brett Eldredge
Hank Williams Jr.
3:12

9.
"Give In to Me"
Billy Falcon, Rose Falcon, Elisha Hoffman
Faith Hill
4:11

10.
"Timing Is Everything"
Natalie Hemby, Troy Jones
Trace Adkins

11.
"Words I Couldn't Say"
Gregory Becker, Tammi Kidd, Steve Robson
Leighton Meester
4:26

12.
"Coming Home"
Bob DiPiero, Tom Douglas, Lindsey, Troy Verges
Gwyneth Paltrow
4:13

13.
"Me and Tennessee"
Chris Martin
Tim McGraw and Gwyneth Paltrow
4:43

text:
Country Strong: Even More Music from the Motion Picture[13]

No.
Title
Writer(s)
Artist(s)
Length

1.
"Silver Wings"
Merle Haggard
Garrett Hedlund
3:21

2.
"A Little Bit Stronger"
Laird, Lindsey, Scott
Leighton Meester
5:17

3.
"A Fighter"
Tom Douglas, Ed Hill
Gwyneth Paltrow
4:33

4.
"Hard Out Here"
Hayes Carll
Garrett Hedlund
3:09

5.
"Summer Girl"
Jessica Andrews, Marcel, James T. Slater
Leighton Meester
3:22

6.
"Keep Me Hangin' On"
Ira Allen, Buddy Mize
Jypsi
3:36

7.
"Take Me Away"
Adam Carroll, John Evans
Hayes Carll
4:12

8.
"Kissin' In Cars"
Stephen Barker Liles, Rebekah Liles, Brad Warren, Brett Warren
Jesse Lee
3:30

9.
"Turn Loose the Horses"
Hayes Carll
Garrett Hedlund
3:05

10.
"Travis"
Matt Kinsey
Gwyneth Paltrow
4:49

11.
"Fly Again"
Chapman, Rose, Nicole Williams
Nikki Williams
3:55

12.
"Give In to Me"
B. Falcon, R. Falcon, Hoffman
Garrett Hedlund and Leighton Meester
3:29

13.
"Hide Me Babe"
Hayes Carll
Garrett Hedlund
3:08

14.
"Timing Is Everything"
Hemby, Jones
Garrett Hedlund
3:24

text: Production[edit]

text: Original motion-picture soundtrack[edit]

text: According to The Boot:[14]

text:
Byron Gallimore – tracks 1, 7, 12
James Stroud – track 2
Tony Brown – track 3
Frank Liddell and Luke Wooten – track 4
Frank Liddell and Chuck Ainlay – track 5
Ronnie Dunn – track 6
Michael Knox – track 8
Jay Joyce – track 9
Kenny Beard – track 10
Nathan Chapman – track 11
Byron Gallimore, Tim McGraw, A. Martin – track 13

tag: ul

text: Chart performance[edit]

text: Album[edit]

text: Country Strong (Original Motion Picture Soundtrack)[edit]

text:
Chart (2010–11)
Peak
position

Canadian Albums Chart
21

US Billboard 200[15]
6

US Billboard Country Albums
2

US Billboard Top Soundtracks
1

text: Country Strong (More Music from the Motion Picture)[edit]

text:
Chart (2011)
Peak
position

Canadian Albums Chart[16]
71

US Billboard 200[17]
23

US Billboard Country Albums
5

US Billboard Independent Albums
6

US Billboard Top Soundtracks
4

text: Singles[edit]

text:
Year
Single
Artist
Peak chart positions

US Country
US
CAN
UK

2010
"Country Strong"
Gwyneth Paltrow
30
81
—
—

"A Little Bit Stronger"
Sara Evans
1
34
75
—

2011
"Me and Tennessee"
Tim McGraw and Gwyneth Paltrow
34
—
—
63

"—" denotes releases that did not chart

text: Other charted songs[edit]

text:
Year
Single
Artist
Peak chart positions
Certifications

US Country
US
CAN
US Heat

2011
"Give In to Me"
Faith Hill
56
—
—
—

Garrett Hedlund and Leighton Meester
—
79
94
5

US: Gold[18]

"Summer Girl"A
Leighton Meester
—
104
—
15

"Words I Couldn't Say"A
Leighton Meester
—
120
—
25

"—" denotes releases that did not chart

text: ADid not enter the Hot 100 but charted on Bubbling Under Hot 100 Singles.[19]

text: Certifications[edit]

text:
Region
Certification

United States (RIAA)[20]
Gold


document_title: Dominion of New England

question_text: who did massachusetts send to london to negotiate the legality of their charter

text: Dominion of New England

text: Background[edit]

text: A number of English colonies were established in North America and in the West Indies during the first half of the 17th century, with varying attributes. Some originated as commercial ventures, such as the Virginia Colony, while others were founded for religious reasons, such as Plymouth and Massachusetts Bay. The governments of the colonies also varied. Virginia became a crown colony, despite its corporate beginning, while Massachusetts and other New England colonies had corporate charters and a great deal of administrative freedom. Other areas were proprietary colonies, such as Maryland and Carolina, owned and operated by one or a few individuals.

text: Following the English Restoration in 1660, King Charles II sought to streamline the administration of these colonial territories. Charles and his government began a process that brought a number of the colonies under direct crown control. One reason for these actions was the cost of administration of individual colonies; another significant reason was the regulation of trade. Throughout the 1660s, the English Parliament passed a number of laws to regulate the trade of the colonies, collectively called the Navigation Acts. These laws were resisted, particularly in the New England colonies which had established significant trading networks with other English colonies and with other European countries and their colonies, especially Spain and the Dutch Republic. The laws outlawed some existing New England practices, in effect turning merchants into smugglers, and the payment of additional duties would have significantly increased their shipping costs.[citation needed]

text: Some of the New England colonies presented specific problems for the king, and combining those colonies into a single administrative entity was seen as a way to resolve those problems. The Plymouth Colony had never been formally chartered, and the New Haven Colony had sheltered two of the regicides of Charles I, the king's father. The territory of Maine was disputed by competing grantees and by Massachusetts, and New Hampshire was a very small, recently established crown colony.

text: Massachusetts had a long history of virtually theocratic rule, in addition to their widespread resistance to the Navigation Acts, and they exhibited little tolerance for non-Puritans, including supporters of the Church of England (which was most important for the king). Charles II repeatedly sought to change the Massachusetts government, but they resisted all substantive attempts at reform. In 1683, legal proceedings began to vacate the Massachusetts charter; it was formally annulled in June 1684.[1]

text: The primary motivation in London was not to attain efficiency in administration, but to guarantee that the purpose of the colonies was to make England richer. England's desire for colonies that produced agricultural staples worked well for the southern colonies, which produced tobacco, rice, and indigo, but not so well for New England due to the geology of the region. Lacking a suitable staple, the New Englanders engaged in trade and became successful competitors to English merchants. They were now starting to develop workshops that threatened to deprive England of its lucrative colonial market for manufactured articles: textiles, leather goods, and ironware. The plan, therefore, was to establish a uniform all-powerful government over the northern colonies so that the people would be diverted away from manufacturing and foreign trade.[2]

text: Establishment[edit]

text: Following the revocation of the Massachusetts charter, Charles II and the Lords of Trade moved forward with plans to establish a unified administration over at least some of the New England colonies. The specific objectives of the dominion included the regulation of trade, reformation of land title practices to conform more to English methods and practices, coordination on matters of defense, and a streamlining of the administration into fewer centers. The Dominion initially comprised the territories of the Massachusetts Bay Colony, the Plymouth Colony, the Province of New Hampshire, the Province of Maine, and the Narraganset Country (present-day Washington County, Rhode Island).

text: Charles II had chosen Colonel Percy Kirke to govern the dominion, but Charles died before the commission was approved. King James II approved Kirke's commission in 1685, but Kirke came under harsh criticism for his role in putting down Monmouth's Rebellion, and his commission was withdrawn.[3] A provisional commission was issued on October 8, 1685 to Massachusetts Bay native Joseph Dudley as President of the Council of New England, due to delays in developing the commission for Kirke's intended successor Sir Edmund Andros.[4]

text: Dudley's limited commission specified that he would rule with an appointed council and no representative legislature.[5] The councillors named as members of this body included a cross-section of politically moderate men from the old colonial governments. Edward Randolph had served as the crown agent investigating affairs in New England, and he was appointed to the council, as well.[6] Randolph was also commissioned with a long list of other posts, including secretary of the dominion, collector of customs, and deputy postmaster.[7]

text: Dudley administration[edit]

text: Dudley's charter arrived in Boston in May 14, 1686, and he formally took charge of Massachusetts on May 25.[8] His rule did not begin auspiciously, since a number of Massachusetts magistrates refused to serve who had been named to his council.[9] According to Edward Randolph, the Puritan magistrates "were of opinion that God would never suffer me to land again in this country, and thereupon began in a most arbitrary manner to assert their power higher than at any time before."[10] Elections of colonial military officers were also compromised when many of them refused to serve.[11] Dudley made a number of judicial appointments, generally favoring the political moderates who had supported accommodation of the king's wishes in the battle over the old charter.[12]

text: Dudley was significantly hampered by the inability to raise revenues in the dominion. His commission did not allow the introduction of new revenue laws, and the Massachusetts government had repealed all such laws in 1683, anticipating the loss of the charter.[13] Furthermore, many refused to pay the few remaining taxes on the grounds that they had been enacted by the old government and were thus invalid.[14] Attempts by Dudley and Randolph were largely unsuccessful at introducing the Church of England due to a lack of funding, but were also hampered by the perceived political danger of imposing on the existing churches for their use.[15]

text: Dudley and Randolph enforced the Navigation Acts, although they did not adhere entirely to the laws. Some variations were overlooked, understanding that certain provisions of the acts were unfair (some resulted in the payments of multiple duties), and they suggested to the Lords of Trade that the laws be modified to ameliorate these conditions. However, the Massachusetts economy suffered, also negatively affected by external circumstances.[16] A dispute eventually occurred between Dudley and Randolph over matters related to trade.[17]

text: During Dudley's administration, the Lords of Trade decided on September 9, 1686 to include into the dominion the colonies of Rhode Island and Connecticut, based on a petition from Dudley's council. Andros's commission had been issued in June, and he was given an annex to his commission to incorporate them into the dominion.

