document_title: The Texas Chain Saw Massacre

question_text: where did the texas chainsaw massacre come from

text: The Texas Chain Saw Massacre

text: Plot

text: Sally Hardesty (Marilyn Burns) and her paraplegic brother, Franklin (Paul A. Partain), travel with three friends, Jerry (Allen Danziger), Kirk (William Vail), and Pam (Teri McMinn), to visit the grave of the Hardestys' grandfather to investigate reports of vandalism and grave robbing. Afterwards, they decide to visit the old Hardesty family homestead. Along the way, they pick up a hitchhiker (Edwin Neal) who talks about his family who worked at the old slaughterhouse. He borrows Franklin's pocket-knife and cuts himself, then takes a Polaroid picture of the others and demands money for it. When they refuse to pay, he burns the photo and slashes Franklin's arm with a straight razor. The group forces him out of the van and drive on. They stop at a gas station to refuel, but the proprietor (Jim Siedow) tells them the pumps are empty.

text: They continue toward the homestead, intending to return to the gas station once it has received a fuel delivery. When they arrive, Franklin tells Kirk and Pam about a local swimming-hole and the couple head off to find it. They stumble upon a nearby house. Kirk calls out for gas, entering through the unlocked door, while Pam waits outside. Leatherface (Gunnar Hansen) appears and kills Kirk with a hammer. Pam enters soon after and trips into a room filled with furniture made from human bones. She attempts to flee, but Leatherface catches her and impales her on a meathook, making her watch as he butchers Kirk with a chainsaw. Jerry heads out to look for Pam and Kirk at sunset. He sees the house and finds Pam, still alive, inside a freezer. Before he can react, Leatherface kills him.

text: With darkness falling, Sally and Franklin set out to find their friends. As they near the neighboring house and call out, Leatherface lunges from the darkness and kills Franklin with a chainsaw. Sally runs toward the house and finds the desiccated remains of an elderly couple upstairs. She escapes from Leatherface by jumping through a second-floor window and flees to the gas station. The proprietor calms her with offers of help but then ties her up, gags her and forces her into his truck. He drives to the house, arriving at the same time as the hitchhiker, now revealed as Leatherface's brother. The hitchhiker recognizes Sally and taunts her.

text: The men torment the bound and gagged Sally while Leatherface, now dressed as a woman, serves dinner. Leatherface and the hitchhiker bring down Grandpa (John Dugan), one of the desiccated bodies from upstairs. He is revealed to be alive when he sucks blood from a cut on Sally's finger. They decide that Grandpa, the best killer in the old slaughterhouse, should kill Sally. He tries to hit her with a hammer but is too weak. In the ensuing confusion, she breaks free, leaps through a window, and flees to the road. Leatherface and the hitchhiker give chase, but the latter is run over and killed by a passing truck. Armed with his chainsaw, Leatherface attacks the truck when the driver stops to help; the driver knocks down Leatherface with a pipe wrench, causing the chainsaw to cut his leg. The driver flees, and Sally escapes in the back of a passing pickup truck as Leatherface dances maniacally in the road with his chainsaw.

text: Production

text: Development

text: The concept for The Texas Chain Saw Massacre arose in the early 1970s while Tobe Hooper was working as an assistant film director at the University of Texas at Austin and as a documentary cameraman.[3] He had already developed a story involving the elements of isolation, the woods, and darkness.[4] He credited the graphic coverage of violence by San Antonio news outlets as one inspiration for the film[5] and based elements of the plot on serial killer Ed Gein in 1950s Wisconsin;[6] Gein inspired other horror films such as Psycho (1960) and The Silence of the Lambs (1991).[7][8][9][10] During development, Hooper used the working titles of Headcheese and Leatherface.[11][12]

text:
I definitely studied Gein... but I also noticed a murder case in Houston at the time, a serial murderer you probably remember named Elmer Wayne Henley. He was a young man who recruited victims for an older homosexual man. I saw some news report where Elmer Wayne... said, "I did these crimes, and I'm gonna stand up and take it like a man." Well, that struck me as interesting, that he had this conventional morality at that point. He wanted it known that, now that he was caught, he would do the right thing. So this kind of moral schizophrenia is something I tried to build into the characters.

— Kim Henkel[13][14]

tag: div

text: Hooper has cited changes in the cultural and political landscape as central influences on the film. His intentional misinformation, that the "film you are about to see is true", was a response to being "lied to by the government about things that were going on all over the world", including Watergate, the 1973 oil crisis, and "the massacres and atrocities in the Vietnam War".[5] The "lack of sentimentality and the brutality of things" that Hooper noticed while watching the local news, whose graphic coverage was epitomized by "showing brains spilled all over the road", led to his belief that "man was the real monster here, just wearing a different face, so I put a literal mask on the monster in my film".[8] The idea of using a chainsaw as the murder weapon came to Hooper while he was in the hardware section of a busy store, contemplating how to speed his way through the crowd.[9]

text: Hooper and Kim Henkel cowrote the screenplay and formed Vortex, Inc.[15] with Henkel as president and Hooper as vice president.[16] They asked Bill Parsley, a friend of Hooper, to provide funding. Parsley formed a company named MAB, Inc. through which he invested $60,000 in the production. In return, MAB owned 50% of the film and its profits.[17] Production manager Ron Bozman told most of the cast and crew that he would have to defer part of their salaries until after it was sold to a distributor. Vortex made the idea more attractive by awarding them a share of its potential profits, ranging from 0.25 to 6%, similar to mortgage points. The cast and crew were not informed that Vortex owned only 50%, which meant their points were worth half of the assumed value.[16][18]

text: Casting

text: Many of the cast members at the time were relatively unknown actors—Texans who had played roles in commercials, television, and stage shows, as well as performers whom Hooper knew personally, such as Allen Danziger and Jim Siedow.[19][20][21] Involvement in the film propelled some of them into the motion picture industry. The lead role of Sally was given to Marilyn Burns, who had appeared previously on stage and served on the film commission board at UT Austin while studying there.[20] Teri McMinn was a student who worked with local theater companies, including the Dallas Theater Center.[20] Henkel called McMinn to come in for a reading after he spotted her picture in the Austin American-Statesman.[22] For her last call-back he requested that she wear short shorts, which proved to be the most comfortable of all the cast members' costumes.[20]

text: Icelandic-American actor Gunnar Hansen was selected for the role of Leatherface.[23] He regarded Leatherface as being mentally retarded and having never learned to speak properly. To research his character in preparation for his role, Hansen visited a special needs school and watched how the students moved and spoke.[9][24] John Larroquette performed the narration in the opening credits.[25]

text: Filming

text: The primary filming location was an early 1900s farmhouse located on Quick Hill Road near Round Rock, Texas, where the La Frontera development is now located.[26] The small budget and concerns over high-cost equipment rentals meant the crew filmed seven days a week, up to 16 hours a day. The environment was humid[18][27] and the cast and crew found conditions tough; temperatures peaked at 110°F (43 °C) on July 26.[28] Hansen later recalled, "It was 95, 100 degrees every day during filming. They wouldn't wash my costume because they were worried that the laundry might lose it, or that it would change color. They didn't have enough money for a second costume. So I wore that [mask] 12 to 16 hours a day, seven days a week, for a month."[29]

text: The Texas Chain Saw Massacre was mainly shot using an Eclair NPR 16mm camera[11][30] with fine-grain, low-speed film that required four times more light than modern digital cameras.[31] Most of the filming took place in the farmhouse, which was filled with furniture constructed from animal bones and a latex material used as upholstery to give the appearance of human skin.[32] The house was not cooled, and there was little ventilation. The crew covered its walls with drops of animal blood obtained from a local slaughterhouse.[5] Art director Robert A. Burns drove around the countryside and collected the remains of cattle and other animals in various stages of decomposition, with which he littered the floors of the house.[32]

text: The special effects were simple and limited by the budget.[33] The on-screen blood was real in some cases,[34] such as the scene in which Leatherface feeds "Grandpa". The crew had difficulty getting the stage blood to come out of its tube, so instead Burns's index finger was cut with a razor.[35] Burns's costume was so drenched with stage blood that it was "virtually solid" by the last day of shooting.[20] The scene in which Leatherface decapitates Kirk with a chainsaw worried actor William Vail (Kirk). After telling Vail to stay still lest he really be killed, Hansen brought the running chainsaw to within 3 inches (8 cm) of Vail's face.[30] A real hammer was used for the climactic scene at the end, with some takes also featuring a mock-up. However, the actor playing Grandpa was aiming for the floor rather than his victim's head.[36] Still, the shoot was somewhat dangerous, with Hooper noting at the wrap party that all cast members had obtained some level of injury. He stated that "everyone hated me by the end of the production" and that "it just took years for them to kind of cool off."[36][37]

text: Post-production

text: The production exceeded its original $60,000 (about $291376.52 adjusted for inflation) budget during editing.[38] Sources differ on the film's final cost, offering figures between $93,000 (about $451633.60 inflation-adjusted) and $300,000 (about $1456882.59 inflation-adjusted).[23][39][40][41] A film production group, Pie in the Sky, provided $23,532 (about $114277.87 inflation-adjusted) in exchange for 19% of Vortex.[42] This left Henkel, Hooper and the rest of the cast and crew with a 40.5% stake.[16] Warren Skaaren, then head of the Texas Film Commission, helped secure the distribution deal with Bryanston Pictures.[17] David Foster, producer of the 1982 horror film The Thing, arranged for a private screening for some of Bryanston Pictures' West Coast executives, and received 1.5% of Vortex's profits and a deferred fee of $500 (about $2428.14 inflation-adjusted).[16]

