document_title: (Ghost) Riders in the Sky: A Cowboy Legend

question_text: who sang the original song ghost riders in the sky

text: Overview[edit]

text: The song tells a folk tale of a cowboy who has a vision of red-eyed, steel-hooved cattle thundering across the sky, being chased by the spirits of damned cowboys. One warns him that if he does not change his ways, he will be doomed to join them, forever "trying to catch the Devil's herd across these endless skies". Jones stated he had been told the story when he was 12 years old by an old cowboy friend.[1] The story resembles the northern European mythic Wild Hunt.[4]  The tune sounds similar to "Spancil Hill", a traditional Irish folk song by Michael Considine, an Irish emigrant to the U.S. in the 1870s.[citation needed]

text: More than 50 performers have recorded versions of the song. Charting versions were recorded by The Outlaws, Vaughn Monroe ("Riders in the Sky" with orchestra and vocal quartet), which topped the Billboard magazine charts, by Bing Crosby (with the Ken Darby Singers), Frankie Laine, Burl Ives (two different versions), Marty Robbins, The Ramrods and Johnny Cash. Other recordings were made by Eddy Arnold, Peggy Lee (with the Jud Conlon Singers), Christopher Lee, and Spike Jones and his City Slickers. Gene Autry sang it in the 1949 movie, Riders in the Sky. Jones himself recorded it for his 1957 album Creakin' Leather.[5] Children of Bodom, Impaled Nazarene and Die Apokalyptischen Reiter have also made covers.

text: The melody is based on the song "When Johnny Comes Marching Home."[6]

text: Recordings[edit]

text: The original version by Stan Jones was recorded in late 1948.  Fellow songwriter Eden Ahbez sent the song to Burl Ives, who recorded his own version a year later.

text:
Burl Ives recorded the song on February 17, 1949, and the song was released by Columbia Records as catalog No. 38445. The recording first appeared on the Billboard charts on April 22, 1949, lasting six weeks and peaking at No. 21.[7]
The version by Vaughn Monroe and His Orchestra with Vaughn Monroe and The Moon Men on vocals, was recorded on March 14, 1949, and released by RCA Victor Records as catalog No. 20-3411 (in USA) and by EMI on the His Master's Voice label as catalog No. BD 1247, HN 3014, HQ 2071, IM 1425 and GY 878. The recording first appeared on the Billboard charts on April 15, 1949, lasting 22 weeks and reaching No. 1.[7] Billboard ranked it as the No. 1 song for 1949.[8]
The Bing Crosby version was recorded on March 22, 1949,[9] and released by Decca Records as catalog No. 24618. The recording first appeared on the Billboard charts on May 6, 1949, lasting 6 weeks and peaking at No. 14.[7]
The Peggy Lee version was recorded on April 18, 1949, and released by Capitol Records as catalog No. 57-608. It reached No. 2 on Billboard's Most Played By Disc Jockeys listing without appearing in the retail Top 30.
Spike Jones recorded the song on May 24, 1949, and it was released by RCA Victor Records as catalog No. 20-3741. Copies of the original release, containing lyrics ridiculing RCA stockholder Vaughn Monroe, are rare. The recording parodies the original Monroe recording, injecting much of Jones' quintessential humor along the way.
Gene Autry recorded the song for Columbia Records on August 16, 1949, which issued as Columbia 20635, backed with "Cowboy's Trademarks" (recorded August 27, 1940), and sang it in his 1949 film Riders in the Sky  released through Columbia Pictures.

text:
Opening track of Scatman Crothers' 1956 album, Rock 'n' roll with Scat Man.
Theodore Bikel sang a humorous version of the song in his An Actor's Holiday album (1956).

text:
The song was recorded by the Norman Luboff Choir and released on their 1960 album, Songs of the Cowboy.
Lawrence Welk and His Orchestra released an instrumental version in 1961, featuring Neil Levang on guitar, which spent 3 weeks on the Billboard Hot 100 chart, reaching No. 87.[10]
Curtis Lance (Dick Jensen) and the Uniques recorded an instrumental version in 1961.[11]
The Brothers Four recorded a driven, up-tempo version. with edited lyrics and truncated to three stanzas, for their third LP, B.M.O.C.: Best Music On/Off Campus for Columbia Records in 1961.
The Sons of the Pioneers included the song on their album Cool Water put out by RCA Records in 1961 under the name "Riders in the Sky".
A twangy guitar instrumental version by The Ramrods — featuring the sounds of mooing cattle, bronco cheers, and sound of cracking whips — was recorded in late 1960 and it made the Billboard Top 30 in 1961, as well as the UK Top 10. This was covered by UK band The Scorpions (not the German rock band) on the "Parlophone" Label.
The Ventures made a surf rock cover of the song in 1961. A live performance of the tune, featuring surf rock band The Original Surfaris appeared in the 1962 compilation album titled Surf's Up! At Banzai Pipeline. The performance incorporates the riff from the Jørgen Ingmann hit, "Apache".
Bob James, recording as The Bob James Trio, included it as the last track on his very first album Bold Conceptions released in 1962.
The Spotnicks, a Swedish instrumental rock band, covered this song on their 1962 album, The Spotnicks in London, Out-a space.
Frankie Laine recorded the song on his 1963 album, Wanderlust.
Frank Ifield recorded the song for his 1963 UK album, Born Free (Columbia 33SX 1534).[12]
Dick Dale recorded a surf-rock version for his second album, King of the Surf Guitar, released in 1963.
Californian singer Peter Tevis recorded a version with orchestral and choral arrangements by Ennio Morricone for the 1965 album, Un pugno di...West.
Baja Marimba Band recorded this song on the album, Watch Out, in 1966.
Tom Jones recorded this song opening the album, Green, Green Grass of Home, in 1967.
Takeshi Terauchi & Bunnys recorded an instrumental version of this song on their 1967 album, The World Is Waiting For Terry.
Davie Allan and the Arrows recorded two versions, one on the 1967 Blues' Theme album (Tower Records) and the other on the 2008 Moving Right Along album (Spinout Records).
Jimmy Wakely, a cowboy singer, recorded the song on Shasta Records.
Burl Ives made a second version of this song for his 1969 album Got the World by the Tail.

text:
Elvis Presley recorded it in June 1970 at MGM's soundstage in Culver City, California.
Susan Christie released a version on her 1970 album, Paint a Lady.
Roy Clark recorded an instrumental version for his 1973 album Roy Clark/Superpicker, an album of all instrumentals. The song reached No. 27 on the Hot Country Singles chart that year.
Former REO Speedwagon guitarist Gary Richrath quoted the melody of the song during his unaccompanied guitar solo on the band's 1977 live album, Live: You Get What You Play For.
Riders in the Sky recorded this song for their debut album, Three on the Trail, in 1979 and on several of subsequent albums.
Johnny Cash made a recording of the song in 1979 for his album, Silver, which was faithful to the original, and peaked at No.2 on the Billboard Hot Country Singles & Tracks chart. Johnny Cash also performs the song in his guest appearance on The Muppet Show in 1980.

text:
Country singer and rodeo cowboy Chris LeDoux recorded a version of the song for his 1980 album Old Cowboy Heroes. LeDoux's version swaps the placements of "yippie yi yay" and "yippie yi oh", and refers to the cowboy instead as a "cowpoke".
A version by The Shadows reached No. 12 on the UK Singles Chart in 1980. This version was a semitone higher than the original.
Australian band, the Fabulaires from Adelaide did a cover version on their Apocalypso 12" E.P. circa 1980.
Rock band Outlaws made a recording on their 1980 album Ghost Riders that left out the last verse. They also released a live version of the song, recorded in 1982 at the King Biscuit Flower Hour radio show, which appeared on Greatest Hits of The Outlaws... High Tides Forever.
Dean "Red Elvis" Reed recorded the song on the album Country in 1982 in East Germany and Czechoslovakia.[13][14]
A Sesame Street version titled "The Dirtiest Town In The West" with altered lyrics first aired in 1982.
Vic Damone recorded a version on his 1982 album Over The Rainbow.
Psychobilly band King Kurt released a version in 1983 on their album Ooh Wallah Wallah.
The Danish cowpunk band Disneyland After Dark (later just D-A-D) recorded the song "Riding With Sue" in 1986 for their album Call of the Wild where the riffs from the melody were used in an intermezzo.

