document_title: Star formation

question_text: a huge cloud of dust and gas from which stars form

root

text: Star formation

text: Stellar nurseries[edit]

text: Interstellar clouds[edit]

text: A spiral galaxy like the Milky Way contains stars, stellar remnants, and a diffuse interstellar medium (ISM) of gas and dust. The interstellar medium consists of 10−4 to 106 particles per cm3 and is typically composed of roughly 70% hydrogen by mass, with most of the remaining gas consisting of helium. This medium has been chemically enriched by trace amounts of heavier elements that were ejected from stars as they passed beyond the end of their main sequence lifetime. Higher density regions of the interstellar medium form clouds, or diffuse nebulae,[2] where star formation takes place.[3] In contrast to spirals, an elliptical galaxy loses the cold component of its interstellar medium within roughly a billion years, which hinders the galaxy from forming diffuse nebulae except through mergers with other galaxies.[4]

tag: p

text: In the dense nebulae where stars are produced, much of the hydrogen is in the molecular (H2) form, so these nebulae are called molecular clouds.[3] Observations indicate that the coldest clouds tend to form low-mass stars, observed first in the infrared inside the clouds, then in visible light at their surface when the clouds dissipate, while giant molecular clouds, which are generally warmer, produce stars of all masses.[5] These giant molecular clouds have typical densities of 100 particles per cm3, diameters of 100 light-years (9.5×1014 km), masses of up to 6 million solar masses (M☉),[6] and an average interior temperature of 10 K. About half the total mass of the galactic ISM is found in molecular clouds[7] and in the Milky Way there are an estimated 6,000 molecular clouds, each with more than 100,000 M☉.[8] The nearest nebula to the Sun where massive stars are being formed is the Orion nebula, 1,300 ly (1.2×1016 km) away.[9] However, lower mass star formation is occurring about 400–450 light years distant in the ρ Ophiuchi cloud complex.[10]

text: A more compact site of star formation is the opaque clouds of dense gas and dust known as Bok globules; so named after the astronomer Bart Bok. These can form in association with collapsing molecular clouds or possibly independently.[11] The Bok globules are typically up to a light year across and contain a few solar masses.[12] They can be observed as dark clouds silhouetted against bright emission nebulae or background stars. Over half the known Bok globules have been found to contain newly forming stars.[13]

text: Cloud collapse[edit]

text: An interstellar cloud of gas will remain in hydrostatic equilibrium as long as the kinetic energy of the gas pressure is in balance with the potential energy of the internal gravitational force. Mathematically this is expressed using the virial theorem, which states that, to maintain equilibrium, the gravitational potential energy must equal twice the internal thermal energy.[15] If a cloud is massive enough that the gas pressure is insufficient to support it, the cloud will undergo gravitational collapse. The mass above which a cloud will undergo such collapse is called the Jeans mass. The Jeans mass depends on the temperature and density of the cloud, but is typically thousands to tens of thousands of solar masses.[3] This coincides with the typical mass of an open cluster of stars, which is the end product of a collapsing cloud.[16]

text: In triggered star formation, one of several events might occur to compress a molecular cloud and initiate its gravitational collapse. Molecular clouds may collide with each other, or a nearby supernova explosion can be a trigger, sending shocked matter into the cloud at very high speeds.[3] Alternatively, galactic collisions can trigger massive starbursts of star formation as the gas clouds in each galaxy are compressed and agitated by tidal forces.[18] The latter mechanism may be responsible for the formation of globular clusters.[19]

text: A supermassive black hole at the core of a galaxy may serve to regulate the rate of star formation in a galactic nucleus. A black hole that is accreting infalling matter can become active, emitting a strong wind through a collimated relativistic jet. This can limit further star formation. Massive black holes ejecting radio-frequency-emitting particles at near-light speed can also block the formation of new stars in aging galaxies.[20] However, the radio emissions around the jets may also trigger star formation. Likewise, a weaker jet may trigger star formation when it collides with a cloud.[21]

text: As it collapses, a molecular cloud breaks into smaller and smaller pieces in a hierarchical manner, until the fragments reach stellar mass. In each of these fragments, the collapsing gas radiates away the energy gained by the release of gravitational potential energy. As the density increases, the fragments become opaque and are thus less efficient at radiating away their energy. This raises the temperature of the cloud and inhibits further fragmentation. The fragments now condense into rotating spheres of gas that serve as stellar embryos.[22]

text: Complicating this picture of a collapsing cloud are the effects of turbulence, macroscopic flows, rotation, magnetic fields and the cloud geometry. Both rotation and magnetic fields can hinder the collapse of a cloud.[23][24] Turbulence is instrumental in causing fragmentation of the cloud, and on the smallest scales it promotes collapse.[25]

text: Protostar[edit]

text: A protostellar cloud will continue to collapse as long as the gravitational binding energy can be eliminated. This excess energy is primarily lost through radiation. However, the collapsing cloud will eventually become opaque to its own radiation, and the energy must be removed through some other means. The dust within the cloud becomes heated to temperatures of 60–100 K, and these particles radiate at wavelengths in the far infrared where the cloud is transparent. Thus the dust mediates the further collapse of the cloud.[26]

text: During the collapse, the density of the cloud increases towards the center and thus the middle region becomes optically opaque first. This occurs when the density is about 10−13 g / cm3. A core region, called the First Hydrostatic Core, forms where the collapse is essentially halted. It continues to increase in temperature as determined by the virial theorem. The gas falling toward this opaque region collides with it and creates shock waves that further heat the core.[27]

text: When the core temperature reaches about 2000 K, the thermal energy dissociates the H2 molecules.[27] This is followed by the ionization of the hydrogen and helium atoms. These processes absorb the energy of the contraction, allowing it to continue on timescales comparable to the period of collapse at free fall velocities.[28] After the density of infalling material has reached about 10−8 g / cm3, that material is sufficiently transparent to allow energy radiated by the protostar to escape. The combination of convection within the protostar and radiation from its exterior allow the star to contract further.[27] This continues until the gas is hot enough for the internal pressure to support the protostar against further gravitational collapse—a state called hydrostatic equilibrium. When this accretion phase is nearly complete, the resulting object is known as a protostar.[3]

text: Accretion of material onto the protostar continues partially from the newly formed circumstellar disc. When the density and temperature are high enough, deuterium fusion begins, and the outward pressure of the resultant radiation slows (but does not stop) the collapse. Material comprising the cloud continues to "rain" onto the protostar. In this stage bipolar jets are produced called Herbig-Haro objects. This is probably the means by which excess angular momentum of the infalling material is expelled, allowing the star to continue to form.