text: On August 28, 1974, Louis Peraino of Bryanston agreed to distribute the film worldwide, from which Bozman and Skaaren would receive $225,000 (about $1092661.94 inflation-adjusted) and 35% of the profits. Years later Bozman stated, "We made a deal with the devil, [sigh], and I guess that, in a way, we got what we deserved."[16] They signed the contract with Bryanston and, after the investors recouped their money (with interest),—and after Skaaren, the lawyers, and the accountants were paid—only $8,100 (about $39335.83 inflation-adjustedn) was left to be divided among the 20 cast and crew members.[16] Eventually the producers sued Bryanston for failing to pay them their full percentage of the box office profits. A court judgment instructed Bryanston to pay the filmmakers $500,000 (about $2428137.65 inflation-adjusted), but by then the company had declared bankruptcy. In 1983 New Line Cinema acquired the distribution rights from Bryanston and gave the producers a larger share of the profits.[43]

text: Release

text: The Texas Chain Saw Massacre premiered in Austin, Texas on October 1, 1974, almost a year after filming concluded. It screened nationally in the United States as a Saturday afternoon matinée and its false marketing as a "true story" helped it attract a broad audience.[44][45] For eight years after 1976, it was annually reissued to first-run theaters, promoted by full-page ads.[46] The film eventually grossed more than $30 million in the United States and Canada[47] ($14.4 million in rentals), making it the 12th highest-grossing film initially released in 1974, despite its minuscule budget.[48] Among independent films, it was overtaken in 1978 by John Carpenter's Halloween, which grossed $47 million.[49]

text:
The film which you are about to see is an account of the tragedy which befell a group of five youths, in particular Sally Hardesty and her invalid brother, Franklin. [...]

— The opening crawl falsely suggests that the film is based on true events, a conceit that contributed to its success.

text: Hooper reportedly hoped that the Motion Picture Association of America (MPAA) would give the complete, uncut release print a "PG" rating due to its minimal amount of visible gore.[50][51][52] Instead, it was originally rated "X". After several minutes were cut, it was resubmitted to the MPAA and received an "R" rating. A distributor apparently restored the offending material, and at least one theater presented the full version under an "R".[53] In San Francisco, cinema-goers walked out of theaters in disgust[54] and, in February 1976, two theaters in Ottawa, Canada, were advised by local police to withdraw the film lest they face morality charges.[55]

text: After its initial British release, including a one-year theatrical run in London,[56] The Texas Chain Saw Massacre was initially banned on the advice of British Board of Film Censors (BBFC) Secretary Stephen Murphy, and subsequently by his successor, James Ferman.[57][58] While the British ban was in force the word "chainsaw" itself was barred from movie titles, forcing imitators to rename their films.[59] In 1998, despite the BBFC ban, Camden London Borough Council granted the film a license.[60] The following year the BBFC passed The Texas Chain Saw Massacre for release with an 18 certificate (indicating that it should not be seen or purchased by a person under 18),[61] and it was broadcast a year later on Channel 4.[62][63]

text: The Australian censors refused to classify the 83-minute version of the film in June 1975;[64] the board similarly refused classification of a 77-minute print in December that year.[65] In 1981, an 83-minute version submitted by Greater Union Organization Film Distributors was again refused registration.[66] It was later submitted by Filmways Australia and approved for an "R" rating in 1984.[67][68] It was banned for periods in many other countries, including Brazil, Chile, Finland, France, Iceland, Ireland, Norway, Singapore, Sweden and West Germany.[69][70][71]

text: Reception

text: Critical response

text: The Texas Chain Saw Massacre received a mixed reaction upon its initial release. Linda Gross of the Los Angeles Times called it "despicable" and described Henkel and Hooper as more concerned with creating a realistic atmosphere than with its "plastic script".[72] Roger Ebert of the Chicago Sun-Times said it was "as violent and gruesome and blood-soaked as the title promises", yet praised its acting and technical execution.[73][74] Patrick Taggart of the Austin American-Statesman hailed it as the most important horror film since George A. Romero's Night of the Living Dead (1968).[75] Variety found the picture to be well-made, despite what it called the "heavy doses of gore".[76] John McCarty of Cinefantastique stated that the house featured in the film made the Bates motel "look positively pleasant by comparison".[77] Revisiting the film in his 1976 article "Fashions in Pornography" for Harper's Magazine, Stephen Koch found its sadistic violence to be extreme and unimaginative.[78]

text:
Horror and exploitation films almost always turn a profit if they're brought in at the right price. So they provide a good starting place for ambitious would-be filmmakers who can't get more conventional projects off the ground. The Texas Chainsaw Massacre belongs in a select company (with Night of the Living Dead and Last House on the Left) of films that are really a lot better than the genre requires. Not, however, that you'd necessarily enjoy seeing it.

— Roger Ebert, writing for the Chicago Sun-Times[73]

text: Critics later frequently praised both the film's aesthetic quality and its power. Observing that it managed to be "horrifying without being a bloodbath (you'll see more gore in a Steven Seagal film)", Bruce Westbrook of the Houston Chronicle called it "a backwoods masterpiece of fear and loathing".[79] TV Guide thought it was "intelligent" in its "bloodless depiction of violence",[80] while Anton Bitel felt the fact that it was banned in the United Kingdom was a tribute to its artistry. He pointed out how the quiet sense of foreboding at the beginning of the film grows, until the viewer experiences "a punishing assault on the senses".[81] In Hick Flicks: The Rise and Fall of Redneck Cinema, Scott Von Doviak commended its effective use of daylight shots, unusual among horror films, such as the sight of a corpse draped over a tombstone in the opening sequence.[82] Mike Emery of The Austin Chronicle praised the film's "subtle touches"—such as radio broadcasts heard in the background describing grisly murders around Texas—and said that what made it so dreadful was that it never strayed too far from potential reality.[83]

text: It has often been described as one of the scariest films of all time.[84] Rex Reed called it the most terrifying film he had ever seen.[85] Empire described it as "the most purely horrifying horror movie ever made" and called it "never less than totally committed to scaring you witless".[86] Reminiscing about his first viewing of the film, horror director Wes Craven recalled wondering "what kind of Mansonite crazoid" could have created such a thing.[87] It is a work of "cataclysmic terror", in the words of horror novelist Stephen King, who declared, "I would happily testify to its redeeming social merit in any court in the country."[88] Critic Robin Wood found it one of the few horror films to possess "the authentic quality of nightmare".[89] Based on 56 reviews published since 2000, the review aggregate website Rotten Tomatoes reports that 88% of critics gave it a positive review, with an average score of 7.9 out of 10.[90]

text: Cultural impact

text: The Texas Chain Saw Massacre is considered one of the greatest—and most controversial—of horror films,[91][92] and a major influence on the genre.[41][93] In 1999 Richard Zoglin of Time commented that it had "set a new standard for slasher films".[94] The Times listed it as one of the 50 most controversial films of all time.[95] Tony Magistrale believes the film paved the way for horror to be used as a vehicle for social commentary.[96] Describing it as "cheap, grubby and out of control", Mark Olsen of the Los Angeles Times declared that it "both defines and entirely supersedes the very notion of the exploitation picture".[97] In his book Dark Romance: Sexuality in the Horror Film, David Hogan called it "the most affecting gore thriller of all and, in a broader view, among the most effective horror films ever made ... the driving force of The Texas Chainsaw Massacre is something far more horrible than aberrant sexuality: total insanity."[98][99] According to Bill Nichols, it "achieves the force of authentic art, profoundly disturbing, intensely personal, yet at the same time far more than personal".[100] Leonard Wolf praised the film as "...an exquisite work of art" and compared it to a Greek tragedy, noting the lack of onscreen violence.[101]

text: Leatherface has gained a reputation as a significant character in the horror genre,[102][103] responsible for establishing the use of conventional tools as murder weapons and the image of a large, silent killer devoid of personality.[104][105] Christopher Null of Filmcritic.com said, "In our collective consciousness, Leatherface and his chainsaw have become as iconic as Freddy and his razors or Jason and his hockey mask."[106] Don Sumner called The Texas Chain Saw Massacre a classic that not only introduced a new villain to the horror pantheon but also influenced an entire generation of filmmakers.[107] According to Rebecca Ascher-Walsh of Entertainment Weekly, it laid the foundations for future horror franchises such as Halloween, The Evil Dead, and The Blair Witch Project.[108] Ridley Scott cited it as an inspiration for his 1979 film Alien.[109][110] French director Alexandre Aja credited it as an early influence on his career.[111] Horror filmmaker and heavy metal musician Rob Zombie sees it as a major influence on his art, most notably his 2003 film House of 1000 Corpses.[112]