text:
The Chaps released a Scottish parody version called "Rawhide" in 1982.
Peter, Paul & Mary recorded a parody of the song titled "Yuppies in the Sky" on their 1990 album Flowers and Stones.
Terry Scott Taylor and Daniel Amos recorded a version in 1990 that appeared on The Miracle Faith Telethon compilation album.
Impaled Nazarene recorded a black metal version of the song, which was released on the Sadogoat EP in 1993. It was subsequently included in the CD version of their bonus album, Tol Cormpt Norz Norz Norz.
The Alberta Celtic rock group Captain Tractor recorded an unusual version for their 1994 album Land. New lyrics describe the frenzy of corruption in a prairie town at the climax of a real estate bubble. Rather than fire-and-brimstone Christian imagery, the warning takes the form of vaguely Zen lamentations: "The winds still blow/The rains still fall/The trees don't seem to care at all!"
Buckethead played a dub style version of the song during his Giant Robot album tour in 1994.
Dick Dale once again covered the song for his 1994 album, Unknown Territory. For a time, this version accompanied a NASA montage as part of the preshow video on Space Mountain at Disneyland and Magic Kingdom.
Duane Eddy brought his electrified "twangy guitar" sound along with a sax edition by Jim Horn to a 1996 version on an Curb Album Ghost Rider.[15]
On the 1997 album, VH1 Storytellers, the song was recorded live with Johnny Cash and Willie Nelson. In that performance, Willie Nelson misses the start of the third verse because he forgets the text, and ends up switching the third and fourth verses.
Deborah Harry, lead singer of Blondie, recorded a trance version of the song, which features on the soundtrack to the film Three Businessmen (1998). The song (produced and arranged by Dan Wool and Pray for Rain) is available free on her website.[16]
Christopher Lee recorded a version of this song on the album Devils, Rogues & Other Villains, released by Nikolas Schreck in 1998 on his Wolfslair label.
The Blues Brothers performed the song in the 1998 movie Blues Brothers 2000. This version appeared on both the movie's soundtrack and the compilation album The Blues Brothers' Greatest Hits of All Time. Similar to the "Rawhide" scene in the first movie, the band is mistakenly booked at a bluegrass festival (announced to the crowd as "The Bluegrass Brothers").  Buster Blues' (J. Evan Bonifant) harmonica parts for the film were recorded by John Popper of Blues Traveler.
In 1999, Ned Sublette included a merengue rendition on his album, Cowboy Rumba.

text:
The German "Western Metal" band Dezperadoz (featuring a member of Sodom) covered the song on their 2000 album, The Dawn Of Dying.
Dolan Ellis, Arizona's Official State Balladeer since 1966, included this as the only cover on his CD, Tall Tales, Lost Trails & Heroes, released in 2000. He has sung the song throughout the nation and in 20 foreign countries, solo and as a member of the New Christy Minstrels, always telling the folk tale of Stan Jones, the Cochise County cowboy.
The Texas band, Ghoultown, recorded a version of this song on their album Tales from the Dead West (2000).
Concrete Blonde recorded a version for their last album, 2004's Mojave.
John Frusciante, Michael Rother, and Josh Klinghoffer performed a short instrumental version of the song live in 2004.
German heavy metal band, Die Apokalyptischen Reiter, released a version titled "Ghostriders in the Sky" on their 2006 4-track EP, Friede Sei Mit Dir.[17]
California-based Me First and the Gimme Gimmes covered the song on their 2006 album Love Their Country This cover was later used in 2017 in racing video game Forza Horizon 3's trailer for its Hot Wheels Expansion.
Art Greenhaw, Grammy Award-Winning guitarist, producer and leader of The Light Crust Doughboys, recorded a world music fusion version of this song on the album Lone Star Sitar and released in 2006 on the Greenhaw Records label.[18]
During the credits of the 2007 movie Ghost Rider, a rock cover by the band Spiderbait is played. An instrumental version is also heard at points in the film.
Finnish melodic death metal band Children of Bodom covered this song under the title 'Ghostriders in the Sky' and have released it on the special edition of their 2008 album, Blooddrunk.

text:
Judy Collins, featuring the Nashville Rhythm Section and Ghost Riders Chorus, covered ”Ghost Riders in the Sky” on her 2010 album Paradise.
Florida/Utah death metal band, Gorlock, covered it on their 2011 EP titled Despair is My Mistress.
The song is the opening track on Roswell Rudd's album, Trombone For Lovers.
The character of Granddad Brown in the Irish comedy series Mrs Brown's Boys briefly covered Ghost Riders in the Sky in the 2011 Christmas special episode "Mammy's Ass". The scene involves Granddad singing the song whilst Agnes hits him over the head with a metal tray, testing a crash helmet (which Granddad's wearing) her friend Winnie is meant to be testing.
A track on Drop The Lime's 2012 album Enter The Night used the instrumental of "(Ghost) Riders in the Sky".
"Outsider" music star, The Space Lady, featured it on her GREATEST HITS LP. (2013, Night School Records)
Screaming Orphans covered on the album Lonely Boy. (2011)
In 2015, a lower tempo version of Johnny Cash's cover was used on the announcement trailer for the forthcoming Space-Opera RPG, Mass Effect: Andromeda.
Monster truck Black Stallion uses it as its theme song.
Country artist Ray Scott (singer) covered Johnny Cash's version of this song on his EP, "Roots Sessions, Vol. 1" which was released in 2015.
Chrome Division covered Johnny Cash's version of this song on their 2011 "3rd Round Knockout" album.
Devil Driver covered Johnny Cash's version of this song on their 2018 "Outlaws ‘Til the End: Vol. 1" album.

text: Additional versions[edit]

text: Versions in various genres have also been made by the following artists:

text:
Carlos Malcolm
All-American Boys Chorus
Boston Pops Orchestra
Chrome Division
Dean Martin
Devildriver
Dixie Chicks
Fred Penner
Kaleidoscope
Marty Robbins
Mary McCaslin
R.E.M.
Scary Bitches (UK goth rock)
Shebeen (North Ireland underground music, as "Ooh Ah Up the 'RA, or The SAM Song")
The Tubes (under the track title, "Cowboy Fee & The Heifer's Dream")
Youn Sun Nah (on her album Lento)
Vocal Majority

text: Non-English versions[edit]

text: Czech[edit]

text:
Czech versions titled "Ďáblovo stádo" by Rudolf Cortéz released in 1956, and by Waldemar Matuška in 1981.
Czech version titled "Nebeští Jezdci" by Taxmeni & Roger Latzgo released in 1991

text: Estonian[edit]

text: Estonian-Canadian musician Jüri Lipp translated and recorded a surf rock version in Estonian in 1968.

text: Finnish[edit]

text:
A Finnish version titled "Aaveratsastajat" was written by Kullervo (born Tapio Kullervo Lahtinen) and it has been recorded by several popular artists including Henry Theel ja Metro-tytöt, Kari Tapio, Danny, Tapani Kansa, Reijo Taipale, and Ismo Alanko.
Juha Vainio wrote an alternative, humoristic version titled "Hirvenmetsästys" (The Moose Hunt). Pertti Metsärinteen yhtye recorded it in 1970.
An instrumental jazz version by Kalle Kalima on the album High Noon released in 2016.

text: French[edit]

text:
A French-language version titled "Les Cavaliers du Ciel" was released by Les Compagnons de la chanson in 1949.
French guitarist and singer, Gill Dougherty, also released a version on his 1990 album, Live In Bourges.
In 1992, another French language version titled "Où tu iras" was released by Les Naufragés, on their album A contre-Courant.

text: German[edit]

text:
In 1949, a German-language version titled "Geisterreiter" was recorded and released by East German entertainer, Rita Paul & Her Cornel-Trio. In the same year, a version was released by Gerhard Wendland.
Additional German-language versions have been released by surf-punk-electro band, Mikrowelle, and television entertainer, Götz Alsmann featuring Bela B of Die Ärzte.
An instrumental version was done by the Austrian band "da Blechhauf`n" in 2012.[19]

text: Italian[edit]

text: An Italian-language version of the song, titled "I Cavalieri del Cielo" was recorded by famous Italian singer Gino Latilla in 1952.

text: Lithuanian[edit]

text: A Lithuanian-language version of the song titled "Jupi Ja Je" was recorded by Adolfas Jarulis ir Estradinės melodijos in 1971.

text: Portuguese[edit]

text: Brazilian artist Milton Nascimento recorded a Portuguese-language version under the title "Cavaleiros do céu" released on his 1981 album, Caçador de Mim.[20]

text: Spanish[edit]

text:
In 1966, a Spanish-language version, "Jinetes en el cielo", was recorded and released by the Mexican group, Los Baby's.[21]
Mexican singer Pedro Vargas also recorded a version.
The popular singer from Spain, Raphael, also released a Spanish version in the 1970s. The lyrical subject was changed to reflect a cowboy doomed to ride for eternity for breaking a young girl's heart. The song ends happily when the girl saves him from that horrible destiny by crying and praying for him then letting a rose fall on his grave.
Mexican singers (and actors) Manolín and Shilinsky (find them in Wikipedia in Spanish) recorded a comic version.[22]

text: Yugoslavian[edit]

text: Iskre - Nebeski Jahači (Ghost Riders In The Sky) 1965

text: Influences[edit]

text: Apart from the numerous recordings by various artists, "Ghost Riders in the Sky" has inspired various artists.