text: Andros administration[edit]

text: Andros had previously been governor of New York; he arrived in Boston on December 20, 1686 and immediately assumed power.[18] He took a hard-line position, claiming that the colonists had left behind all their rights as Englishmen when they left England. The Reverend John Wise rallied his parishioners in 1687 to protest and resist taxes; Andros had him arrested, convicted, and fined. An Andros official explained, "Mr. Wise, you have no more privileges Left you then not to be Sold for Slaves."[19]

text: His commission called for governance by himself, again with a council. The initial composition of the council included representatives from each of the colonies which the dominion absorbed, but the council's quorums were dominated by representatives from Massachusetts and Plymouth because of the inconvenience of travel and the fact that travel costs were not reimbursed.

text: Church of England[edit]

text: Shortly after his arrival, Andros asked each of the Puritan churches in Boston if its meetinghouse could be used for services of the Church of England,[18] but he was consistently rebuffed. He then demanded keys to Samuel Willard's Third Church in 1687,[20] and services were held there under the auspices of Robert Ratcliff until 1688, when King's Chapel was built.[21]

text: Revenue laws[edit]

text: After Andros' arrival, the council began a long process of harmonizing laws throughout the dominion to conform more closely to English laws. This work was so time-consuming that Andros issued a proclamation in March 1687 stating that pre-existing laws would remain in effect until they were revised. Massachusetts had no pre-existing tax laws, so a scheme of taxation was developed that would apply to the entire dominion, developed by a committee of landowners. The first proposal derived its revenues from import duties, principally alcohol. After much debate, a different proposal was abruptly put forward and adopted, in essence reviving previous Massachusetts tax laws. These laws had been unpopular with farmers who felt that the taxes were too high on livestock.[22] In order to bring in immediate revenue, Andros also received approval to increase the import duties on alcohol.[23]

text: The first attempts to enforce the revenue laws were met by stiff resistance from a number of Massachusetts communities. Several towns refused to choose commissioners to assess the town population and estates, and officials from a number of them were consequently arrested and brought to Boston. Some were fined and released, while others were imprisoned until they promised to perform their duties. The leaders of Ipswich had been most vocal in their opposition to the law; they were tried and convicted of misdemeanor offenses.[24]

text: The other provinces did not resist the imposition of the new law, even though the rates were higher than they had been under the previous colonial administration, at least in Rhode Island. Plymouth's relatively poor landowners were hard hit because of the high rates on livestock.

text: Town meeting laws[edit]

text: One consequence of the tax protest was that Andros sought to restrict town meetings, since these were where that protest had begun. He, therefore, introduced a law that limited meetings to a single annual meeting, solely for the purpose of electing officials, and explicitly banning meetings at other times for any reason. This loss of local power was widely hated. Many protests were made that the town meeting and tax laws were violations of the Magna Carta, which guaranteed taxation by representatives of the people.[25]

text: Land titles and taxes[edit]

text: Andros dealt a major blow to the colonists by challenging their title to the land; unlike England, the great majority of Americans were land-owners. Taylor says that, because they "regarded secure real estate as fundamental to their liberty, status, and prosperity, the colonists felt horrified by the sweeping and expensive challenge to their land titles."[26] Andros had been instructed to bring colonial land title practices more in line with those in England, and to introduce quit-rents as a means of raising colonial revenues.[27] Titles issued in Massachusetts, New Hampshire, and Maine under the colonial administration often suffered from defects of form (for example, lacking an imprint of the colonial seal), and most of them did not include a quit-rent payment. Land grants in colonial Connecticut and Rhode Island had been made before either colony had a charter, and there were conflicting claims in a number of areas.[28]

text: The manner was doubly divisive in which Andros approached the issue, since it threatened any landowner whose title was in any way dubious. Some landowners went through the confirmation process, but many refused, since they did not want to face the possibility of losing their land, and they viewed the process as a thinly veiled land grab. The Puritans of Plymouth and Massachusetts Bay were among the latter, some of whom had extensive landholdings.[29] All of the existing land titles in Massachusetts had been granted under the now-vacated colonial charter; in essence, Andros declared them to be void, and required landowners to recertify their ownership, paying fees to the dominion and becoming subject to the charge of a quit-rent.

text: Andros attempted to compel the certification of ownership by issuing writs of intrusion, but large landowners who owned many parcels contested these individually, rather than recertifying all of their lands. The number was small of new titles issued during the Andros regime; 200 applications were made, but only about 20 of those were approved.[30]

text: Connecticut charter[edit]

text: Andros' commission included Connecticut, and he asked Connecticut Governor Robert Treat to surrender the colonial charter not long after his arrival in Boston. Connecticut officials formally acknowledged Andros' authority, unlike Rhode Island, whose officials acceded to the dominion but in fact did little to assist him. Connecticut continued to run their government according to the charter, holding quarterly meetings of the legislature and electing colony-wide officials, while Treat and Andros negotiated over the surrender of the charter. In October 1687, Andros finally decided to travel to Connecticut to personally see to the matter. He arrived in Hartford on October 31, accompanied by an honor guard, and met that evening with the colonial leadership. According to legend, the charter was laid out on the table for all to see during this meeting. The lights in the room unexpectedly went out and, when they were relit, the charter had disappeared. It was said to have been hidden in a nearby oak tree (referred to afterward as the Charter Oak) so that a search of nearby buildings could not locate the document.[31]

text: Whatever the truth of the legend, Connecticut records show that its government formally surrendered its seals and ceased operation that day. Andros then traveled throughout the colony, making judicial and other appointments, before returning to Boston.[32] On December 29, 1687, the dominion council formally extended its laws over Connecticut, completing the assimilation of the New England colonies.[33]

text: Inclusion of New York and the Jerseys[edit]

text: On May 7, 1688, the provinces of New York, East Jersey, and West Jersey were added to the Dominion. They were remote from Boston where Andros had his seat, so New York and the Jerseys were run by Lieutenant Governor Francis Nicholson from New York City. Nicholson was an army captain and protégé of colonial secretary William Blathwayt who came to Boston in early 1687 as part of Andros' honor guard and had been promoted to his council.[34] During the summer of 1688, Andros traveled first to New York and then to the Jerseys to establish his commission. Dominion governance of the Jerseys was complicated by the fact that the proprietors' charters had been revoked, yet they had retained their property and petitioned Andros for what were traditional manorial rights.[35] The dominion period in the Jerseys was relatively uneventful because of their distance from the power centers and the unexpected end of the Dominion in 1689.[36]

text: Indian diplomacy[edit]

text: In 1687, governor of New France Jacques-René de Brisay de Denonville, Marquis de Denonville launched an attack against Seneca villages in what is now western New York. His objective was to disrupt trade between the English at Albany and the Iroquois confederation, to which the Seneca belonged, and to break the Covenant Chain, a peace that Andros had negotiated in 1677 while he was governor of New York.[37] New York Governor Thomas Dongan appealed for help, and King James ordered Andros to render assistance. James also entered into negotiations with Louis XIV of France, which resulted in an easing of tensions on the northwestern frontier.[38]

text: On New England's northeastern frontier, however, the Abenaki harbored grievances against English settlers, and they began an offensive in early 1688. Andros made an expedition into Maine early in the year, in which he raided a number of Indian settlements. He also raided the trading outpost and home of Jean-Vincent d'Abbadie de Saint-Castin on Penobscot Bay. His careful preservation of the Catholic Castin's chapel was a source of later accusations of "popery" against Andros.[39]

text: Andros took over the administration of New York in August 1688, and he met with the Iroquois at Albany to renew the covenant. In this meeting, he annoyed the Iroquois by referring to them as "children" (that is, subservient to the English) rather than "brethren" (that is, equals).[40] He returned to Boston amid further attacks on the New England frontier by Abenaki parties, who admitted that they were doing so in part because of French encouragement. The situation in Maine had also deteriorated again, with English colonists raiding Indian villages and shipping the captives to Boston. Andros castigated the Mainers for this unwarranted act and ordered the Indians released and returned to Maine, earning the hatred of the Maine settlers. He then returned to Maine with a significant force, and began the construction of additional fortifications to protect the settlers.[41] Andros spent the winter in Maine, and returned to Boston in March upon hearing rumors of revolution in England and discontent in Boston.

text: Glorious Revolution and dissolution[edit]

text: The religious leaders of Massachusetts, led by Cotton and Increase Mather, were opposed to the rule of Andros, and organized dissent targeted to influence the court in London. After King James published the Declaration of Indulgence in May 1687, Increase Mather sent a letter to the king thanking him for the declaration, and then he suggested to his peers that they also express gratitude to the king as a means to gain favor and influence.[42] Ten pastors agreed to do so, and they decided to send Mather to England to press their case against Andros.[43] Edward Randolph attempted to stop him; Mather was arrested, tried, and exonerated on one charge, but Randolph made a second arrest warrant with new charges. Mather was clandestinely spirited aboard a ship bound for England in April 1688.[44] He and other Massachusetts agents were well received by James, who promised in October 1688 that the colony's concerns would be addressed.[45] However, the events of the Glorious Revolution took over, and by December James had been deposed by William III and Mary II.[46]

text: The Massachusetts agents then petitioned the new monarchs and the Lords of Trade for restoration of the old Massachusetts charter. Mather furthermore convinced the Lords of Trade to delay notifying Andros of the revolution.[47] He had already dispatched a letter to previous colonial governor Simon Bradstreet containing news that a report (prepared before the revolution) stated that the charter had been illegally annulled, and that the magistrates should "prepare the minds of the people for a change."[48] News of the revolution apparently reached some individuals as early as late March,[49] and Bradstreet is one of several possible organizers of the mob that formed in Boston in April 18, 1689. He and other pre-Dominion magistrates and some members of Andros' council addressed an open letter to Andros on that day calling for his surrender in order to quiet the mob.[50] Andros, Randolph, Dudley, and other dominion supporters were arrested and imprisoned in Boston.[51]

text: In effect, the dominion then collapsed, as local authorities in each colony seized dominion representatives and reasserted their earlier power. In Plymouth, dominion councilor Nathaniel Clark was arrested on April 22, and previous governor Thomas Hinckley was reinstated. Rhode Island authorities organized a resumption of its charter with elections on May 1, but previous governor Walter Clarke refused to serve, and the colony continued without one. In Connecticut, the earlier government was also rapidly readopted.[52] New Hampshire was temporarily left without formal government, and came under de facto rule by Massachusetts Governor Simon Bradstreet.[53]