text: The Texas Chain Saw Massacre was selected for the 1975 Cannes Film Festival Directors' Fortnight[56] and London Film Festival.[48] In 1976, it won the Special Jury Prize at the Avoriaz Fantastic Film Festival in France.[113] Entertainment Weekly ranked the film sixth on its 2003 list of "The Top 50 Cult Films".[114] In a 2005 Total Film poll, it was selected as the greatest horror film of all time.[91][115] It was named among Time's top 25 horror films in 2007.[116] In 2008 the film ranked number 199 on Empire magazine's list of "The 500 Greatest Movies of All Time".[117] Empire also ranked it 46th in its list of the 50 greatest independent films.[118] In a 2010 Total Film poll, it was again selected as the greatest horror film; the judging panel included veteran horror directors such as John Carpenter, Wes Craven, and George A. Romero.[119] In 2010, as well, The Guardian ranked it number 14 on its list of the top 25 horror films.[120] The Texas Chain Saw Massacre was inducted into the Horror Hall of Fame in 1990, with director Hooper accepting the award,[121] and it is part of the permanent collection of New York City's Museum of Modern Art.[41] In 2012, the film was named by critics in the British Film Institute's Sight & Sound magazine as one of the 250 greatest films.[122] The Academy Film Archive houses the Texas Chain Saw Massacre collection, which contains over 50 items in a collection representing many original elements of the film.[123]

text: Themes and analysis

text: The underlying themes of the film have been the subject of extensive critical discussion; critics and scholars have interpreted it as a paradigmatic exploitation film in which female protagonists are subjected to brutal, sadistic violence.[124][125] Stephen Prince comments that the horror is "born of the torment of the young woman subjected to imprisonment and abuse amid decaying arms... and mobiles made of human bones and teeth."[126] As with many horror films, it focuses on the "final girl" trope—the heroine and inevitable lone survivor who somehow escapes the horror that befalls the other characters:[127][128] Sally Hardesty is wounded and tortured, yet manages to survive with the help of a male truck driver.[129] Critics argue that even in exploitation films in which the ratio of male and female deaths is roughly equal, the images that linger will be of the violence committed against the female characters.[127][130][131] The specific case of The Texas Chain Saw Massacre provides support for this argument: three men are killed in quick fashion, but one woman is brutally slaughtered—hung on a meathook—and the surviving woman endures physical and mental torture.[132] In 1977, critic Mary Mackey described the meathook scene as probably the most brutal onscreen female death in any commercially distributed film.[133] She placed it in a lineage of violent films that depict women as weak and incapable of protecting themselves.[133]

text: In one study, a group of men were shown five films depicting differing levels of violence against women.[134] On first viewing The Texas Chain Saw Massacre they experienced symptoms of depression and anxiety; however, upon subsequent viewing they found the violence against women less offensive and more enjoyable.[132] Another study, investigating gender-specific perceptions of slasher films, involved 30 male and 30 female university students.[135] One male participant described the screaming, especially Sally's, as the "most freaky thing" in the film.[135]

text: According to Jesse Stommel of Bright Lights Film Journal, the lack of explicit violence in the film forces viewers to question their own fascination with violence that they play a central role in imagining.[136] Nonetheless—citing its feverish camera moves, repeated bursts of light, and auditory pandemonium—Stommel asserts that it involves the audience primarily on a sensory rather than an intellectual level.[136]

text:
Hooper's apocalyptic landscape is... a desert wasteland of dissolution where once vibrant myth is desiccated. The ideas and iconography of Cooper, Bret Harte and Francis Parkman are now transmogrified into yards of dying cattle, abandoned gasoline stations, defiled graveyards, crumbling mansions, and a ramshackle farmhouse of psychotic killers. The Texas Chainsaw Massacre [is]... recognizable as a statement about the dead end of American experience.

— Christopher Sharrett[137]

text: Critic Christopher Sharrett argues that since Alfred Hitchcock's Psycho (1960) and The Birds (1963), the American horror film has been defined by the questions it poses "about the fundamental validity of the American civilizing process",[138] concerns amplified during the 1970s by the "delegitimation of authority in the wake of Vietnam and Watergate".[139] "If Psycho began an exploration of a new sense of absurdity in contemporary life, of the collapse of causality and the diseased underbelly of American Gothic", he writes, The Texas Chain Saw Massacre "carries this exploration to a logical conclusion, addressing many of the issues of Hitchcock's film while refusing comforting closure".[140]

text: Robin Wood characterizes Leatherface and his family as victims of industrial capitalism, their jobs as slaughterhouse workers having been rendered obsolete by technological advances.[141] He states that the picture "brings to focus a spirit of negativity... that seems to lie not far below the surface of the modern collective consciousness".[142] Naomi Merritt explores the film's representation of "cannibalistic capitalism" in relation to Georges Bataille's theory of taboo and transgression.[143] She elaborates on Wood's analysis, stating that the Sawyer family's values "reflect, or correspond to, established and interdependent American institutions... but their embodiment of these social units is perverted and transgressive."[144]

text: In Kim Newman's view, Hooper's presentation of the Sawyer family during the dinner scene parodies a typical American sitcom family: the gas station owner is the bread-winning father figure; the killer Leatherface is depicted as a bourgeois housewife; the hitchhiker acts as the rebellious teenager.[145] Isabel Cristina Pinedo, author of Recreational Terror: Women and the Pleasures of Horror Film Viewing, states, "The horror genre must keep terror and comedy in tension if it is to successfully tread the thin line that separates it from terrorism and parody ... this delicate balance is struck in The Texas Chainsaw Massacre in which the decaying corpse of Grandpa not only incorporates horrific and humorous effects, but actually uses one to exacerbate the other."[146]

text: The Texas Chain Saw Massacre has also been described as "the ultimate pro-vegetarian film" due to its animal rights themes. In a video essay, film critic Rob Ager describes the irony in humans being slaughtered for meat, putting humans in the position of being slaughtered like farm animals. Director Tobe Hooper gave up meat while making the film, and said "In a way I thought the heart of the film was about meat; it’s about the chain of life and killing sentient beings."[147][148]

text: Post-release

text: The Texas Chain Saw Massacre has appeared on various home video formats. In the US, it was first released on videotape and CED in the early 1980s by Wizard Video and Vestron Video.[149][150] The British Board of Film Classification had long since refused a certification for the uncut theatrical version and in 1984 they also refused to certify it for home video, amid a moral panic surrounding "video nasties".[151] After the retirement of BBFC Director James Ferman in 1999, the board passed the film uncut for theatrical and video distribution with an 18 certificate, almost 25 years after the original release.[152] The Texas Chain Saw Massacre was initially released on DVD in October 1998 in the United States,[153] May 2000 in the United Kingdom[154] and 2001 in Australia.

text: In 2005 the film received a 2K scan and full restoration from the original 16mm A/B rolls,[155] which was subsequently released on DVD and Blu-ray. In 2014 an additional, even more extensive 4K restoration, using the original 16mm A/B reversal rolls, was carried out.[156] After a screening in the Directors' Fortnight section of the 2014 Cannes Film Festival,[157] this was also released on DVD and Blu-ray worldwide. Dark Sky Films' US 40th Anniversary Edition was nominated for Best DVD/BD Special Edition Release at the 2015 Saturn Awards.[158]

text: In 1982, shortly after The Texas Chain Saw Massacre established itself as a success on US home video, Wizard Video released a mass-market video game adaptation for the Atari 2600.[159] In the game, the player assumes the role of Leatherface and attempts to murder trespassers while avoiding obstacles such as fences and cow skulls.[159] As one of the first horror-themed video games, The Texas Chainsaw Massacre caused controversy when it was first released due to its violent nature; it sold poorly as a result, because many game stores refused to stock it.[160][161]

text: The film has been followed by seven other films to date, including sequels, prequels and remakes. The first sequel, The Texas Chainsaw Massacre 2 (1986), was considerably more graphic and violent than the original and was banned in Australia for 20 years before it was released on DVD in a revised special edition in October 2006.[162] Leatherface: The Texas Chainsaw Massacre III (1990) was the second sequel to appear, though Hooper did not return to direct due to scheduling conflicts with another film, Spontaneous Combustion.[163] Texas Chainsaw Massacre: The Next Generation, starring Renée Zellweger and Matthew McConaughey, was released in 1995. While briefly acknowledging the events of the preceding two sequels, its plot makes it a virtual remake of the 1974 original.[164] A straight remake, The Texas Chainsaw Massacre, was released by Platinum Dunes and New Line Cinema in 2003.[165] It was followed by a prequel, The Texas Chainsaw Massacre: The Beginning, in 2006. A seventh film, Texas Chainsaw 3D, was released on January 4, 2013.[165] It is a direct sequel to the original 1974 film, with no relation to the 2003 or 2006 films.[166][167] The 2017 prequel, Leatherface will be released exclusively to DirecTV on September 21, 2017, before receiving a wider release on Video on demand and in limited theaters, simultaneously, in North America on October 20, 2017.[168]

text: Notes

text: Jump up ^ While the original theatrical release poster and many references to the film render its title as The Texas Chainsaw Massacre, the official spelling is The Texas Chain Saw Massacre, per the film's opening credits. This is also the title under which the film is registered with the U.S. Copyright Office.[2]


document_title: List of FA Cup Finals

question_text: who won the first fa cup in 1871

question_tokens: who won the first fa cup in 1871

root

text: List of FA Cup Finals

text: History[edit]

text: The winners of the first tournament were Wanderers, a team of former public schoolboys based in London, who went on to win the competition five times in its first seven seasons. The early winners of the competition were all teams of wealthy amateurs from the south of England,[5] but in 1883, Blackburn Olympic became the first team from the north to win the cup, defeating Old Etonians. Upon his team's return to Blackburn, Olympic captain Albert Warburton proclaimed: "The Cup is very welcome to Lancashire. It'll have a good home and it'll never go back to London."[6]