text:
The Doors' "Riders on the Storm", from the album L.A. Woman (1971).[23]
The chorus lines of this song are and have been since the 1960s a terrace song of the Aston Villa Football Club of England. The words have been modified to include the line "Holte Enders in the Sky," a reference to the occupants of the vast stand behind the goal at the southern end of the Villa Park stadium.[24]
REO Speedwagon's "Ridin' the Storm Out", from the album Ridin' the Storm Out (1973).
Def Leppard's "Foolin'", from the album Pyromania (1983), with the line "On and on, we rode the storm".
Motörhead's Iron Fist, from the album Iron Fist (1982).
The song was also the inspiration for the Magazine Enterprises' horror-Western comic-book character the Ghost Rider.[25] After the trademark to the character's name and motif lapsed, Marvel Comics debuted its own near-identical, non-horror version of the character in Ghost Rider #1 (Feb. 1967), drawn by Ayers. This character was renamed the Phantom Rider when Marvel debuted its demonic motorcyclist character Ghost Rider.
The Corries recorded a comic parody of the song called The Portree Kid written by Scottish musician Bill Hill, claiming that this was the original Scottish song and tune which had been usurped by American songwriters. Portree is the largest town on the Isle of Skye.


document_title: Brave New World

question_text: when does a brave new world take place

question_tokens: when does a brave new world take place

root

text: Brave New World

text: Title[edit]

text: Brave New World's title derives from Miranda's speech in William Shakespeare's The Tempest, Act V, Scene I:[5]

tag: p

text: O wonder!How many goodly creatures are there here!How beauteous mankind is! O brave new world,That has such people in't.

text: Translations of the title often allude to similar expressions used in domestic works of literature: the French edition of the work is entitled Le Meilleur des mondes (The Best of All Worlds), an allusion to an expression used by the philosopher Gottfried Leibniz[7] and satirised in Candide, Ou l'Optimisme by Voltaire (1759).

text: History[edit]

text: Huxley wrote Brave New World while living in Sanary-sur-Mer, France, in the four months from May to August 1931.[8] By this time, Huxley had already established himself as a writer and social satirist. He was a contributor to Vanity Fair and Vogue magazines, and had published a collection of his poetry (The Burning Wheel, 1916) and four successful satirical novels: Crome Yellow (1921), Antic Hay (1923), Those Barren Leaves (1925), and Point Counter Point (1928). Brave New World was Huxley's fifth novel and first dystopian work.

text: Huxley said that Brave New World was inspired by the utopian novels of H. G. Wells, including A Modern Utopia (1905), and Men Like Gods (1923).[9] Wells's hopeful vision of the future's possibilities gave Huxley the idea to begin writing a parody of the novels, which became Brave New World. He wrote in a letter to Mrs. Arthur Goldsmith, an American acquaintance, that he had "been having a little fun pulling the leg of H. G. Wells", but then he "got caught up in the excitement of [his] own ideas."[10] Unlike the most popular optimist utopian novels of the time, Huxley sought to provide a frightening vision of the future. Huxley referred to Brave New World as a "negative utopia", somewhat influenced by Wells's own The Sleeper Awakes (dealing with subjects like corporate tyranny and behavioural conditioning) and the works of D. H. Lawrence.

text: George Orwell believed that Brave New World must have been partly derived from the 1921 novel We by Yevgeny Zamyatin.[11] However, in a 1962 letter to Christopher Collins, Huxley says that he wrote Brave New World long before he had heard of We.[12] According to We translator Natasha Randall, Orwell believed that Huxley was lying.[13] The scientific futurism in Brave New World is believed to be cribbed from Daedalus by J. B. S. Haldane.[14]

text: The events of the Depression in Britain in 1931, with its mass unemployment and the abandonment of the gold currency standard, persuaded Huxley to assert that stability was the "primal and ultimate need" if civilisation was to survive the present crisis.[15] The Brave New World character Mustapha Mond, Resident World Controller of Western Europe, is named after Sir Alfred Mond. Shortly before writing the novel, Huxley visited Mond's technologically advanced plant near Billingham, north east England, and it made a great impression on him.[15]

text: Huxley used the setting and characters in his science fiction novel to express widely held opinions, particularly the fear of losing individual identity in the fast-paced world of the future. An early trip to the United States gave Brave New World much of its character. Not only was Huxley outraged by the culture of youth, commercial cheeriness and sexual promiscuity, and the inward-looking nature of many Americans,[16] he had also found the book My Life and Work by Henry Ford on the boat to America, and he saw the book's principles applied in everything he encountered after leaving San Francisco.[17]

text: Plot[edit]

text: The novel opens in the World State city of London in AF (After Ford) 632 (AD 2540 in the Gregorian calendar), where citizens are engineered through artificial wombs and childhood indoctrination programmes into predetermined classes (or castes) based on intelligence and labour. Lenina Crowne, a hatchery worker, is popular and sexually desirable, but Bernard Marx, a psychologist, is not. He is shorter in stature than the average member of his high caste, which gives him an inferiority complex. His work with sleep-learning allows him to understand, and disapprove of, his society's methods of keeping its citizens peaceful, which includes their constant consumption of a soothing, happiness-producing drug called soma. Courting disaster, Bernard is vocal and arrogant about his criticisms, and his boss contemplates exiling him to Iceland because of his nonconformity. His only friend is Helmholtz Watson, a gifted writer who finds it difficult to use his talents creatively in their pain-free society.

text: Bernard takes a holiday with Lenina outside the World State to a Savage Reservation in New Mexico, in which the two observe natural-born people, disease, the aging process, other languages, and religious lifestyles for the first time. (The culture of the village folk resembles the contemporary Native American groups of the region, descendants of the Anasazi, including the Puebloan peoples of Acoma, Laguna and Zuni.) Bernard and Lenina witness a violent public ritual and then encounter Linda, a woman originally from the World State who is living on the reservation with her son John, now a young man. She, too, visited the reservation on a holiday many years ago, but became separated from her group and was left behind. She had meanwhile become pregnant by a fellow-holidaymaker (who is revealed to be Bernard's boss, the Director of Hatcheries and Conditioning). She did not try to return to the World State, because of her shame at her pregnancy. Despite spending his whole life in the reservation, John has never been accepted by the villagers, and his and Linda's lives have been hard and unpleasant. Linda has taught John to read, although from the only two books in her possession — a scientific manual and the complete works of Shakespeare. Ostracised by the villagers, John is able to articulate his feelings only in terms of Shakespearean drama, especially the tragedies of Othello, Romeo and Juliet and Hamlet. Linda now wants to return to London, and John, too, wants to see this "brave new world". Bernard sees an opportunity to thwart plans to exile him, and gets permission to take Linda and John back. On their return to London, John meets the Director and calls him his "father", a vulgarity which causes a roar of laughter. The humiliated Director resigns in shame before he can follow through with exiling Bernard.

text: Bernard, as "custodian" of the "savage" John who is now treated as a celebrity, is fawned on by the highest members of society and revels in attention he once scorned. Bernard's popularity is fleeting, though, and he becomes envious that John only really bonds with the literary-minded Helmholtz. Considered hideous and friendless, Linda spends all her time using soma, while John refuses to attend social events organised by Bernard, appalled by what he perceives to be an empty society. Lenina and John are physically attracted to each other, but John's view of courtship and romance, based on Shakespeare's writings, is utterly incompatible with Lenina's freewheeling attitude to sex. She tries to seduce him, but he attacks her, before suddenly being informed that his mother is on her deathbed. He rushes to Linda's bedside, causing a scandal, as this is not the "correct" attitude to death. Some children who enter the ward for "death-conditioning" come across as disrespectful to John until he attacks one physically. He then tries to break up a distribution of soma to a lower-caste group, telling them that he is freeing them. Helmholtz and Bernard rush in to stop the ensuing riot, which the police quell by spraying soma vapor into the crowd.

