document_title: 8 Mile (film)

question_text: who plays rabbit's girlfriend in 8 mile

question_tokens: who plays rabbit 's girlfriend in 8 mile

text: 8 Mile (film)

text: Plot[edit]

text: In 1995 in Detroit, Jimmy "B-Rabbit" Smith Jr. (Eminem), a blue-collar worker from a poor family, struggles with aspects of his life. He has moved back north of 8 Mile Road to the run-down trailer home in Warren, Michigan of his alcoholic mother Stephanie (Kim Basinger), his little sister Lily (Chloe Greenfield), and Stephanie's abusive live-in boyfriend Greg (Michael Shannon). Although encouraged by his friends who hail him as a talented rapper, Jimmy worries about his potential as a musician, due to his lack of confidence. Such anxiety causes him to falter during a rap battle one night at a local venue called "The Shelter", and he leaves the stage humiliated.

tag: p

text: Jimmy works at a car factory. When he asks for extra shifts, his supervisor laughs and dismisses his request on account of his habitual lateness. Jimmy befriends a woman named Alex (Brittany Murphy). Over time, Jimmy begins to take more responsibility for the direction of his life. When he exhibits an improved attitude and performance at work, his supervisor grants him the extra shifts he requested.

text: Stephanie receives a notice declaring that, because she cannot afford to pay the rent on her trailer, she and her family must vacate the premises immediately. Despite Stephanie's best attempts to keep the eviction notice a secret, Greg finds out about it. A brutal fight ensues between him and Jimmy, and Greg leaves Stephanie for good. Jimmy's friendship with Wink (Eugene Byrd), a radio DJ with ties to a record label promoter, becomes strained after he discovers that Wink does promotional work for Jimmy's rivals, a rap group known as the "Leaders of the Free World." At one point, Jimmy and his friends get into a violent brawl with the Leaders, which is disrupted when Jimmy's friend Cheddar Bob (Evan Jones) pulls out a gun and accidentally shoots himself in the leg; he survives but is confined to crutches.

text: At work one day when on lunch break, Jimmy witnesses a rap battle in which an employee (Xzibit) insults a gay co-worker, Paul (Craig Chandler). Jimmy joins the battle and defends Paul. Alex is impressed by Jimmy's actions; they have sex in the factory. Wink arranges for Jimmy to meet with producers at a recording studio, but Jimmy finds Wink and Alex having sex. Enraged, Jimmy attacks Wink as Alex tries to break up their altercation. In retaliation, Wink and the Leaders of the Free World assault Jimmy outside his mother's trailer. The leader of the gang, Papa Doc (Anthony Mackie), holds Jimmy at gunpoint, threatening to kill him before being dissuaded by Wink.

text: Jimmy's best friend and battle host, Future (Mekhi Phifer), pushes him to get revenge by competing against the Leaders of the Free World at the next rap battle. However, Jimmy's late-night shift conflicts with the timing of the next battle tournament. A goodbye visit from Alex, who is moving to New York, changes his mind about competing, and Paul agrees to cover his shift at work as a favor while Jimmy goes to the battle.

text: In all rounds of the rap battle, Jimmy has to compete against one member of "the Leaders." After winning the first two rounds, he has to challenge Papa Doc. He wins by exposing his opponent's weaknesses as well as his own. With nothing to say in rebuttal, Papa Doc hands the microphone back to Future, embarrassed. After being congratulated by Alex and his friends, Jimmy is offered a position by Future, hosting battles at The Shelter. Jimmy declines, saying he has to get back to work and to find success his own way. He walks to work with renewed confidence about his future.

text: Cast[edit]

text:
Eminem as Jimmy "B-Rabbit" Smith, Jr.
Mekhi Phifer as Future, Jimmy's closest friend and the rap battle host
Brittany Murphy as Alex Latourno, Jimmy's love interest
Kim Basinger as Stephanie, Jimmy and Lily's mother
Anthony Mackie as Papa Doc
Michael Shannon as Greg Buehl, Stephanie's boyfriend
Eugene Byrd as Wink
Evan Jones as Cheddar Bob, Jimmy's friend
Omar Benson Miller as Sol George, Jimmy's friend and Iz's brother
De'Angelo Wilson as DJ Iz, Jimmy's friend and Sol's brother
Taryn Manning as Janeane, Jimmy's ex-girlfriend
Proof as Lil' Tic
Xzibit as Mike (Male Lunch Truck Rapper)
Craig Chandler as Paul
Obie Trice as Male parking lot rapper
Chloe Greenfield as Lily, Jimmy's sister
John Singleton as Bouncer
Miz Korona as Vanessa (Female Lunch Truck Rapper)
Brandon T. Jackson (uncredited) as a Chin Tiki club-foe

tag: ul

text: Music[edit]

text: Music from and Inspired by the Motion Picture 8 Mile is the official music soundtrack to 8 Mile. Eminem features on five tracks from the album. It was released under the Shady/Interscope label and spawned Eminem's first number 1 US single[3] "Lose Yourself". The album debuted at number one on the U.S. Billboard 200 Albums Chart that year with over 702,000 copies sold and 507,000 sold in the second week also finishing the year as the fifth best-selling album of 2002 with US sales of 3.2 million, despite only two months of release. It also reached #1 on the UK Compilations Chart and the Australian ARIAnet Albums Chart. It also spawned a follow up soundtrack, More Music from 8 Mile, consisting of songs that appear in 8 Mile that were current singles during the film's time setting of 1995. The album was also made in a clean edition removing most of the strong profanity and violent content.

text: Reception[edit]

text: Box office[edit]

text: 8 Mile opened at #1 with $51,240,555 in its opening weekend, the then second highest opening for an R-rated movie in the U.S.[4] The film would go on to gross $116,750,901 domestically, and $126,124,177 overseas for a total of $242,875,078 worldwide.[2] The film's final domestic gross would hold the film at #3 in Box Office Mojo's "Pop Star Debuts" list, behind Austin Powers in Goldmember (Beyoncé) and The Bodyguard (Whitney Houston).

text: The 8 Mile DVD, which was released on March 18, 2003, generated $75 million in sales and rentals in its first week, making it the biggest DVD debut ever for an R-rated movie and putting it in the all-time Top 10 for first week home video sales for a movie. A VHS version was also released on the same date.[5][6]

text: Critical reception[edit]

text: 8 Mile received positive reviews, with critics praising the music and Eminem's performance. Review aggregator Rotten Tomatoes reports the film is "Certified Fresh", with 76% of 206 professional critics giving the film a positive review and a rating average of 7.0 out of 10. The site's consensus is that "Even though the story is overly familiar, there's enough here for an engaging ride."[7] On Metacritic, which assigns a weighted mean rating out of 100 reviews from film critics, the film has rating score of 77 based on 38 reviews, which indicates "generally favorable reviews".[8] CinemaScore polls conducted during the opening weekend revealed the average grade cinemagoers gave 8 Mile was B+ on an A+ to F scale, with the core under-21 demographics giving it an A.[9]

text: Roger Ebert gave the film 3 out of 4 stars. He said that we "are hardly started in '8 Mile,' and already we see that this movie stands aside from routine debut films by pop stars" and that it is "a faithful reflection of his myth". He said that Eminem, as an actor, is "convincing without being too electric" and "survives the X-ray truth-telling of the movie camera". He praised Eminem's approach to his role, saying that "The genius of Rabbit is to admit his own weaknesses." He complimented Basinger, saying that "Her performance finds the right note somewhere between love and exasperation; it cannot be easy to live with this sullen malcontent, whose face lights up only when he sees his baby sister, Lily." He said that criticism of Basinger for being "too attractive and glamorous to play Rabbit's mother" were unfair: "Given the numbers of ugly people who live in big houses, why can't there be beautiful people living in trailers?" He called the film "a grungy version of a familiar formula, in which the would-be performer first fails at his art, then succeeds, is unhappy in romance but lucky in his friends, and comes from an unfortunate background. He even finds love, sort of, with Alex," but "What the movie is missing, however, is the third act in which the hero becomes a star," as it "avoids the rags-to-riches route and shows Rabbit moving from rags to slightly better rags." He said that he "would love to see a sequel in which Rabbit makes millions and becomes world famous, and we learn at last if it is possible for him to be happy."[10]

text: In the At the Movies with Ebert and Roeper review, both Ebert and Richard Roeper gave the film a thumbs up; Roeper said that Eminem has a "winning screen presence" and "raw magic" to him. He was happy with Rabbit's "tender side" presented through his relationship with the "adorable" Greenfield as his sister, but felt that Basinger was "really miscast". But as in his own review, Ebert felt that the dark, depressing atmosphere of 8 Mile would turn off some Eminem fans, while Roeper thought they would like it. Roeper said: "8 Mile probably won't win converts to rap, but it should thrill Eminem fans."[11]

text: Peter Travers gave the film 3.5 out of 4 stars. He said that 8 Mile "is a real movie, not a fast-buck package to exploit the fan base of a rap nonentity" that "qualifies as a cinematic event by tapping into the roots of Eminem and the fury and feeling that inform his rap. Hanson spares us the rags-to-riches cliches by leaving Rabbit on the edge of success. The film ends not with a blast but with the peace that comes to a rapper who finds his voice at last. That kind of class is a big risk for a novice stepping into the movie ring. Eminem wins by a knockout." He praised Hanson's directing, stating that he "succeeds brilliantly at creating a world around Eminem that teems with hip-hop energy and truth" and "excels with actors." He hailed Eminem's performance, saying that in 8 Mile, "Eminem is on fire" with an "electric" screen presence, "hold[ing] the camera by natural right" and "read[ing] lines with an offbeat freshness that makes his talk and his rap sound interchangeable," and sulk of "intensity to rival James Dean's." He said that Murphy was "dynamite, "play[ing] Alex with hot desperation and calloused vulnerability," while saying that "Basinger shines" in her role as well. "Hanson builds to a spectacular climax" with Rabbit's last three battles, and compared his final battle with Papa Doc to the fight between Rocky Balboa and Apollo Creed in Rocky.[12]