text: When the surrounding gas and dust envelope disperses and accretion process stops, the star is considered a pre–main sequence star (PMS star). The energy source of these objects is gravitational contraction, as opposed to hydrogen burning in main sequence stars. The PMS star follows a Hayashi track on the Hertzsprung–Russell (H–R) diagram.[29] The contraction will proceed until the Hayashi limit is reached, and thereafter contraction will continue on a Kelvin–Helmholtz timescale with the temperature remaining stable. Stars with less than 0.5 M☉ thereafter join the main sequence. For more massive PMS stars, at the end of the Hayashi track they will slowly collapse in near hydrostatic equilibrium, following the Henyey track.[30]

text: Finally, hydrogen begins to fuse in the core of the star, and the rest of the enveloping material is cleared away. This ends the protostellar phase and begins the star's main sequence phase on the H–R diagram.

text: The stages of the process are well defined in stars with masses around 1 M☉ or less. In high mass stars, the length of the star formation process is comparable to the other timescales of their evolution, much shorter, and the process is not so well defined. The later evolution of stars are studied in stellar evolution.

text:
Protostar

Protostar outburst - HOPS 383 (2015).

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text: Observations[edit]

text: Key elements of star formation are only available by observing in wavelengths other than the optical. The protostellar stage of stellar existence is almost invariably hidden away deep inside dense clouds of gas and dust left over from the GMC. Often, these star-forming cocoons known as Bok globules, can be seen in silhouette against bright emission from surrounding gas.[31] Early stages of a star's life can be seen in infrared light, which penetrates the dust more easily than visible light.[32] Observations from the Wide-field Infrared Survey Explorer (WISE) have thus been especially important for unveiling numerous Galactic protostars and their parent star clusters.[33][34] Examples of such embedded star clusters are FSR 1184, FSR 1190, Camargo 14, Camargo 74, Majaess 64, and Majaess 98.[35]

text: The structure of the molecular cloud and the effects of the protostar can be observed in near-IR extinction maps (where the number of stars are counted per unit area and compared to a nearby zero extinction area of sky), continuum dust emission and rotational transitions of CO and other molecules; these last two are observed in the millimeter and submillimeter range. The radiation from the protostar and early star has to be observed in infrared astronomy wavelengths, as the extinction caused by the rest of the cloud in which the star is forming is usually too big to allow us to observe it in the visual part of the spectrum. This presents considerable difficulties as the Earth's atmosphere is almost entirely opaque from 20μm to 850μm, with narrow windows at 200μm and 450μm. Even outside this range, atmospheric subtraction techniques must be used.

text: X-ray observations have proven useful for studying young stars, since X-ray emission from these objects is 100–100,000 times stronger than X-ray emission from main-sequence stars.[37] The earliest detections of X-rays from T Tauri stars were made by the Einstein X-ray Observatory.[38][39] For low-mass stars X-rays are generated by the heating of the stellar corona through magnetic reconnection, while for high-mass O and early B-type stars X-rays are generated through supersonic shocks in the stellar winds. Photons in the soft X-ray energy range covered by the Chandra X-ray Observatory and XMM Newton may penetrate the interstellar medium with only moderate absorption due to gas, making the X-ray a useful wavelength for seeing the stellar populations within molecular clouds. X-ray emission as evidence of stellar youth makes this band particularly useful for performing censuses of stars in star-forming regions, given that not all young stars have infrared excesses.[40] X-ray observations have provided near-complete censuses of all stellar-mass objects in the Orion Nebula Cluster and Taurus Molecular Cloud.[41][42]

text: The formation of individual stars can only be directly observed in the Milky Way Galaxy, but in distant galaxies star formation has been detected through its unique spectral signature.

text: The first observed newborn star-forming clump, aged less than 10 million years old, was found in a galaxy about a corresponding light travel distance of 10.4 billion light years away, at an age when the universe was about 3.3 billion years old. The clump is about 3,000 light-years wide, and has a mass more than 1 billion times the mass of the sun, creating 32 stars each year with the mass of the sun, and produced about 40 percent of the stars in the clump's host galaxy.[43]

text: Initial research indicates star-forming clumps start as giant, dense areas in turbulent gas-rich matter in young galaxies, live about 500 million years, and may migrate to the center of a galaxy, creating the central bulge of a galaxy.[44]

text: On February 21, 2014, NASA announced a greatly upgraded database for tracking polycyclic aromatic hydrocarbons (PAHs) in the universe. According to scientists, more than 20% of the carbon in the universe may be associated with PAHs, possible starting materials for the formation of life. PAHs seem to have been formed shortly after the Big Bang, are widespread throughout the universe, and are associated with new stars and exoplanets.[45]

text: Notable pathfinder objects[edit]

text:
MWC 349 was first discovered in 1978, and is estimated to be only 1,000 years old.
VLA 1623 – The first exemplar Class 0 protostar, a type of embedded protostar that has yet to accrete the majority of its mass. Found in 1993, is possibly younger than 10,000 years [1].
L1014 – An incredibly faint embedded object representative of a new class of sources that are only now being detected with the newest telescopes. Their status is still undetermined, they could be the youngest low-mass Class 0 protostars yet seen or even very low-mass evolved objects (like a brown dwarf or even an interstellar planet). [2]
IRS 8* – The youngest known main sequence star in the Galactic Center region, discovered in August 2006. It is estimated to be 3.5 million years old [3].

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text: Low mass and high mass star formation[edit]

text: Stars of different masses are thought to form by slightly different mechanisms. The theory of low-mass star formation, which is well-supported by a plethora of observations, suggests that low-mass stars form by the gravitational collapse of rotating density enhancements within molecular clouds. As described above, the collapse of a rotating cloud of gas and dust leads to the formation of an accretion disk through which matter is channeled onto a central protostar. For stars with masses higher than about 8 M☉, however, the mechanism of star formation is not well understood.

text: Massive stars emit copious quantities of radiation which pushes against infalling material. In the past, it was thought that this radiation pressure might be substantial enough to halt accretion onto the massive protostar and prevent the formation of stars with masses more than a few tens of solar masses.[48] Recent theoretical work has shown that the production of a jet and outflow clears a cavity through which much of the radiation from a massive protostar can escape without hindering accretion through the disk and onto the protostar.[49][50] Present thinking is that massive stars may therefore be able to form by a mechanism similar to that by which low mass stars form.