text: News of the Boston revolt reached New York by April 26, but Lieutenant Governor Nicholson did not take any immediate action.[54] Andros managed during his captivity to have a message sent to Nicholson. Nicholson received the request for assistance in mid-May, but he was unable to take any effective action due to rising tensions in New York, combined with the fact that most of Nicholson's troops had been sent to Maine.[55] At the end of May, Nicholson was overthrown by local colonists supported by the militia in Leisler's Rebellion, and he fled to England.[56] Leisler governed New York until 1691, when King William commissioned Colonel Henry Sloughter as its governor.[57] Sloughter had Leisler tried on charges of high treason; he was convicted[58] in a trial presided over by Joseph Dudley and then executed.[59]

text: Massachusetts and Plymouth[edit]

text: The dissolution of the dominion presented legal problems for both Massachusetts and Plymouth. Plymouth never had a royal charter, and that of Massachusetts had been legally vacated. As a result, the restored governments lacked legal foundations for their existence, an issue that the political opponents of the leadership made it a point to raise. This was particularly problematic in Massachusetts, whose long frontier with New France saw its defenders recalled in the aftermath of the revolt, and was exposed to French and Indian raids after the outbreak of King William's War in 1689. The cost of colonial defense resulted in a heavy tax burden, and the war also made it difficult to rebuild the colony's trade.[60]

text: Agents for both colonies worked in England to rectify the charter issues, with Increase Mather petitioning the Lords of Trade for a restoration of the old Massachusetts charter. (Massachusetts Bay's charter was issued in 1691 and began operating in 1692 under governor Sir William Phips.) King William was informed that this would result in a return of the Puritan government, and he acted to prevent that from happening. Instead, the Lords of Trade decided to solve the issue by combining the two provinces. The resulting Province of Massachusetts Bay combined the territories of those two provinces, along with the islands south of Cape Cod (Martha's Vineyard, Nantucket, and the Elizabeth Islands) that had been Dukes County in the colony of New York.[citation needed]

text: The word dominion was later used to describe the 1867 Dominion of Canada and other self-governing British colonies, although no precedent from the Dominion of New England was cited in these cases.[citation needed]

text: Administrators of the Dominion of New England in America[edit]

text: This is a list of the chief administrators of the Dominion of New England in America from 1684 to 1689:

text:
Name
Title
Date of commission
Date office assumed
Date term ended

Percy Kirke
Governor in Chief (designate) of the Dominion of New England
1684
Appointment withdrawn in 1685
Not applicable

Joseph Dudley
President of the Council of New England
October 8, 1685
May 25, 1686
December 20, 1686

Sir Edmund Andros
Governor in Chief of the Dominion of New England
June 3, 1686
December 20, 1686
April 18, 1689


document_title: South Park: Bigger, Longer & Uncut

question_text: how many swear words in south park movie

text: South Park: Bigger, Longer & Uncut

text: Plot[edit]

text: Stan Marsh, Kenny McCormick, Kyle Broflovski, and Eric Cartman go to a cinema to see Terrance and Phillip: Asses of Fire, which stars the boys' favorite Canadian comedy duo Terrance and Phillip. However, the boys are refused entry due to the film being R-rated, so they pay a homeless man to accompany them.

text: The following day, the boys begin swearing in class, and are sent to Mr. Mackey, the school counselor, who informs their mothers. Later, the boys see the film again, and Kenny bets Cartman $100 that he can set his fart on fire like Terrance in the film. Kenny immolates himself and ultimately dies, leading to Stan, Kyle, and Cartman being grounded. Kenny is sent to Hell, where he is tormented by Satan and Saddam Hussein. Back on Earth, the parents of South Park organize a boycott against Canada and Terrance and Phillip, which is led by Kyle's mother, Sheila. Terrance and Phillip are arrested as war criminals. When the United States refuses to release the duo, Canada retaliates by bombing the residence of the Baldwin brothers.

text: Sheila and President Bill Clinton announce that the United States will go to war with Canada and have Terrance and Phillip executed at a USO show. After overhearing Cartman leading the children in a song degrading her, Sheila has Dr. Vosknocker implant a V-Chip. The device gives Cartman an electric shock every time he swears. Back in Hell, Satan declares that if the blood of the two innocent Canadians touches American soil, he will invade Earth. Later, Kenny's ghost visits Cartman to warn him of the consequences of executing Terrance and Phillip. After failing to convince their parents, the boys decide to take matters into their own hands. They form La Resistance and Gregory tells Stan to recruit a God-hating French expert on covert operations named "The Mole".

text: La Resistance infiltrate the USO show, but The Mole is discovered and killed by guard dogs. The remaining boys attempt to warn their mothers about what will happen if Terrance and Phillip are killed, but they are laughed at, and Mr. Garrison activates the electric chair. A Canadian force attacks the base and a battle ensues between the two armies. In the confusion, the boys are able to free Terrance and Phillip, though Cartman's V-chip begins to malfunction. The mothers, seeing the destruction their movement has incited, decide to give up and look for their children.

text: Stan leads the kids to Terrance and Phillip, who have been cornered by the US army. La Resistance forms a human shield while Kyle tries to persuade the army and his mother against killing the two. Sheila refuses and shoots Terrance and Phillip, which results in Satan, his minions, and Saddam attacking Earth, with Satan personally telling Sheila just how badly she screwed up. As a result, along with a sarcastic wisecrack from Chef, Sheila regrets everything. Saddam tries to usurp Satan's authority, but after he insults Cartman and Cartman yells profanity back at Saddam, a bolt of energy shoots through his pointing finger and kills some of the minions. Realizing his power, and with Kyle's encouragement, Cartman starts using profanity to power himself up and shoot even more powerful electrical bolts at Saddam (a parody of Emperor Palpatine of Star Wars). During this, Saddam demands Satan help him and calls him vile words for not doing so, which finally drives Satan to throw him back to Hell and die on a stalagmite. Satan then grants Kenny a wish; Kenny asks for everything to return to how it was before the war, even though it means he will have to go back to Hell. He takes off his hood to say goodbye to his friends, but instead of returning to Hell, Kenny ascends to Heaven due to his act of sacrifice. Everything returns to normal in South Park.

text: Cast[edit]

text:
Trey Parker as Stan Marsh / Eric Cartman / Gregory / Satan / Mr. Garrison / Mr. Hat / Phillip Niles Argyle / Randy Marsh / Clyde Donovan / Tom – News Reporter / Midget In A Bikini / Canadian Ambassador / Bombardiers / Mr. Mackey / Army General / Ned Gerblansky / Christophe – Ze Mole (or The Mole) / Big Gay Al (singing voice) / Adolf Hitler / Additional Voices
Matt Stone as Kyle Broflovski / Kenny McCormick / Saddam Hussein (credited as "Himself") / Terrance Henry Stoot / Big Gay Al / Ticket Taker / Stuart McCormick / Jimbo Kearn / Gerald Broflovski / Butters Stotch / Additional Voices
Mary Kay Bergman as Liane Cartman / Sheila Broflovski / Sharon Marsh / Carol McCormick / Wendy Testaburger / Clitoris / Additional Voices
Isaac Hayes as Chef Jerome McElroy
Jesse Howell, Anthony Cross-Thomas & Franchesca Clifford as Ike Broflovski (Franchesca Clifford was credited as "Francesca Clifford")
Bruce Howell as Man In Theatre
Deb Adair as Woman In Theatre
Jennifer Howell as Bebe Stevens
George Clooney as Dr. Doctor
Brent Spiner as Conan O'Brien
Minnie Driver as Brooke Shields
Dave Foley as the Baldwin brothers
Eric Idle as Dr. Vosknocker
Nick Rhodes as Canadian Fighter Pilot
Toddy E. Walters as Winona Ryder
Stewart Copeland as American Soldier #1
Stanley G. Sawicki as American Soldier #2
Chase Holt as American Soldier #3
Mike Judge as Kenny McCormick (unmuffled)
Howard McGillin as Gregory (singing voice) (uncredited)

text: Themes[edit]

text: South Park: Bigger, Longer & Uncut is a cautionary tale on the dangers of censorship. It uses the execution of Terrance and Phillip as the Seventh Sign in a parody of the Apocalypse. Cartman's use of foul language helps to avert the disaster. Parents and "lazy child rearing" come in for particularly sharp criticism. On their way to see Terrance and Phillip, the boys sing that "movies teach us what our parents don't have time to say!" During "Blame Canada" a couple are seen abandoning their baby in their enthusiasm to join Mothers Against Canada. The song ends with: "We must blame them and cause a fuss / Before somebody thinks of blaming us!" Much of the film's satire and many of the songs are concerned with the refusal of people to accept responsibility for failure and their tendency to look for scapegoats (some of the songs are also parodies of musical theatre, but this is usually secondary to furthering the satire). Movies, government, society, foreigners and Satan are all blamed, leading Kyle to remark: "whenever I get in trouble, you go off and blame everybody else. But I'm the one to blame. Deal with me."[4] The movie is also self-reflective in nature. The enthusiasm the kids display for seeing the Terrance and Phillip movie reflects the creators' anticipation of the real world enthusiasm many people, including those under age, would experience to see the movie.

text: Production[edit]

text: Development[edit]

text:
Developmental stages began for the film midway through the series' first season production in January 1998.[5] Co-creators Trey Parker and Matt Stone signed a deal with Comedy Central in April 1998 that contracted the duo to producing South Park episodes until 1999, gave them a slice of the lucrative spinoff merchandising the show generated within its first year, as well as an unspecified seven-figure cash bonus to bring the show to the big screen, in theaters.[6] A large part of Parker and Stone's conditions attached to any potential movie project was that it must at least be R-rated, to keep in touch with the series' humor and its roots, the short The Spirit of Christmas. Parker stated that their desire was to approach the film from a much more creative perspective and do something other than a simple movie-length version of a regular episode.[5] Despite alleged pressure from Paramount Pictures officials to keep the movie toned down, the two won the battle for a more mature rating.
"They really wanted to be able to go beyond the South Park television show," said Comedy Central spokesman Tony Fox to TV Guide at the time. "They really fought hard for and won the right to make an R-rated movie."[7] Paramount executives went as far to prepare graphs displaying how much more money a PG-13-rated South Park feature would perhaps accumulate.[8] The William Morris Agency, which represented Parker and Stone, pushed for movie production to begin as soon as possible, while public interest was still high, instead of several years into its run, as was done with Beavis and Butt-head Do America, possibly because Beavis and Butt-head and South Park were owned by Viacom Global Entertainment Group, a unit of the Viacom Media Networks division of Viacom after Doug Herzog left Viacom Media Networks on January 12, 2017.[9]

text: Casting[edit]