text: Top lists[edit]

text: 8 Mile has been named to various year-end and all-time top lists:

text:
2nd – Billboard (Erika Ramirez): Top 10 Best Hip-Hop Movies Ever[13]
7th – The New York Observer (Andrew Sarris): The 10 Best English-Language Films of 2002[14]
9th – Time (Richard Schickel): Top 10 Movies of 2002[15]
10th – Rolling Stone (Peter Travers): The Best Movies of 2002[16]
N/A – The Daily Californian: Best Films of 2002[17]

text: Awards and honors[edit]

text: In 2003, Eminem won the Academy Award for Best Original Song at the 75th Academy Awards, for his single "Lose Yourself" from the soundtrack of 8 Mile.[18][19] Thus he became the first hip hop artist ever to win an Academy Award. He was not present at the ceremony, but musician Luis Resto accepted the award.[20] The film has been nominated for 32 awards, winning 11.[21]

text:
[show]List of awards and nominations

Year
Award
Category
Result
Recipient

2003
Academy Award
Best Original Song – Lose Yourself
Won
Eminem, Luis Resto and Jeff Bass

Black Reel Awards
Best Original Soundtrack
Nominated
8 Mile

BMI
Film Award for Music
Won
Eminem

Most Performed Song from a Film – Lose Yourself
Won
Eminem

Broadcast Film Critics Association Awards
Critics Choice Award for Best Song – Lose Yourself
Won
Eminem

CNOMA Awards
Best Make-Up Artist for a Feature Film
Nominated
Donald Mowat

Chicago Film Critics Association Awards
Most Promising Performer
Nominated
Eminem

European Film Awards
Screen International Award
Nominated
Curtis Hanson

Golden Globe Award[22]
Best Original Song – Lose Yourself
Nominated
Eminem

Golden Trailer Awards[23]
Best Music
Nominated
8 Mile

Best of Show
Nominated
8 Mile

Most Original
Nominated
8 Mile

Golden Reel Award
Best Sound Editing in a Feature - Music - Musical
Nominated
Carlton Kaller

Hollywood Makeup Artist and Hair Stylist Guild Awards
Best Contemporary Makeup - Feature
Nominated
Donald Mowat, Ronnie Specter, Matiki Anoff

MTV Movie Awards[24]
Best Movie
Nominated
8 Mile

Best Male Performance
Won
Eminem

Breakthrough Male Performance
Won
Eminem

Online Film Critics Society Awards
Best Breakthrough Performance
Nominated
Eminem

Phoenix Film Critics Society Awards
Best Original Song – Lose Yourself
Nominated
Eminem

Satellite Awards
Best Original Song – Lose Yourself
Nominated
Eminem

Teen Choice Awards
Choice Movie: Drama
Nominated
8 Mile

Choice Movie Actor: Drama
Won
Eminem

Choice Movie: Male Breakout Star
Won
Eminem

Choice Crossover Artist
Nominated
Eminem

Choice Movie: Liplock
Nominated
Eminem and Brittany Murphy

World Soundtrack Awards
Best Original Song Written for a Film – Lose Yourself
Nominated
Eminem

2004
ASCAP Awards
Most Performed Song from a Motion Picture – Lose Yourself
Won
Eminem

Grammy Award[25]
Grammy Award for Record of the Year – Lose Yourself
Nominated
Eminem

Grammy Award for Song of the Year – Lose Yourself
Nominated
Jeff Bass, Eminem & Luis Resto

Grammy Award for Best Rap Song – Lose Yourself
Won
Jeff Bass, Eminem & Luis Resto

Grammy Award for Best Male Rap Solo Performance – Lose Yourself
Won
Eminem

Grammy Award for Best Song Written for Visual Media – Lose Yourself
Nominated
Jeff Bass, Eminem & Luis Resto

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

text:
2004: AFI's 100 Years...100 Songs:

"Lose Yourself" – #93[26]

2006: AFI's 100 Years...100 Cheers – Nominated[27]


document_title: Three-point field goal

question_text: who made the first 3 point shot in the nba

root

text: Three-point field goal

text: History[edit]

text: The three-point line was first tested at the collegiate level in a 1945 NCAA game between Columbia and Fordham but it was not kept as a rule. At the direction of Abe Saperstein, the American Basketball League became the first basketball league to institute the rule in 1961. Its three-point line was a radius of 25 feet (7.62 m) from the baskets, except along the sides.[2] The Eastern Professional Basketball League followed in its 1963–64 season.

text: The three-point shot later became popularized by the American Basketball Association after its introduction in the 1967–68 season. ABA commissioner George Mikan stated the three-pointer "would give the smaller player a chance to score and open up the defense to make the game more enjoyable for the fans."[3] During the 1970s, the ABA used the three-point shot, along with the slam dunk, as a marketing tool to compete with the National Basketball Association (NBA).

text: In the 1979–80 season, after having tested it in the previous pre-season, the NBA adopted the three-point line despite the view of many that it was a gimmick.[4] Chris Ford of the Boston Celtics is widely credited with making the first three-point shot in NBA history on October 12, 1979. Kevin Grevey of the Washington Bullets also made one on the same day.

text: The sport's international governing body, FIBA, introduced the three-point line in 1984, at a distance of 6.25 m (20 ft 6 in).

text: The NCAA's Southern Conference became the first collegiate conference to use the three-point rule, adopting a 22-foot (6.71 m) line for the 1980–81 season.[5][6] Ronnie Carr of Western Carolina University was the first to score a three-point field goal in college basketball history on November 29, 1980.[6][7][8] Over the following five years, NCAA conferences differed in their use of the rule and distance required for a three-pointer. The line was as close as 17 ft 9 in (5.41 m) in the Atlantic Coast Conference, and as far away as 22 feet in the Big Sky Conference.[9] Used in conference play, it was adopted by the NCAA for the 1986–87 men's season at 19 ft 9 in (6.02 m), and was first used in the NCAA Tournament in 1987.[10] In the same 1986–87 season, the NCAA adopted the three-pointer in women's basketball on an experimental basis, using the same 19 ft 9 in distance, and made its use mandatory beginning in 1987–88.[11] In 2007, the NCAA lengthened the men's three-point distance to 20 ft 9 in (6.32 m), with the rule coming into effect at the beginning of the 2008–09 season.[12] The NCAA women's three-point distance was moved to match the men's distance in 2011–12.[11] American high schools, along with elementary and middle schools, adopted a 19 ft 9 in (6.02 m) line nationally in 1987, a year after the NCAA.[13]

text: During the 1994–95, 1995–96, and 1996–97 seasons, the NBA attempted to address decreased scoring by shortening the distance of the line from 23 ft 9 in (7.24 m) (22 ft (6.71 m) at the corners) to a uniform 22 ft (6.71 m) around the basket. From the 1997–98 season on, the NBA reverted the line to its original distance of 23 ft 9 in (22 ft at the corners, with a 3 inch differential). Ray Allen is currently the NBA all-time leader in career made three-pointers with 2,973.[14]

text: In 2008, FIBA announced that the distance would be increased by 50 cm (19.69 in) to 6.75 m (22 ft 1 3⁄4 in), with the change being phased in beginning in October 2010. In December 2012, the WNBA announced that it would be using FIBA's distance, too, as of the 2013 season. The NBA has discussed adding a four-point line, according to president Rod Thorn.[15]

text: In the NBA, three-point field goals have become increasingly more frequent along the years, with effectiveness increasing slightly. The 1979-80 season had an average 2.2 three-point goals per game and 6.6 attempts (28% effectiveness). The 1989-90 season had an average 4.8 three-point goals per game and 13.7 attempts (35% effectiveness). The 2009-10 season had an average 6.4 three-point goals per game and 18.1 attempts (36% effectiveness). The 2016-17 season had an average 9.7 three-point goals per game and 27.0 attempts (36% effectiveness).[16]

text: Rule specifications[edit]

text: A three-point line consists of an arc at a set radius measured from the point on the floor directly below the center of the basket, and two parallel lines equidistant from each sideline extending from the nearest end line to the point at which they intersect the arc. In the NBA and FIBA standard, the arc spans the width of the court until it is a specified minimum distance from each sideline. The three-point line then becomes parallel to the sidelines from those points to the baseline. The unusual formation of the three-point line at these levels allows players some space from which to attempt a three-point shot at the corners of the court; the arc would be less than 2 feet (0.61 m) from each sideline at the corners if it was a continuous arc. In the NCAA and American high school standards, the arc spans 180° around the basket, then becomes parallel to the sidelines from the plane of the basket center to the baseline (5 feet 3 inches or 1.60 metres). The distance of the three-point line to the center of the hoop varies by level:

text:
Arc radius
Minimum distance from sidelines

National Basketball Association
23 feet 9 inches (7.24 m)
3 feet (0.91 m)
[17]

FIBA (also used by WNBA)
6.75 meters (22 ft 2 in)
0.90 meters (2 ft 11 in)
[18]

National Collegiate Athletic Association
20 feet 9 inches (6.32 m)
4 feet 3 inches (1.30 m)
[19]

American High school basketball
19 feet 9 inches (6.02 m)
5 feet 3 inches (1.60 m)
[20]

tag: table

text: A player's feet must be completely behind the three-point line at the time of the shot or jump in order to make a three-point attempt; if the player's feet are on or in front of the line, it is a two-point attempt. A player is allowed to jump from outside the line and land inside the line to make a three-point attempt, as long as the ball is released in mid-air.

text: An official raises his/her arm with three fingers extended to signal the shot attempt. If the attempt is successful, he/she raises his/her other arm with all fingers fully extended in manner similar to a football official signifying successful field goal to indicate the three-point goal. The official must recognize it for it to count as three points. Instant replay has sometimes been used, depending on league rules. The NBA,[21] WNBA, FIBA and the NCAA specifically allow replay for this purpose. In NBA, FIBA, and WNBA games, video replay does not have to occur immediately following a shot; play can continue and the officials can adjust the scoring later in the game, after reviewing the video. However, in late game situations, play may be paused pending a review.