text: There is mounting evidence that at least some massive protostars are indeed surrounded by accretion disks. Several other theories of massive star formation remain to be tested observationally. Of these, perhaps the most prominent is the theory of competitive accretion, which suggests that massive protostars are "seeded" by low-mass protostars which compete with other protostars to draw in matter from the entire parent molecular cloud, instead of simply from a small local region.[51][52]

text: Another theory of massive star formation suggests that massive stars may form by the coalescence of two or more stars of lower mass.[53]


document_title: Nobody's Fault but Mine

question_text: who played harmonica on nobody's fault but mine

question_tokens: who played harmonica on nobody 's fault but mine

text: Nobody's Fault but Mine

text: Background[edit]

text: "Nobody's Fault but Mine" is a gospel song that has been recorded by many musicians over the years. The first known recording of this song was by American gospel blues musician Blind Willie Johnson in 1927, titled "It's Nobody's Fault but Mine". In an interview, Jimmy Page explained:

text: Robert [Plant] came in one day and suggested that we cover it, but the arrangement I came up with was nothing to do with the [Blind Willie Johnson] original. Robert may have wanted to go for the original blues lyrics, but everything else was a totally different kettle of fish.[6]

text: Led Zeppelin biographer George Case adds "Page was likely more mindful of John Renbourn's 1966 acoustic take [than Blind Willie] Johnson's".[2] Renbourn's version is found on his 1967 album Another Monday.[a]

text: "Nobody's Fault but Mine" was developed and recorded by Led Zeppelin during the difficult period they faced after Plant's 1975 automobile accident in Rhodes. The incident left him with serious injuries to his ankle and leg and there was fear that he might not recover completely. With their misfortunes and the increasing drug use around the band, biographer Stephen Davis wrote:

text: Robert was definitely spooked ... he believed that negativity associated with Led Zeppelin's music might be harrowing him ... from all accounts, [he] was also locked into his own remorse and grieving that his family had become victims of something that he might no longer be able to control.[1]

text: Lyrics and composition[edit]

text: Lyrically, "Nobody's Fault but Mine" has been called "Led Zeppelin's 'Hell Hound on My Trail'".[1] Robert Johnson's 1937 Delta blues song tells of a man trying to stay ahead of the evil which is pursuing him, but it does not address the cause or lasting solution for his predicament. In Blind Willie Johnson's "It's Nobody's Fault but Mine", the problem is clearly stated: he will be doomed, unless he uses his abilities to learn (and presumably live according to) biblical teachings. Led Zeppelin retain Blind Willie's admission that he ultimately is to blame, but add Robert Johnson's sense of despair. However, they shift the focus from religion to one "relevant to the Zeppelin lifestyle of the day".[2] Their lyrics include "that monkey on my back", a commonly used reference to addiction, and "the devil he told me to roll, how to roll the line tonight";[7] to overcome, Plant concludes "gonna change my ways tonight". "For Robert [Plant] and perhaps the others, it was a sort of exorcism".[1]

text: "Nobody's Fault but Mine" follows a "call-and-response method of dramatic construction".[5] Page's slide guitar intro has been described as like "a supersonic 1970s interpretation of Johnson's beautiful slide guitar technique".[5] Page triple-tracked his guitar intro; playing one guitar an octave higher than the others and using a phaser. Plant adds a blues-style harmonica solo mid-song.[8] Drummer John Bonham and bassist John Paul Jones maintain the rhythm of the song, adding some syncopated accents during repetitions of the introductory phrase. Record producer Rick Rubin remarked on the song's structure, "A traditional blues, twisted through a trippy, psychedelic filter. They [Led Zeppelin] played with such precision, doing these odd arrangements that sound like loose jams but are really choreographed."[9]

text: Live performances[edit]

text: Beginning with the Led Zeppelin North American Tour 1977, "Nobody's Fault but Mine" became a regular component of Led Zeppelin concerts, with performances at nearly every show up to the group's final tour of Europe in 1980.[8] A live version was filmed and recorded at Knebworth in 1979 and is included on the 2003 Led Zeppelin DVD. Biographer Keith Shadwick wrote:

text: It's clear from the later film of the Knebworth concert in 1979 that these lines [the song lyrics] cut deep with Plant; at that concert when he sings this song there is a remarkable rush of feeling evident across his face as he spits out the lines, a long way beyond any onstage posing for the crowd. This one was from the heart.[5]

text: Their performance of the song with Jason Bonham at the Ahmet Ertegun Tribute Concert at the O2 Arena, London on 10 December 2007 was released in 2012 on the concert film Celebration Day. At the 2007 O2 performance, Plant joked that they first heard the song in a Mississippi church in 1932.[10]

text: Reception[edit]

text: In a contemporary review for Presence, Stephen Davis of Rolling Stone described "Nobody's Fault but Mine" as a "strong" song, showcasing an example of "fine rock" on Presence.[11]

text: In a retrospective review of Presence (Deluxe Edition), Andrew Doscas of PopMatters gave "Nobody's Fault but Mine" a positive review, describing the track as "a behemoth made from bone-crunching basslines, a maniacal harmonica solo, and its memorable “call-and-response” structure."[4] Reviewing the track in detail, Doscas stated "Nobody's Fault but Mine" "serves as a paradigm for the state of the band’s reputation, as well as the album Presence. It’s a heavy, blues-rock track that like an avalanche grinds down everything in its path."[4] In another retrospective review for the reissue of Presence, Mark Richardson of Pitchfork gave "Nobody's Fault but Mine" a positive review, praising John Paul Jones' bass syncs with John Bonham's kick drum patterns.[12] Richardson further described the song as a "stop/start masterpiece".[12]

text: Personnel[edit]

text:
Robert Plant – vocals, harmonica
Jimmy Page – guitars
John Paul Jones – bass guitar
John Bonham – drums

text: No Quarter version[edit]

text: In 1994, Jimmy Page and Robert Plant recorded an acoustic arrangement of "Nobody's Fault but Mine". It was included on their No Quarter album, which featured their interpretations of Led Zeppelin songs using different instrumentation and backing musicians; "[some of] the songs are given rather drastic reinterpretations – "Nobody's Fault but Mine" brings the brooding undercurrent of the original to the surface".[13] Their new arrangement also included the "got a Bible in my home" line from Blind Willie Johnson's 1927 original.

text: Cover versions[edit]

text: Notes[edit]

text: Jump up ^ Sometimes John Renbourn's albums include a credit to New Orleans jazz musician Bunk Johnson.