text: Bernard, Helmholtz, and John are all brought before Mustapha Mond, the "Resident World Controller for Western Europe", who tells Bernard and Helmholtz that they are to be exiled to islands for antisocial activity. Bernard pleads for a second chance, but Helmholtz welcomes the opportunity to be a true individual, and chooses the Falkland Islands as his destination, believing that their bad weather will inspire his writing. Mond tells Bernard that exile is actually a reward. The islands are full of the most interesting people in the world, individuals who did not fit into the social model of the World State. Mond outlines for John the events that led to the present society and his arguments for a caste system and social control. John rejects Mond's arguments, and Mond sums up John's views by claiming that John demands "the right to be unhappy". John asks if he may go to the islands as well, but Mond refuses, saying he wishes to see what happens to John next.

text: Jaded with his new life, John moves to an abandoned hilltop tower, near the village of Puttenham, where he intends to adopt a solitary ascetic lifestyle in order to purify himself of civilization, practising self-flagellation. This soon draws reporters and eventually hundreds of amazed sightseers, hoping to witness his bizarre behaviour; one of them is implied to be Lenina. At the sight of the woman he both adores and loathes, John attacks her with his whip. The onlookers are wildly aroused by the display and John is caught up in the crowd's soma-fueled frenzy. The next morning, he remembers the previous night's events and is stricken with remorse. Onlookers and journalists who arrive that evening discover John dead, having hanged himself.

text: Characters[edit]

text: John – the illicit son of the Director and Linda, born and reared on the Savage Reservation ("Malpais") after Linda was unwittingly left behind by her errant lover. John ("the Savage", as he is often called) is an outsider both on the Reservation—where the natives still practice marriage, natural birth, family life and religion—and the ostensibly civilised World State, based on principles of stability and shallow happiness. He has read nothing but the complete works of William Shakespeare, which he quotes extensively, and, for the most part, aptly, though his allusion to the "Brave New World" (Miranda's words in The Tempest) takes on a darker and bitterly ironic resonance as the novel unfolds. John is intensely moral according to a code that he has been taught by Shakespeare and life in Malpais but is also naïve: his views are as imported into his own consciousness as are the hypnopedic messages of World State citizens. The admonishments of the men of Malpais taught him to regard his mother as a whore; but he cannot grasp that these were the same men who continually sought her out despite their supposedly sacred pledges of monogamy. Because he is unwanted in Malpais, he accepts the invitation to travel back to London and is initially astonished by the comforts of the World State. However, he remains committed to values that exist only in his poetry. He first spurns Lenina for failing to live up to his Shakespearean ideal and then the entire utopian society: he asserts that its technological wonders and consumerism are poor substitutes for individual freedom, human dignity and personal integrity. After his mother's death, he becomes deeply distressed with grief, surprising onlookers in the hospital. He then ostracizes himself from society and attempts to purify himself of "sin" (desire), but is finally unable to do so and hangs himself in despair.

text: Bernard Marx – a sleep-learning specialist at the Central London Hatchery and Conditioning Centre. Although Bernard is an Alpha-Plus (the upper class of the society), he is a misfit. He is unusually short for an Alpha; an alleged accident with alcohol in Bernard's blood-surrogate before his decanting has left him slightly stunted. Bernard's independence of mind stems more from his inferiority complex and depressive nature than from any depth of philosophical conviction. Unlike his fellow utopians, Bernard is often angry, resentful, and jealous. At times, he is also cowardly and hypocritical. His conditioning is clearly incomplete. He doesn't enjoy communal sports, solidarity services, or promiscuous sex. He doesn't even get much joy out of soma. Bernard is in love with Lenina but he doesn't like her sleeping with other men, even though "everyone belongs to everyone else". Bernard's triumphant return to utopian civilisation with John the Savage from the Reservation precipitates the downfall of the Director, who had been planning to exile him. Bernard's triumph is short-lived. Success goes to his head. Despite his tearful pleas, he is ultimately banished to an island for his non-conformist behaviour.

text: Helmholtz Watson – a handsome and successful Alpha-Plus lecturer at the College of Emotional Engineering and a friend of Bernard. He feels unfulfilled writing endless propaganda doggerel, and the stifling conformism and philistinism of the World State make him restive. Helmholtz is ultimately exiled to the Falkland Islands—a cold asylum for disaffected Alpha-Plus non-conformists—after reading a heretical poem to his students on the virtues of solitude and helping John destroy some Deltas' rations of soma following Linda's death. Unlike Bernard, he takes his exile in his stride and comes to view it as an opportunity for inspiration in his writing.

text: Lenina Crowne – a young, beautiful fetus technician at the Central London Hatchery and Conditioning Centre. She is  part of the 30% of the female population that are not freemartins (sterile women). Lenina is promiscuous and popular but somewhat quirky in her society: she had a four-month relation with Henry Foster, choosing not to have sex with anyone but him for a period of time. She is basically happy and well-conditioned but will use soma to suppress unwelcome emotions, as is expected. Lenina has a date with Bernard, to whom she feels ambivalently attracted, and she goes to the Reservation with him. On returning to civilization, she tries and fails to seduce John the Savage. John loves and desires Lenina but he is repelled by her forwardness and the prospect of pre-marital sex, rejecting her as an "impudent strumpet". Lenina visits John at the lighthouse but he attacks her with a whip, unwittingly inciting onlookers to do the same. Her exact fate is left unspecified.

text: Mustapha Mond – Resident World Controller of Western Europe, "His Fordship" Mustapha Mond presides over one of the ten zones of the World State, the global government set up after the cataclysmic Nine Years' War and great Economic Collapse. Sophisticated and good-natured, Mond is an urbane and hyperintelligent advocate of the World State and its ethos of "Community, Identity, Stability". Among the novel's characters, he is uniquely aware of the precise nature of the society he oversees and what it has given up to accomplish its gains. Mond argues that art, literature, and scientific freedom must be sacrificed to secure the ultimate utilitarian goal of maximising societal happiness. He defends the genetic caste system, behavioural conditioning, and the lack of personal freedom in the World State: these, he says, are a price worth paying for achieving social stability, the highest social virtue because it leads to lasting happiness.

text: Fanny Crowne – Lenina Crowne's friend (they have the same last name because only ten thousand last names are in use in the World State). Fanny voices the conventional values of her caste and society, particularly the importance of promiscuity: she advises Lenina that she should have more than one man in her life because it is unseemly to concentrate on just one. Fanny then, however, warns Lenina away from a new lover whom she considers undeserving, yet she is ultimately supportive of the young woman's attraction to the savage John.

text: Henry Foster – One of Lenina's many lovers, he is a perfectly conventional Alpha male, casually discussing Lenina's body with his coworkers. His success with Lenina, and his casual attitude about it, infuriate the jealous Bernard. Henry ultimately proves himself every bit the ideal World State citizen, finding no courage to defend Lenina from John's assaults despite having maintained an uncommonly longstanding sexual relationship with her.

text: Benito Hoover – Another of Lenina's lovers. She remembers that he is particularly hairy when he takes his clothes off.

text: The Director of Hatcheries and Conditioning (DHC), also known as Thomas "Tomakin" – He is the administrator of the Central London Hatchery and Conditioning Centre, where he is a threatening figure who intends to exile Bernard to Iceland. His plans take an unexpected turn, however, when Bernard returns from the Reservation with Linda (see below) and John, a child they both realize is actually his. This fact, scandalous and obscene in the World State not because it was extramarital (which all sexual acts are) but because it was procreative, leads the Director to resign his post in shame.

text: Linda – John's mother, decanted as a Beta-Minus in the World State, originally worked in the DHC's Fertilizing Room, and subsequently lost during a storm while visiting the New Mexico Savage Reservation with the Director many years before the events of the novel. Despite following her usual precautions, Linda became pregnant with the Director's son during their time together and was therefore unable to return to the World State by the time that she found her way to Malpais. Having been conditioned to the promiscuous social norms of the World State, Linda finds herself at once popular with every man in the pueblo (because she is open to all sexual advances) and also reviled for the same reason, seen as a whore by the wives of the men who visit her and by the men themselves (who come to her nonetheless). Her only comforts there are mescal brought by Popé as well as peyotl. Linda is desperate to return to the World State and to soma, wanting nothing more from her remaining life than comfort until death.

text: The Arch-Community-Songster – The secular equivalent of the Archbishop of Canterbury in the World State society.

text: The Warden – An Alpha-Minus, the talkative chief administrator for the New Mexico Savage Reservation. He is blond, short, broad-shouldered, and has a booming voice.[18]

text: Darwin Bonaparte – a "big game photographer" (i.e. filmmaker) who films John flogging himself. Darwin Bonaparte is known for two other works: "feely of the gorillas' wedding",[19] and "Sperm Whale's Love-life".[19] He has already made a name for himself[20] but still seeks more. He renews his fame by filming the savage, John, in his newest release "The Savage of Surrey".[21] His name alludes to Charles Darwin and Napoleon Bonaparte.