text: If a shooter is fouled while attempting a three-pointer and subsequently misses the shot, the shooter is awarded three free-throw attempts. If a player completes a three-pointer while being fouled, the player is awarded one free-throw for a possible 4-point play. Conceivably, if a player completed a three-pointer while being fouled, and that foul was ruled as either a Flagrant 1 or a Flagrant 2 foul, the player would be awarded two free throws for a possible 5-point play.

text: Related concepts[edit]

text: Major League Lacrosse features a two-point line which forms a 15-yard (14 m) arc around the front of the goal. Shots taken from behind this line count for two points, as opposed to the standard one point.

text: In gridiron football, a standard field goal is worth three points; various professional and semi-pro leagues have experimented with four-point field goals. NFL Europe and the Stars Football League adopted a rule similar to basketball's three-point line in which an additional point was awarded for longer field goals; in both leagues any field goal of 50 yards (46 m) or more was worth four points. The Arena Football League awards four points for any successful drop kicked field goal (like the three-point shot, the drop kick is more challenging than a standard place kick, as the bounce of the ball makes a kick less predictable, and arena football also uses narrower goal posts for all kicks than the outdoor game does).

text: During the existence of the World Hockey Association in the 1970s, there were proposals for two-point hockey goals for shots taken beyond an established distance (one proposal was a 44-foot (13.4m) arc, which would have intersected the faceoff circles), but this proposal gained little support and faded after the WHA merged with the NHL. It was widely believed that long-distance shots in hockey had little direct relation to skill (usually resulting more from goalies' vision being screened or obscured), plus with the lower scoring intrinsic to the sport a two-point goal was seen as disruptive of the structure of the game.

text: The Super Goal is a similar concept in Australian rules football, in which a 50-meter (55 yd) arc determines the value of a goal; within the arc, it is the usual 6 points, but 9 points are scored for a "super goal" scored from outside the arc. To date the super goal is only used in pre-season games and not in the season proper.[22]

text: The National Professional Soccer League II, which awarded two points for all goals except those on the power play, also used a three-point line, drawn 45 feet (14 m) from the goal. It has since been adopted by some other indoor soccer leagues.


document_title: The Aristocats

question_text: who wrote everybody wants to be a cat

question_tokens: who wrote everybody wants to be a cat

text: The Aristocats

text: Plot

text: In Paris 1910, mother cat Duchess and her three kittens, Marie, Berlioz, and Toulouse, live with retired opera diva Madame Adelaide Bonfamille, and her English butler, Edgar. One day while preparing her will with lawyer Georges Hautecourt, Madame declares her fortune to be left to her cats until their deaths, and thereafter to Edgar. Edgar hears this through a speaking tube, and plots to eliminate the cats. Therefore, he sedates the cats by putting sleeping pills in a milk mixture intended for them, and enters the countryside to abandon them. There, he is ambushed by two hounds, named Napoleon and Lafayette, and the cats are stranded in the countryside, while Madame Adelaide, Roquefort the mouse, and Frou-Frou the horse discover their absence.

text: In the morning, Duchess meets an alley cat named Thomas O'Malley, who offers to guide her and the kittens to Paris. The group briefly hitchhikes in a milk truck before being chased off by the driver. Later, while crossing a railroad trestle, the cats narrowly avoid an oncoming train, but Marie falls into a river and is saved by O'Malley, who in turn has to be rescued himself by two English geese, Amelia and Abigail Gabble, who accompany the cats to Paris. Edgar returns to the country to retrieve his possessions from Napoleon and Lafayette, as the only evidence that could incriminate him.

text: Travelling across the rooftops of the city, the cats meet O'Malley's friend Scat Cat and his musicians, who perform the song Ev'rybody Wants to Be a Cat. After the band has departed, O'Malley and Duchess converse on a nearby rooftop while the kittens listen at a windowsill. Here, Duchess's loyalty to Madame prompts her to decline O'Malley's proposal of marriage. Duchess and the kittens return to Madame's mansion, but Edgar places them in a sack and prepares to ship them to Timbuktu; whereupon they direct Roquefort to retrieve O'Malley. He does so, and O'Malley returns to the mansion, instructing Roquefort to locate Scat Cat and his gang. This done, the alley cats and Frou-Frou fight Edgar, while Roquefort frees Duchess and the kittens. At the end of the fight, Edgar is locked in his own packing-case and sent to Timbuktu himself. Madame Adelaide's will is rewritten to exclude Edgar, with Madame remaining ignorant of the reason for Edgar’s departure. After adopting O’Malley into the family, Madame establishes a charity foundation housing Paris's stray cats (represented by Scat Cat and his band, who reprise their song).

text: Cast

text:
Eva Gabor as Duchess - Madame Adelaide's cat and mother of three kittens; but forced to choose between loyalty to Madame and her own attachment to Thomas O'Malley, until the end of the film. Robie Lester provided the singing voice for Duchess.
Phil Harris as Thomas O'Malley (full name: Abraham de Lacy Giuseppe Casey Thomas O'Malley) – A feral cat who befriends Duchess and her kittens, becoming a father figure to the kittens and falling in love with Duchess.
Gary Dubin as Toulouse - the oldest kitten, who idolizes all alley-cats and especially Thomas. He is also a talented painter, and is loosely based on French painter Henri de Toulouse-Lautrec.
Liz English as Marie - middle kitten; often imperious or snobbish to her brothers, but her mother's especial companion. Something of a singer.
Dean Clark as Berlioz - the youngest kitten. He is somewhat timid and shy. He is also a talented pianist, and is loosely based on French pianist Hector Berlioz.
Roddy Maude-Roxby as Edgar Balthazar - Madame Adelaide's butler who tries to get rid of the cats in order to inherit her fortune.
Scatman Crothers as Scat Cat - Thomas's best friend and leader of a gang of jazz-playing alley cats. Scat Cat plays the trumpet.
Sterling Holloway as Roquefort - A house mouse and also a friend of the cats, who assists in the expulsion of Edgar.
Paul Winchell as Shun Gon - a Chinese cat in Scat Cat's gang. Plays the piano and drums made out of pots.
Lord Tim Hudson as Hit Cat - an English cat in Scat Cat's gang. Plays acoustic guitar.
Vito Scotti as Peppo - an Italian cat in Scat Cat's gang. Plays the accordion.
Thurl Ravenscroft as Billy Boss - a Russian cat in Scat Cat's gang. Plays the double bass.
Pat Buttram as Napoleon - a Bloodhound who attacks Edgar when he intrudes in the farm where Napoleon lives. Napoleon insists, whenever cohort Lafayette makes a suggestion, that he is in command, then adopts Lafayette's suggestion as his own.
George Lindsey as Lafayette - a Basset Hound and Napoleon's companion. He sometimes proves smarter than Napoleon, but is also more timid.
Hermione Baddeley as Madame Adelaide Bonfamille - a former opera singer and owner of Duchess and her kittens.
Charles Lane as Georges Hautecourt - Madame Bonfamille's lawyer: an eccentric, lively old man
Nancy Kulp as Frou-Frou - Roquefort's horse companion, who subdues Edgar. Ruth Buzzi provided her singing voice.
Monica Evans as Abigail Gabble - a goose who befriends the cats.
Carole Shelley as Amelia Gabble - Abigail's twin sister.
Bill Thompson as Uncle Waldo - the drunken gander uncle of Abigail and Amelia.
Peter Renaday as French Milkman/Le Petit Cafe Cook/Truck Movers (uncredited)

text: Production

text: Story development

text: On December 9, 1961, Walt Disney suggested that Harry Tytle and Tom McGowan find some animal stories to adapt as a two-part live-action episode for the Wonderful World of Color television program. By New Year's 1962, McGowan had found several stories including a children's book about a mother cat and her kittens set in New York City. However, Tytle felt that a London location had added a significant element to One Hundred and One Dalmatians and suggested setting the story of the cats in Paris.[3] Following a rough storyline, the story became about two servants—a butler and a maid—who were in line to inherit a fortune of an eccentric mistress after the pet cats died and focused on their feeble and foolish attempts to eliminate the felines. Boris Karloff and Francoise Rosay were in mind to portray the butler and the distressed Madame.[4] A subplot centered around a mother cat hiding her kittens to keep them out of danger in a variety of different homes and locales around Paris, France. During the filming of Escapade in Florence, McGowan brought him the story that had been written by Tom Rowe, an American writer who was living in Paris.[3]

text: By August 1962, they sent the completed script to Burbank, where it was returned as "rejected" by an unknown executive at the Disney studios. Nevertheless, Tytle brought the script to Walt staying at the Connaught in London. Disney approved for the draft, but recommended additional cuts which were made by February 1963. Before filming was to commence, Rowe wrote a letter to Disney addressing his displeasure of the script revisions, in which Tytle responded to Rowe that the changes Walt approved of would be kept. However, by summer 1963, the project was shelved, where Tytle, in a discussion with Walt, recommended to produce The Aristocats as an animated feature.[3] For that reason, Walt temporarily shelved the project as the animation department was occupied with The Jungle Book.[6] Meanwhile, director Wolfgang Reitherman learned of the project and suggested it as a follow-up project to Jungle Book.[7] Because of the production delays, Tytle was advised to centralize his efforts on live action projects and was replaced by Winston Hibler.[3]

text: In 1966, Disney assigned Ken Anderson to determine whether Aristocats would be suitable for an animated feature. With occasional guidance from Reitherman, Anderson worked from scratch and simplified the two stories into a story that focused more on the cats.[8] Walt saw the preliminary sketches and approved the project shortly before his death.[6] After The Jungle Book was completed, the animation department began work on Aristocats.[8] Hibler was eventually replaced by Reitherman,[3] who would abandon the more emotional story of Duchess's obsession to find adopters befitting of her kittens' talents initially favored by Walt suggesting instead the film be conceived as an adventure comedy in the vein of One Hundred and One Dalmatians. Furthermore, the character Elmira, the maid, who was intended to be voiced by Elsa Lanchester, was removed from the story placing Edgar as the central villain in order to better simplify the storyline.[7]