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document_title: Rudolph the Red-Nosed Reindeer (soundtrack)

question_text: who sings there's always tomorrow on rudolph

question_tokens: who sings there 's always tomorrow on rudolph

text: Track listing[edit]

text: LP side A:

text:
Overture and "A Holly Jolly Christmas" – 2:23
"Jingle Jingle Jingle" – 1:13
"We Are Santa's Elves" – 1:31
"There's Always Tomorrow" – 1:42
"We're a Couple of Misfits" – 1:18
"Silver and Gold" – 1:42
"The Most Wonderful Day of the Year" – 2:18
"A Holly Jolly Christmas" – 1:18
"Rudolph the Red-Nosed Reindeer" Finale – 1:19

text: LP side B (instrumental versions):

text:
"Rudolph the Red-Nosed Reindeer" – 1:50
"There's Always Tomorrow – 2:22
"Jingle Jingle Jingle" – 2:14
"We're a Couple of Misfits" – 1:50
"Silver and Gold" – 2:21
"We Are Santa's Elves" - 1:09
"Most Wonderful Day of the Year" – 2:22
"A Holly Jolly Christmas" – 1:32
Christmas Medley: "The Night Before Christmas Song" / "A Merry Merry Christmas" / "When Santa Claus Gets Your Letter" / "Rockin' Around The Christmas Tree" – 3:17
"I Heard the Bells on Christmas Day" – 1:41

text:
On the re-issue on CD, contents / track order are the same except the "Christmas Medley" is placed in the middle, at track 10 (between A9 and B1 - the Burl Ives' sung and instrumental versions of "Rudolph the Red-Nosed Reindeer").
The brand-new song "Fame and Fortune", which replaced "We're a Couple of Misfits" in airings of the television special from 1965 through until the special was restored in 1998,[5] does not appear on the soundtrack album.

text: Voices and Personnel[edit]

text:
Burl Ives – voice of Sam the Snowman ("A Holly Jolly Christmas," "Silver and Gold," "Rudolph the Red-Nosed Reindeer")
Stan Francis – voice of Santa Claus ("Jingle, Jingle, Jingle")
Janis Orenstein – voice of Clarice ("There's Always Tomorrow")
Billie Mae Richards – voice of Rudolph ("We're A Couple Of Misfits")
Paul Soles – voice of Hermey ("We're A Couple Of Misfits")
Maury Laws – musical director of the Videocraft TV Musical
Decca Concert Orchestra (side B instrumentals)
Herbert Rehbein – conductor, Decca Concert Orchestra

text: Charts[edit]

text:
Chart
Peak
position

US Billboard 200[6]
92

US Top Holiday Albums (Billboard)[7]
5

US Top Catalog Albums (Billboard)[8]
4


document_title: The Princess and the Frog

question_text: who plays the lightning bug in princess and the frog

text: The Princess and the Frog

text: Plot[edit]

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

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

text: At the ball, Tiana discovers she may lose the mill to a higher bidder. Tiana then meets Naveen, who, believing her to be a princess because of her costume, asks her to kiss him and break Facilier's spell. In exchange for the money needed, Tiana accepts, but since she's not an actual princess, when she kisses Naveen, she is turned into a frog herself. A chase ensues, and Tiana and Naveen escape to a bayou. In the bayou, Tiana and Naveen meet Louis, a trumpet-playing alligator, and Ray, a Cajun firefly. Louis and Ray offer to lead Tiana and Naveen to the hoodoo priestess Mama Odie, whom they believe can undo the curse. During the journey, Tiana and Naveen develop feelings for each other. Meanwhile, Facilier makes a deal with the voodoo spirits, offering them the souls of the people of New Orleans; in exchange, the spirits grant Facilier the services of a host of shadow demons, whom he orders to find and capture Naveen.

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

text: As Lawrence is taken away by the police, Tiana and Naveen reveal their love to each other and explain the situation to Charlotte, who agrees to kiss Naveen. The clock strikes midnight before she can do so, but the couple decide they are content to live together as frogs. Tiana and Naveen are wed by Mama Odie; and because of Tiana's new status as princess, they are restored to human form after their kiss. Later, the couple returns to New Orleans to legally get married and celebrate, and together they open their new restaurant.

text: Cast[edit]