text:
The cast of South Park: Bigger, Longer & Uncut is mostly carried over faithfully from the television series. Co-creator Trey Parker voices the characters of Eric Cartman and Stan Marsh, and Satan, Clyde Donovan, Mr. Garrison, Phillip Niles Argyle, Randy Marsh, Mr. Mackey, Ned Gerblanski, the singing voice of Big Gay Al, the speaking voice of Gregory, The Mole, Adolf Hitler, and President Bill Clinton, as well as multiple other background characters. Matt Stone portrays Kyle Broflovski and Kenny McCormick, as well as Saddam Hussein (even though during the end credits it says that he was voiced by himself), Terrance Henry Stoot, Big Gay Al, Jimbo Kearn, Stuart McCormick, Gerald Broflovski, Bill Gates, and additional voices. Mary Kay Bergman voices Wendy Testaburger, the core mothers of the film (Sheila Broflovski, Sharon Marsh, Liane Cartman, and Carol McCormick), Shelley Marsh, and the clitoris. Isaac Hayes reprised his role from the series as Chef, and voice clips of staff children Jesse Howell, Anthony Cross-Thomas, and Franchesca Clifford make up Ike Broflovski. Guest voices for the film included George Clooney as Dr. Gouache, Brent Spiner as Conan O'Brien, Minnie Driver as Brooke Shields, Eric Idle as Dr. Vosnocker, and Dave Foley provides the combined voices of Alec, Billy, Daniel, and Stephen Baldwin.[8]
Michael McDonald as himself (the track "Eyes of a Child") and as Satan's high notes in "Up There", and Howard McGillin provides Gregory's singing voice in "La Resistance (Medley)". Stewart Copeland, former drummer for The Police, guests as an American soldier. Mike Judge, creator and voices of Beavis and Butt-head, King of the Hill and The Goode Family, provides Kenny's voice in his sole speaking appearance at the end of the film.[8] Although initially denied by Paramount, Metallica lead singer James Hetfield provides vocals for the track "Hell Isn't Good", which was confirmed by Parker in the 2009 Blu-ray commentary.[10]

text: Writing[edit]

text: The season one episode "Death" heavily influenced the film's screenplay. The plot and theme of both scripts revolves heavily around the parents of South Park protesting about Terrance and Phillip due to the perceived negative influence it has over their children. Parker said, "After about the first year of South Park, Paramount already wanted to make a South Park movie, and we sort of thought this episode would make the best model just because we liked the sort of pointing at ourselves kind of thing."[11] During the time, the team was also busy writing the second and third seasons of the series, the former of which Parker and Stone later described as "disastrous". As such, they figured the phenomenon would be over soon, and they decided to write a personal, fully committed musical.[12]

text: Animation[edit]

text: The animation in South Park: Bigger, Longer & Uncut was created in 3D using Alias|Wavefront (now the Alias Systems Corporation) PowerAnimator software, running on Silicon Graphics O2 and Octane workstations. Characters and individual scene elements were designed with both texture mapping and shading that, when rendered, resemble 2D paper cut-out stop-motion animation.[13] The artists at South Park Studios (at the time, called South Park Productions) used a multiprocessor SGI Origin 2000 and 31 multiprocessor Origin 200 servers (with 1.14 terabytes of storage) for both rendering and asset management. Backgrounds, characters and other items could be saved separately or as fully composited scenes, with speedy access later.[13] "By creating flat characters and backgrounds in a 3D environment, we are able to add textures and lighting effects that give the film a cut-out construction paper stop-motion style which would have taken many more months if done traditionally," said Gina Shay, line producer of the film.[13] The animation team, beginning with season five, began using Maya instead of PowerAnimator.[14] The studio now runs a 120-processor render farm that can produce 30 or more shots an hour.[15] As the show's visual quality has substantially improved in recent seasons, the animation of South Park: Bigger, Longer, & Uncut is a prime example of the show's old, cruder, even more primitive animation style.[16] In the audio commentary on the 2009 Blu-ray reissue of the film, Stone and Parker take ample time to criticize how "bad and time consuming" the animation was during the era.[10] IGN described the animation as "fall[ing] somewhere within the middle ground—not quite cardboard cutouts, but not quite fully computerized either."[17] Nate Boss, in a review of the Blu-ray reissue for High-Def Digest, commented, "There is no comparing the two, as the movie has a classic (for South Park, at least) animated feel, so full of the cut-outs we have grown to love, while the newer seasons sport a more computer processed feel."[18] The film, unlike the television series (at the time), was animated in widescreen (1.66:1).[12] "Although the 'primitive' animation of South Park is supposedly a joke, it's really a secret weapon," said  Stephanie Zacharek of Salon. "The simplicity of Parker and Stone's technique is what makes it so effective."[19]

text: Post-production[edit]

text: The team working on the film commuted between the project and the series, pushing both to scheduling extremes (changes to Bigger, Longer & Uncut were made as late as two weeks before its release) and fighting constantly with Paramount.[20] "They wanted a Disney kind of trailer. We said no. They put together a totally un-South Park MTV video for the song 'What Would Brian Boitano Do?'. We had to go make our own version."[20] Paramount's first trailer for the film advertised it, according to Parker, as "the laughiest movie of the summer", and promoted it in a way that South Park "was completely against". Parker and Stone told the studio of their dissatisfaction with the trailer, and upon the creation of a second trailer with minimal changes, the two broke the videocassette in half and sent it back in its original envelope. "It was war," said Stone in 2000. "They were saying, 'Are you telling us how to do our job?' And I was going, 'Yes, because you're fucking stupid and you don't know what you're doing.'"[21] In another instance, Paramount took the songs from the film and created a music video to be aired on MTV. In accordance with broadcast standards, the studio cut various "R-rated" parts out and edited it into what Parker described as a "horrible little medley with all humor absent". The studio sent the original tape to Parker and Stone over a weekend, with plans to send it to MTV on Monday to prepare it for airtime beginning Wednesday. Stone instead put the tape in the trunk of his car and went home. Paramount threatened to sue Parker and Stone in response.[21] Parker also noted that the title was an obvious innuendo, and "they (the MPAA) just didn't get it".[22]

text: Music[edit]

text:
"Mountain Town " (sample)

"Mountain Town"; the opening number for the film, has been compared to musicals such as Beauty and the Beast and Oklahoma! As it described the setting of the film.
Problems playing this file? See media help.

text: The musical score and songs featured in the film were composed and written by Parker and Marc Shaiman. The musical features 14 songs, each evoking a familiar Broadway style.[23] The soundtrack also parodies many familiar Disney conventions, with several songs spoofing Disney musicals such as Beauty and the Beast and The Little Mermaid.[24] The tracks "Mountain Town" brought comparisons to Oklahoma! and the opening to Beauty and the Beast ("Belle"), and the "La Resistance" medley drew forth favorable Les Misérables comparisons.[25] "I'm Super" recalls Beauty and the Beast's "Be Our Guest" and South Pacific's Honey Bun and "Kyle's Mom's a Bitch" echoes Chitty Chitty Bang Bang; "Up There", "I Can Change" and the "Mountain Town (Reprise)" recalls The Little Mermaid's "Part of Your World", "Poor Unfortunate Souls" and "Part of Your World (Finale)"; and "Uncle Fucka" is reminiscent of Oklahoma! (especially the ending).[26] Additionally, the song "Hell Isn't Good", which accompanies Kenny's descent to Hell, is sang by James Hetfield, who went uncredited for his performance.[10]

text: The score received critical acclaim, with Entertainment Weekly calling it "a cast album that gleefully sends up all the Hollywood musical conventions we're being deprived of."[24] The soundtrack was released June 15, 1999 by Atlantic Records. "Blame Canada" was frequently highlighted as one of the best from the soundtrack and was nominated for the Academy Award for Best Original Song. "I was like, 'We're going to get nominated for an Academy Award for this.' I really was," Parker said. "I even told him [Shaiman]."[27] The song takes place in the film when the United States blames Canada for corrupting its youth. "We're making fun of people who pick ridiculous targets to blame anything about what's going on in their lives, so Canada was just the perfect, ridiculous, innocuous choice for a target," said Shaiman.[27] In 2011, Time called the music of the film the "finest, sassiest full-movie musical score since the disbanding of the Freed unit at MGM."[26]

text: Soundtrack[edit]

text: Musical numbers[edit]

text:
South Park: Bigger, Longer & Uncut (Music from and Inspired By the Motion Picture)Soundtrack album by Various ArtistsReleased
June 16, 1999Recorded
1999Genre
ComedyLength
50:34Label
AtlanticProducer
Darren HigmanSouth Park chronology

Chef Aid: The South Park Album(1998)

South Park: Bigger, Longer & Uncut (Music from and Inspired By the Motion Picture)(1999)

Mr. Hankey's Christmas Classics(1999)

text:
"Mountain Town" – Stan Marsh (Trey Parker), Kenny McCormick (Matt Stone), Kyle Broflovski (Stone), Eric Cartman (Parker), Sharon Marsh (Mary Kay Bergman), Sheila Broflovski (Bergman)
"Uncle Fucka" – Terrance (Stone) and Phillip (Parker)
"Wendy's Song (There's the Girl That I Like)" – Stan Marsh (Parker)
"It's Easy, MMMKay" – Mr. Mackey (Parker), Stan (Parker), Cartman (Parker), Kyle (Stone), Gregory (Howard McGillin), South Park Elementary Students
"Hell Isn’t Good" – D.V.D.A. featuring James Hetfield
"Blame Canada" – Sheila Broflovski (Bergman), Sharon Marsh (Bergman), Liane Cartman (Bergman), Carol McCormick (Bergman), Citizens of South Park
"Kyle's Mom's a Bitch" – Cartman (Parker), South Park Elementary Students
"What Would Brian Boitano Do?" – Stan (Parker), Kyle (Stone), Cartman (Parker)
"Up There" – Satan (Parker with Michael McDonald on the high notes)
"La Resistance" – Gregory (McGillin), South Park Elementary Students, Shelia Broflovksi (Bergman), Soldiers (Parker and Stone), Satan (Parker), Terrance (Stone), Phillip (Parker), Stan (Parker), Kyle (Stone), Cartman (Parker)
"I Can Change" – Saddam Hussein (Stone), Satan (Parker)
"I'm Super" – Big Gay Al (Parker)
"The Mole's Reprise" – Christophe le Mole (Parker), Kyle (Stone)
"Mountain Town (Reprise)" – Chef (Issac Hayes), Stan (Parker), Kyle (Stone), Cartman (Parker), Sheila Broflovski (Bergman), Sharon Marsh (Bergman), Liane Cartman (Bergman), Citizens of South Park
"What Would Brian Boitano Do? Pt. II" (end credits) – D.V.D.A
"Eyes of a Child" (end credits) – McDonald