text: Casting

text: As with The Jungle Book, the characters were patterned on the personalities of the voice actors.[8] In 1966, Walt Disney contacted Phil Harris to improvise the script, and shortly after, he was cast to voice Thomas O'Malley. To differentiate the character from Baloo, Reitherman noted O'Malley was "more based on Clark Gable than Wallace Beery, who was partly the model for Baloo."[8] Reitherman furthermore cast Eva Gabor as Duchess, remarking she had "the freshest femme voice we've ever had", and Sterling Holloway as Roquefort.[8] Louis Armstrong was initially reported to voice Scat Cat,[9] but he backed out of the project due to illness.[10] Out of desperation, Scatman Crothers was hired to voice the character under the direction to imitate Armstrong.[11] Pat Buttram and George Lindsey were cast as the farm dogs, which proved so popular with the filmmakers that another scene was included to have the dogs when Edgar returns to the farm to retrieve his displaced hat and umbrella.[4]

text: Animation

text: Ken Anderson spent eighteen months developing the design of the characters.[12] Five of Disney's legendary "Nine Old Men" worked on it, including the Disney crew that had been working 25 years on average.[13]

text: Music

text: The Aristocats was the last Disney animated feature Robert and Richard Sherman worked on as staff songwriters, growing frustrated by the management of the studio following Walt Disney's death. For the Disney studios, the Sherman Brothers completed their work before the release of Bedknobs and Broomsticks, but would return to the studio to compose songs for The Tigger Movie.[14]

text: The brothers composed multiple songs, but only the title song and "Scales and Arpeggios" were included in the film.[4] Desiring to capture the essence of France, the Sherman Brothers composed the song "The Aristocats". Disney film producer Bill Anderson would ask Maurice Chevalier to participate in the film.[15] Following the suggestion, Richard Sherman imitated Chevalier's voice as he performed a demo for the song. Chevalier received the demo and was brought out of retirement to sing the song. Deleted songs that were intended for the film included "Pourquoi?" sung by Hermione Baddeley as Madame Bonfamille, its reprise, and "She Never Felt Alone" sung by Robie Lester as Marie.[16][17] For the show-stopping number, the Sherman Brothers composed "Le Jazz Hot", but the filmmakers preferred "Ev'rybody Wants to Be a Cat" composed by Floyd Huddleston and Al Rinker.[18] Lastly, a villainous song was envisioned to be sung by Edgar and his assistant Elmira as a romantic duet, but the song was dropped when Elmira was removed from the story.[19]

text: Another deleted song was for Thomas O'Malley titled "My Way's The Highway", but the filmmakers had Terry Gilkyson compose the eponymous song "Thomas O'Malley Cat". Gilkyson explained "It was the same song, but they orchestrated it twice. They used the simpler one, because they may have thought the other too elaborate or too hot. It was a jazz version with a full orchestra."[20]

text: The instrumental music was composed by George Bruns, who drew from his background with jazz bands in the 1940s and decided to feature the accordion-like musette for French flavor.[21]

text: On Classic Disney: 60 Years of Musical Magic, this includes "Thomas O'Malley Cat" on the purple disc and "Ev'rybody Wants to Be a Cat" on the orange disc. On Disney's Greatest Hits, this includes "Ev'rybody Wants to Be a Cat" on the red disc.

text: On August 21, 2015, in honor of the 45th anniversary of the film, a new soundtrack was released as part of Walt Disney Records: The Legacy Collection. The release includes the songs and score as used in the film, along with The Lost Chords of the Aristocats (featuring songs written for the film but not used), and previously released album versions of the songs as bonus tracks.[22]

text: Release

text: Box office

text: The Aristocats was released in December 1970 where it grossed $10.1 million in domestic rentals.[23] The film, which was very popular in France, grossed $16 million in foreign markets.[24] The film was the most popular "general release" movie at the British box office in 1971.[25] The film was re-released to theaters on December 19, 1980 where it earned an additional $18 million and again in April 10, 1987 where its gross was $17 million.[26] The Aristocats has had a lifetime gross of $55.7 million.[2]

text: Critical reaction

text: The New York Times praised the film as "grand fun all the way, nicely flavored with tunes, and topped with one of the funniest jam sessions ever by a bunch of scraggly Bohemians headed by one Scat Cat."[27] Roger Ebert, writing for the Chicago Sun-Times, awarded the film three stars out of four summarizing The Aristocats as "light and pleasant and funny, the characterization is strong, and the voices of Phil Harris (O'Malley the Alley Cat) and Eva Gabor (Duchess, the mother cat) are charming in their absolute rightness."[28] For its 1987 re-release, animation historian Charles Solomon expressed criticism for its episodic plot, anachronisms, and borrowed plot elements from earlier Disney animated features, but nevertheless wrote "But even at their least original, the Disney artists provide better animation--and more entertainment--than the recent animated features hawking The Care Bears, Rainbow Brite and Transformers."[29] Writing in his book The Disney Films, Disney historian and film critic Leonard Maltin wrote that "[t]he worst that one could say of The AristoCats is that it is unmemorable. It's smoothly executed, of course, and enjoyable, but neither its superficial story nor its characters have any resonance."[30] Additionally, in his book Of Mice and Magic, Maltin criticized the film for re-using Phil Harris to replicate The Jungle Book's Baloo, dismissing the character Thomas O'Malley as "essentially the same character, dictated by the same voice personality."[31]

text: The review aggregator website Rotten Tomatoes reported that the film received a 66% approval rating with an average rating of 6/10 based on 29 reviews. Its consensus states "Though The Aristocats is a mostly middling effort for Disney, it is redeemed by terrific work from its voice cast and some jazzy tunes."[32]

text: Accolades

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

text:
2008: AFI's 10 Top 10:

Nominated Animation Film[33]

text: Home media

text: It was released on VHS in Europe on January 1, 1990 and in the UK in 1995. It was first released on VHS in North America in the Masterpiece Collection series on April 24, 1996.

text: In January 2000, Walt Disney Home Video launched the Gold Classic Collection, with The Aristocats re-issued on VHS and DVD on April 4, 2000.[34] The DVD contained the film in its 1.33:1 aspect ratio enhanced with 2.0 Dolby surround sound.[35] The Gold Collection release quietly discontinued in 2006. A new single-disc Special Edition DVD (previously announced as a 2-Disc set) was released on February 5, 2008.

text: Disney released the film for the first time on Blu-ray on August 21, 2012.[36][37] The 2-disc Special Edition Blu-ray/DVD combo (both in Blu-ray and DVD packaging) featured a new digital transfer and new bonus material.[38] A single disc DVD edition was also released on the same day.[39]

text: Cancelled sequel

text: In 2005, DisneyToon Studios originally planned to make a follow-up to the movie, along with sequels to Chicken Little (2005) and Meet the Robinsons (2007).[40] Originally intended to be a 2D animated feature, Disney executives decided to produce the film in computer animation in order to garner more interest.[41] Additionally, the story was meant to center around Marie, Duchess's daughter, who becomes smitten by another kitten aboard a luxury cruise ship. However, she and her family must soon take on a jewel thief on the open seas.[42] The project was cancelled when John Lasseter was named Disney's new chief creative officer, in which he called off all future sequels DisneyToon had planned and instead make original productions or spin-offs.[40]


document_title: Cell theory

question_text: who proposed the cell theory state the main postulates of this theory

text: Cell theory

text: Microscopes

text: The discovery of the cell was made possible through the invention of the microscope. In the first century BC, Romans were able to make glass, discovering that objects appeared to be larger under the glass. In Italy during the 12th century, Salvino D’Armate made a piece of glass fit over one eye, allowing for a magnification effect to that eye. The expanded use of lenses in eyeglasses in the 13th century probably led to wider spread use of simple microscopes (magnifying glasses) with limited magnification.[2] Compound microscope, which combine an objective lens with an eyepiece to view a real image achieving much higher magnification, first appeared in Europe around 1620[3][4] In 1665, Robert Hooke used a microscope about six inches long with two convex lenses inside and examined specimens under reflected light for the observations in his book Micrographia. Hooke also used a simpler microscope with a single lens for examining specimens with directly transmitted light, because this allowed for a clearer image.[5]

text: Extensive microscopic study was done by Anton van Leeuwenhoek, a draper who took the interest in microscopes after seeing one while on an apprenticeship in Amsterdam in 1648. At some point in his life before 1668, he was able to learn how to grind lenses. This eventually led to Leeuwenhoek making his own unique microscope. His were a single lens simple microscope, rather than a compound microscope. This was because he was able to use a single lens that was a small glass sphere but allowed for a magnification of 270x. This was a large progression since the magnification before was only a maximum of 50x. After Leeuwenhoek, there was not much progress for the microscopes until the 1850s, two hundred years later. Carl Zeiss, a German engineer who manufactured microscopes, began to make changes to the lenses used. But the optical quality did not improve until the 1880s when he hired Otto Schott and eventually Ernst Abbe.[6]

text: Optical microscopes can focus on objects the size of a wavelength or larger, giving restrictions still to advancement in discoveries with objects smaller than the wavelengths of visible light. Later in the 1920s, the electron microscope was developed, making it possible to view objects that are smaller than optical wavelengths, once again, changing the possibilities in science.[6]