text:
Anika Noni Rose as Tiana/"Tia", an African-American 19-year-old waitress and aspiring chef/restaurateur. She is a smart, hard-working, and independent young woman, but one who works so hard that she often forgets important things such as love, fun, and family.[4] Originally, Tiana was supposed to be known as "Maddy". Mark Henn served as the supervising animator for Tiana in both human and frog form, making her one of several Disney lead female characters he has animated.[5] Henn declared that he attempted to make a character that could stand on its own "without repeating what I've done on Belle, Ariel, and Jasmine", with Tiana having a more cynical and grounded personality. Rose's performance influenced much of the animation, with the actress even suggesting to Henn for Tiana to be left-handed like herself.[6]
Elizabeth Dampier voices Tiana as a child.
Bruno Campos as Prince Naveen, the prince of Maldonia. Naveen is a 20-year-old ne'er-do-well and playboy who has been cut off from his family's riches until he learns the value of responsibility. Randy Haycock served as the supervising animator of Naveen in both human and frog form.[7] The directors described the fictional kingdom of Maldonia as "located in an East of the Sun and West of the Moon location", however, the name Naveen (meaning "young man" in Sanskrit) is fairly common among men from the Indian Subcontinent. Campos combined a French accent with his own Brazilian accent to make up a Maldonian accent.[citation needed]
Michael-Leon Wooley as Louis, a friendly, neurotic, trumpet-playing alligator whose dream is to become human so he can join a jazz band. His name comes from the famous jazz artist and trumpeter, Louis Armstrong. Eric Goldberg, the supervising animator of Louis and other miscellaneous characters,[7] won the Annie Award for Character Animation in a Feature Production for his work on the film.[8]
Jim Cummings as Ray, a Cajun firefly. He and his vast family are close friends with Mama Odie, so he offers to help the frogs get to her. Ray has an unrequited love for the Evening Star, which he believes is another firefly named "Evangeline" (a reference to the 19th-century Longfellow poem).[9] Mike Surrey was the supervising animator for Ray. Ray's name comes from the blind pianist Ray Charles.[7]
Keith David as Doctor Facilier, also known as the Shadow Man, a voodoo bokor (witch doctor). He is depicted in the image of Baron Samedi and/or Ghede Nibo wearing a tailcoat and tophat. Bruce W. Smith, supervising animator of Doctor Facilier, referred to the character as the "lovechild" of his two favorite Disney Villains: Captain Hook from Peter Pan (1953), and Cruella de Vil from One Hundred and One Dalmatians (1961).[10] Smith was nominated for the Annie Award for Character Animation in a Feature Production for his work.[8]
Jennifer Cody as Charlotte "Lottie" La Bouff, a wealthy Southern débutante and Tiana's best friend since childhood who dreams of marrying a prince. Nik Ranieri served as the supervising animator of Charlotte as an adult and child.[7] Jennifer Cody won the Annie Award for Voice Acting in a Feature Production for her performance.[8]
Breanna Brooks voices Charlotte as a child.
Jenifer Lewis as Mama Odie, a blind, 197-year-old voodoo priestess, who serves as the film's "Fairy Godmother figure". Andreas Deja was the supervising animator for both Mama Odie and her pet snake, Juju, and was nominated for the Annie Award for Character Animation in a Feature Production.[8][11]
Peter Bartlett as Lawrence, Prince Naveen's valet, whom Doctor Facilier recruits as a partner in his scheme by transforming him to look like Naveen using a blood charm. Anthony DeRosa was the supervising animator for the Lawrence character, whose design was influenced by the Mr. Smee character from Peter Pan.[9]
John Goodman as Eli "Big Daddy" La Bouff, a very wealthy Southern sugar mill owner and father of Charlotte La Bouff. While he spoils Charlotte with everything she asks for, he is a loving and generous man, and loves Tiana's cooking. Duncan Marjoribanks was the supervising animator for Eli "Big Daddy" La Bouff.[7]
Oprah Winfrey as Eudora, Tiana's mother who wants to see her happy and worries that Tiana focuses too much on her dream of owning a restaurant.[12] Ruben A. Aquino animated both Eudora and her husband, James.[7]
Terrence Howard as James, Tiana's father, who helped instil a strong work ethic in Tiana. He served in World War I as evidenced by a dresser-top portrait photo of him in a World War I uniform. The circumstances of his death were not stated in the film; however, his portrait is accompanied by the Distinguished Service Cross, a US medal awarded to soldiers who demonstrated great heroism or risk of life in battle.
Frank Welker as Stella (vocal effects), Charlotte's pet dog who talks to Tiana during the film, when she is chasing Tiana and Naveen as frogs on the table. She loves Tiana's beignets and begs at Tiana when she wants one.
Dee Bradley Baker as Juju, Mama Odie's green pet snake.
Corey Burton and Jerry Kernion as the Fenner Brothers, two real estate agents who eventually sell Tiana the sugar mill under duress after initially refusing because someone else was offering to pay for it in cash, and because they believed Tiana could not manage it because of her background.[13]
Ritchie Montgomery, Don Hall, and Paul Briggs as Reggie, Darnell, and Two-Fingers, three bumbling frog hunters who try to catch Tiana and Naveen as frogs. Their resemblance to The Three Stooges has been noted.
Kevin Michael Richardson and Emeril Lagasse as Ian and Marlon, the two alligators.

text: Production[edit]

text: Early development[edit]

text: Disney had once announced that 2004's Home on the Range would be their last traditionally animated film. After the company's acquisition of Pixar in 2006, Ed Catmull and John Lasseter, the new president and chief creative officer of Disney Animation Studios, reversed this decision and reinstated hand-drawn animation at the studio.[14][15] Many animators who had either been laid off or had left the studio when the traditional animation units were dissolved in 2003 were located and re-hired for the project.[16] Lasseter also brought back directors Ron Clements and John Musker, whose earlier works include The Great Mouse Detective (1986), The Little Mermaid (1989), Aladdin (1992), Hercules (1997), and Treasure Planet (2002).[17][18] The duo had left the company in 2005, but Lasseter requested their return to Disney to direct and write the film and had let them choose the style of animation (traditional or CGI) they wanted to use.[9]

text: The story for the film began development by merging two projects in development at Disney and Pixar at the time, both based around "The Frog Prince" fairy tale.[9][16] One of the projects was based on E. D. Baker's The Frog Princess, in which the story's heroine (Princess Emma) kisses a prince turned frog (Prince Eadric), only to become a frog herself.[16] The Princess and the Frog returns to the musical film format used in many of the previously successful Disney animated films, with a style Musker and Clements declared, like with Aladdin and The Little Mermaid, had inspiration from Golden Age Disney features such as Cinderella.[6]

text: Musker and Clements thought that given all fairy tales were set in Europe, they could do an American fairy tale.[6] They stated that they chose New Orleans as a tribute to the history of the city, for its "magical" qualities, and because it was Lasseter's favorite city.[9][19] The directors spent ten days in Louisiana before starting to write the film.[6]

text: The Princess and the Frog was originally announced as The Frog Princess in July 2006,[14] and early concepts and songs were presented to the public at The Walt Disney Company's annual shareholders' meeting in March 2007.[20] These announcements drew criticism from African-American media outlets, due to elements of the Frog Princess story, characters, and settings considered distasteful.[21][22] African-American critics disapproved of the original name for the heroine, "Maddy", due to its similarity to the derogatory term "mammy".[21] Also protested were Maddy's original career as a chambermaid,[22] the choice to have the black heroine's love interest be a non-black prince, which upset opponents of on-screen interracial romance,[21] and the use of a black male voodoo witchdoctor as the film's villain.[21] The Frog Princess title was also thought by critics to be a slur on French people.[23] Also questioned was the film's setting of New Orleans, which had been heavily damaged by Hurricane Katrina in 2005, resulting in the expulsion of a large number of mostly black residents.[24] Critics claimed the choice of New Orleans as the setting for a Disney film with a black heroine was an affront to the Katrina victims' plight.[21][24]

text: In response to these early criticisms, the film's title was changed in May 2007 from The Frog Princess to The Princess and the Frog. The name "Maddy" was changed to "Tiana",[23][25] and the character's occupation was altered from chambermaid to waitress.[21] Talk show host Oprah Winfrey was hired as a technical consultant for the film, leading to her taking a voice-acting role in the film as Tiana's mother, Eudora.[9]

text: Writing and themes[edit]

text: The head of story, Don Hall, described the plot as a fairy tale "twisted enough that it seems new and fresh", with a kingdom that is a modern city, a handsome prince that is a "knuckleheaded playboy" and a variation on the fairy godmother with Mama Odie. Co-writer Rob Edwards also said The Princess and the Frog was "a princess movie for people who don't like princess movies". As the writers thought Tiana's character motivation of simply dreaming of having her own restaurant was not appealing enough, they expanded so it was her father's as well, with the extra philosophy of "food bringing people together from all walks of life". Musker and Clements stated that while Tiana already starts as a sympathetic character, the events of the plot make her "understand things in a deeper level" and change people around her. Both protagonists would learn from each other—Naveen to take responsibilities, Tiana to enjoy life—as well as figuring from Ray's passion for Evangeline that the perfect balance is brought by having someone you love to share the experience.[6] Tiana became the first African-American Disney Princess.[26][27]

text: Voice cast[edit]

text: On December 1, 2006, a detailed casting call was announced for the film at the Manhattan Theatre Source forum.[28] The casting call states the film as being an American fairy tale musical set in New Orleans during the 1920s Jazz Age and provides a detailed list of the film's major characters.