text: Others[edit]

text: Freemartins: These women have been deliberately made sterile by exposure to male hormones during fetal development but still physically normal except for "the slightest tendency to grow beards." In the book, government policy requires freemartins to form 70% of the female population.

tag: ul

text: Of Malpais[edit]

text:
Popé, a native of Malpais. Although he reinforces the behaviour that causes hatred for Linda in Malpais by sleeping with her and bringing her mescal, he still holds the traditional beliefs of his tribe. In his early years John also attempts to kill him. He gave Linda a copy of the Complete Works of Shakespeare.
Mitsima, an elder tribal shaman who also teaches John survival skills such as rudimentary ceramics (specifically coil pots, which were traditional to Native American tribes) and bow-making.

text: Background figures[edit]

text: These are non-fictional and factual characters who lived before the events in this book, but are of note in the novel:

text:
Henry Ford, who has become a messianic figure to the World State. "Our Ford" is used in place of "Our Lord", as a credit to popularising the use of the assembly line. Huxley's description of Ford as a central figure in the emergence of the Brave New World might also be a reference to the utopian industrial city of Fordlândia commissioned by Ford in 1927.[speculation?]
Sigmund Freud, "Our Freud" is sometimes said in place of "Our Ford" because Freud's psychoanalytic method depends implicitly upon the rules of classical conditioning, and because Freud popularized the idea that sexual activity is essential to human happiness. (It is also strongly implied that citizens of the World State believe Freud and Ford to be the same person.)[22]
H. G. Wells, "Dr Wells", British writer and utopian socialist, whose book Men Like Gods was an incentive for Brave New World. "All's well that ends Wells", wrote Huxley in his letters, criticising Wells for anthropological assumptions Huxley found unrealistic.
Ivan Petrovich Pavlov, whose conditioning techniques are used to train infants.
William Shakespeare, whose banned works are quoted throughout the novel by John, "the Savage". The plays quoted include Macbeth, The Tempest, Romeo and Juliet, Hamlet, King Lear, Troilus and Cressida, Measure for Measure and Othello. Mustapha Mond also knows them because as a World Controller he has access to a selection of books from throughout history, including the Bible.
Thomas Robert Malthus, 19th century British economist, believed the people of the Earth would eventually be threatened by their inability to raise enough food to feed the population. In the novel, the eponymous character devises the contraceptive techniques (Malthusian belt) that are practiced by women of the World State.
Reuben Rabinovitch, the Russian-Jewish character on whom the effects of sleep-learning, hypnopædia, are first observed.
John Henry Newman, 19th century Catholic theologian and educator, believed university education the critical element in advancing post-industrial Western civilization. Mustapha Mond and The Savage discuss a passage from one of Newman's books.

text: Sources of names and references[edit]

text: The limited number of names that the World State assigned to its bottle-grown citizens can be traced to political and cultural figures who contributed to the bureaucratic, economic, and technological systems of Huxley's age, and presumably those systems in Brave New World.[23]

text: Critical reception[edit]

text: Upon publication, Rebecca West praised Brave New World as "The most accomplished novel Huxley has yet written",[24] Joseph Needham lauded it as "Mr. Huxley's remarkable book",[25] and Bertrand Russell also praised it, stating, "Mr. Aldous Huxley has shown his usual masterly skill in Brave New World."[26]

text: However, Brave New World also received negative responses from other contemporary critics, although his work was later embraced.[27]

text: In an article in the 4 May 1935 issue of the Illustrated London News, G. K. Chesterton explained that Huxley was revolting against the "Age of Utopias". Much of the discourse on man's future before 1914 was based on the thesis that humanity would solve all economic and social issues. In the decade following the war the discourse shifted to an examination of the causes of the catastrophe. The works of H. G. Wells and George Bernard Shaw on the promises of socialism and a World State were then viewed as the ideas of naive optimists. Chesterton wrote:

text: After the Age of Utopias came what we may call the American Age, lasting as long as the Boom. Men like Ford or Mond seemed to many to have solved the social riddle and made capitalism the common good. But it was not native to us; it went with a buoyant, not to say blatant optimism, which is not our negligent or negative optimism. Much more than Victorian righteousness, or even Victorian self-righteousness, that optimism has driven people into pessimism. For the Slump brought even more disillusionment than the War. A new bitterness, and a new bewilderment, ran through all social life, and was reflected in all literature and art. It was contemptuous, not only of the old Capitalism, but of the old Socialism. Brave New World is more of a revolution against Utopia than against Victoria.[28]

text: Similarly, in 1944 economist Ludwig von Mises described Brave New World as a satire of utopian predictions of socialism: "Aldous Huxley was even courageous enough to make socialism's dreamed paradise the target of his sardonic irony."[29]

text: In 1999, the Modern Library ranked Brave New World fifth on its list of the 100 best English-language novels of the 20th century.[2] In 2003, Robert McCrum writing for The Observer included Brave New World chronologically at number 53 in "the top 100 greatest novels of all time",[3] and the novel was listed at number 87 on the BBC's survey The Big Read.[4]

text: Fordism and society[edit]

text: The World State is built upon the principles of Henry Ford's assembly line: mass production, homogeneity, predictability, and consumption of disposable consumer goods. While the World State lacks any supernatural-based religions, Ford himself is revered as the creator of their society but not as a deity, and characters celebrate Ford Day and swear oaths by his name (e.g., "By Ford!"). In this sense, some fragments of traditional religion are present, such as Christian crosses, which had their tops cut off to be changed to a "T". In England, there is an Arch-Community-Songster of Canterbury, obviously continuing the Archbishop of Canterbury, and in America the Christian Science Monitor continues publication as The Fordian Science Monitor. The World State calendar numbers years in the "AF" era — "Anno Ford" — with the calendar beginning in AD 1908, the year in which Ford's first Model T rolled off his assembly line. The novel's Gregorian calendar year is AD 2540, but it is referred to in the book as AF 632.[citation needed]

text: From birth, members of every class are indoctrinated by recorded voices repeating slogans while they sleep (called "hypnopædia" in the book) to believe their own class is superior, but that the other classes perform needed functions. Any residual unhappiness is resolved by an antidepressant and hallucinogenic drug called soma.

text: The biological techniques used to control the populace in Brave New World do not include genetic engineering; Huxley wrote the book before the structure of DNA was known. However, Gregor Mendel's work with inheritance patterns in peas had been rediscovered in 1900 and the eugenics movement, based on artificial selection, was well established. Huxley's family included a number of prominent biologists including Thomas Huxley, half-brother and Nobel Laureate Andrew Huxley, and his brother Julian Huxley who was a biologist and involved in the eugenics movement. Nonetheless, Huxley emphasises conditioning over breeding (nurture versus nature); human embryos and fetuses are conditioned through a carefully designed regimen of chemical (such as exposure to hormones and toxins), thermal (exposure to intense heat or cold, as one's future career would dictate), and other environmental stimuli, although there is an element of selective breeding as well.

text: Comparisons with George Orwell's  Nineteen Eighty-Four [edit]

text: Social critic Neil Postman contrasted the worlds of Nineteen Eighty-Four and Brave New World in the foreword of his 1985 book Amusing Ourselves to Death. He writes:

text: What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egotism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance. Orwell feared we would become a captive culture. Huxley feared we would become a trivial culture, preoccupied with some equivalent of the feelies, the orgy porgy, and the centrifugal bumblepuppy. As Huxley remarked in Brave New World Revisited, the civil libertarians and rationalists who are ever on the alert to oppose tyranny "failed to take into account man's almost infinite appetite for distractions." In 1984, Orwell added, people are controlled by inflicting pain. In Brave New World, they are controlled by inflicting pleasure. In short, Orwell feared that our fear will ruin us. Huxley feared that our desire will ruin us.