text: Discovery of cells

text: The cell was first discovered by Robert Hooke in 1665, which can be found to be described in his book Micrographia. In this book, he gave 60 ‘observations’ in detail of various objects under a coarse, compound microscope.[5] One observation was from very thin slices of bottle cork. Hooke discovered a multitude of tiny pores that he named "cells". This came from the Latin word Cella, meaning ‘a small room’ like monks lived in and also Cellulae, which meant the six sided cell of a honeycomb. However, Hooke did not know their real structure or function.[7] What Hooke had thought were cells, were actually empty cell walls of plant tissues. With microscopes during this time having a low magnification, Hooke was unable to see that there were other internal components to the cells he was observing. Therefore, he did not think the "cellulae" were alive.[8] His cell observations gave no indication of the nucleus and other organelles found in most living cells. In Micrographia, Hooke also observed mould, bluish in color, found on leather. After studying it under his microscope, he was unable to observe “seeds” that would have indicated how the mould was multiplying in quantity. This led to Hooke suggesting that spontaneous generation, from either natural or artificial heat, was the cause. Since this was an old Aristotelian theory still accepted at the time, others did not reject it and was not disproved until Leeuwenhoek later discovers generation is achieved otherwise.[5]

text: Anton van Leeuwenhoek is another scientist who saw these cells soon after Hooke did. He made use of a microscope containing improved lenses that could magnify objects almost 300-fold, or 270x.[8] Under these microscopes, Leeuwenhoek found motile objects. In a letter to The Royal Society on October 9, 1676, he states that motility is a quality of life therefore these were living organisms. Over time, he wrote many more papers in which described many specific forms of microorganisms. Leeuwenhoek named these “animalcules,” which included protozoa and other unicellular organisms, like bacteria.[6] Though he did not have much formal education, he was able to identify the first accurate description of red blood cells and discovered bacteria after gaining interest in the sense of taste that resulted in Leeuwenhoek to observe the tongue of an ox, then leading him to study "pepper water" in 1676. He also found for the first time the sperm cells of animals and humans. Once discovering these types of cells, Leeuwenhoek saw that the fertilization process requires the sperm cell to enter the egg cell. This put an end to the previous theory of spontaneous generation. After reading letters by Leeuwenhoek, Hooke was the first to confirm his observations that were thought to be unlikely by other contemporaries.[5]

text: The cells in animal tissues were observed after plants were because the tissues were so fragile and susceptible to tearing, it was difficult for such thin slices to be prepared for studying. Biologists believed that there was a fundamental unit to life, but were unsure what this was. It would not be until over a hundred years later that this fundamental unit was connected to cellular structure and existence of cells in animals or plants.[9] This conclusion was not made until Henri Dutrochet. Besides stating “the cell is the fundamental element of organization”,[10] Dutrochet also claimed that cells were not just a structural unit, but also a physiological unit.

text: In 1804, Karl Rudolphi and J.H.F. Link were awarded the prize for "solving the problem of the nature of cells", meaning they were the first to prove that cells had independent cell walls by the Königliche Societät der Wissenschaft (Royal Society of Science), Göttingen.[11] Before, it had been thought that cells shared walls and the fluid passed between them this way.

text: Cell theory

text: Credit for developing cell theory is usually given to two scientists: Theodor Schwann and Matthias Jakob Schleiden.[12] While Rudolf Virchow contributed to the theory, he is not as credited for his attributions toward it. In 1839, Schleiden suggested that every structural part of a plant was made up of cells or the result of cells. He also suggested that cells were made by a crystallization process either within other cells or from the outside.[13] However, this was not an original idea of Schleiden. He claimed this theory as his own, though Barthelemy Dumortier had stated it years before him. This crystallization process is no longer accepted with modern cell theory. In 1839, Theodor Schwann states that along with plants, animals are composed of cells or the product of cells in their structures.[14] This was a major advancement in the field of biology since little was known about animal structure up to this point compared to plants. From these conclusions about plants and animals, two of the three tenets of cell theory were postulated.[9]

text: 1. All living organisms are composed of one or more cells

text: 2. The cell is the most basic unit of life

text: Schleiden's theory of free cell formation through crystallization was refuted in the 1850s by Robert Remak, Rudolf Virchow, and Albert Kolliker.[6] In 1855, Rudolf Virchow added the third tenet to cell theory. In Latin, this tenet states Omnis cellula e cellula.[9] This translated to:

text: 3. All cells arise only from pre-existing cells

text: However, the idea that all cells come from pre-existing cells had in fact already been proposed by Robert Remak; it has been suggested that Virchow plagiarized Remak and did not give him credit.[15] Remak published observations in 1852 on cell division, claiming Schleiden and Schawnn were incorrect about generation schemes. He instead said that binary fission, which was first introduced by Dumortier, was how reproduction of new animal cells were made. Once this tenet was added, the classical cell theory was complete.

text: Modern interpretation

text: The generally accepted parts of modern cell theory include:

text:
All known living things are made up of one or more cells[16]
All living cells arise from pre-existing cells by division.
The cell is the fundamental unit of structure and function in all living organisms.[17]
The activity of an organism depends on the total activity of independent cells.[citation needed]
Energy flow (metabolism and biochemistry) occurs within cells.[citation needed]
Cells contain DNA which is found specifically in the chromosome and RNA found in the cell nucleus and cytoplasm.[18]
All cells are basically the same in chemical composition in organisms of similar species .[citation needed]

tag: ol

text: The modern version of the cell theory

text: The modern version of the cell theory includes the ideas that:

text:
Energy flow occurs within cells.[19]
Heredity information (DNA) is passed on from cell to cell.[19]
All cells have the same basic chemical composition.[19]

text: Opposing concepts in cell theory: history and background

text: The cell was first discovered by Robert Hooke in 1665 using a microscope. The first cell theory is credited to the work of Theodor Schwann and Matthias Jakob Schleiden in the 1830s. In this theory the internal contents of cells were called protoplasm and described as a jelly-like substance, sometimes called living jelly. At about the same time, colloidal chemistry began its development, and the concepts of bound water emerged. A colloid being something between a solution and a suspension, where Brownian motion is sufficient to prevent sedimentation. The idea of a semipermeable membrane, a barrier that is permeable to solvent but impermeable to solute molecules was developed at about the same time. The term osmosis originated in 1827 and its importance to physiological phenomena realized, but it wasn’t until 1877, when the botanist Pfeffer proposed the membrane theory of cell physiology. In this view, the cell was seen to be enclosed by a thin surface, the plasma membrane, and cell water and solutes such as a potassium ion existed in a physical state like that of a dilute solution. In 1889 Hamburger used hemolysis of erythrocytes to determine the permeability of various solutes. By measuring the time required for the cells to swell past their elastic limit, the rate at which solutes entered the cells could be estimated by the accompanying change in cell volume. He also found that there was an apparent nonsolvent volume of about 50% in red blood cells and later showed that this includes water of hydration in addition to the protein and other nonsolvent components of the cells.

text: Evolution of the membrane and bulk phase theories

text: Two opposing concepts developed within the context of studies on osmosis, permeability, and electrical properties of cells.[20] The first held that these properties all belonged to the plasma membrane whereas the other predominant view was that the protoplasm was responsible for these properties. The membrane theory developed as a succession of ad-hoc additions and changes to the theory to overcome experimental hurdles. Overton (a distant cousin of Charles Darwin) first proposed the concept of a lipid (oil) plasma membrane in 1899. The major weakness of the lipid membrane was the lack of an explanation of the high permeability to water, so Nathansohn (1904) proposed the mosaic theory. In this view, the membrane is not a pure lipid layer, but a mosaic of areas with lipid and areas with semipermeable gel. Ruhland refined the mosaic theory to include pores to allow additional passage of small molecules. Since membranes are generally less permeable to anions, Leonor Michaelis concluded that ions are adsorbed to the walls of the pores, changing the permeability of the pores to ions by electrostatic repulsion. Michaelis demonstrated the membrane potential (1926) and proposed that it was related to the distribution of ions across the membrane.[21] Harvey and Danielli (1939) proposed a lipid bilayer membrane covered on each side with a layer of protein to account for measurements of surface tension. In 1941 Boyle & Conway showed that the membrane of frog muscle was permeable to both K+ and Cl-, but apparently not to Na+, so the idea of electrical charges in the pores was unnecessary since a single critical pore size would explain the permeability to K+, H+, and Cl- as well as the impermeability to Na+, Ca+, and Mg++. Over the same time period, it was shown (Procter & Wilson, 1916) that gels, which do not have a semipermeable membrane, would swell in dilute solutions. Loeb (1920) also studied gelatin extensively, with and without a membrane, showing that more of the properties attributed to the plasma membrane could be duplicated in gels without a membrane. In particular, he found that an electrical potential difference between the gelatin and the outside medium could be developed, based on the H+ concentration. Some criticisms of the membrane theory developed in the 1930s, based on observations such as the ability of some cells to swell and increase their surface area by a factor of 1000. A lipid layer cannot stretch to that extent without becoming a patchwork (thereby losing its barrier properties. Such criticisms stimulated continued studies on protoplasm as the principal agent determining cell permeability properties. In 1938, Fischer and Suer proposed that water in the protoplasm is not free but in a chemically combined form—the protoplasm represents a combination of protein, salt and water—and demonstrated the basic similarity between swelling in living tissues and the swelling of gelatin and fibrin gels. Dimitri Nasonov (1944) viewed proteins as the central components responsible for many properties of the cell, including electrical properties. By the 1940s, the bulk phase theories were not as well developed as the membrane theories. In 1941, Brooks & Brooks published a monograph The Permeability of Living Cells, which rejects the bulk phase theories.

text: The emergence of the steady-state membrane pump concept

text: With the development of radioactive tracers, it was shown that cells are not impermeable to Na+. This was difficult to explain with the membrane barrier theory, so the sodium pump was proposed to continually remove Na+ as it permeates cells. This drove the concept that cells are in a state of dynamic equilibrium, constantly using energy to maintain ion gradients. In 1935, Karl Lohmann discovered ATP and its role as a source of energy for cells, so the concept of a metabolically-driven sodium pump was proposed. The tremendous success of Hodgkin, Huxley, and Katz in the development of the membrane theory of cellular membrane potentials, with differential equations that modeled the phenomena correctly, provided even more support for the membrane pump hypothesis.