text: In February 2007, it was reported that Dreamgirls actresses Jennifer Hudson and Anika Noni Rose were top contenders for the voice of Tiana, and that Alicia Keys directly contacted Walt Disney Studios chairman Dick Cook about voicing the role.[29] It was later reported that Tyra Banks was considered for the role as well.[30] By April 2007, it was confirmed that Rose would be voicing Tiana.[31] Three months later, it was reported that Keith David would be doing the voice of Doctor Facilier, the villain of the film.[32]

text: Animation and design[edit]

text: Clements and Musker had agreed early on that the style they were aiming for was primarily that of Lady and the Tramp (1955), a film which they and John Lasseter feel represents "the pinnacle of Disney's style".[33] "After that, everything started becoming more stylized, like Sleeping Beauty, 101 Dalmatians—which are fantastic films as well, but there's a particular style (to Lady and the Tramp) that's so classically Disney."[34] Lady and the Tramp also heavily informed the style of the New Orleans scenes, while Disney's Bambi (1942) served as the template for the bayou scenes.[33] Bambi was described as a stylistic reference for the painted backgrounds, as according to art director Ian Gooding "Bambi painted what it feels like to be in the forest instead of the forest" so The Princess and the Frog would in turn try capturing the essence of roaming through New Orleans.[6]

text: The former trend in Disney's hand-drawn features where the characters and cinematography were influenced by a CGI-look has been abandoned. Andreas Deja, a veteran Disney animator who supervised the character of Mama Odie, says "I always thought that maybe we should distinguish ourselves to go back to what 2D is good at, which is focusing on what the line can do rather than volume, which is a CG kind of thing. So we are doing less extravagant Treasure Planet kind of treatments. You have to create a world but [we're doing it more simply]. What we're trying to do with Princess and the Frog is hook up with things that the old guys did earlier. It's not going to be graphic…".[35] Deja also mentions that Lasseter was aiming for the Disney sculptural and dimensional look of the 1950s: "All those things that were non-graphic, which means go easy on the straight lines and have one volume flow into the other—an organic feel to the drawing."[35] Lasseter also felt that traditional animation created more character believability.[36] For example, with Louis the alligator, created by Eric Goldberg, Lasseter said: "It's the believability of this large character being able to move around quite like that."[36] Choreographer Betsy Baytos was brought by the directors to lead a team of eccentric dancers that gave reference to make each character a different style of movement. The character design tried to create beautiful drawings through subtle shapes, particularly for most characters being human. For the frog versions of Tiana and Naveen, while the animators started with realistic designs, they eventually went for cutesy characters "removing all that is unappealing in frogs", similar to Pinocchio's Jiminy Cricket.[6]

text: Toon Boom Animation's Toon Boom Harmony software was used as the main software package for the production of the film, as the Computer Animation Production System (CAPS) system that Disney developed with Pixar in the 1980s for use on their previous traditionally animated films had become outdated.[37] The Harmony software was augmented with a number of plug-ins to provide CAPS-like effects such as shading on cheeks and smoke effects.[11][35] The reinstated traditional unit's first production, a 2007 Goofy cartoon short entitled How to Hook Up Your Home Theater, was partly animated without paper by using Harmony and Wacom Cintiq pressure-sensitive tablets. The character animators found some difficulty with this approach, and decided to use traditional paper and pencil drawings, which were then scanned into the computer systems, for The Princess and the Frog.[11]

text: The one exception to the new Toon Boom Harmony pipeline was the "Almost There" dream sequence, which utilized an Art Deco graphic style based on the art of Harlem Renaissance painter Aaron Douglas.[38] Supervised by Eric Goldberg and designed by Sue Nichols,[39] the "Almost There" sequence's character animation was done on paper without going through the clean-up animation department,[9] and scanned directly into Photoshop. The artwork was then enhanced to affect the appearance of painted strokes and fills, and combined with backgrounds, using Adobe After Effects.[10][11]

text: The visual effects and backgrounds for the film were created digitally using Cintiq tablet displays.[11][40] Marlon West, one of Disney's veteran animation visual effects supervisors, says about the production; "Those guys had this bright idea to bring back hand-drawn animation, but everything had to be started again from the ground up. One of the first things we did was focus on producing shorts, to help us re-introduce the 2D pipeline. I worked as vfx supervisor on the Goofy short, How to Hook Up Your Home Theater. It was a real plus for the effects department, so we went paperless for The Princess and the Frog." The backgrounds were painted digitally using Adobe Photoshop, and many of the architectural elements were based upon 3D models built in Autodesk Maya.[11] Much of the clean-up animation, digital ink-and-paint, and compositing were outsourced to third-party companies in Orlando, Florida (Premise Entertainment), Toronto, Ontario, Canada (Yowza Digital Animation), and Brooklin, São Paulo, Brazil (HGN Produções).[7]

text: Music[edit]

text: During Disney's 2007 shareholder meeting, Randy Newman and the Dirty Dozen Brass Band performed the film's opening number, "Down in New Orleans", with famous New Orleans singer Dr. John singing, while slides of pre-production art from the film played on a screen.[20] Other songs in the film include "Almost There" (a solo for Tiana), "Dig a Little Deeper" (a song for Mama Odie), "When We're Human" (a song for Louis, Tiana and Naveen [as frogs]), "Friends on the Other Side" (a solo for Doctor Facilier), and "Gonna Take You There" and "Ma Belle Evangeline" (two solos for Ray).[20] Newman composed, arranged, and conducted the music for the film, a mixture of jazz, zydeco, blues, and gospel styles performed by the voice cast members for the respective characters while R&B singer-songwriter Ne-Yo wrote and performed the end title song "Never Knew I Needed", an R&B love song referring to the romance between the film's two main characters, Tiana and Naveen. Supported by a music video by Melina, "Never Knew I Needed" was issued to radio outlets as a commercial single from the Princess and the Frog soundtrack.[41]