text: Release[edit]

text: Paramount Pictures won a jump ball with Warner Bros. (parent companies Viacom and Time Warner, respectively, jointly owned Comedy Central until Time Warner exited the venture in 2003) to release the film in the United States, with Warner Bros. getting the international rights. Viacom bought all of Comedy Central in 2003,[9] but Warner Bros. continued to distribute the film internationally.[28][29]

text: The film was rated R for "pervasive vulgar language and crude sexual humor, and for some violent images" by the Motion Picture Association of America; this rating did not come as surprise to most media outlets, as many had predicted long before that the film would likely be for ages 18 and over.[9] However, there was much more discussion within the MPAA than initially reported in the media. The board's objections to the film were described in highly specific terms by Paramount Pictures executives in private memos circulating at Paramount. For months the ratings board insisted on the more prohibitive NC-17.[30] South Park was screened by the MPAA six times—five times, the board returned the movie to Paramount with an NC-17.[20] The last submission the filmmakers received was an NC-17, two weeks before release. A marketing agent from Paramount called the two and explained that the studio "needed" an R. In response, Stone called producer Scott Rudin and "freaked out." Rudin then called a Paramount executive and, in Stone's words, "freaked out on them." The next day the film was changed to an R rating without reason, with the original film intact.[21] "The ratings board only cared about the dirty words; they're so confused and arbitrary," said Parker to The New York Times shortly before the release of the picture. "They didn't blink twice because of violence."[30] During production of the trailer for the film, the raters objected to certain words but had no problem with a scene in which cartoon bullets are killing soldiers. "They had a problem with words, not bullets," he said.[30] The MPAA gave Paramount specific notes for the film; in contrast, Parker and Stone's NC-17 comedy Orgazmo, released in 1998 by Rogue Pictures, was not given any specifications on how to make the movie acceptable for an R rating.[21] The duo attributed the R rating to the fact that Paramount is a member of the MPAA; the distributor dismissed these claims.[31] The film was given a 15 certificate by the British Board of Film Classification for "frequent coarse language and crude sexual references" with no cuts made.[1] It was rated MA15+ (Mature accompanied for those under 15) by the Australian Classification Board without cuts.

text: As predicted through the actions of the boys in the film, there were numerous news reports of underage South Park fans engaging in unsuccessful attempts to gain entrance to the film at theaters.[31] There were reports of adolescents purchasing tickets for Warner's own Wild Wild West and instead sitting in to see South Park.[32] This came as a result of a movie-industry crackdown that would make it tougher for children to sneak into R-rated films, as proposed by President Bill Clinton at the time in response to the moral panic generated by the Columbine High School massacre, which occurred two months before the film's release.[33] South Park was cited, along with American Pie, as an explicit film released in the summer of 1999 tempting teens to sneak into theaters.[34] When the film was released in the United Kingdom in August 1999, there were similar reports of the film drawing an underage crowd.[35]

text: Hayes, voice of Chef in the film, responded to conservatives urging prudishness as a cure for society's ills: "If we give in to that and allow [entertainment] to become a scapegoat, you might wind up living in who-knows-what kind of state.... If you believe in [your artistic vision] and you've got a moral conviction, take it to 'em!"[36] The rating of the film later brought comparisons to Stanley Kubrick's Eyes Wide Shut, released in theaters in a digitally altered and censored version just two weeks after South Park.[37] Kubrick's original cut was given an NC-17 rating, but Warner Bros. then blocked out characters in an orgy scene so the film could be rated R. In response to these debates and controversy, Stone called the MPAA a "bumbling, irresponsible organization".[38]

text: Promotion[edit]

text: The licensing arm of Paramount took the step of significantly expanding retail distribution beyond specialty stores (Hot Topic, Spencer's) to big chains (Target, J.C. Penney), which involved carefully stripping T-shirts of racy slogans from the television show.[39] Licensing industry observers credited Comedy Central with carving out a profitable niche in an industry dominated by powerful partnerships that link fast-food chains and Hollywood movie studios, which was particularly tough for South Park, as no fast-food chains wanted to ally themselves with the show's racy content.[40] Eventually, J.C. Penney ended the tie-ins with the show in April 1999 as a result of customer complaints.[41] On July 7, 1999, Parker and Stone appeared on Late Night with Conan O'Brien to promote the film's release. During the interview, Parker and Stone showed a clip of the film in which a caricature of O'Brien, played by Brett Spiner, hands over Terrence and Phillip to the US government and jumps to his death from the set of Late Night. Upon seeing the clip, a bemused O'Brien responded that his interns saw the film and thought it was "really funny", but were annoyed that the Late Night set was portrayed as on the top floor of the GE Building, when it was really on the sixth floor.[42] The film also suffered negative publicity before release. It was initially reported that on the day of the Columbine High School massacre, a friend of the killers (Chris Morris) was seen wearing a black T-shirt depicting characters from South Park.[43] Both Parker and Stone come from Colorado, and Stone went to Heritage High School, not far from Columbine High. He proceeded to take three days off from work following the shootings. "Nothing seemed funny after that," he said.[30] South Park was, at the time, generally waning in popularity: ratings dropped nearly 40 percent with the premiere of the series' third season and, according to Entertainment Weekly, "it [wasn't] the pop-culture behemoth it was last year [1998]."[20] In response to the decline, Parker commented, "Suddenly we suck and we're not cool anymore. The funny thing is, last year we were saying the same things and we were hip, fresh, and cute. Now they're telling us we're pushing 30, we're failures, and we're sellouts."[20]

text: Home media[edit]

text: The film was released on DVD in the US  on November 23, 1999, with a VHS release initially for rental services only, such as Blockbuster.[44] A traditional retail VHS release followed on May 16, 2000.[45] The DVD contained three theatrical trailers for special features, which many criticized as being typical of "bare-bones" DVD releases.[46] There is also a NTSC laserdisc version that was released on January 18, 2000; copies are extremely rare.[47] The film was re-released on Blu-ray on June 30, 2009 in celebration of its decade-long anniversary. The film's 1080p AVC encode (at 1.66:1) was taken from the original film source as well with random audio sync issues, despite the fact the film was animated entirely digitally.[48] IGN's Scott Lowe explained, "Although clearly aged, South Park: Bigger, Longer, and Uncut looks great and is free of the washed out, compressed imperfections of previous standard definition releases of the film."[18] However, Michael Zupan of DVDTalk notes that an automatic digital scratch removal process may have inadvertently removed some intentional lines from the picture, notably during Cartman's first scene with the V-chip.[49] The disc contained a full-length audio commentary from Parker and Stone, as well as other crew members though most of them had no recollection of making the film due to heavy scheduling.[12][49]

text: Reception[edit]

text: Critical reception[edit]

text: The film has a "certified fresh" approval rating of 81% with an average rating of 7/10 based on 94 reviews on Rotten Tomatoes; the site's consensus states: "Its jokes are profoundly bold and rude but incredibly funny at the same time."[50] It also has a 73 out of 100 rating based on 31 reviews, which indicates "generally favorable reviews", at Metacritic.[51]

text: Rita Kempley of The Washington Post called the film "outrageously profane" and "wildly funny", writing that "While censorship is the filmmakers' main target […] [Parker and Stone's] favorite monster is the Motion Picture Association of America, self-appointed guardians of the nation's chastity. It's all in good dirty fun and in service of their pro-tolerance theme."[52] Stephen Holden of The New York Times heavily praised the film, regarding the film's "self-justifying moral" as "about mass entertainment, censorship and freedom of speech." He also praised Cartman's subjection to the V-chip, which he called "the movie's sharpest satirical twist, reminiscent of A Clockwork Orange".[53] Entertainment Weekly graded the film an A− and praised the film's message in a post-Columbine society, as well as Parker and Shaiman's musical numbers, which "brilliantly parody / honor the conventions of Broadway show tunes and, especially, the Disney-formula ditties that began with Alan Menken and Howard Ashman."[54] The Washington Post's Michael O'Sullivan neutrally regarded the offensive nature of the film, commenting "Yes, the lampooning is more broad than incisive, but under the bludgeoning of this blunt instrument very few sacred cows are left standing."[55] In a review that was later quoted on the film's original home video cover, Richard Corliss from Time warned viewers "You may laugh yourself sick – as sick as this ruthlessly funny movie is."[56] Corliss would later name the film his fifth favorite animated film of all time.[57]

text: The film had its fair share of critical detractors, without noting the conservative family groups offended by the film's humor.[58][59] Jack Matthews of the Daily News suggested the film's running time made Parker and Stone "run out of ideas",[60] while Roger Ebert stated that the "vicious social satire" of the film both "offended" and "amazed" him. Ebert called the film "the year's most slashing political commentary", but also said, "It is too long and runs out of steam, but it serves as a signpost for our troubled times. Just for the information it contains about the way we live now, thoughtful and concerned people should see it. After all, everyone else will."[61]

text: Box office[edit]

text: On a budget of $21 million, the film opened at number three with a gross of $14,783,983 over the four-day Independence Day weekend from 2,128 theaters for an average of $6,947 per theater ($11,090,000 and an average of $5,211 over three days) and a total of $19,637,409 since its Wednesday launch. It ended up with a gross of $52,037,603 in the United States and Canada, with the 3-day opening making up 22% of the final domestic gross. It made an additional $31.1 million internationally for a total of $83,137,603 worldwide.

text: It was originally the highest-grossing R-rated animated film until it was surpassed by Seth Rogen's Sausage Party in 2016, which grossed $140 million worldwide.[3]

text: Accolades[edit]

text: South Park: Bigger, Longer & Uncut was nominated for an Academy Award for Best Original Song for "Blame Canada". When the time came to perform the track live at the ceremony, as is customary for the Academy Awards, it ran into trouble with ABC's standards and practices department: censors demanded they write TV-friendly lyrics.[62] "It would be ironic to have to change the words in a movie about censorship," remarked Shaiman.[62] Censors were particularly unhappy with the use of the word "fuck" and allusions to the Ku Klux Klan. When Parker and Shaiman declined these requests, Robin Williams, a friend of Shaiman's, sang the song with black tape over his mouth and turning his back when curse words were to be sung.[63] Parker and Stone attended the ceremony in drag, wearing replicas of dresses previously worn at the Oscars by Gwyneth Paltrow and Jennifer Lopez.[64] The two claimed years later that they took acid before the ceremony and were high while wearing the outfits.[65][66] The song ended up losing to "You'll Be in My Heart", a Tarzan song by Phil Collins (that film came from ABC parent Disney). In response, Parker and Stone ridiculed him in two consecutive episodes of the series' fourth season ("Cartman's Silly Hate Crime 2000" and "Timmy 2000").[67] In DVD commentary, Parker states "we were fully expecting to lose, just not to Phil Collins".[68]

text:
List of awards and nominations

Award / Film Festival

Date of ceremony

Category

Recipient(s) and nominee(s)