tag: p

text: With the advent of professionalism at around the same time, the amateur teams quickly faded from prominence in the competition.[5] The leading professional clubs formed The Football League in 1888.[7] Since then, one non-league team has won the cup. Tottenham Hotspur, then of the Southern League, defeated Sheffield United of The Football League to win the 1901 final.[8] A year later Sheffield United returned to the final and won the cup, which then remained in the hands of Northern and Midland clubs until Tottenham won it again in 1921.[2] In 1927, Cardiff City, a team which plays in the English football league system despite being based in Wales, won the cup, the only non-English club to do so.[9] Scottish club Queens Park reached the final twice in the early years of the competition.[2]

text: Newcastle United enjoyed a brief spell of FA Cup dominance in the 1950s, winning the trophy three times in five years,[2] and in the 1960s, Tottenham Hotspur enjoyed a similar spell of success, with three wins in seven seasons. This marked the start of a successful period for London-based clubs, with 11 wins in 22 seasons.[10] Teams from the second tier of English football, at the time called the Second Division, experienced an unprecedented run of cup success between 1973 and 1980.[10] Sunderland won the cup in 1973, Southampton repeated the feat in 1976, and West Ham United won in 1980, the most recent victory by a team from outside the top division.[2][8]

text: Finals[edit]

text: Until 1999, a draw in the final would result in the match being replayed at a later date;[11] since then the final has always been decided on the day, with a penalty shootout as required.[12] As of 2017 a penalty shoot-out has been required on only two occasions, in the 2005 and 2006 finals. The competition did not take place during the First and Second World Wars, other than in the 1914–15 season, when it was completed, and the 1939–40 season, when it was abandoned during the qualifying rounds.[2]

text: Key[edit]

text:
Key to list of winners

(R)
Replay

*
Match went to extra time

Match decided by a penalty shoot-out after extra time

Winning team won the Double

Italics
Team from outside the top level of English football
(since the formation of The Football League in 1888)

tag: table

text: All teams are English, except where marked  (Scottish) or   (Welsh).

text: Results[edit]

text:
FA Cup winners

Season
Winners[2]
Score[2]
Runners–up[2]
Venue[13]
Attendance[13]

1871–72 FA Cup (1) !1871–72
Wanderers
1–0
Royal Engineers
Kennington Oval
2,000

1872–73 FA Cup (1) !1872–73
Wanderers
2–0
Oxford University
Lillie Bridge
3,000

1873–74 FA Cup (1) !1873–74
Oxford University
2–0
Royal Engineers
Kennington Oval
2,000

1874–75 FA Cup (1) !1874–75
Royal Engineers
1–1 !* 1–1 *
Old Etonians
Kennington Oval
2,000

1874–75 FA Cup (2) !1874–75 (R)
Royal Engineers
2–0
Old Etonians
Kennington Oval
3,000

1875–76 FA Cup (1) !1875–76
Wanderers
1–1 !* 1–1 *
Old Etonians
Kennington Oval
3,500

1875–76 FA Cup (2) !1875–76 (R)
Wanderers
3–0
Old Etonians
Kennington Oval
1,500

1876–77 FA Cup (1) !1876–77
Wanderers
2–1 !* 2–1 *
Oxford University
Kennington Oval
3,000

1877–78 FA Cup (1) !1877–78
Wanderers
3–1
Royal Engineers
Kennington Oval
4,500

1878–79 FA Cup (1) !1878–79
Old Etonians
1–0
Clapham Rovers
Kennington Oval
5,000

1879–80 FA Cup (1) !1879–80
Clapham Rovers
1–0
Oxford University
Kennington Oval
6,000

1880–81 FA Cup (1) !1880–81
Old Carthusians
3–0
Old Etonians
Kennington Oval
4,000

1881–82 FA Cup (1) !1881–82
Old Etonians
1–0
Blackburn Rovers
Kennington Oval
6,500

1882–83 FA Cup (1) !1882–83
Blackburn Olympic
2–1 !* 2–1 *
Old Etonians
Kennington Oval
8,000

1883–84 FA Cup (1) !1883–84
Blackburn Rovers
2–1
 Queen's Park
Kennington Oval
4,000

1884–85 FA Cup (1) !1884–85
Blackburn Rovers
2–0
 Queen's Park
Kennington Oval
12,500

1885–86 FA Cup (1) !1885–86
Blackburn Rovers
0–0
West Bromwich Albion
Kennington Oval
15,000

1885–86 FA Cup (2) !1885–86 (R)
Blackburn Rovers
2–0
West Bromwich Albion
Racecourse Ground !Racecourse Ground
12,000

1886–87 FA Cup (1) !1886–87
Aston Villa
2–0
West Bromwich Albion
Kennington Oval
15,500

1887–88 FA Cup (1) !1887–88
West Bromwich Albion
2–1
Preston North End
Kennington Oval
19,000

1888–89 FA Cup (1) !1888–89
Preston North End
3–0
Wolverhampton Wanderers
Kennington Oval
22,000

1889–90 FA Cup (1) !1889–90
Blackburn Rovers
6–1
The Wednesday
Kennington Oval
20,000

1890–91 FA Cup (1) !1890–91
Blackburn Rovers
3–1
Notts County
Kennington Oval
23,000

1891–92 FA Cup (1) !1891–92
West Bromwich Albion
3–0
Aston Villa
Kennington Oval
32,810

1892–93 FA Cup (1) !1892–93
Wolverhampton Wanderers
1–0
Everton
Fallowfield Stadium
45,000

1893–94 FA Cup (1) !1893–94
Notts County
4–1
Bolton Wanderers
Goodison Park
37,000

1894–95 FA Cup (1) !1894–95
Aston Villa
1–0
West Bromwich Albion
Crystal Palace
42,560

1895–96 FA Cup (1) !1895–96
The Wednesday
2–1
Wolverhampton Wanderers
Crystal Palace
48,836

1896–97 FA Cup (1) !1896–97
Aston Villa
3–2
Everton
Crystal Palace
65,891

1897–98 FA Cup (1) !1897–98
Nottingham Forest
3–1
Derby County
Crystal Palace
62,017

1898–99 FA Cup (1) !1898–99
Sheffield United
4–1
Derby County
Crystal Palace
73,833

1899–1900 FA Cup (1) !1899–1900
Bury
4–0
Southampton
Crystal Palace
68,945

1900–01 FA Cup (1) !1900–01
Tottenham Hotspur
2–2
Sheffield United
Crystal Palace
110,820

1900–01 FA Cup (2) !1900–01 (R)
Tottenham Hotspur
3–1
Sheffield United
Burnden Park
20,470

1901–02 FA Cup (1) !1901–02
Sheffield United
1–1
Southampton
Crystal Palace
76,914

1901–02 FA Cup (2) !1901–02 (R)
Sheffield United
2–1
Southampton
Crystal Palace
33,068

1902–03 FA Cup (1) !1902–03
Bury
6–0
Derby County
Crystal Palace
63,102

1903–04 FA Cup (1) !1903–04
Manchester City
1–0
Bolton Wanderers
Crystal Palace
61,374

1904–05 FA Cup (1) !1904–05
Aston Villa
2–0
Newcastle United
Crystal Palace
101,117

1905–06 FA Cup (1) !1905–06
Everton
1–0
Newcastle United
Crystal Palace
75,609

1906–07 FA Cup (1) !1906–07
The Wednesday
2–1
Everton
Crystal Palace
84,594

1907–08 FA Cup (1) !1907–08
Wolverhampton Wanderers
3–1
Newcastle United
Crystal Palace
74,697

1908–09 FA Cup (1) !1908–09
Manchester United
1–0
Bristol City
Crystal Palace
71,401

1909–10 FA Cup (1) !1909–10
Newcastle United
1–1
Barnsley
Crystal Palace
77,747

1909–10 FA Cup (2) !1909–10 (R)
Newcastle United
2–0
Barnsley
Goodison Park
69,000

1910–11 FA Cup (1) !1910–11
Bradford City
0–0
Newcastle United
Crystal Palace
69,068

1910–11 FA Cup (2) !1910–11 (R)
Bradford City
1–0
Newcastle United
Old Trafford
58,000

1911–12 FA Cup (1) !1911–12
Barnsley
0–0
West Bromwich Albion
Crystal Palace
54,556

1911–12 FA Cup (2) !1911–12 (R)
Barnsley
1–0 !* 1–0 *
West Bromwich Albion
Bramall Lane
38,555

1912–13 FA Cup (1) !1912–13
Aston Villa
1–0
Sunderland
Crystal Palace
121,919

1913–14 FA Cup (1) !1913–14
Burnley
1–0
Liverpool
Crystal Palace
72,778

1914–15 FA Cup (1) !1914–15
Sheffield United
3–0
Chelsea
Old Trafford
49,557

1919–20 FA Cup (1) !1919–20
Aston Villa
1–0 !* 1–0 *
Huddersfield Town
Stamford Bridge
50,018

1920–21 FA Cup (1) !1920–21
Tottenham Hotspur
1–0
Wolverhampton Wanderers
Stamford Bridge
72,805

1921–22 FA Cup (1) !1921–22
Huddersfield Town
1–0
Preston North End
Stamford Bridge
53,000