text: The film's soundtrack album, The Princess and the Frog: Original Songs and Score, contains the ten original songs from the film and seven instrumental pieces. The soundtrack was released on November 23, 2009, the day before the limited release of the film in New York and Los Angeles.[42]

text: Release[edit]

text: The film premiered in theaters with a limited run in New York and Los Angeles beginning on November 25, 2009, followed by wide release on December 11, 2009.[43] The film was originally set for release on Christmas Day 2009, but its release date was changed due to a competing family film, Alvin and the Chipmunks: The Squeakquel, scheduled for release the same day.[44] The Princess and the Frog enjoyed a limited re-release in AMC Theatres, lasting from October 6–12, 2017 as part of the Dream Big, Princess campaign.[45][46]

text: Marketing[edit]

text: The Princess and the Frog was supported by a wide array of merchandise leading up to and following the film's release. Although Disney's main marketing push was not set to begin until November 2009, positive word-of-mouth promotion created demand for merchandise well in advance of the film.[47] Princess Tiana costumes were selling out prior to Halloween 2009, and a gift set of Tiana-themed hair-care products from Carol's Daughter sold out in seven hours on the company's website.[47] Other planned merchandise includes a cookbook for children and even a wedding gown.[47] Princess Tiana was also featured a few months before the release in the Disney on Ice: Let's Celebrate! show.[48] The film itself was promoted through advertisements, including one from GEICO where Naveen, as a frog, converses with the company's gecko mascot.[49]

text: A live parade and show called Tiana's Showboat Jubilee! premiered on October 25, 2009, at the Magic Kingdom theme park at Walt Disney World Resort in Florida,[50] and on November 5 at Disneyland in California.[51] In Disneyland, actors in New Orleans Square paraded to the Rivers of America and boarded the park's steamboat.[51] From there, the cast, starring Princess Tiana, Prince Naveen, Louis the alligator, and Doctor Facilier, would sing songs from the movie, following a short storyline taking place after the events of the film. The Disneyland version's actors actually partook in singing, while the Walt Disney World rendition incorporated lip-syncing.[51]

text: Tiana's Showboat Jubilee! ran at both parks until January 3, 2010.[50][51] At Disneyland Park, the show was replaced by a land-based event called Princess Tiana's Mardi Gras Celebration, which features Princess Tiana along with five of the original presentation's "Mardi Gras dancers" and the park's "Jambalaya Jazz Band" as they perform songs from the movie.[52] "Tiana's Mardi Gras Celebration" officially ended on October 3, 2010. However, it returned to Disneyland from 2011–2013 as part of the "Limited Time Magic" family-fun weekends.[53][54][55]

text: Tiana also appears in Disneyland Paris' New Generation Festival.[56] Some of the characters appear frequently during World of Color, the nightly fountain and projection show presented at Disney California Adventure. Disney announced on June 4, 2009, that they would release a video game inspired by the film and it was released on November 2009 exclusively for Wii and Nintendo DS platforms. It has been officially described an "adventure through the exciting world of New Orleans in a family-oriented video game", featuring events from the film and challenges for Princess Tiana.[57]

text: Home media[edit]

text: The Princess and the Frog was released in North America on DVD and Blu-ray Disc on March 16, 2010.[58]

text: The film is available on DVD, Blu-ray Disc, and Blu-ray Disc combo pack editions; the combo pack includes DVD and digital copies of the film, along with the Blu-ray Disc version.[58] The film was released on DVD and Blu-ray Disc in Australia on June 2, 2010, and on June 21, 2010, in the United Kingdom. As of December 2010 the DVD has sold 4,475,227 copies and has made $71.3 million in DVD sales,[59] making it the ninth-best-selling DVD of 2010.[60]

text: Reception[edit]

text: The financial and critical success of The Princess and the Frog persuaded Disney to green-light at least one new hand-drawn animated film to be released every two years.[16] However, the blog /Film noted in July 2014 with the release of hand-drawn concept art for the 2013 computer animated film Frozen, that any future hand-drawn animated films have been "killed" for the time being due to The Princess and the Frog failing "to ignite the box office".[61] Two months later, however, many Disney artists announced they were working on a new independent hand-drawn animated film, Hullabaloo, as part of an attempt to bring back hand-drawn animation.[62] Despite such speculation, Walt Disney Animation Studios has continued to use both hand-drawn animation and computer animation in subsequent films.

text: Box office[edit]

text: On its limited day release, the film grossed $263,890 at two theaters and grossed $786,190 its opening weekend.[63][64] On its opening day in wide release, the film grossed $7 million at 3,434 theaters.[65] It went on to gross $24.2 million over the opening weekend averaging $7,050 per theater,[66] ranking at #1 for the weekend, and making it the highest-grossing start to date for an animated movie in December, a record previously held by Beavis and Butt-Head Do America.[67] The film went on to gross $104.4 million (in the United States and Canada) and $267 million (worldwide), making it a box office success, and became the fifth-highest-grossing animated film of 2009.[68] While the film did out-gross Disney's more recent hand-drawn films such as The Emperor's New Groove, Atlantis: The Lost Empire, Treasure Planet, Brother Bear, and Home on the Range, it was less auspicious than the animated films from Walt Disney Animation Studios' 1990s heyday. Disney animator Tom Sito compared the film's box office performance to that of The Great Mouse Detective (1986), which was a step up from the theatrical run of the 1985 box office bomb The Black Cauldron.[69]

text: Looking back on the experience four years later, Catmull acknowledged that Disney had made a "serious mistake" in the process of marketing and releasing the film.[70] Walt Disney Studios' marketing department had warned Disney Animation that the word "princess" in the title "would lead moviegoers to think that the film was for girls only," but the animation studio's management insisted on keeping the "princess" title because they truly believed that the film's excellent quality and beautiful hand-drawn animation would bring in all quadrants anyway.[70] In Catmull's words, this belief "was our own version of a stupid pill."[70]  The marketing department turned out to be correct in their prediction that many moviegoers would and did avoid the film because they thought it was "for little girls only."[70] This error was further compounded by the fact that the film opened a week before Avatar.[70]

text: Looking back seven years later, Lasseter told Variety: "I was determined to bring back [hand-drawn animation] because I felt it was such a heritage of the Disney studio, and I love the art form … I was stunned that Princess didn't do better. We dug into it and did a lot of research and focus groups. It was viewed as old-fashioned by the audience."[71]