text: Journalist Christopher Hitchens, who himself published several articles on Huxley and a book on Orwell, noted the difference between the two texts in the introduction to his 1999 article "Why Americans Are Not Taught History":

text: We dwell in a present-tense culture that somehow, significantly, decided to employ the telling expression "You're history" as a choice reprobation or insult, and thus elected to speak forgotten volumes about itself. By that standard, the forbidding dystopia of George Orwell's Nineteen Eighty-Four already belongs, both as a text and as a date, with Ur and Mycenae, while the hedonist nihilism of Huxley still beckons toward a painless, amusement-sodden, and stress-free consensus. Orwell's was a house of horrors. He seemed to strain credulity because he posited a regime that would go to any lengths to own and possess history, to rewrite and construct it, and to inculcate it by means of coercion. Whereas Huxley ... rightly foresaw that any such regime could break because it could not bend. In 1988, four years after 1984, the Soviet Union scrapped its official history curriculum and announced that a newly authorized version was somewhere in the works. This was the precise moment when the regime conceded its own extinction. For true blissed-out and vacant servitude, though, you need an otherwise sophisticated society where no serious history is taught.[30]

text: Brave New World Revisited[edit]

text: Brave New World Revisited (Harper & Brothers, US, 1958; Chatto & Windus, UK, 1959),[31] written by Huxley almost thirty years after Brave New World, is a non-fiction work in which Huxley considered whether the world had moved toward or away from his vision of the future from the 1930s. He believed when he wrote the original novel that it was a reasonable guess as to where the world might go in the future. In Brave New World Revisited, he concluded that the world was becoming like Brave New World much faster than he originally thought.

text: Huxley analysed the causes of this, such as overpopulation, as well as all the means by which populations can be controlled. He was particularly interested in the effects of drugs and subliminal suggestion. Brave New World Revisited is different in tone because of Huxley's evolving thought, as well as his conversion to Hindu Vedanta in the interim between the two books.

text: The last chapter of the book aims to propose action which could be taken to prevent a democracy from turning into the totalitarian world described in Brave New World. In Huxley's last novel, Island, he again expounds similar ideas to describe a utopian nation, which is generally known as a counterpart to his most famous work.

text: Censorship/banning instances, accusation of plagiarism[edit]

text: The American Library Association ranks Brave New World as No. 52 on their list of most challenged books.[32][33]

text: The following list includes some notable incidents in which it has been censored, banned, or challenged:

text:
In 1932, the book was banned in Ireland for its language, and for supposedly being anti-family and anti-religion.[34][35]
In 1965, a Maryland English teacher alleged that he was fired for assigning Brave New World to students. The teacher sued for violation of First Amendment rights but lost both his case and the appeal.[36]
The book was banned in India in 1967, with Huxley accused of being a "pornographer".[37]
In 1980, it was removed from classrooms in Miller, Missouri among other challenges.[38]
In 1982, Polish author Antoni Smuszkiewicz, in his analysis of Polish science-fiction Zaczarowana gra ("The Magic Game"), presented accusations of plagiarism against Huxley. Smuszkiewicz showed similarities between Brave New World and two science fiction novels written earlier by Polish author Mieczysław Smolarski, namely Miasto światłości ("The City of Light", 1924) and Podróż poślubna pana Hamiltona ("Mr Hamilton's Honeymoon Trip", 1928).[39] Smolarski wrote in his open letter to Huxley: "This work of a great author, both in the general depiction of the world as well as countless details, is so similar to two of my novels that in my opinion there is no possibility of accidental analogy."[40]
Kurt Vonnegut said that in writing Player Piano (1952), he "cheerfully ripped off the plot of Brave New World, whose plot had been cheerfully ripped off from Yevgeny Zamyatin's We".[41]

text: Related works[edit]

text: Previous[edit]

text:
The First Men in the Moon (1901) by H. G. Wells. A lunar population lives in a single harmonious society, where the offspring starts life in small containers. There it is decided what kind of caste they will belong to for the rest of their existence, and their development at this stage is influenced to make sure they fit their caste perfectly.
Crome Yellow (1921) by Aldous Huxley. Looking forward to Brave New World, this earlier novel has Mr Scogan, a believer in "the goddess of Applied Science", looking forward optimistically to "the next few centuries" when "In vast state incubators, rows upon rows of gravid bottles will supply the world with the population it requires. The family system will disappear; society, sapped at its very base, will have to find new foundations; and Eros, beautifully and irresponsibly free, will flit like a gay butterfly from flower to flower through a sunlit world."
Men Like Gods (1923) by H. G. Wells is a utopian novel that was a source of inspiration for Huxley's novel. Wells' earlier work, A Modern Utopia included the notion of a world state exiling dissidents to islands, where they would be free to live in ways unacceptable for the rest of the world.
The Scientific Outlook (1931) by philosopher Bertrand Russell. When Brave New World was released, Russell thought that Huxley's book was based on his book The Scientific Outlook, released the previous year. Russell contacted his own publisher and asked whether he should do something about this "apparent plagiarism". His publisher advised him not to, and Russell followed this advice.[42]

text: Following[edit]

text:
Nineteen Eighty-Four (1949) by George Orwell. The two novels are often compared and sometimes regarded as the greatest works depicting dystopias propagandized as "perfect" societies.
Kurt Vonnegut said that in writing Player Piano (1952) he "cheerfully ripped off the plot of Brave New World, whose plot had been cheerfully ripped off from Yevgeny Zamyatin's We."[43]
Fahrenheit 451 (1953) by Ray Bradbury
Walden Two (1948) by B. F. Skinner. Skinner was a Harvard psychologist who put his formal research in Operant Conditioning and Behaviorism into fictional practice by creating a utopian society based on these scientific principles.
THX 1138 (1971) the George Lucas film, depicts a dystopian future in which the populace is partially controlled through use of drugs.

text: Adaptations[edit]

text: Theatre[edit]

text: Brave New World (opened 4 September 2015) in co-production by Royal & Derngate, Northampton and Touring Consortium Theatre Company which toured the UK. The adaptation was by Dawn King, composed by These New Puritans and directed by James Dacre.

text: Radio[edit]

text:
Brave New World (radio broadcast) CBS Radio Workshop (27 January and 3 February 1956): music composed and conducted by Bernard Herrmann. Adapted for radio by William Froug. Introduced by William Conrad and narrated by Aldous Huxley. Featuring the voices of Joseph Kearns, Bill Idelson, Gloria Henry, Charlotte Lawrence,[44] Byron Kane, Sam Edwards, Jack Kruschen, Vic Perrin, Lurene Tuttle, Herb Butterfield, Paul Hebert, Doris Singleton.[45]
Brave New World (radio broadcast) BBC Radio4 (May 2013)
Brave New World (radio broadcast) BBC Radio4 (22, 29 May 2016)

text: Film[edit]

text:
Brave New World (1980), a television film directed by Burt Brinckerhoff
Brave New World (1998), a television film directed by Leslie Libman and Larry Williams

text: Future adaptation[edit]

text: In 2009, Ridley Scott and Leonardo DiCaprio announced that they would collaborate on a new adaptation of the book.[46] However, as of 2013, the project has been on hold while Scott has been involved with other projects.[47]

text: Television[edit]

text: In May 2015, The Hollywood Reporter reported that Steven Spielberg's Amblin Entertainment will bring Brave New World to the SyFy TV channel as a scripted series, written (adapted) by Les Bohem.[48]

text: Publications[edit]

text: Brave New World title listing at the Internet Speculative Fiction Database:

text:
Brave New World
Aldous Huxley; Perennial, Reprint edition, 1 September 1998; ISBN 0-06-092987-1
Brave New World Revisited
Aldous Huxley; Perennial, 1 March 2000; ISBN 0-06-095551-1
Brave New World and Brave New World Revisited
Aldous Huxley (with a foreword by Christopher Hitchens); Harper Perennial Modern Classics, 2005; ISBN 0-06-077609-9
Brave New World & Brave New World Revisited
Aldous Huxley (with an introduction by Margaret Atwood); Vintage Canada Edition, 2007; ISBN 978-0-307-35655-0
Huxley's Brave New World (Cliffs Notes)
Charles and Regina Higgins; Cliffs Notes, 30 May 2000; ISBN 0-7645-8583-5
Spark Notes Brave New World
Sterling, 31 December 2003; ISBN 1-58663-366-X
Aldous Huxley's Brave New World (Barron's Book Notes)
Anthony Astrachan, Anthony Astrakhan; Barrons Educational Series, November 1984; ISBN 0-8120-3405-8


document_title: State of Emergency in India

question_text: which right cannot be taken away during emergency as per the constitution of india

question_tokens: which right can not be taken away during emergency as per the constitution of india

text: State of Emergency in India

text: National emergency under article 352[edit]

text:
National emergency can be declared on the basis of external aggression or armed rebellion in the whole of India or a part of its territory. Such an emergency was declared in India in 1962 (China war), 1971 (Pakistan war), and 1975 (declared by Indira Gandhi).
The President can declare such an emergency only on the basis of a written request by the Cabinet headed by the Prime Minister. Such a proclamation must be laid before both houses of Parliament, and the state of emergency expires after one month unless approved within that time by both houses sitting and voting separately. However, if the Lok Sabha (the lower house) has been dissolved or dissolution takes place in the state of emergency, and the Rajya Sabha approves of the state of emergency, the deadline for the Lok Sabha is extended until thirty days after that house reconstituted. According to Article 352(6),[2] approval by each house requires a special majority: those in favour of the motion must be two thirds of those present and voting, and amount to a majority of the entire membership of that house. A Parliamentary resolution extends the state of emergency for up to six months, and it can be extended indefinitely by further resolutions in six-monthly increments.