text: The modern view of the plasma membrane is of a fluid lipid bilayer that has protein components embedded within it. The structure of the membrane is now known in great detail, including 3D models of many of the hundreds of different proteins that are bound to the membrane. These major developments in cell physiology placed the membrane theory in a position of dominance and stimulated the imagination of most physiologists, who now apparently accept the theory as fact—there are, however, a few dissenters.[citation needed]

text: The reemergence of the bulk phase theories

text: In 1956, Afanasy S. Troshin published a book, The Problems of Cell Permeability, in Russian (1958 in German, 1961 in Chinese, 1966 in English) in which he found that permeability was of secondary importance in determination of the patterns of equilibrium between the cell and its environment. Troshin showed that cell water decreased in solutions of galactose or urea although these compounds did slowly permeate cells. Since the membrane theory requires an impermanent solute to sustain cell shrinkage, these experiments cast doubt on the theory. Others questioned whether the cell has enough energy to sustain the sodium/potassium pump. Such questions became even more urgent as dozens of new metabolic pumps were added as new chemical gradients were discovered.

text: In 1962, Gilbert Ling became the champion of the bulk phase theories and proposed his association-induction hypothesis of living cells.

text: Types of cells

text: Cells can be subdivided into the following subcategories:

text:
Prokaryotes: Prokaryotes are relatively small cells surrounded by the plasma membrane, with a characteristic cell wall that may differ in composition depending on the particular organism.[22] Prokaryotes lack a nucleus (although they do have circular or linear DNA) and other membrane-bound organelles (though they do contain ribosomes). The protoplasm of a prokaryote contains the chromosomal region that appears as fibrous deposits under the microscope, and the cytoplasm.[22] Bacteria and Archaea are the two domains of prokaryotes.
Eukaryotes: Eukaryotic cells are also surrounded by the plasma membrane, but on the other hand, they have distinct nuclei bound by a nuclear membrane or envelope. Eukaryotic cells also contain membrane-bound organelles, such as (mitochondria, chloroplasts, lysosomes, rough and smooth endoplasmic reticulum, vacuoles).[23] In addition, they possess organized chromosomes which store genetic material.[citation needed]

text: Animals have evolved a greater diversity of cell types in a multicellular body (100–150 different cell types), compared with 10–20 in plants, fungi, and protoctista.[24]


document_title: Panic! at the Disco

question_text: who was the original lead singer of panic at the disco

text: Panic! at the Disco

text: History

text: Formation and early years (2004–2005)

text: Panic! at the Disco was formed in 2004 in the suburban area of Summerlin, Las Vegas, by childhood friends Ryan Ross, who sang and played guitar, and Spencer Smith, who played drums. They both attended Bishop Gorman High School, and they began playing music together in ninth grade. They invited friend Brent Wilson from nearby Palo Verde High School to join on bass, and Wilson invited classmate Brendon Urie to try out on guitar.[3] The quartet soon began rehearsing in Smith's grandmother's living room.[4] Urie grew up in a Mormon family in Las Vegas and early on missed some rehearsals to go to church.[5] Ross initially was the lead vocalist for the group, but after hearing Urie sing back-up during rehearsals, the group decided to make him the lead.[6] Initially, Panic! at the Disco was a Blink-182 cover band.[7]

text: In the group's early experimental demos, the band created a sound that was different from the many death-metal groups that were performing in Las Vegas at the time. The band signed a recording contract without having performed a live show. "We never went out and played shows before we got signed because the music scene in Las Vegas is so bad. There's not a lot going on," Smith said. "In our practice space, there were something like 30 bands, and every day we'd walk into that room and hear the exact same death-metal bands. So it kind of influenced us to be different. And to get out of Las Vegas."[8] Urie began working at Tropical Smoothie Cafe in Summerlin to afford rent for the band's new practice space.[9] The four left their educations behind to concentrate on music; Ross had a falling out with his father when he dropped out of college,[4] and when Urie dropped out of high school his parents kicked him out of the house. He stayed with friends until he could afford to rent an apartment.[10]

text: Ross and Urie soon began to commit to their laptops the demos they had been developing and posted three early demos ("Time to Dance," "Nails for Breakfast, Tacks for Snacks" and "Camisado") on PureVolume.[3] On a whim, they sent a link to Fall Out Boy bassist Pete Wentz via a LiveJournal account. Wentz, who was in Los Angeles at the time with the rest of Fall Out Boy working on the band's major-label debut, From Under the Cork Tree, drove to Las Vegas to meet with the young, unsigned band.[8] Upon hearing "two to three" songs during band practice, Wentz was impressed and immediately wanted the band to sign to his Fueled by Ramen imprint label Decaydance Records, which made the band the first on the new label. Around December 2004, the group signed to the label.[6] As news broke that Wentz had signed Panic! (who had yet to perform a single live show), fans on the Internet began to bash the group. "Almost right away we knew what was going to happen," Ross explained in a 2006 interview. "We had two songs online and people were already making assumptions on what kind of band we were and what we were going to sound like."[11]

text: Meanwhile, Wentz began to hype the band wherever possible: from wearing "Pete! at the Disco" T-shirts onstage to mentioning the group in interviews. Wentz gave a quick shout-out to the band during a press junket on the day before the 2005 MTV Video Music Awards: "I've got a couple of bands coming out soon on Decaydance, one being this band called Panic! at the Disco," Wentz said. "Their record is going to be your next favorite record. It's called A Fever You Can't Sweat Out – get it before your little brother does."[11] At the time of the band's signing, all of the band members were still in high school (with the exception of Ross, who was forced to quit UNLV). Urie graduated in May 2005, and Wilson and Smith finished school online as the band left for College Park, Maryland, to record their debut record.[3]

text: A Fever You Can't Sweat Out (2005–2007)

text: The band relocated to College Park, Maryland, to record its debut album from June to September 2005. Although they only had shells of songs when they arrived, the rest of the album shaped up fast through the marathon session. "We didn't have a day off in the five-and-a-half weeks we were there, 12 or 14 hours a day," Ross said in a 2005 interview.[3] "We were making things up in our heads that weren't there, and on top of the stress of trying to finish the record, we were living in a one-bedroom apartment with four people on bunk beds," recalled Ross. "Everyone got on everybody's nerves. Someone would write a new part for a song and someone else would say they didn't like it just because you ate their cereal that morning."[12]

text: The album is split into two-halves: the first half is mostly electronic dance punk, while the second half features Vaudevillian piano, strings, and accordion.[7] The band grew tired of writing only with drum machines and keyboards and, inspired by film scores (specifically the works of Danny Elfman and Jon Brion) decided to write a completely different half.[6] "By the end of that, we were completely exhausted," said Ross of the studio sessions. After its completion, "we had two weeks to come home and learn how to be a band," Ross said.[3] The group played its first live show during the summer of 2005 at local Las Vegas music venue The Alley on West Charleston.[3] Afterwards, the band toured nationally on the Nintendo Fusion Tour with mentors Fall Out Boy, as well as Motion City Soundtrack, The Starting Line, and Boys Night Out for the rest of 2005.[13]

text: The band's debut album, A Fever You Can't Sweat Out, was released September 27, 2005. Sales began relatively slow. It debuted at No. 112 on the Billboard 200 album chart, No. 6 on the Billboard Independent Albums chart, and No. 1 on the Billboard Top Heatseekers chart, with nearly 10,000 albums sold in the first week of release. Within a span of four months, Panic! would see the video for its first single, "I Write Sins Not Tragedies", rocket up the Billboard Hot 100 as sales of Fever passed the 500,000 mark.[11] At the end of March 2006, the band announced a headlining tour. By August, the group's debut record was certified platinum by the Recording Industry Association of America (RIAA), and the music video for "I Write Sins Not Tragedies" won Video of the Year at the 2006 MTV Video Music Awards.[14] "Some aspects of the fame are annoying, but at the end of the day it's something we're most grateful for. It's certainly opened the door to a whole new batch of opportunities," Ross said of the band's newfound fame and instant success.[11]

text: In May 2006, Panic! at the Disco announced that original bassist Brent Wilson had left the band, "posting a statement that was both diplomatic and entirely inscrutable […] yet [failing] to mention any reason why Wilson is leaving Panic," according to MTV News.[15] In June, Wilson asserted to MTV News that he was kicked out of the band via a phone call. "It was done as a phone call and the only person who spoke was Spencer. Apparently Brendon and Ryan were on the speakerphone too, but they didn't say a word. They never even said they were sorry," explained Wilson. Smith wrote a lengthy e-mail back to James Montgomery of MTV News, stating, in part, "We made the decision based on Brent's lack of responsibility and the fact that he wasn't progressing musically with the band," and revealed that Wilson did not write nor play any bass present on Fever: Instead, Urie recorded these parts.[16] Wilson demanded a cut in royalties, and threatened to take his former band to court.[17]

text: In 2006, the band supported The Academy Is... on the band's worldwide tour "Ambitious Ones and Smoking Guns" from January to May.[18] Beginning in June, the group headlined its first unnamed national tour, that would last until August.[19] During the group's performance at the 2006 Reading Festival in August, the band was greeted by excessive bottling, one of which hit Urie in the face that knocked him unconscious. Despite this, the band continued with its set after Urie recovered.[20] The band's second headlining tour, dubbed the Nothing Rhymes with Circus Tour, began in November. In roughly one year, Panic! at the Disco went from being the opening act on a five-band bill to the headliners on a massive arena tour.[21]

text: The Nothing Rhymes with Circus Tour feature the band's first highly theatrical live shows, which featured every song with dance numbers, skits and tricks performed by a six-member troupe, as the band donned intricate costumes, loosely re-enacting moments from the songs.[22] Kelefa Sanneh of The New York Times noted the sudden success and circus-inspired tour of the young band in a concert review: "There’s something charming about watching a band trying to navigate sudden success, aided by a contortionist, a ribbon dancer and all the rest of it."[23] MTV News favorably likened its theme and wardrobe to "Janet Jackson's audience-dividing, hypersexual The Velvet Rope Tour."[24] The group, fresh off the major success of A Fever You Can't Sweat Out, took a break after non-stop touring, and the group members began formulating ideas for their next album together during the winter of 2006.[25]