1922–23 FA Cup (1) !1922–23
Bolton Wanderers
2–0
West Ham United
Wembley Stadium (original)
126,047[A]

1923–24 FA Cup (1) !1923–24
Newcastle United
2–0
Aston Villa
Wembley Stadium (original)
91,695

1924–25 FA Cup (1) !1924–25
Sheffield United
1–0
 Cardiff City
Wembley Stadium (original)
91,763

1925–26 FA Cup (1) !1925–26
Bolton Wanderers
1–0
Manchester City
Wembley Stadium (original)
91,447

1926–27 FA Cup (1) !1926–27
 Cardiff City
1–0
Arsenal
Wembley Stadium (original)
91,206

1927–28 FA Cup (1) !1927–28
Blackburn Rovers
3–1
Huddersfield Town
Wembley Stadium (original)
92,041

1928–29 FA Cup (1) !1928–29
Bolton Wanderers
2–0
Portsmouth
Wembley Stadium (original)
92,576

1929–30 FA Cup (1) !1929–30
Arsenal
2–0
Huddersfield Town
Wembley Stadium (original)
92,488

1930–31 FA Cup (1) !1930–31
West Bromwich Albion
2–1
Birmingham
Wembley Stadium (original)
92,406

1931–32 FA Cup (1) !1931–32
Newcastle United
2–1
Arsenal
Wembley Stadium (original)
92,298

1932–33 FA Cup (1) !1932–33
Everton
3–0
Manchester City
Wembley Stadium (original)
92,950

1933–34 FA Cup (1) !1933–34
Manchester City
2–1
Portsmouth
Wembley Stadium (original)
93,258

1934–35 FA Cup (1) !1934–35
Sheffield Wednesday
4–2
West Bromwich Albion
Wembley Stadium (original)
93,204

1935–36 FA Cup (1) !1935–36
Arsenal
1–0
Sheffield United
Wembley Stadium (original)
93,384

1936–37 FA Cup (1) !1936–37
Sunderland
3–1
Preston North End
Wembley Stadium (original)
93,495

1937–38 FA Cup (1) !1937–38
Preston North End
1–0 !* 1–0 *
Huddersfield Town
Wembley Stadium (original)
93,497

1938–39 FA Cup (1) !1938–39
Portsmouth
4–1
Wolverhampton Wanderers
Wembley Stadium (original)
99,370

1945–46 FA Cup (1) !1945–46
Derby County
4–1 !* 4–1 *
Charlton Athletic
Wembley Stadium (original)
98,000

1946–47 FA Cup (1) !1946–47
Charlton Athletic
1–0 !* 1–0 *
Burnley
Wembley Stadium (original)
99,000

1947–48 FA Cup (1) !1947–48
Manchester United
4–2
Blackpool
Wembley Stadium (original)
99,000

1948–49 FA Cup (1) !1948–49
Wolverhampton Wanderers
3–1
Leicester City
Wembley Stadium (original)
99,500

1949–50 FA Cup (1) !1949–50
Arsenal
2–0
Liverpool
Wembley Stadium (original)
100,000

1950–51 FA Cup (1) !1950–51
Newcastle United
2–0
Blackpool
Wembley Stadium (original)
100,000

1951–52 FA Cup (1) !1951–52
Newcastle United
1–0
Arsenal
Wembley Stadium (original)
100,000

1952–53 FA Cup (1) !1952–53
Blackpool
4–3
Bolton Wanderers
Wembley Stadium (original)
100,000

1953–54 FA Cup (1) !1953–54
West Bromwich Albion
3–2
Preston North End
Wembley Stadium (original)
100,000

1954–55 FA Cup (1) !1954–55
Newcastle United
3–1
Manchester City
Wembley Stadium (original)
100,000

1955–56 FA Cup (1) !1955–56
Manchester City
3–1
Birmingham City
Wembley Stadium (original)
100,000

1956–57 FA Cup (1) !1956–57
Aston Villa
2–1
Manchester United
Wembley Stadium (original)
100,000

1957–58 FA Cup (1) !1957–58
Bolton Wanderers
2–0
Manchester United
Wembley Stadium (original)
100,000

1958–59 FA Cup (1) !1958–59
Nottingham Forest
2–1
Luton Town
Wembley Stadium (original)
100,000

1959–60 FA Cup (1) !1959–60
Wolverhampton Wanderers
3–0
Blackburn Rovers
Wembley Stadium (original)
100,000

1960–61 FA Cup (1) !1960–61
Tottenham Hotspur
2–0
Leicester City
Wembley Stadium (original)
100,000

1961–62 FA Cup (1) !1961–62
Tottenham Hotspur
3–1
Burnley
Wembley Stadium (original)
100,000

1962–63 FA Cup (1) !1962–63
Manchester United
3–1
Leicester City
Wembley Stadium (original)
100,000

1963–64 FA Cup (1) !1963–64
West Ham United
3–2
Preston North End
Wembley Stadium (original)
100,000

1964–65 FA Cup (1) !1964–65
Liverpool
2–1 !* 2–1 *
Leeds United
Wembley Stadium (original)
100,000

1965–66 FA Cup (1) !1965–66
Everton
3–2
Sheffield Wednesday
Wembley Stadium (original)
100,000

1966–67 FA Cup (1) !1966–67
Tottenham Hotspur
2–1
Chelsea
Wembley Stadium (original)
100,000

1967–68 FA Cup (1) !1967–68
West Bromwich Albion
1–0 !* 1–0 *
Everton
Wembley Stadium (original)
100,000

1968–69 FA Cup (1) !1968–69
Manchester City
1–0
Leicester City
Wembley Stadium (original)
100,000

1969–70 FA Cup (1) !1969–70
Chelsea
2–2 !* 2–2 *
Leeds United
Wembley Stadium (original)
100,000

1969–70 FA Cup (2) !1969–70 (R)
Chelsea
2–1 !* 2–1 *
Leeds United
Old Trafford
62,078

1970–71 FA Cup (1) !1970–71
Arsenal
2–1 !* 2–1 *
Liverpool
Wembley Stadium (original)
100,000

1971–72 FA Cup (1) !1971–72
Leeds United
1–0
Arsenal
Wembley Stadium (original)
100,000

1972–73 FA Cup (1) !1972–73
Sunderland
1–0
Leeds United
Wembley Stadium (original)
100,000

1973–74 FA Cup (1) !1973–74
Liverpool
3–0
Newcastle United
Wembley Stadium (original)
100,000

1974–75 FA Cup (1) !1974–75
West Ham United
2–0
Fulham
Wembley Stadium (original)
100,000

1975–76 FA Cup (1) !1975–76
Southampton
1–0
Manchester United
Wembley Stadium (original)
100,000

1976–77 FA Cup (1) !1976–77
Manchester United
2–1
Liverpool
Wembley Stadium (original)
100,000

1977–78 FA Cup (1) !1977–78
Ipswich Town
1–0
Arsenal
Wembley Stadium (original)
100,000

1978–79 FA Cup (1) !1978–79
Arsenal
3–2
Manchester United
Wembley Stadium (original)
100,000

1979–80 FA Cup (1) !1979–80
West Ham United
1–0
Arsenal
Wembley Stadium (original)
100,000

1980–81 FA Cup (1) !1980–81
Tottenham Hotspur
1–1 !* 1–1 *
Manchester City
Wembley Stadium (original)
100,000

1980–81 FA Cup (2) !1980–81 (R)
Tottenham Hotspur
3–2
Manchester City
Wembley Stadium (original)
92,000

1981–82 FA Cup (1) !1981–82
Tottenham Hotspur
1–1 !* 1–1 *
Queens Park Rangers
Wembley Stadium (original)
100,000

1981–82 FA Cup (2) !1981–82 (R)
Tottenham Hotspur
1–0
Queens Park Rangers
Wembley Stadium (original)
90,000

1982–83 FA Cup (1) !1982–83
Manchester United
2–2 !* 2–2 *
Brighton & Hove Albion
Wembley Stadium (original)
100,000

1982–83 FA Cup (2) !1982–83 (R)
Manchester United
4–0
Brighton & Hove Albion
Wembley Stadium (original)
100,000

1983–84 FA Cup (1) !1983–84
Everton
2–0
Watford
Wembley Stadium (original)
100,000

1984–85 FA Cup (1) !1984–85
Manchester United
1–0 !* 1–0 *
Everton
Wembley Stadium (original)
100,000

1985–86 FA Cup (1) !1985–86
Liverpool
3–1
Everton
Wembley Stadium (original)
98,000

1986–87 FA Cup (1) !1986–87
Coventry City
3–2 !* 3–2 *
Tottenham Hotspur
Wembley Stadium (original)
98,000

1987–88 FA Cup (1) !1987–88
Wimbledon
1–0
Liverpool
Wembley Stadium (original)
98,203

1988–89 FA Cup (1) !1988–89
Liverpool
3–2 !* 3–2 *
Everton
Wembley Stadium (original)
82,500

1989–90 FA Cup (1) !1989–90
Manchester United
3–3 !* 3–3 *
Crystal Palace
Wembley Stadium (original)
80,000

1989–90 FA Cup (2) !1989–90 (R)
Manchester United
1–0
Crystal Palace
Wembley Stadium (original)
80,000

1990–91 FA Cup (1) !1990–91
Tottenham Hotspur
2–1 !* 2–1 *
Nottingham Forest
Wembley Stadium (original)
80,000