text: Critical reception[edit]

text: The film received largely positive reviews from critics, praising the animation, characters, music and themes. Review aggregator Rotten Tomatoes reported that 85% of 191 critics have given the film a positive review, with a rating average of 7.4/10.[72] The site's general consensus is that "The warmth of traditional Disney animation makes this occasionally lightweight fairy-tale update a lively and captivating confection for the holidays."[73] Metacritic, which assigns a weighted average score out of 0–100 from film critics, has a rating score of 73 based on 29 reviews.[74]

text: Lisa Schwarzbaum of Entertainment Weekly gave the film an "A" grade and applauded the film's creative team for "uphold[ing] the great tradition of classic Disney animation".[75] Kirk Honeycutt of The Hollywood Reporter praised Walt Disney Animation for "rediscovering its traditional hand-drawn animation" and for "a thing called story".[76] David Germain of the Associated Press wrote that "The Princess and the Frog is not the second coming of Beauty and the Beast or The Lion King. It's just plain pleasant, an old-fashioned little charmer that's not straining to be the next glib animated compendium of pop-culture flotsam."[77] Justin Chang of Variety was less receptive, stating "this long-anticipated throwback to a venerable house style never comes within kissing distance of the studio's former glory".[78] Joe Neumaier of the New York Daily News gave the film 3/5 stars while saying "The Princess and the Frog breaks the color barrier for Disney princesses, but is a throwback to traditional animation and her story is a retread".[79] Village Voice's Scott Foundas found that "the movie as a whole never approache[d] the wit, cleverness, and storytelling brio of the studio's early-1990s animation renaissance (Beauty and the Beast, The Lion King) or pretty much anything by Pixar".[80] Betsy Sharkey of the Los Angeles Times gave the film a positive review claiming that "the dialogue is fresh-prince clever, the themes are ageless, the rhythms are riotous and the return to a primal animation style is beautifully executed."[81] Chicago Sun-Times film critic Roger Ebert gave the film three out of four stars and admired Disney's step back to traditional animation, writing, "No 3-D! No glasses! No extra ticket charge! No frantic frenzies of meaningless action! And…good gravy! A story! Characters! A plot! This is what classic animation once was like!", but stated that the film "inspires memories of Disney's Golden Age it doesn't quite live up to, as I've said, but it's spritely and high-spirited, and will allow kids to enjoy it without visually assaulting them."[82]

text: S. Jhoanna Robledo of Common Sense Media gave the film three out of five stars, writing, "First African-American Disney princess is a good role model".[83] Saint Bryan of the NBC-TV Seattle praised the film and called it "The Best Disney Movie Since The Lion King".[84]

text: Upon its release, the film created controversy among some Christians over its use of Louisiana Voodoo as a plot device.[85] Christianity Today's review of the film cited its sexual undertones and use of voodoo, arguing that the scenes with Dr. Facilier and his "friends on the other side" contain many horror elements and that young children might be frightened by the film.[86] The film's treatment of Louisiana voodoo as a type of magic instead of a religion also drew criticism from non-Christian factions.[87]

text: Awards and nominations[edit]

text: The film was nominated for the Academy Award for Best Animated Feature and twice for the Academy Award for Best Original Song, but lost to Up and Crazy Heart, respectively.[3][88] It was also nominated for eight Annie Awards and, at the 37th Annie Awards Ceremony on February 6, 2010, won three.[8]

text:
Award

Category

Nominee

Result

2009 Satellite Awards[89]

Best Motion Picture, Animated or Mixed Media

The Princess and the Frog

Nominated

Best Original Song

Randy Newman(Almost There)

Randy Newman(Down in New Orleans)

African-American Film Critics Association Awards 2009

Top 10 Films

The Princess and the Frog

Won

Best Screenplay

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

2009 Producers Guild of America Awards[90]

Animated Theatrical Motion Pictures

Peter Del Vecho

Nominated

2009 Online Film Critics Society Awards[91]

Best Animated Feature

The Princess and the Frog

67th Golden Globe Awards[92]

Best Animated Feature Film

2009 Chicago Film Critics Association[93]

Best Animated Feature

2009 Critics Choice Awards[94]

Best Animated Feature

Best Score

Randy Newman

Best Song(Almost There)

2009 Black Reel Awards[95]

Best Film

The Princess and the Frog

Best Song, Original or Adapted

Ne-Yo(Never Knew I Needed)

Anika Noni Rose(Almost There)

Won

Anika Noni Rose(Down in New Orleans)

Nominated

Best Voice Performance

Keith David

Anika Noni Rose

Won

Best Ensemble

The Princess and the Frog

Nominated

37th Annie Awards[8]

Best Animated Feature

Animated Effects

James DeValera Mansfield

Won

Production Design in a Feature Production

Ian Gooding

Nominated

Character Animation in a Feature Production

Andreas Deja

Eric Goldberg

Won

Bruce W. Smith

Nominated

Voice Acting in a Feature Production

Jennifer Cody ("Charlotte")

Won

Jenifer Lewis ("Mama Odie")

Nominated

82nd Academy Awards[3][88]

Best Animated Feature

John Musker and Ron Clements

Best Music, Original Song

Randy Newman(Almost There)

Randy Newman(Down in New Orleans)

41st NAACP Image Awards

Outstanding Motion Picture

Outstanding Actress in a Motion Picture

Anika Noni Rose

36th Saturn Awards[96]

Best Animated Film

The Princess and the Frog

2010 Teen Choice Awards[97][98]

Choice Movie: Animated

2011 Grammy Awards[99]

Best Song Written for a Motion Picture, Television or Other Visual Media

Randy Newman(Down in New Orleans)

Women Film Critics Circle

Best Animated Females

Anika Noni Rose (Tiana), Jennifer Cody (Charlotte La Bouff), Oprah Winfrey (Eudora), Jenifer Lewis (Mama Odie), and all other female characters in The Princess and the Frog.

Won

text: Legacy[edit]

text:
Tiana made a guest-appearance on Sofia the First in the second season episode "Winter's Gift".[100]
Tiana, Prince Naveen, Eudora and Dr. Facilier appear on the seventh season of Once Upon a Time. Maldonia also appears as a realm in New Fairy Tale Land.[101][102][103][104]
Tiana (voiced by Rose) is featured in the 2018 film Ralph Breaks the Internet, alongside all the other Disney Princesses.[105]