text: Pretty. Odd. and ...Live in Chicago (2007–2009)

text: After a short period of development regarding the ideas of the album, on March 6, 2007 the band arrived at a cabin in the rural mountains of Mount Charleston, Nevada and began the writing process for the new album.[26] After recording the new tracks and performing them live over the summer, the band returned to its native Las Vegas as well as the group's old rehearsal studio, where the band members wrote their debut record.[27] The band grew uninterested in the songs previously written and by August scrapped the entire new album (which Ross later revealed was "three-quarters" done)[28] and started over. "We wanted to approach these songs in the most basic form," Ross said. "We wrote them all on one acoustic guitar and with someone singing. I think that we kind of skipped that part of songwriting on the first record, and this time we're sort of paying attention to that. […] We've written a bunch of songs since we've been home [Las Vegas]. I think it's the most fun and the happiest we've been since we started." With simplicity the new focus and the old album shelved, the group settled in and began recording what would become Pretty. Odd.[27] In October, the band entered the Studio at the Palms at the Palms Casino Resort in Las Vegas to begin recording the album.[28]

text: In January 2008, the band unveiled a new logo and dropped the exclamation point from the group's name, becoming Panic at the Disco.[1] Released on March 21, 2008, Pretty. Odd. was described by the band as "more organic and mellower" than A Fever You Can't Sweat Out, as well as unintentionally and coincidentally similar to music of the Beatles, in both songwriting and scope.[29] The record debuted at number two on the US Billboard 200 chart, with first-day sales of 54,000, and first-week sales of 139,000 copies in the United States.[30] Those figures marked the band's biggest sales week to that date, beating a previous record held by A Fever You Can't Sweat Out (which sold 45,000 during the winter of 2006). The record also debuted at "Current Alternative Albums" chart and No. 2 on the "Digital Albums" chart, the latter of which accounted for 26 percent of the disc's overall sales.[31] The album charted high in various other countries and was eventually certified gold in the United Kingdom, however, Pretty. Odd. received relatively disappointing sales in the face of its predecessor.[32] Pretty. Odd. was, however, critically acclaimed in contrast to Fever: Barry Walters of Spin called Panic's debut album "embarrassing" while regarding the new record as "[daring] to be optimistically beautiful at a time when sadness and ugliness might have won them easier credibility."[33]

text: The band announced plans to headline the 2008 Honda Civic Tour in January 2008, which took up the majority of early touring for the album.[34] Motion City Soundtrack, the Hush Sound and Phantom Planet opened for the tour, which performed across North America from April 10 to July 14, 2008 .[35] Throughout October and November 2008, the band toured with Dashboard Confessional and the Cab on the Rock Band Live Tour promoting the video game Rock Band 2.[36][37]

text: As expected and predicted by several music publications, the band adopted a very different style for the touring in support of Pretty. Odd., in contrast to the dark, circus-themed elements of the band's previous stage shows.[38] Each show contained "woodsy set pieces, projections of flora and fauna, and mic stands wrapped in lights and flowers," and each band member dressed in a vest.[39] While reflecting on the theatrical nature of A Fever You Can't Sweat Out touring, Urie commented "We did it and it was a lot of fun when we did it, but this time around I think we wanted to get back to a more intimate, personal setting, and scale it down a little bit." Ryan Ross explained that "It's more about connecting with the audience and seeing what's gonna happen every night. It's not as scripted out and pre-planned. It makes it more exciting for us, and less monotonous every night."[39] A live album, ...Live in Chicago, based on live recordings from Chicago during the Honda Civic Tour, was released December 2, 2008.[40] An accompanying DVD contains photos from the tour, each music video from the album as well as behind-the-scenes footage of the videos and the tour, the short film Panic! at the Disco In: American Valley, and the documentary feature based on the tour, All In A Day's.[41]

text: Pretty. Odd.'s touring was also defined by a larger effort to remain environmentally conscious. On the tour, the band worked with two non-profit eco organizations: Reverb, which facilitates environmentally friendly touring; and Global Inheritance, which seeks to inspire more eco-activism.[39] In a 2008 interview, Ross revealed that the band traveling on a biodiesel bus, to re-using plastics, and recycling more backstage.[42] The band went as far as to print tour booklets on recycled paper, with soy ink, and organize an "eco-contest," in which profits from the tour went straight to environmental organizations.[39]

text: Lineup change and Vices & Virtues (2009–2012)

text: In spring 2009, the band began recording material for its third studio album.[43] However, on July 6, 2009, Ryan Ross and Jon Walker announced via the band's official website that the two were leaving the band.[44] In an interview following the split, Ross explained that he first brought the idea to Smith in late June 2009 over lunch: "Spencer and I had lunch and caught up for a while, and then the big question came up, like, 'Well, what do you want to do?' and I said, 'Well, I think it might be best if we kind of do our own thing for a while,' and he said, 'I'm glad you said that, because I was going to say the same thing,'" Ross recalled. "And there was really no argument, which is really the best way that could've worked out." Ross said the split was largely due to creative differences between him and Urie. Urie wanted the band to explore a more polished pop sound, while Ross – and, by extension, Walker – was interested in making retro-inspired rock.[45]

text: The news asserted that both tour plans with blink-182 in August 2009 and new album production "will continue as previously announced."[44] The following day, Alternative Press broke the news that "New Perspective", the first song recorded without Ross and Walker, would debut the following month on radio and as a part of the soundtrack to the film Jennifer's Body.[46] On July 10, 2009, Alternative Press also reported that the band had regained the exclamation point, becoming, once again, Panic! at the Disco. "New Perspective" was released on July 28, 2009.[47] Former guitarist of pop rock band The Cab, Ian Crawford and Dallon Weekes, frontman of indie rock band The Brobecks, filled in for Ross and Walker on tour during the blink-182 Summer Tour in August 2009.[48]

text: The band re-entered the studio during early 2010 and spent much of the year recording the group's third studio album.[43] During this time, touring bassist Dallon Weekes joined the band's official lineup along with Urie and Smith, making the band a three-piece. Although Weekes did not perform on the upcoming album, he was responsible for the conceptualization of the cover art of the album and was also featured on the album cover, masked and standing in the background behind Smith and Urie.[49] On January 18, 2011, the band revealed that an album titled Vices & Virtues would officially be released on March 22, 2011. The album was produced by Butch Walker and John Feldmann.[50] The record's first single, "The Ballad of Mona Lisa", was released digitally on February 1, 2011, with the music video being released February 8, 2011. Vices & Virtues was officially released March 22, 2011 to relatively positive critical reviews.[51]

text: The band began touring in support of the album, christened the Vices & Virtues Tour, in earnest beginning in February 2011.[52] The tour has sported the same electric, over-the-top theatricality the band was known for during the Fever era. "I really miss wearing costumes and makeup," Urie told Spin. "I love throwing a big production. I've recently been reading about Tesla coils and I'm trying to figure out how I can get one that sits on the stage and shoots sparks without hurting anybody."[53] The group was scheduled to play the Australian Soundwave Revolution festival in September/October but the festival was cancelled and in its place is the Counter-Revolution mini-festival the band will play.

text: On May 12, 2011, the band collaborated with indie pop band Fun. and the two groups embarked on an American tour, releasing a single together titled "C'mon". Panic! at the Disco contributed a new song "Mercenary" to the soundtrack for the video game Batman: Arkham City.[54]

text: Too Weird to Live, Too Rare to Die! (2012–2015)

text: After the Vices & Virtues tour cycle, Urie, Smith, and Weekes began writing and preparing for a fourth album. During the recording of the album, touring guitarist Ian Crawford, who joined the band in 2009 after the departure of Ryan Ross and Jon Walker, left the band citing his desire to make "real, genuine" music.[55] On July 15, 2013, the album was announced as Too Weird to Live, Too Rare to Die!, with a scheduled release date of October 8, 2013. The first single, "Miss Jackson", was released on July 15, 2013, along with its music video to promote the album. Panic! at the Disco opened for Fall Out Boy on the Save Rock And Roll Arena Tour with Kenneth Harris replacing Crawford.[56][57]

text: Shortly before the band began its first tour in support of the album, Smith wrote an open letter to fans regarding his abuse of alcohol and prescription medications since the recording of Pretty. Odd. Although Smith joined the band for the first handful of dates, he left the tour to "continue fighting addiction". Urie posted on the band's official website on August 7, 2013 that "It's become evident that Spencer still needs more time to take care of himself. I can't expect him to be fighting addiction one minute and be fully immersed in a national tour the next. With that said, the tour will continue without Spencer while he is away getting the help he needs."[58] Since Spencer's leave of absence, Dan Pawlovich of the band Valencia has filled in on tour.[59]

text: In an interview with Pure Fresh on September 23, 2014, Urie stated that he had already thought about ideas on the fifth studio album; however, he was not sure if it would be a Panic! at the Disco album, or a solo album.[60] Urie has also stated there are no current plans for Smith to return to the band.[61]

text: Departure of Spencer Smith and Death of a Bachelor (2015–present)

text: On April 2, 2015, Smith announced that he had officially left the band.[62] That same month, Urie revealed in an interview with Kerrang! that he was working on new material for the band's fifth studio album.[63]

text: On April 20, 2015, Urie released "Hallelujah" as a single without any previous formal announcements.[64][65] It debuted on the Billboard Hot 100 at No. 40, the band's second highest ever after "I Write Sins Not Tragedies". The band performed at the KROQ Weenie Roast on May 16, 2015.[66] On September 1, 2015, another song from the fifth studio album, "Death of a Bachelor", premiered on an Apple Music broadcast hosted by Pete Wentz.[67] The second single, "Victorious" was released at the end of the month.[68] On October 22, 2015, through the band's official Facebook page, Urie announced the new album as Death of a Bachelor with a scheduled release date of January 15, 2016.[69] It is the first album written and composed by Urie with a team of writers, as the status of Weekes changed from an official member to that of a touring member once again. Weekes' status was rumored during the promotion of Death of a Bachelor that he was no longer an official member,[70][71] until it was confirmed by Weekes himself on October 24, 2015, via Twitter that he was "not contributing creatively anymore".[72] The third single "Emperor's New Clothes" was released on the same day, along with the official music video. "LA Devotee" was released November 26 as a promotional single.[73] On December 31, 2015, the band released "Don't Threaten Me with a Good Time".[74]

text: The band co-headlined the Weezer & Panic! at the Disco Summer Tour 2016 with Weezer from June to August 2016.[75] The band released a cover of Queen's "Bohemian Rhapsody" in August 2016, on the Suicide Squad soundtrack album.[76][77]

text: On September 22, 2016, the band released the music video for "LA Devotee". With the release came the announcement of the Death of a Bachelor Tour in 2017. MisterWives and Saint Motel were announced as the opening acts.[78] In a December 2016 interview, Urie says that he hopes to make a music video for every song on the album Death of a Bachelor.[79][80]

text: Musical style and influences

text:
Panic! at the Disco – "I Write Sins Not Tragedies"

30-second sample from Panic! at the Disco "I Write Sins Not Tragedies", from the album A Fever You Can't Sweat Out.