1991–92 FA Cup (1) !1991–92
Liverpool
2–0
Sunderland
Wembley Stadium (original)
80,000

1992–93 FA Cup (1) !1992–93
Arsenal
1–1 !* 1–1 *
Sheffield Wednesday
Wembley Stadium (original)
79,347

1992–93 FA Cup (2) !1992–93 (R)
Arsenal
2–1 !* 2–1 *
Sheffield Wednesday
Wembley Stadium (original)
62,267

1993–94 FA Cup (1) !1993–94
Manchester United
4–0
Chelsea
Wembley Stadium (original)
79,634

1994–95 FA Cup (1) !1994–95
Everton
1–0
Manchester United
Wembley Stadium (original)
79,592

1995–96 FA Cup (1) !1995–96
Manchester United
1–0
Liverpool
Wembley Stadium (original)
79,007

1996–97 FA Cup (1) !1996–97
Chelsea
2–0
Middlesbrough
Wembley Stadium (original)
79,160

1997–98 FA Cup (1) !1997–98
Arsenal
2–0
Newcastle United
Wembley Stadium (original)
79,183

1998–99 FA Cup (1) !1998–99
Manchester United
2–0
Newcastle United
Wembley Stadium (original)
79,101

1999–2000 FA Cup (1) !1999–2000
Chelsea
1–0
Aston Villa
Wembley Stadium (original)
78,217

2000–01 FA Cup (1) !2000–01
Liverpool
2–1
Arsenal
Millennium Stadium
72,500

2001–02 FA Cup (1) !2001–02
Arsenal
2–0
Chelsea
Millennium Stadium
73,963

2002–03 FA Cup (1) !2002–03
Arsenal
1–0
Southampton
Millennium Stadium
73,726

2003–04 FA Cup (1) !2003–04
Manchester United
3–0
Millwall
Millennium Stadium
71,350

2004–05 FA Cup (1) !2004–05
Arsenal
0–0 ! 0–0
Manchester United
Millennium Stadium
71,876

2005–06 FA Cup (1) !2005–06
Liverpool
3–3 ! 3–3
West Ham United
Millennium Stadium
71,140

2006–07 FA Cup (1) !2006–07
Chelsea
1–0 !* 1–0 *
Manchester United
Wembley Stadium (new)
89,826

2007–08 FA Cup (1) !2007–08
Portsmouth
1–0
 Cardiff City
Wembley Stadium (new)
89,874

2008–09 FA Cup (1) !2008–09
Chelsea
2–1
Everton
Wembley Stadium (new)
89,391

2009–10 FA Cup (1) !2009–10
Chelsea
1–0
Portsmouth
Wembley Stadium (new)
88,335

2010–11 FA Cup (1) !2010–11
Manchester City
1–0
Stoke City
Wembley Stadium (new)
88,643

2011–12 FA Cup (1) !2011–12
Chelsea
2–1
Liverpool
Wembley Stadium (new)
89,041

2012–13 FA Cup (1) !2012–13
Wigan Athletic
1–0
Manchester City
Wembley Stadium (new)
86,254

2013–14 FA Cup (1) !2013–14
Arsenal
3–2 !* 3–2 *
Hull City
Wembley Stadium (new)
89,345

2014–15 FA Cup (1) !2014–15
Arsenal
4–0
Aston Villa
Wembley Stadium (new)
89,283

2015–16 FA Cup (1) !2015–16
Manchester United
2–1 !* 2–1 *
Crystal Palace
Wembley Stadium (new)
88,619

2016–17 FA Cup (1) !2016–17
Arsenal
2–1
Chelsea
Wembley Stadium (new)
89,472

text: A. ^ The official attendance for the 1923 final was reported as 126,047, but the actual figure is believed to be anywhere between 150,000 and 300,000.[14][15]

text: Results by team[edit]

text: Teams shown in italics are no longer in existence. Additionally, Queen's Park ceased to be eligible to enter the FA Cup after a Scottish Football Association ruling in 1887.[16]

text:
Results by team

Club
Wins
First final won
Last final won
Runners-up
Last final lost
Total final appearances

Arsenal
13
1930
2017
7
2001
20

Manchester United
12
1909
2016
7
2007
19

Tottenham Hotspur
8
1901
1991
1
1987
9

Liverpool
7
1965
2006
7
2012
14

Chelsea
7
1970
2012
5
2017
12

Aston Villa
7
1887
1957
4
2015
11

Newcastle United
6
1910
1955
7
1999
13

Blackburn Rovers
6
1884
1928
2
1960
8

Everton
5
1906
1995
8
2009
13

Manchester City
5
1904
2011
5
2013
10

West Bromwich Albion
5
1888
1968
5
1935
10

Wanderers
5
1872
1878
0
–
5

Wolverhampton Wanderers
4
1893
1960
4
1939
8

Bolton Wanderers
4
1923
1958
3
1953
7

Sheffield United
4
1899
1925
2
1936
6

Sheffield Wednesday[A]
3
1896
1935
3
1993
6

West Ham United
3
1964
1980
2
2006
5

Preston North End
2
1889
1938
5
1964
7

Old Etonians
2
1879
1882
4
1883
6

Portsmouth
2
1939
2008
3
2010
5

Sunderland
2
1937
1973
2
1992
4

Nottingham Forest
2
1898
1959
1
1991
3

Bury
2
1900
1903
0
–
2

Huddersfield Town
1
1922
1922
4
1938
5

Derby County
1
1946
1946
3
1903
4

Leeds United
1
1972
1972
3
1973
4

Oxford University
1
1874
1874
3
1880
4

Royal Engineers
1
1875
1875
3
1878
4

Southampton
1
1976
1976
3
2003
4

Blackpool
1
1953
1953
2
1951
3

Burnley
1
1914
1914
2
1962
3

Cardiff City
1
1927
1927
2
2008
3

Charlton Athletic
1
1947
1947
1
1946
2

Barnsley
1
1912
1912
1
1910
2

Clapham Rovers
1
1880
1880
1
1879
2

Notts County
1
1894
1894
1
1891
2

Blackburn Olympic
1
1883
1883
0
–
1

Bradford City
1
1911
1911
0
–
1

Coventry City
1
1987
1987
0
–
1

Ipswich Town
1
1978
1978
0
–
1

Old Carthusians
1
1881
1881
0
–
1

Wigan Athletic
1
2013
2013
0
–
1

Wimbledon[B]
1
1988
1988
0
–
1

Leicester City
0

4
1969
4

Birmingham City
0

2
1956
2

Crystal Palace
0

2
2016
2

Queen's Park
0

2
1885
2

Brighton & Hove Albion
0

1
1983
1

Bristol City
0

1
1909
1

Fulham
0

1
1975
1

Hull City
0

1
2014
1

Luton Town
0

1
1959
1

Middlesbrough
0

1
1997
1

Millwall
0

1
2004
1

Queens Park Rangers
0

1
1982
1

Stoke City
0

1
2011
1

Watford
0

1
1984
1

text:
Jump up ^ Sheffield Wednesday's total includes two wins and one defeat under the earlier name of The Wednesday.
Jump up ^ Wimbledon relocated in 2004 from south London to Milton Keynes rebranding the club as Milton Keynes Dons, but the current incarnation of the club considers that it was founded in 2004 and does not lay claim to the history or honours (including the FA Cup win) of Wimbledon.[17]

tag: ol


document_title: Indian national calendar

question_text: when is new year celebrated according to the indian national calendar

text: Indian national calendar

text: Calendar structure[edit]

text: The calendar months follow the signs of the tropical zodiac rather than the sidereal zodiac normally used with the Hindu calendar.

text:
#
Month (Sanskrit)
Length
Start date (Gregorian)
Tropical zodiac
Tropical zodiac (Sanskrit)

1
Chaitra
30/31
March 22/21
Aries
Meṣa

2
Vaishākha
31
April 21
Taurus
Vṛṣabha

3
Jyēshtha
31
May 22
Gemini
Mithuna

4
Āshādha
31
June 22
Cancer
Karkata

5
Shrāvana
31
July 23
Leo
simha

6
Bhaadra
31
August 23
Virgo
Kanyā

7
Āshwin
30
September 23
Libra
Tulā

8
Kārtika
30
October 23
Scorpio
Vṛścika

9
Agrahayana
30
November 22
Sagitarius
Dhanur

10
Pausha
30
December 22
Capricorn
Makara

11
Māgha
30
January 21
Aquarius
Kumbha

12
Phalguna
30
February 20
Pisces
Mīna

text: Chaitra has 30 days and starts on March 22, except in leap years, when it has 31 days and starts on March 21. The months in the first half of the year all have 31 days, to take into account the slower movement of the sun across the ecliptic at this time.

text: The names of the months are derived from older, Hindu lunisolar calendars, so variations in spelling exist, and there is a possible source of confusion as to what calendar a date belongs to.

text: Years are counted in the Saka era, which starts its year 0 in the year 78 of the Common Era. To determine leap years, add 78 to the Saka year – if the result is a leap year in the Gregorian calendar, then the Saka year is a leap year as well. Its structure is just like the Persian calendar.