text: During a national emergency, many Fundamental Rights of Indian citizens can be suspended. The six freedoms under Right to Freedom are automatically suspended. By contrast, the Right to Life and Personal Liberty cannot be suspended according to the original Constitution. In January 1977, during the emergency declared controversially by Indira Gandhi, the government decided to suspend even the Right to Life and Personal Liberty by dispensing with Habeas corpus. Justice Hans Raj Khanna defended the Right to Life and asked: "Life is also mentioned in Article 21 and would Government argument extend to it also?". The Attorney General observed: "Even if life was taken away illegally, courts are helpless".[3]

text: A national emergency modifies the federal system of government to a unitary one by granting Parliament the power to make laws on the 66 subjects of the State List (which contains subjects on which the state governments can make laws). Also, all state money bills are referred to the Parliament for its approval.

text: During an emergency, the term of the Lok Sabha can be successively extended by intervals of up to one year, but not beyond six months after the state of emergency has been revoked.

text: State Emergency under Article 356[edit]

text: A state of emergency can be declared in any state of India (except Jammu and Kashmir) under article 356 on the recommendation of the governor of the state. Every state in India except two states, Chhattisgarh and Telangana  has been under a state of emergency at some point of time or the other. The state of emergency is commonly known as 'President's Rule'.

text: If the President is satisfied, based on the report of the Governor of the concerned state or from other sources, that the governance in a state cannot be carried out according to the provisions in the Constitution, he may declare an emergency in the state. Such an emergency must be approved by the Parliament within a period of two months.

text: It is imposed for an initial period of six months and can last for a maximum period of three years with repeated parliamentary approval every six months. The 42nd amendment act of 1976 extended the initial time duration of state emergency from 6 months to 1 year. Subsequently, 44th CAA 1978 restored the 1-year period back to 6 months. Originally, the maximum period of operation of state emergency was 3 years. This 3-year period was divided into 1 year of ordinary period and 2 years of extra ordinary period for which certain conditions are to be fulfilled. Therefore, from now on after every 1 year Parliament needs to approve the same. If the emergency has to be extended for more than three years, it can only be done by a constitutional amendment, as has happened in Punjab and Jammu and Kashmir.

text: During such an emergency, the President can take over the entire work of the executive, and the Governor administers the state in the name of the President. The Legislative Assembly can be dissolved or may remain in suspended animation. The Parliament makes laws on the 66 subjects of the state list (see National emergency for explanation). All money bills have to be referred to the Parliament for approval. In this occasion ministers of state legislature do not perform actions in state.

text: Financial Emergency Under Article 360[edit]

text: If the President is satisfied that there is an economic situation in which the financial stability or credit of India is threatened, he or she can declare financial emergency. Such an emergency must be approved by the Parliament within two months. It has never been declared. Such a situation had arisen but was avoided by putting the gold assets of India as collateral for foreign credit.

text: In case of a financial emergency, the President can reduce the salaries of all government officials, including judges of the Supreme Court and High Courts. All money bills passed by the State legislatures are submitted to the President for his approval. He can direct the state to observe certain principles (economy measures) relating to financial matters; but fundamental rights cannot be suspended.


document_title: Bank of England £20 note

question_text: when was the £20 note last changed

question_tokens: when was the £ 20 note last changed

text: Bank of England £20 note

text: History[edit]

text: Twenty pound notes were introduced by the Bank of England for the first time in 1725. The earliest notes were handwritten, and were issued to individuals as needed. These notes were written on one side only and bore the name of the payee, the date, and the signature of the issuing cashier. With the exception of the Restriction Period between 1797 and 1821 when the French Revolutionary Wars and the Napoleonic Wars caused a bullion shortage, these notes could be exchanged in full, or in part, for an equivalent amount of gold when presented at the bank. If redeemed in part, the banknote would be signed to indicate the amount that had been redeemed. From 1853 printed notes replaced handwritten notes, with the declaration "I promise to pay the bearer on demand the sum of twenty pounds" replacing the name of the payee. This declaration remains on Bank of England banknotes to this day. A printed signature of one of three cashiers appeared on the printed notes, though this was replaced by the signature of the Chief Cashier from 1870 onward.[1]

text: The right to redeem banknotes for gold ceased in 1931 when Britain stopped using the gold standard.[1] The twenty pound note ceased to be produced by the Bank of England in 1943, and it was not until 1970 with the introduction of the series D notes that the denomination reappeared. The predominantly purple series D notes were two-sided, with an image of Queen Elizabeth II appearing on one side, accompanied by an image of Saint George and the Dragon (all subsequent Bank of England notes also feature an image of the Queen) and an image of William Shakespeare appearing on the other. This note also had a security feature in the form of a 'windowed' metal thread. The thread is woven into the paper so that it forms a dashed line, yet appears as a single line when held up to the light. Series D notes were phased out in favour of the newer series E notes beginning in 1991. These notes were multicoloured (predominantly mauve-purple) and featured an image of scientist Michael Faraday on the back. Series E notes were replaced by a variant design from 1999 onwards. These are broadly similar to the earlier series E notes but feature Edward Elgar on the reverse.[2]

text: The current £20 note was introduced in 2007. It features a portrait of Scottish economist Adam Smith on the back as well as an illustration of workers in a pin factory.[3] The note features a number of security features in addition to the metallic thread: these include raised print, a watermark, microlettering, a holographic strip, a see-through register, and a colourful pattern which only appears under ultraviolet light.[4] In September 2015 the Bank of England announced that the next £20 note will be printed on polymer, rather than cotton paper.[5] This was followed by an announcement in April 2016 that Adam Smith will be replaced by artist J. M. W. Turner on the next £20 note, which will enter circulation by 2020.[6] Images on the reverse of the Turner note will include a 1799 self-portrait of Turner, a version of Turner's The Fighting Temeraire, the quote "Light is therefore colour" from an 1818 lecture by Turner, and a copy of Turner's signature as made on his will.[7]

text: Designs[edit]

text:
Note

First issued

Last issued

Ceased to belegal tender

Colour

Size

Design

Additional information

White
1725
1943
16 April 1945
MonochromePrinted on one side only
211 × 133 mm(may vary)

Denomination discontinued from 1945 until 1970

Series D
9 July 1970
1991
19 March 1993
Predominantly purple
160 × 90 mm
Front: Queen Elizabeth IIBack: William Shakespeare
First £20 note to carry a portrait of a monarch and used a 'windowed' security thread (July 1984 onward)

Series E
5 June 1991
2000
28 February 2001
Multicoloured (predominantly mauve-purple)
149 × 80 mm
Front: Queen Elizabeth IIBack: Michael Faraday
Those notes issued from September 1993 have an additional denomination symbol £20 on each side

Series E (variant)
22 June 1999
2007
30 June 2010
Front: Queen Elizabeth IIBack: Edward Elgar

Series F
13 March 2007

Front: Queen Elizabeth IIBack: Adam Smith

Series G (polymer)
By 2020

139 × 73 mm
Front: Queen Elizabeth IIBack: J. M. W. Turner

tag: table

text: Information taken from Bank of England website.[1][2]


document_title: Life of the Party (2018 film)

question_text: who plays the mother in life of the party

text: Life of the Party (2018 film)

text: Plot[edit]

text: This film's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (June 2018) (Learn how and when to remove this template message)

text: The movie starts with Deanna Miles (Melissa McCarthy) going with her husband Dan (Matt Walsh) to drop off their daughter Maddie (Molly Gordon) to her senior year at Decatur University in Atlanta for the Fall 2017 semester. After saying bye to Maddie, Deanna tells Dan how she's looking forward to their trip to Italy until Dan flat-out tells her he wants a divorce because he has fallen in love with another woman. To make things worse, he is selling their house since everything is under his name, meaning Deanna has to leave. Deanna angrily kicks his car and takes an Uber home.

text: Deanna goes to the home of her parents, Mike (Stephen Root) and Sandy (Jacki Weaver). They note that Dan was always a jerk for making Deanna drop out of her last year of college when she got pregnant, meaning she never graduated, as well as making her put up with his overbearing ways during their marriage. Mike threatens to use a gun on Dan but then almost accidentally shoots their dog.

text: Deanna goes to play Racquetball with her best friend Christine (Maya Rudolph). There, Deanna bemoans what's become of her life until she decides that she won't just sit around and let Dan ruin her life.