Problems playing this file? See media help.

text: Panic! at the Disco have been know to change their sound each album. Musically, they have mainly been described as pop rock,[81][82][83] pop,[84] pop punk,[81][85][86] baroque pop,[87][85] synth-pop,[87][88][89] dance-punk,[90] electropop,[91] power pop,[92] emo pop,[81][93][94] alternative rock[87][95] and emo.[87][96]

text: Panic! at the Disco went on record many times saying that the group's second album would be completely different from A Fever You Can't Sweat Out, as Rolling Stone wrote in an article: "The group cemented its next direction with their first single, called "Nine in the Afternoon". "It's influenced by the music our parents listened to: the Beach Boys, the Kinks, the Beatles," says Ross. "Our new songs are more like classic rock than modern rock. We got older and started listening to different music – and this seems like the natural thing to do right now."[97] Pretty. Odd. has been described as being like "[Panic] dropping the entire Beatles catalog into a blender, adding some modern alternative ice and the horn section from Sonia Dada, then churning out a new-millennium Liverpool smoothie."[98] In his review of the band's live album, Stephen Thomas Erlewine noted, "...Pretty. Odd. suggests that they're becoming that rare thing in 2008: a pop-oriented rock band. They might not be doing this knowingly, but the results are entertaining all the same."[99]

text: Band members

text:
Current members

Brendon Urie – lead vocals, guitar, piano, keyboards (2004–present); bass guitar (2005–2010, 2015–present); drums (2015–present)

Former members

Ryan Ross – lead guitar, vocals, piano, keyboards, synthesizers (2004–2009); lead vocals (2004)
Spencer Smith – drums, percussion (2004–2015; hiatus 2013–2015)[62]
Brent Wilson – bass guitar (2004–2006)
Jon Walker – bass guitar, backing vocals, piano, keyboards, guitar (2006–2009)

Current touring musicians

Dallon Weekes – bass guitar, vocals, keyboards, guitar (2009–2010, 2015–present; official member 2010–2015)
Kenneth Harris – lead guitar, backing vocals (2013–present)
Dan Pawlovich – drums, percussion (2013–present)
Jesse Molloy – saxophone (2016–present)
Erm Navarro – trombone (2016–present)
Chris Bautista – trumpet (2016–present)

Former touring musicians

Bartram Nason – cello, keyboards, electronic drums, percussion (2006–2008)
Eric Ronick – keyboards, backing vocals, percussion (2006–2008)
Ian Crawford – lead guitar, floor tom, backing vocals (2009–2012)

text: Discography

text:
A Fever You Can't Sweat Out (2005)
Pretty. Odd. (2008)
Vices & Virtues (2011)
Too Weird to Live, Too Rare to Die! (2013)
Death of a Bachelor (2016)

text: Awards and nominations

text: Grammy Awards

text:
Year
Category
Nominated work
Result
Ref.

2017
Best Rock Album
Death of a Bachelor
Nominated
[100]

text: MTV Video Music Awards

text:
Year
Category
Nominated work
Result
Ref.

2006
Video of the Year
"I Write Sins Not Tragedies"
Won
[101]

Best New Artist in a Video
Nominated
[102]

Best Group Video
Nominated
[101]

Best Rock Video
Nominated
[103]

Best Art Direction
Nominated
[104]

2008
Best Pop Video
"Nine in the Afternoon"
Nominated
[105]

Best Direction
Nominated
[106]

2016
Best Rock Video
"Victorious"
Nominated
[107]

text: Other Awards

text:
Year
Award
Category
Nominated work
Result
Ref.

2006
Teen Choice Awards
Rock Track
"I Write Sins Not Tragedies"
Nominated

TMF Awards
Best Video International
Won

2007
Los Premios MTV Latinoamérica
Best International Rock Group
Panic! at the Disco
Nominated

Kerrang! Awards
Best International Band
Nominated

2008
Los Premios MTV Latinoamérica
Best International Rock Group
Nominated

MTV Asia Awards
The Style Award
Won

Teen Choice Awards
Rock Track
"Nine in the Afternoon"
Nominated

2011
Kerrang! Awards
Best Single
"The Ballad of Mona Lisa"
Nominated

2014
Alternative Press Music Awards
Best Vocalist
Brendon Urie
Won
[108]

Artist of the Year
Panic! at the Disco
Nominated

2015
Best Bassist
Dallon Weekes
Nominated
[109]

Best Live Band
Panic! at the Disco
Nominated

Rock Sound Readers Poll
Video of the Year
"Emperor's New Clothes"
Won
[110]

2016
Alternative Press Music Awards
Best Music Video
Won
[111]

Song of the Year
"Hallelujah"
Won

Artist of the Year
Panic! at the Disco
Nominated
[112]

2017
People's Choice Awards
Favorite Group
Nominated
[113]


question_text: who scored most goals in premier league history

text: Since the Premier League's formation at the start of the 1992–93 season, 26 players have managed to accrue 100 or more goals in the competition.

text: During the 1995–96 season, Alan Shearer became the first player to score 100 Premier League goals, and holds the record for the fewest games taken to reach 100, doing so in 124 appearances. He also holds the record for most goals scored in the Premier League.[1][2] After Shearer, Sergio Agüero is the second-fastest to 100 goals, doing so in 147 games.[3]

text: Players[edit]

text:
List of Premier League players with 100 or more goals

Rank
Player
Position
Premier League club(s)
Goals

1
 Shearer, AlanAlan Shearer
S
Blackburn Rovers, Newcastle United
260

2
 Rooney, WayneWayne Rooney
F
Everton, Manchester United
202

3
 Cole, AndyAndy Cole
S
Newcastle United, Manchester United, Blackburn Rovers, Fulham, Manchester City, Portsmouth
187

4
 Lampard, FrankFrank Lampard
MF
West Ham United, Chelsea, Manchester City
177

5
 Henry, ThierryThierry Henry
S
Arsenal
175

6
 Fowler, RobbieRobbie Fowler
S
Liverpool, Leeds United, Manchester City
163

7
 Defoe, JermainJermain Defoe
S
West Ham United, Portsmouth, Tottenham Hotspur, Sunderland, Bournemouth
159

8
 Owen, MichaelMichael Owen
S
Liverpool, Newcastle United, Manchester United, Stoke City
150

9
 Ferdinand, LesLes Ferdinand
S
Queens Park Rangers, Newcastle United, Tottenham Hotspur, West Ham United, Leicester City, Bolton Wanderers
149

10
 Sheringham, TeddyTeddy Sheringham
S
Nottingham Forest, Tottenham Hotspur, Manchester United, Portsmouth, West Ham United
146

11
 van Persie, RobinRobin van Persie
F
Arsenal, Manchester United
144

12
 Agüero, SergioSergio Agüero
S
Manchester City
129

13
 Hasselbaink, Jimmy FloydJimmy Floyd Hasselbaink
S
Leeds United, Chelsea, Middlesbrough, Charlton Athletic
127

14
 Keane, RobbieRobbie Keane
F
Coventry City, Leeds United, Tottenham Hotspur, Liverpool, West Ham United, Aston Villa
126

15
 Anelka, NicolasNicolas Anelka
F
Arsenal, Liverpool, Manchester City, Bolton Wanderers, Chelsea, West Bromwich Albion
125

16
 Yorke, DwightDwight Yorke
S
Aston Villa, Manchester United, Blackburn Rovers, Birmingham City, Sunderland
123

17
 Gerrard, StevenSteven Gerrard
MF
Liverpool
120

18
 Wright, IanIan Wright
S
Arsenal, West Ham United
113

19
 Dublin, DionDion Dublin
F
Manchester United, Coventry City, Aston Villa
111

20
 Heskey, EmileEmile Heskey
S
Leicester City, Liverpool, Birmingham City, Wigan Athletic, Aston Villa
110

21
 Giggs, RyanRyan Giggs
MF
Manchester United
109

22
 Scholes, PaulPaul Scholes
MF
Manchester United
107

23
 Bent, DarrenDarren Bent
S
Ipswich Town, Charlton Athletic, Tottenham Hotspur, Sunderland, Aston Villa, Fulham
106

24
 Crouch, PeterPeter Crouch
S
Aston Villa, Southampton, Liverpool, Portsmouth, Tottenham Hotspur, Stoke City
105

25
 Drogba, DidierDidier Drogba
S
Chelsea
104

26
 Le Tissier, MattMatt Le Tissier
MF
Southampton
100

Italics show players still playing professional football; Bold shows players still playing in the Premier League.[4]