text: Adoption[edit]

text: Senior Indian Astrophysicist Meghnad Saha was the head of the Calendar Reform Committee under the aegis of the Council of Scientific and Industrial Research. Other members of the Committee were: A. C. Banerjee, K. K. Daftari, J. S. Karandikar, Gorakh Prasad, R. V. Vaidya and N. C. Lahiri. It was Saha's effort, which led to the formation of the Committee. The task before the Committee was to prepare an accurate calendar based on scientific study, which could be adopted uniformly throughout India. It was a mammoth task. The Committee had to undertake a detailed study of different calendars prevalent in different parts of the country. There were thirty different calendars. The task was further complicated by the fact that religion and local sentiments were integral to those calendars. India's first prime minister, Jawaharlal Nehru, in his preface to the Report of the Committee, published in 1955, wrote: “They (different calendars) represent past political divisions in the country ... . Now that we have attained Independence, it is obviously desirable that there should be a certain uniformity in the calendar for our civic, social, and other purposes, and this should be done on a scientific approach to this problem.” [2]

text: Usage started officially at 1 Chaitra 1879, Saka Era, or 22 March 1957. However, government officials seem to largely ignore the New Year's Day of this calendar in favour of the religious calendar.[3]


document_title: Letters from a Farmer in Pennsylvania

question_text: what was the major idea of dickinson’s letters from a farmer in pennsylvania

question_tokens: what was the major idea of dickinson 's letters from a farmer in pennsylvania

text: Letters from a Farmer in Pennsylvania

text: Letters from a Farmer in Pennsylvania is a series of essays written by the Pennsylvania lawyer and legislator John Dickinson (1732–1808) and published under the name "A Farmer" from 1767 to 1768. The twelve letters were widely read and reprinted throughout the thirteen colonies and were important in uniting the colonists against the Townshend Acts. The success of his letters earned Dickinson considerable fame.[1]

text: While acknowledging the power of Parliament in matters concerning the whole British Empire, Dickinson argued that the colonies were sovereign in their internal affairs. He thus argued that taxes laid upon the colonies by Parliament for the purpose of raising revenue, rather than regulating trade, were unconstitutional.

text: In his letters, Dickinson foresees the possibility of future conflict between the colonies and Great Britain, but cautions against the use of violence until "the people are fully convinced":

text: If at length it becomes undoubted that an inveterate resolution is formed to annihilate the liberties of the governed, the English history affords frequent examples of resistance by force. What particular circumstances will in any future case justify such resistance can never be ascertained till they happen. Perhaps it may be allowable to say generally, that it never can be justifiable until the people are fully convinced that any further submission will be destructive to their happiness.

text: According to Mel Bradford, "The manner of Dickinson’s twelve letters is well suited to their matter. In form they belong to the 'high' or 'sober' tradition of English political pamphleteering — as does Common Sense to its 'rough and ready' but popular counterpart."[2] Bradford argued that the letters had antecedents in the writings of "Milton, Swift, Addison, and Burke," as well as the authors of Cato's Letters and the Roman statesman Cicero.[2]


document_title: F Is for Family

question_text: who plays vic in f is for family

question_tokens: who plays vic in f is for family

text: F Is for Family

text: Cast[edit]

text: Main[edit]

text:
Bill Burr as Francis X. "Frank" Murphy – Frank is a disillusioned, short-tempered, Irish-American, Korean War veteran and father of three who lives in a Great Lakes region town in 1973. He is prone to angry, profane rants. As a parent, Frank often responds to his children with threatening language and emotional abuse. The Murphy children often go out of their way to avoid upsetting their father. Frank works as a baggage handler at the local Mohican Airlines, and is promoted to management after his boss dies in a violent workplace accident. Frank is usually seen spending many hours in front of his television set while at home. Frank's favorite show is an action series called Colt Luger. Luger, an overweight middle-aged character who is portrayed as an unerringly victorious hero. When facing dire situations, Luger utters the phrase "Sometimes, a man's got to do...what a man does", much to Frank's excitement.
Laura Dern as Sue Murphy[2] – Frank's wife who is a housewife, and also sells Plast-a-Ware (a play on words of Tupperware.)
Justin Long as Kevin Murphy[1][2] – Kevin is Frank's teenage son, who is a bit of a juvenile delinquent. Despite his rebellious personality, Kevin often shows signs of love and respect for his parents and a desire to better himself (although he rarely, if ever, follows through on the latter).
Debi Derryberry as Maureen Murphy [2][6] – Maureen is Frank's young daughter who he often refers to as "Princess". However, even though Frank sees Maureen as a princess, Maureen is an intelligent child and can be destructive like the rest of her family members. However, Maureen is smart enough to hide it.
Haley Reinhart as Bill Murphy, Frank's younger son.[7][8] Bill tends to be shy and is skinny. He gets bullied frequently. He is 11 years old in the first season.[9]
Sam Rockwell as Vic – Frank's wealthy, womanizing neighbor, who brags a lot. Frank loathes him for his playboy lifestyle, cheerful attitude, and successful career.

tag: ul

text: Co-starring[edit]

text:
Mo Collins as Jimmy, Vivian, Ben, Brandy, Ginny[10]
Trevor Devall as Red, Bolo, Mr. Goomer, others[11][12]
Phil Hendrie as Jim Jeffords, Colt Luger, others[13][14]

text: Recurring[edit]

text:
Kevin Michael Richardson as Rosie, others
David Koechner as Robert "Bob Pogo" Pogrohvich, Frank's obese, chainsmoking boss.[15][16]
Kevin Farley as Babe, Carl, others[17]
Gary Cole as Rodger Dunbarton, the owner and founder of the airlines where Frank and his co-workers work.
Joe Buck as Lou Gagliardi, others[18]
John DiMaggio as Scoop Dunbarton
Allison Janney as Henrietta Van Horne[19]
T.J. Miller as Randy
Michael K. Williams as Smoky

text: Episodes[edit]

text:
Season
Episodes
Originally released

1
6
December 18, 2015 (2015-12-18)

2
10
May 30, 2017 (2017-05-30)

text: Season 1 (2015)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original release date
Prod.
code

1
1
"The Bleedin' in Sweden"
Benjamin Marsaud
Story by : Bill Burr and Michael Price
Teleplay by : Michael Price
December 18, 2015 (2015-12-18)
101

Frank is excited at the prospect of having the entire neighborhood over to watch an upcoming boxing match, but when Vic threatens to ruin his chances with his much more expensive and exciting television set, Frank overpromises that he has a color TV to convince the neighbors to come to his house instead. After he purchases one, Bill accidentally ruins it when he sticks a magnet on it as part of a school project. Frank initially believes that the store sold him a lemon and has an outburst in front of all the employees and customers when they refuse to give him a refund, embarrassing Sue. Bill eventually confesses, but after being gloated over by one of the store's employees when Frank and Sue take him to apologize, Bill uses his magnet to ruin every single television set in the store, and Frank gets refunded. At the end of the episode, the neighbors watch the match at Frank's house, while Vic watches it at his house "alone".

2
2
"Saturday Bloody Saturday"
Laurent Nicolas
David Richardson
December 18, 2015 (2015-12-18)
102

After finding out that Kevin is failing nearly every single one of his classes, Frank takes him to his job at the airport, where he's recently been promoted after his former boss was decapitated in a violent work accident, to demonstrate to him the responsibilities of caring for a family. Frank is torn between his underpaid, hard-working co-workers who are contemplating a strike, and his employer, who worries a strike will shut down Mohican Airways for good. Although Kevin is initially unimpressed and spends most of the day hanging around with some pill-popping, underachieving airport staff, he realizes the difficulties of his father's job after he witnesses Frank being yelled at and insulted by an old woman, who accuses the airport of stealing her medication, and comes to appreciate how hard Frank works to put food on the table. Meanwhile, after his father puts him in charge of Maureen for the day, Bill struggles to keep her rebellious nature under wraps, while Sue begins to doubt her solitary role as a mother and wife.

3
3
"The Trough"
Benjamin Marsaud
Michael Price
December 18, 2015 (2015-12-18)
103

Despite Kevin's promises to get back on track to improve his grades, Frank is outraged when he finds out that Kevin is still falling behind, and as a punishment, takes Bill to a football game where he was given corporate seats by the management at Mohican Airways, which Frank had initially promised Kevin to go to. While there, they meet Rodger Dunbarton, CEO at Mohican Airways, who speaks to Frank about talks of a strike and how he must no longer sympathize with his co-workers. On the drive home, their car breaks down, and they are rescued by Rosie, one of Frank's colleagues, but when Bill innocently reveals they had been given tickets to a football game and his father's conversation with Dunbarton, Frank faces a hostile situation at work. Meanwhile, Sue goes to the mall with Maureen, where she is accosted by a talkative friend, and Maureen learns of her mother's underwhelming home life during a surprise outburst. Kevin hangs out with friends and gets high, reminiscing of the loving relationship he and his father had when he was young.

4
4
"'F' is for Halloween"
Laurent Nicolas
Tom Gianas
December 18, 2015 (2015-12-18)
104

On Halloween, Frank attempts to dissuade Sue from a promotion, leading to tensions between them; Bill is reluctant to trick-or-treat due to his fear of being bullied.

5
5
"Bill Murphy's Day Off"
Benjamin Marsaud
Emily Towers
December 18, 2015 (2015-12-18)
105

Bill tries to hide his recent suspension while Frank earns the ire of his co-workers for befriending the aloof CEO of the airline. In addition, Frank struggles to make good on a promise to Kevin.