text: Deanna surprises Maddie in her dorm by announcing to her that she and Dan are divorcing and that she is now going to take a year at Decatur so that she can graduate and earn a degree in archaeology. Maddie is stunned by both bits of news and is left speechless.

text: Maddie introduces Deanna to her friends - Amanda (Adria Arjona), neurotic Debbie (Jessie Ennis), and Helen (Gillian Jacobs), who was in a coma for eight years and is now getting a chance to go to college. Deanna later meets her roommate Leonor (Heidi Gardner), who is agoraphobic and chronically depressed.

text: One of Deanna's first classes is an archaeology class with Helen, and her professor is a former classmate of hers named Wayne (Chris Parnell). There, Deanna also meets resident "mean girl" Jennifer (Debby Ryan) and her friend Trina (Yani Simone). They mock Deanna's mom sweater and for her laughing at Wayne's corny archaeology-related jokes.

text: Deanna later goes to sign the divorce papers with Christine while Dan shows up with his new fiancee Marcie (Julie Bowen). They exchange a lot of insults through the mediator.

text: Maddie takes Deanna to hang out with her and her friends. After being mocked by Jennifer again, Maddie gives her mom a makeover so that she can look more party-ready. Deanna meets Maddie's boyfriend Tyler (Jimmy O. Yang) and another boy named Jack (Luke Benward). After many shots and beers, Deanna and Maddie wake up the next morning mortified to see each other leaving a frat house doing the "walk of shame", which leads Maddie to realize Deanna slept with Jack.

text: Jack starts to constantly text Deanna since he has basically fallen in love with her. She tells him it was just a one-time thing, but they then go to the stacks in the library to have sex again.

text: Deanna tends to Debbie when she expresses a personal issue she is having, along with the other girls talking about their problems. Deanna encourages the girls to use their strengths to their advantage. They then go to an 80's themed party where Deanna has a dance-off with Jennifer that results in her winning and earning the respect of her schoolmates.

text: Deanna must do a presentation for her archaeology class, but she gets so nervous that she sweats profusely and finally ends up fainting.

text: Deanna goes out to dinner with Christine, her husband, and their couple friends (that they don't even like). To Deanna and Christine's dismay, Dan and Marcie show up to gloat about taking the trip to Italy. However, Deanna gets the last laugh when they see that not only is Jack their waiter, but he is also Marcie's son and Deanna gloats about sleeping with him to gross Marcie out.

text: On the night of Dan and Marcie's wedding, Deanna and her friends get high off chocolate bark laced with weed, and they head to the reception. Deanna is initially ready to make peace with Dan until they see posters outside that are basically saying Dan did better than Deanna by getting with Marcie. Deanna and the girls then start trashing the reception room. Dan, Marcie, and Maddie find them after they wreck the place, and Marcie tells Deanna she is cut off financially from Dan. Deanna is filled with shame, if only because of how Maddie saw her.

text: Deanna tries to make amends with Maddie, but she tells her that she is leaving college since she has no means of completing the rest of the year on her own. The girls then come up with a plan to throw a party to raise money to pay for Deanna's tuition.

text: The party turns out to be a flop since everyone is at a Christina Aguilera concert. Helen, who has three million Twitter followers, posts that Christina will be at the party after her show. This brings in almost the whole school, but they all start to ask when Christina will be there. Christine shows up with her husband, as do Mike and Sandy. Mike offers to give Deanna a check out of his 401K to pay off her tuition, but Deanna refuses to take it. Things get hectic when Jennifer and Helen get into a fight that is broken up after Jennifer accidentally punches Deanna in the breasts. Before the girls decide to issue refunds, they are surprised when Leonor shows up and reveals that Christina Aguilera is her cousin, and because of Deanna showing her kindness, she decided to help her out. Christina says she supports Deanna's cause, and she puts on a show with Deanna and the girls to an excited crowd.

text: Later on, Deanna is up to repeat her presentation in class. She is still nervous until Maddie, Helen, Amanda, Debbie, and all the sorority sisters show up to support her, and Deanna manages to give the presentation with ease.

text: At the end of the year, Deanna and Maddie graduate together, with all their friends and family there to support them. Maddie encourages Deanna to throw her cap in the air. She does so, and it hits Dan in the face, knocking out an earring he was wearing while Marcie berates him for losing the expensive diamond stud.

text: Cast[edit]

text:
Melissa McCarthy as Deanna "Dee Rock" Miles (née Cook)
Molly Gordon as Maddie Miles, Dan and Deanna's daughter
Gillian Jacobs as Helen, a sorority sister who is older than the rest due to having been in a coma for eight years.
Maya Rudolph as Christine Davenport, Deanna's neurotic and heavy drinking best friend
Jessie Ennis as Debbie, a sorority sister with "issues"
Adria Arjona as Amanda, another sorority sister with "issues"
Debby Ryan as Jennifer, a "mean girl" in Deanna's archaeology class
Matt Walsh as Daniel "Dan" Miles, Deanna's ex-husband, Maddie's father
Julie Bowen as Marcie Strong, a real estate agent, Deanna's nemesis and Dan's lover
Stephen Root as Michael "Mike" Cook, Deanna's father and Maddie's grandfather
Jacki Weaver as Sandy Cook, Deanna's mother and Maddie's grandmother
Luke Benward as Jack Strong, a frat boy infatuated with Deanna
Jimmy O. Yang as Tyler, Maddie's boyfriend and Jack's friend
Chris Parnell as Wayne Truzack, Deanna's professor
Heidi Gardner as Leonor, Deanna's reclusive Goth roommate
Yani Smone as Trina, Jennifer's snarky sidekick
Damon Jones as Frank Davenport, Christine's husband
Ben Falcone as Dale, the Uber driver
Nat Faxon as Lance
Sarah Baker as Gildred
Karen Maruyama as Mediator
Steve Mallory as Bill
Courtney Patterson as Amy
Steve Falcone (Ben Falcone's real-life father) as Older Man #1 / Vince
Michael D. McCarthy (Melissa McCarthy's real-life father) as Older Man #2 / Dennis
Christina Aguilera as herself (cameo)

text: Production[edit]

text: Filming began in August 2016 in the metro Atlanta area. The sorority house used in the film is The Twelve Oaks Bed & Breakfast (www.thetwelveoaks.com) located in Covington, GA. The interior of the mansion was replicated in a warehouse in Decatur, GA for the interior scenes and the exterior scenes were filmed on location at the inn.[citation needed]

text: Release[edit]

text: Life of the Party was released on May 11, 2018.[5] The first official trailer for the film was released on February 5, 2018.[6]

text: Reception[edit]

text: Box office[edit]

text: Life of the Party grossed 52.9 million in the United States and Canada, and $12.8 million in other territories, for a worldwide total of $65.7 million.[3]

text: In the United States and Canada, Life of the Party was released alongside Breaking In, and was projected to gross $18–21 million from 3,656 theaters in its opening weekend.[7] It made $4.9 million on its first day, including $700,000 from Thursday night previews, down from the $985,000 McCarthy's The Boss grossed in March 2016, and similar to the $650,000 grossed by Snatched on the Thursday before the same weekend the previous year.[2] The film went on to debut to $17.9 million, the lowest solo-starring opening of McCarthy's career, and finished second behind Avengers: Infinity War ($62 million in its third week); 80% of its audience was over the age of 25, while 70% was female.[8] It fell 57% in its second weekend, to $7.6 million, finishing fourth at the box office,[9] and another 33% to $5.1 million in its third, finishing fifth.[10]

text: Critical response[edit]

text: On review aggregation website Rotten Tomatoes, the film has an approval rating of 37% based on 123 reviews, and an average rating of 5/10. The site's critical consensus reads, "Life of the Party's good-natured humor and abundance of onscreen talent aren't enough to make up for jumbled direction and a script that misses far more often than it hits."[11] On Metacritic, the film has a weighted average score of 46 out of 100, based on reviews from 32 critics, indicating "mixed or average reviews."[12] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale, higher than the "C+" earned by each of McCarthy and Falcone's previous two film collaborations.[8]

text: Matt Zoller-Seitz of RogerEbert.com gave the film two out of four stars, calling it "the latest Melissa McCarthy star vehicle that fails to do justice to the sheer awesomeness of its leading lady."[13]

text: Leigh Monson from Birth.MoviesDeath wrote the next: "One hundred minutes of self-indulgence and tedium, even if it's well-meaning in its intentions." [14]

text: Accolades[edit]

text:
Award

Category

Recipient

Result

Teen Choice Awards

Choice Summer Movie

Nominated

Choice Summer Movie Actress

Melissa McCarthy

Nominated