Result

Academy Awards

March 26, 2000

Best Original Song

Trey Parker
Marc Shaiman
 for "Blame Canada"

Nominated

Annie Awards

November 6, 1999

Outstanding Achievement in an Animated Theatrical Feature

South Park: Bigger, Longer & Uncut

Outstanding Individual Achievement for Voice Acting in an Animated Feature Production

Mary Kay Bergman

Outstanding Individual Achievement for Writing in an Animated Feature Production

Trey Parker
Matt Stone
Pam Brady

American Film Foundation

March 2, 2000

E Pluribus Unum Award for Feature Film

South Park: Bigger, Longer & Uncut

Chicago Film Critics Association

March 13, 2000

Best Original Score

Trey Parker
Marc Shaiman

Won

Las Vegas Film Critics Society Awards

January 10, 2000

Best Animated Film

South Park: Bigger, Longer & Uncut

Nominated

Los Angeles Film Critics Association

January 19, 2000

Best Music

Trey Parker
Marc Shaiman

Won

MTV Movie Awards

June 3, 2000

Best Musical Sequence

Terrance and Phillip — "Uncle Fucka"

Motion Picture Sound Editors

March 25, 2000

Best Sound Editing - Music - Animation

Dan DiPrima
Tim Boyle
Dennis S. Sands
Brian Bulman

Best Sound Editing - Animated Feature

South Park: Bigger. Longer & Uncut

Nominated

New York Film Critics Circle Awards

January 9, 2000

Best Animated Film

South Park: Bigger, Longer & Uncut

OFTA Film Awards

2000

Best Music, Original Score

Trey Parker
Marc Shaiman

Won

Best Animated Picture

Trey Parker

Nominated

Best Music, Adapted Song

"Kyle's Mom's a Bitch"

Online Film Critics Society Awards

January 2, 2000

Best Original Score

Marc Shaiman

Won

Golden Satellite Awards

January 16, 2000

Best Motion Picture, Animated or Mixed Media

South Park: Bigger, Longer & Uncut

Nominated

Best Original Song

"Quiet Mountain Town"

Village Voice Film Poll

2000

Best Film

South Park: Bigger, Longer & Uncut

10th Place

text: The film is recognized by American Film Institute in these lists:

text:
2004: AFI's 100 Years...100 Songs:
"Blame Canada" – Nominated[69]
2006: AFI's Greatest Movie Musicals – Nominated[70]
2008: AFI's 10 Top 10:
Nominated Animation Film[71]

text: Lists and records[edit]

text:
The film has been nominated by the American Film Institute for their list of the Greatest American Musicals.[72]
In 2000, readers of Total Film magazine voted the film at No. 13 in the greatest comedy films of all time.
In 2001, Terry Gilliam selected it as one of the ten best animated films of all time.[73]
In 2006, South Park finished fifth on the United Kingdom Channel 4's "50 Greatest Comedy Films" vote.[74]
Readers of Empire Magazine, in a 2006 poll, voted it No. 166 in the greatest films of all time.
In 2008, the film was included in Entertainment Weekly list of the "25 Movie Sequels We'd Line Up to See"[75] and "The Funniest Movies of the Past 25 Years".[76]
The film is No. 5 on Bravo's 100 Funniest Movies.
IGN named it the sixth greatest animated film of all time in their Top 25 list.[77]
In Guinness World Records 2001, this film was said to have the most profanity used in an animated film. It contained a total of 399 swear words (the word "fuck" was used 146 times), 199 offensive gestures and also contained 221 acts of violence.[78]

text: Legacy[edit]

text: Jack Valenti, former president of the MPAA, later said he regretted not giving the film an NC-17 rating.[37] In response to the film's controversy, the MPAA began backing up their ratings on print posters by posting reasons to explain them, beginning in 2000.[79] The film's use of profanity gained it a Guinness World Record in their 2001 edition for "Most Swearing in an Animated Film" (399 profane words, including 146 uses of "fuck";[78] 128 offensive gestures; and 221 acts of violence—in effect, one every six seconds).

text:
In the song "Uncle Fucka", the curse word "fuck" is said 31 times. The pop punk band Blink-182 would often end songs on their The Mark, Tom, and Travis Show Tour with lines from "Uncle Fucka" throughout 2000. The lines can be heard on the band's live album, The Mark, Tom, and Travis Show (The Enema Strikes Back!).[80]
While the real Saddam Hussein was on trial for genocide charges in 2006, Matt Stone joked that the U.S. military was showing the movie repeatedly to the former dictator as a form of torture.[81] Parker and Stone were also given a signed photo of Hussein by the American soldiers.[82] In 2011, Time called South Park: Bigger, Longer & Uncut the sixth greatest animated feature of all-time.[26]

text: Possible sequel[edit]

text: Parker and Stone said in a 2008 interview that a theatrically released sequel would most likely be what concludes the series.[83]

text: In 2011, when the official South Park website FAQ was asked whether a sequel would be made, it was responded with "the first South Park movie was so potent, we're all still recovering from the blow. Unfortunately, at the current moment, there are no plans for a second South Park movie. But you never know what the future may bring, crazier things have happened..."[84]

text: In 2013, Warner Bros. relinquished to Paramount its rights to co-finance a potential future South Park movie, as well as a future Friday the 13th sequel, during their negotiations to co-finance the Christopher Nolan science fiction film Interstellar. Previous efforts to create a second South Park film were complicated due to both studios retaining certain rights to the property.[85]

text: In 2016, Trey Parker and Matt Stone expressed interest in using the plot of the video game South Park: The Fractured but Whole as the plot of a sequel film.[86]


document_title: Horseshoe arch

question_text: horse shoe arches were an important architectural feature of

text: Horseshoe arch

text: The horseshoe arch (Spanish: arco de herradura /ˈarko de eraˈduɾa/), also called the Moorish arch and the keyhole arch, is the emblematic arch of Moorish architecture. Horseshoe arches can take rounded, pointed or lobed form.

text: Horseshoe arches are known from pre-Islamic Syria, where the form was used in the fourth century CE in the Baptistery of Mar Ya'qub (St. Jacob) at Nisibin.[1] However, it was in Spain and North Africa (where it went from Spain) that horseshoe arches developed their characteristic form. Prior to the Muslim invasion of Spain, the Visigoths used them as one of their main architectural features, which may come from at least the Roman period. Some tombstones from that period have been found in the north of Spain with horseshoe arches in them, with speculation about a pre-Roman local Celtic tradition.[2] Also, the arch of the Church of Santa Eulalia de Boveda—part of a previous Roman temple—in Lugo, points in that direction.

text: The Visigothic form was adopted and developed by the Umayyads, who accentuated the curvature of the horseshoe and added the alternating colours to accentuate the effect of its shape. This can be seen at a large scale in their major work, the Great Mosque of Córdoba.[3] This style of horseshoe arch then spread all over the Caliphate and adjacent areas, and was adopted by the successor Muslim emirates of the peninsula, the taifas, as well as by the Almoravid dynasty, Almohad dynasty and the Nasrid Kingdom of Granada, although also lobed, round, pointed and multifoil arches were also used at that time. The Mozarabs also adopted this style of arch into their architecture and illuminated manuscripts.

text: Horseshoe arches were also used in the Mosque of Uqba, in Kairouan and, in a slightly pointed form, in the Mosque of Muhammad ibn Khairun, Tunisia.[3] Mudéjar style, developed from the 12th to the 17th centuries, continued the tradition of horseshoe arches in the Iberian Peninsula which had been started in the 7th century by the Visigoths.

text: In addition to their use across the Islamic world, horseshoe arches became popular in Western countries at the time of the Moorish Revival. They were widely used in Moorish revival synagogues. Horseshoe arches are also a feature of Indo-Saracenic architecture, a style associated with the British Raj.


document_title: All Along the Watchtower

question_text: bob dylan all along the watchtower jimi hendrix quote

text: All Along the Watchtower

text: Bob Dylan's original[edit]

text: Background[edit]

text: Following a motorcycle accident in July 1966, Dylan spent the next 18 months recuperating at his home in Woodstock and writing songs.[3] According to Clinton Heylin, all the songs for John Wesley Harding were written and recorded during a six-week period at the end of 1967.[4] With one child born in early 1966 and another in mid-1967, Dylan had settled into family life.

text: Recording[edit]

text: Dylan recorded "All Along the Watchtower" on November 6, 1967, at Columbia Studio A in Nashville, Tennessee, the same studio where he had completed Blonde on Blonde in the spring of the previous year.[5] Accompanying Dylan, who played acoustic guitar and harmonica, were two Nashville veterans from the Blonde on Blonde sessions, Charlie McCoy on bass guitar and Kenneth Buttrey on drums. The producer was Bob Johnston, who produced Dylan's two previous albums, Highway 61 Revisited in 1965 and Blonde on Blonde in 1966.[6]

text: The final version of "All Along the Watchtower" resulted from two different takes during the second of three John Wesley Harding sessions. The session opened with five takes of the song, the third and fifth of which were spliced to create the album track.[5] As with most of the album's selections, the song is a dark, sparse work that stands in stark contrast with Dylan's previous recordings of the mid-1960s.[7]

text: Analysis[edit]

text: Several reviewers have pointed out that the lyrics in "All Along the Watchtower" echo lines in the Book of Isaiah, Chapter 21, verses 5-9:

text: Prepare the table, watch in the watchtower, eat, drink: arise ye princes, and prepare the shield./For thus hath the Lord said unto me, Go set a watchman, let him declare what he seeth./And he saw a chariot with a couple of horsemen, a chariot of asses, and a chariot of camels; and he hearkened diligently with much heed./...And, behold, here cometh a chariot of men, with a couple of horsemen. And he answered and said, Babylon is fallen, is fallen, and all the graven images of her gods he hath broken unto the ground.[8][9]

text: Commenting on the songs on his album John Wesley Harding, in an interview published in the folk music magazine Sing Out! in October 1968, Dylan told John Cohen and Happy Traum:

text: I haven't fulfilled the balladeers's job. A balladeer can sit down and sing three songs for an hour and a half... it can all unfold to you. These melodies on John Wesley Harding lack this traditional sense of time. As with the third verse of "The Wicked Messenger", which opens it up, and then the time schedule takes a jump and soon the song becomes wider... The same thing is true of the song "All Along the Watchtower", which opens up in a slightly different way, in a stranger way, for we have the cycle of events working in a rather reverse order.[10]

text: The unusual structure of the narrative was remarked on by English Literature professor Christopher Ricks, who commented that "All Along the Watchtower" is an example of Dylan's audacity at manipulating chronological time: "at the conclusion of the last verse, it is as if the song bizarrely begins at last, and as if the myth began again."[11]

text: Heylin described Dylan's narrative technique in "Watchtower" as setting the listener up for an epic ballad with the first two verses, but then, after a brief instrumental passage, the singer cuts "to the end of the song, leaving the listener to fill in his or her own (doom-laden) blanks."[4]

text: Critics have described Dylan's version as a masterpiece of understatement. Andy Gill said "In Dylan's version of the song, it's the barrenness of the scenario which grips, the high haunting harmonica and simple forward motion of the riff carrying understated implications of cataclysm; as subsequently recorded by Jimi Hendrix, ... that cataclysm is rendered scarily palpable through the dervish whirls of guitar."[12]

text: Dave Van Ronk, an early supporter and mentor of Dylan, disagreed with the majority view when he made the following criticism:

text: That whole artistic mystique is one of the great traps of this business, because down that road lies unintelligibility. Dylan has a lot to answer for there, because after a while he discovered that he could get away with anything—he was Bob Dylan and people would take whatever he wrote on faith. So he could do something like 'All Along the Watchtower,' which is simply a mistake from the title on down: a watchtower is not a road or a wall, and you can't go along it.[13]

text: Performances and subsequent releases[edit]

text: John Wesley Harding came out at the end of 1967, on December 27, less than two months after the recording sessions.[14] The song was the second single from the album, released on November 22, 1968, but did not chart. A live recording of "All Along the Watchtower" from the album Before the Flood appeared as the B side of "Most Likely You Go Your Way (And I'll Go Mine)" in 1974. The recordings came from separate concerts earlier that year at the Forum outside Los Angeles, both with Dylan backed by The Band.[5]

text: Dylan first performed the song live on January 3, 1974, in Chicago on the opening night of his 'comeback tour'.[1] From this first live performance, Dylan has consistently performed the song closer to Hendrix's version than to his own original recording.[1] In The Bob Dylan Encyclopedia, critic Michael Gray wrote that this is the most often performed of all of Dylan's songs. By Gray's count, Dylan had performed the song in concert 1,393 times by the end of 2003.[1] According to Dylan's own website, through 2015 he had performed the song 2,257 times.[15]

text: In recent years, Dylan in live performances has taken to singing the first verse again at the end of the song. As Gray notes in his Bob Dylan Encyclopedia:

text: Dylan chooses to end in a way that at once reduces the song's apocalyptic impact and cranks up its emphasis on the artist's own centrality. Repeating the first stanza as the last means Dylan now ends with the words 'None of them along the line/Know what any of it is worth' (and this is sung with a prolonged, dark linger on that word 'worth')."[1]

text: Dylan possibly was following the lead of the Grateful Dead in concluding the song by repeating the first verse; the Dead covered the song in this fashion, both with and without Dylan.[16]

text: The original recording of "All Along the Watchtower" appears on most of Dylan's "greatest hits" albums, as well as his two box set compilations, Biograph, released in 1985, and Dylan, released in 2007. In addition, Dylan has released live recordings of the song on the following albums: Before the Flood (recorded February 1974); Bob Dylan at Budokan (recorded March 1978); Dylan & The Dead (recorded July 1987); and MTV Unplugged (recorded November 1994).[1][17]

text: The Jimi Hendrix Experience[edit]

text:
"All Along the Watchtower"

European single cover

Single by The Jimi Hendrix Experience

from the album Electric Ladyland

B-side
"Burning of the Midnight Lamp"

Released
September 21, 1968 (US)

Format
7-inch 45 rpm record

Recorded
January, June–August 1968

Studio

Olympic, London
Record Plant, New York City

Genre
Psychedelic Rock

Length
4:00

Label
Reprise

Songwriter(s)
Bob Dylan

Producer(s)
Jimi Hendrix

The Jimi Hendrix Experience singles chronology

"Up from the Skies"
(1968)
"All Along the Watchtower"
(1968)
"Crosstown Traffic"
(1968)

"Up from the Skies"
(1968)
"All Along the Watchtower"
(1968)
"Crosstown Traffic"
(1968)

text: The Jimi Hendrix Experience began to record their version of Dylan's "All Along the Watchtower" on January 21, 1968, at Olympic Studios in London.[18] According to engineer Andy Johns, Jimi Hendrix had been given a tape of Dylan’s recording by publicist Michael Goldstein, who worked for Dylan’s manager Albert Grossman. "(Hendrix) came in with these Dylan tapes and we all heard them for the first time in the studio", recalled Johns.[19]

text: Recording[edit]

text: According to Hendrix’s regular engineer Eddie Kramer, the guitarist cut a large number of takes on the first day, shouting chord changes at Dave Mason who had appeared at the session and played guitar. Halfway through the session, bass player Noel Redding became dissatisfied with the proceedings and left. Mason then took over on bass. According to Kramer, the final bass part was played by Hendrix himself.[19] Hendrix's friend and Rolling Stones multi-instrumentalist Brian Jones played the various percussion instruments on the track. "That’s him playing the thwack you hear at the end of each bar in the intro, on an instrument called a vibraslap." [20] Jones originally recorded a piano part that was later mixed out in place of the percussion instruments.

text: Kramer and Chas Chandler mixed the first version of "All Along the Watchtower" on January 26, but Hendrix was quickly dissatisfied with the result and went on re-recording and overdubbing guitar parts during June, July, and August at the Record Plant studio in New York.[21] Engineer Tony Bongiovi has described Hendrix becoming increasingly dissatisfied as the song progressed, overdubbing more and more guitar parts, moving the master tape from a four-track to a twelve-track to a sixteen-track machine. Bongiovi recalled, "Recording these new ideas meant he would have to erase something. In the weeks prior to the mixing, we had already recorded a number of overdubs, wiping track after track. [Hendrix] kept saying, 'I think I hear it a little bit differently.'"[22]

text: Release and charts[edit]

text: The completed version was released as a single in the US on September 21, 1968, almost a month prior to the album release on Electric Ladyland in October. The single reached number five in the British charts,[23] becoming the first UK stereo-only single to do so, and number 20 on the Billboard chart, Hendrix's highest ranking American single.[24]

text: Reception[edit]

text: Dylan has described his reaction to hearing Hendrix's version: "It overwhelmed me, really. He had such talent, he could find things inside a song and vigorously develop them. He found things that other people wouldn't think of finding in there. He probably improved upon it by the spaces he was using. I took license with the song from his version, actually, and continue to do it to this day."[25] In the booklet accompanying his Biograph album, Dylan said: "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way... Strange how when I sing it, I always feel it's a tribute to him in some kind of way."

text: Hendrix's recording of the song appears at number 47 on Rolling Stone's 500 Greatest Songs of All Time,[26] and in 2000, British magazine Total Guitar named it top of the list of the greatest cover versions of all time.[27] Hendrix's guitar solo is included at number five on Guitar World's list of the 100 Greatest Guitar Solos.[28]

text: Other recordings[edit]

text: This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (January 2014) (Learn how and when to remove this template message)

text: The Nashville Teens[edit]

text: The earliest recording of the song, other than by Dylan, was by British pop group the Nashville Teens, who had previously had a hit in 1964 with the song "Tobacco Road". Their recording of "All Along the Watchtower", produced by Vic Smith, was released as a single in the UK and Europe on Decca Records in March 1968, some six months before Hendrix's version. The recording was described by the NME as "both effective and commendable", and by Record Mirror as a "reasonably strong song idea", but failed to have any commercial success, and the band left the Decca label soon afterwards.[29][30]

text: Dave Matthews Band[edit]

text: Dave Matthews Band has played the song since the band's inception in the early 1990s.[31] Their rendition maintains Dylan's three chord structure and key signature but differs in style. Dave Matthews typically begins the song slowly with just bass, vocals and acoustic guitar. The band members come in after the line "the hour is getting late", picking up the tempo and intensity. The band's members then take extended solos, culminating with the line, "No reason to get excited." "Watchtower", as it is referred to by the band's fans, is a concert staple, often performed as either a closer or encore. In all, they have covered the song live more than 600 times, including solo performances by Matthews,[31] and it has appeared on nine of their officially released live albums, though the band has never released a studio version.

text: In addition, the band has had numerous musicians guest with them while playing Watchtower including Carlos Santana, Neil Young, Warren Haynes from Gov't Mule and the Allman Brothers Band, Trey Anastasio from Phish, Zac Brown, Bela Fleck, Robert Randolph, Marcus Mumford and Gary Clark Jr.

text: Dave Mason[edit]

text: Dave Mason covered "All Along the Watchtower".[32] Mason also played on Jimi Hendrix's widely known version, playing the 12 string acoustic guitar on the track.

text: Irish rock band U2 first played a cover of "All Along the Watchtower" during their Boy Tour in 1981.[33] Years later, during the Joshua Tree Tour in 1987,[34] the cover was played for a second time, in San Francisco, California, with an additional verse added by Bono. This performance was later included as a scene in U2's 1988 rockumentary film, Rattle and Hum, and also appeared on the album of the same name. The performance was impromptu, with the band learning the chords and lyrics within minutes of taking the stage, and as a result, there were problems in editing the soundtrack. The song made its way into 47 live shows during the band's 1989 Lovetown Tour.[35]

text: Neil Young[edit]

text: Neil Young, who played Woodstock as part of Crosby, Stills, Nash, and Young, has performed numerous covers of the song, including a notable performance at Farm Aid in 1994, with band Crazy Horse and Willie Nelson. He also performed the song with Dave Matthews Band and with Booker T. and the M.G.'s at the Dylan 30th Anniversary Celebration at Madison Square Garden, a recording of which was issued in 1993 on The 30th Anniversary Concert Celebration album. In 2000, Young performed a live version with Chrissie Hynde of The Pretenders, which appeared on his album Road Rock Vol. 1: Friends & Relatives. In 2004, he performed a version with Bruce Springsteen.