6
6
"O Holy Moly Night"
Laurent Nicolas
David Richardson
December 18, 2015 (2015-12-18)
106

When Christmas comes near, Frank is desperate to remedy the hostility of his co-workers and his supervisors at the airport while the family dog is missing. Kevin starts his part-time job. Bill becomes an altar boy at the church and gets into trouble.

text: Season 2 (2017)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original release date
Prod.
code

7
1
"Heavy Sledding"
Romain Bounoure & Olivier Schramm
Michael Price
May 30, 2017 (2017-05-30)
TBA

Three weeks after he got fired, Frank is still unemployed. On a snow day, Sue decides to take the family sledding to get them out of their slump.

8
2
"A Girl Named Sue"
Romain Bounoure & Olivier Schramm
David Richardson
May 30, 2017 (2017-05-30)
TBA

Frank's old boss, Bob Pogo, calls him to offer him a job, only for things to turn out bad for Frank. Meanwhile, Sue ponders a change in her life.

9
3
"The Liar's Club"
Romain Bounoure & Olivier Schramm
Bill Burr
May 30, 2017 (2017-05-30)
TBA

After bailing out of the unemployment office, Frank turns to Rosie's friend, Smokey, for a job, but not before helping Kevin move into the basement after he ditches school. Meanwhile, Sue gets a new job as a secretary, but is mistreated by the sexist heads of her company.

10
4
"Night Shift"
Romain Bounoure & Olivier Schramm
Emily Towers
May 30, 2017 (2017-05-30)
TBA

Frank gets a job as a stocking man courtesy of Smokey, consequently sleeping through the day and ignoring Sue and his family. All the while, Kevin and his band try to get a gig and Sue has an idea for a new Plast-a-Ware product.

11
5
"Breaking Bill"
Romain Bounoure & Olivier Schramm
Joe Heslinga
May 30, 2017 (2017-05-30)
TBA

After Frank learns that Kevin and his band are performing on a school night, his attempts at halting it cause intense tension between him and Kevin. Meanwhile, Bill, having received money from his job as a paperboy, tries to buy a hockey-stick for hockey tryouts, but a run-in with the local bully, Jimmy, pushes him over the edge. Also, when Sue pitches her idea, she still receives a lack of respect.

12
6
"This is Not Good"
Romain Bounoure, Olivier Schramm & Mike Roberts
Henry Gammill
May 30, 2017 (2017-05-30)
TBA

When Frank's new job includes a stop at the airport, he ends up in a predicament with Bob. Kevin tries to get a date with a 'haircut' girl, but due to erection problems, he bails and this attracts the attention of Vic's new girlfriend. Also, Bill begins to enjoy lifting his legs on the law, much to the concern of his friend Phillip.

13
7
"Fight Night"
Romain Bounoure, Olivier Schramm & Mike Roberts
Eric Goldberg & Peter Tibbals
May 30, 2017 (2017-05-30)
TBA

Frank and Sue's individual underhanded actions causes them to have a major fight on their anniversary when they're called into a meeting with Maureen's school teacher.

14
8
"F is for Fixing It"
Romain Bounoure, Olivier Schramm & Mike Roberts
Valeri Vaughn
May 30, 2017 (2017-05-30)
TBA

Frank and Sue try to deal with their marital problems; Kevin feels guilty for having sex with Vic's new girlfriend; and when Jimmy tried to make amends after he has been released from Catholic Military School, a fearful revelation from Phillip reveals Bill's part in sending him away, causing Jimmy to go back to his bullying ways.

15
9
"Pray Away"
Romain Bounoure, Olivier Schramm & Mike Roberts
Marc Wilmore
May 30, 2017 (2017-05-30)
TBA

Frank and Sue go to a couple's retreat to get help from a religious psychiatrist when their marriage begins to hit a snag, which only leads to a moment of truth between them. Meanwhile, Bill and his friends try to deal with a vengeful Jimmy, while Kevin is forced to deal with Vic when the latter finds out about his girlfriend's affair with Kevin.

16
10
"Landing the Plane"
Romain Bounoure & Olivier Schramm
Michael Price
May 30, 2017 (2017-05-30)
TBA

The day takes a traumatic turn for the Murphys when the founder of Plast-a-Wares takes credit for Sue's idea and Frank and his friends attempt to get rid of "Scoop," the mentally unstable new manager (and Roger Dunbarton's nephew), which inadvertently causes them to be caught in the middle of a terrorist attack caused by a Black Panthers-esque band of domestic terrorists.

text: Production[edit]

text: The series was announced in October 2014 as part of a partnership between Netflix, Gaumont International Television, and Wild West Television.[20] The show is a "family comedy" based on the standup of Bill Burr.[21] Moreover, the show takes place in the 1970s, "a time when you could smack your kid, smoke inside, and bring a gun to the airport".[21] Burr voices the Murphy family patriarch, with Laura Dern as his wife, Justin Long as his eldest son, Debi Derryberry as his daughter Maureen, and Haley Reinhart as his young son.[7][8][21] The first season consists of six episodes, shown in a serial manner, written by Bill Burr and Michael Price.[22] Price is best known for his Emmy and Writers Guild award-winning work on The Simpsons.[22] The series is co-directed by Ben Marsaud (director of Counterfeit Cat & former storyboard artist on The Amazing World of Gumball).

text: Reception[edit]

text: The series has received generally positive reviews.[23] On Rotten Tomatoes the series holds a rating of 87% based on 15 reviews, with an average score of 7.1/10. The site's critical consensus reads, "While the humor relies on vulgarity, the strength of F Is for Family is its substantial heart."[24] On Metacritic, the series holds a score of 75 out of 100, based on 14 reviews, indicating "Generally favorable reviews".[25]

text: Awards and nominations[edit]

text:
Year
Award
Category
Nominee
Result

2017
69th Primetime Emmy Awards
Outstanding Character Voice-Over Performance
Mo Collins as Ginny, Jimmy Fitzsimmons, Lex, Ben, and Cutie Pie (Episode: Pray Away)
Pending


document_title: List of Notre Dame Fighting Irish head football coaches

question_text: who is the head coach at notre dame

question_tokens: who is the head coach at notre dame

text: This is a list of Notre Dame Fighting Irish football head coaches. The Notre Dame Fighting Irish football team is the football team of the University of Notre Dame, located in South Bend, Indiana, United States. The team competes as an Independent at the NCAA Division I Football Bowl Subdivision level. Notre Dame has produced more All-Americans than any other Football Bowl Subdivision school. Additionally, seven Fighting Irish football players have won the Heisman Trophy. Notre Dame is one of only two Catholic universities that field a team in the Football Bowl Subdivision, the other being Boston College, and one of a handful of programs independent of a football conference. The team plays its home games on Notre Dame's campus at Notre Dame Stadium, also known as the "House that Rockne Built," which has a capacity of 80,795. The current head coach is Brian Kelly.

text: Key[edit]

text:
#
Number of coaches[1]

GC
Games Coached

W
Wins

L
Loses

T
Ties

W–L %
Win–Loss percentage

text: Coaches[edit]

text:
Tenure
Coach
Years
Record
Pct.
National Titles (outright & shared)[2]

1887–89, 92–93
None
5
7–4–1
.625

1894
James L. Morison
1
3–1–1
.700

1895
H. G. Hadden
1
3–1–0
.750

1896–98
Frank E. Hering
3
12–6–1
.658

1899
James McWeeney
1
6–3–1
.650

1900–01
Pat O'Dea
2
14–4–2
.750

1902–03
James F. Faragher
2
14–2–2
.843

1904
Red Salmon
1
5–3–0
.625

1905
Henry J. McGlew
1
5–4–0
.556

1906–07
Thomas A. Barry
2
12–1–1
.893

1908
Victor M. Place
1
8–1–0
.889

1909–10
Frank Longman
2
11–1–2
.857

1911–12
John L. Marks
2
13–0–2
.933

1913–17
Jesse Harper
5
34–5–1
.863

1918–30
Knute Rockne
13
105–12–5
.881
1924, 1929, 1930

1931–33
Heartley Anderson
3
16–9–2
.630

1934–40
Elmer Layden
7
47–13–3
.770

1941–43, 46–53
Frank Leahy
11
87–11–9
.855
1943, 1946, 1947, 1949

1944
Edward McKeever
1
8–2–0
.800

1945, 63
Hugh Devore
2
9–9–1
.500

1954–58
Terry Brennan
5
32–18–0
.640

1959–62
Joe Kuharich
4
17–23–0
.425

1964–74
Ara Parseghian
11
95–17–4
.836
1966, 1973

1975–80
Dan Devine
6
53–16–1
.764
1977

1981–85
Gerry Faust
5
30–26–1
.535

1986–96
Lou Holtz
11
100–30–2
.765
1988

1997–2001
Bob Davie
5
35–25
.583

2001*
George O'Leary
0
0–0
.000

2002–2004
Tyrone Willingham
3
21–15
.583

2004**
Kent Baer
1
0–1
.000

2005–2009
Charlie Weis
5
35–27
.565

2010–present
Brian Kelly
7
59–31
.656

Totals
31 coaches
126 seasons
895–321–42
.731

* George O'Leary did not coach a single practice or game, being fired five days after being hired; he had misrepresented his academic credentials.

** Kent Baer served as interim head coach for one game at the 2004 Insight Bowl, after Tyrone Willingham was fired.