text: Grateful Dead[edit]

text: The Grateful Dead performed the song 124 times,[36] first on June 20, 1987.

text: Bryan Ferry[edit]

text: Bryan Ferry recorded this song as a demo with Robin Trower in the mid-1990s. He completed the track during sessions in August 2006 for his Dylan tribute album Dylanesque released March 2007. It featured up-beat versions of Dylan's greatest hits.

text: Pearl Jam[edit]

text: After performing the song live four times from 2004–2006 with Pearl Jam, lead singer Eddie Vedder was asked to record "All Along the Watchtower" with The Million Dollar Bashers for the soundtrack of the Dylan biopic I'm Not There. Named for Dylan's song "Million Dollar Bash", the group was formed by guitarist Lee Ranaldo of Sonic Youth. Its other members included Steve Shelley on drums; Television's Tom Verlaine, Wilco's Nels Cline, and Smokey Hormel on guitars; John Medeski of Medeski Martin & Wood on keyboards; and Dylan's bassist Tony Garnier.

text: In 2008, the song was played three times during Pearl Jam's US East Coast Summer Tour, including the Bonnaroo Music Festival. In 2009, the band was joined by Ronnie Wood of The Rolling Stones to perform the song at the Shepherds Bush Empire in London, England.[37]

text: Bear McCreary/Battlestar Galactica[edit]

text: Television composer Bear McCreary arranged a distinctive version with non-Western tonalities of "All Along the Watchtower" for use in the final scene of the Battlestar Galactica season three finale "Crossroads, Part II".[38][39] A version with all the lyrics was included on the season 3 soundtrack.

text: Steve Hackett Band[edit]

text: Steve Hackett played a live version of the song during a show at the Shepherd's Bush Empire[40] with John Wetton on lead vocals (2010). Then he created a studio version of the song (also with John Wetton on vocals) for the new remastered edition of the Tokyo Tapes live album (2013). All Along the Watchtower's studio version involved: Steve Hackett on guitars and percussion, John Wetton on vocals, Roger King on keyboards, Lee Pomeroy on Bass and Garry O'Toole on drums. The initial live version include the same band except Nick Beggs on bass instead of Lee Pomeroy and Amanda Lehmann in a 2nd guitar part.

text: Others[edit]

text: The song has been covered by many other artists,[41] including:

text:
Affinity[42]
Brewer and Shipley[43]
Chris de Burgh[44]
Randy California[45]
Eric Clapton[46]
The Dream Syndicate[47]
Richie Havens[48]
Jeff Healey[49]
Michael Hedges[50]
Indigo Girls[51]
Van Morrison[52]
Supertramp[53]
The Persuasions[54]
June Tabor[55]
T.S.O.L.[56]
Klopjag[57]
Turtle Island String Quartet[58]
Paul Weller[59]
Bobby Womack[60]
XTC[61]
Envy on the Coast[62]
Francis Cabrel, in a French translation titled "D'en haut de la tour du guet", on his album "Viser le ciel", 2012[63]
Devlin ft Ed Sheeran[64]
John Waite[65]
Widespread Panic[66]
Dissipated Eight[67]

text: In popular culture[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. (November 2016) (Learn how and when to remove this template message)

text: The song as originally recorded by Dylan was used in the 1999 film American Beauty. Hendrix's version was featured in the movies Withnail and I, Rush, Land of the Lost (without Hendrix's vocals), Private Parts, Forrest Gump, Clockers, A Bronx Tale, Blue Chips, Vegas Vacation, Tupac: Resurrection, the 2001 remake of Brian's Song, Watchmen (among others), and also in television shows such as The Simpsons, in episodes "Mother Simpson" and "My Mother the Carjacker" and appears in the announcement trailer and title screen for the video game Mafia III. The Bob Dylan version appears as playable track in the video game Guitar Hero 5.

text: The final verse of the song is referenced in Chapter 10 of the graphic novel Watchmen.[68][69]

text: The song is one of seven Dylan songs of which its lyrics were reset for soprano and piano (or orchestra) by John Corigliano for his song cycle Mr. Tambourine Man: Seven Poems of Bob Dylan.[70]

text: The song is featured prominently in the re-imagined Battlestar Galactica, serving as a critical plot element of the show.[38][71] The lyrics are referenced in the dialogue multiple times, and the opening bars are a recurring theme throughout the show. The show features a new arrangement by Bear McCreary during the season three finale, and Jimi Hendrix's version during the series' finale.[39][72]

text: The Jimi Hendrix cover of the song is used in The Martian trailer.[73][74][75][76]

text: A cover version of the song is performed by Tom Ellis (actor) in the Lucifer season two episode "Everything's Coming Up Lucifer".

text: A cover version of the song by Devlin features in the opening credits of the HBO series, The Young Pope.[77]

text: Notes[edit]

text:
^ Jump up to: a b c d e f Gray, Michael (2006), The Bob Dylan Encyclopedia, p. 7.
Jump up ^ Bush, John. "All Along the Watchtower". AllMusic. Retrieved 2011-01-14.
Jump up ^ Sounes p. 215-8
^ Jump up to: a b Heylin, 2009, Revolution In The Air, The Songs of Bob Dylan: Volume One, pp. 364–369.
^ Jump up to: a b c Bjorner, Olof (May 7, 2000). "Still on the Road: Bob Dylan Recording Sessions". Olof Bjorner. Retrieved 2009-10-18.
Jump up ^ Gray p. 356-7
Jump up ^ Gray p. 7
Jump up ^ Heylin p. 285
Jump up ^ Gill p. 130–1
Jump up ^ Cott p. 122
Jump up ^ Ricks p. 359
Jump up ^ Gill p. 131
Jump up ^ Dave Van Ronk, The Mayor of Macdougal Street, ISBN 978-0-306-81479-2
Jump up ^ Gray p. 350
Jump up ^ "Bob Dylan Songs". bobdylan.com. Retrieved 2017-01-18.
Jump up ^ Cf. "Dylan and the Dead".
Jump up ^ "Bob Dylan Albums". bobdylan.com. May 21, 2012. Archived from the original on May 25, 2012. Retrieved May 21, 2012.
Jump up ^ Eddie Kramer, 'Hendrix: Setting The Record Straight, p. 135
^ Jump up to: a b Eddie Kramer, 'Hendrix: Setting The Record Straight, p. 136
Jump up ^ Padgett, Ray: The Story Behind Jimi Hendrix's "All Along the Watchtower"
Jump up ^ Eddie Kramer, 'Hendrix: Setting The Record Straight, p. 174
Jump up ^ Eddie Kramer, 'Hendrix: Setting The Record Straight, p. 175
Jump up ^ "JIMI HENDRIX EXPERIENCE | full Official Chart History | Official Charts Company". Theofficialcharts.com. Archived from the original on 2011-11-25. Retrieved 2016-01-14.
Jump up ^ Eddie Kramer, 'Hendrix: Setting The Record Straight, p. 198
Jump up ^ "Interview with Dylan: 09/29/95". Fort Lauderdale Sun Sentinel. 1995-09-29.
Jump up ^ "#47, All Along the Watchtower". rollingstone.com. April 7, 2011. Retrieved May 21, 2012.
Jump up ^ "The Best Cover Versions Ever". Total Guitar. Future Publishing. August 2000.
Jump up ^ "100 Greatest Guitar Solos: 5) "All Along the Watchtower" (Jimi Hendrix)". Guitar World. 2008-10-14. Archived from the original on November 18, 2010. Retrieved 2011-08-13.
Jump up ^ "Their Music". The Nashville Teens. Retrieved 2016-01-14.
Jump up ^ "Opulent Conceptions: The Nashville Teens - Sun-Dog". Expo67-cavestones.blogspot.co.uk. 2012-08-21. Retrieved 2016-01-14.
^ Jump up to: a b "DMBAlmanac.com".
Jump up ^ "Dave Mason's All Along The Watchtower cover of Bob Dylan's All Along The Watchtower". whosampled.com. Retrieved 5 July 2011.
Jump up ^ "U2 Live: All Along The Watchtower - Setlists". U2tour.de. Retrieved 2014-01-13.
Jump up ^ "Milestones: U2’s ‘Joshua Tree’ is 25 today; watch full 1987 ‘Save the Yuppies’ concert – slicing up eyeballs // 80s alternative music, college rock, indie". Slicingupeyeballs.com. 2012-03-09. Retrieved 2014-01-13.
Jump up ^ "U2 Tour Statistics: Lovetown Tour". setlist.fm. Retrieved 2014-01-13.
Jump up ^ "Searchable Grateful Dead Setlists". DeadBase. Archived from the original on 24 July 2011. Retrieved 2011-08-13.
Jump up ^ "NME.com: Pearl Jam and Rolling Stones star unite onstage at intimate gig". NME.com. Retrieved 2009-08-12.
^ Jump up to: a b Radio, Southern California Public. "Watch 'Walking Dead' composer Bear McCreary rock out, pirate-style". Retrieved 2015-08-15.
^ Jump up to: a b "More from TV composers Michael Giacchino and Bear McCreary". Retrieved 2015-08-15.
Jump up ^ "Hackett Songs". Hackettsongs.sandbag.uk.com. 2010-11-30. Retrieved 2014-01-13.
Jump up ^ AllMusic lists about 500 recorded versions, a figure which should be reduced to its quarter, after erasing all the duplicates.
Jump up ^ Mills, Jon. "Affinity: Affinity". AllMusic. Retrieved 2014-09-20.
Jump up ^ Viglione, Joe. "Brewer & Shipley: Weeds". AllMusic. Retrieved 2011-04-10.
Jump up ^ "Chris de Burgh: Footsteps". AllMusic. Retrieved 2011-04-11.
Jump up ^ "Randy California: Shattered Dreams". AllMusic. Retrieved 2014-09-21.
Jump up ^ Lenny Kravitz & Eric Clapton - All Along The Watchtower, 1999 (Live). Retrieved 2016-03-07.
Jump up ^ Mason, Sewart. "The Dream Syndicate: The Complete Live at Raji's". AllMusic. Retrieved 2011-04-11.
Jump up ^ "Second Hand Songs". secondhandsongs.com. Retrieved 2011-04-10.
Jump up ^ "The Jeff Healey Band: Live at Grossmans 1994". AllMusic. Retrieved 2011-04-11.
Jump up ^ Jurek, Thom. "Michael Hedges: Platinum & Gold Collection". AllMusic. Retrieved 2011-04-10.
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