document_title: Baby Blue (Badfinger song)

question_text: who was the song baby blue written about

text: Baby Blue (Badfinger song)

text: Writing[edit]

text: Ham wrote the song about a woman named Dixie Armstrong, whom he had dated during Badfinger's last US tour.[2]

text: Release[edit]

text: "Baby Blue" was released as a single in the US on 6 March 1972, in a blue-tinted picture sleeve and featuring a new mix. Because Al Steckler, the head of Apple US, felt that it needed a stronger hook in the opening, he remixed the track with engineer Eddie Kramer in February 1972, applying heavy reverb to the snare during the first verse and middle eight.[2] It was the group's last Top 20 single, peaking at number 14 on the Billboard Pop Singles chart.[3]

text: However, the chaos that was enveloping the Apple UK operation at the time was strongly evident with regard to this song. While Apple US gave the song a picture sleeve and a remix to ensure that it was a hit, Apple UK remained unaware of its commercial potential. Although the single was even assigned a release number for the UK (Apple 42), "Baby Blue" was never actually released as a UK single.[2]

text: Despite Badfinger's four top-20 Apple singles, Badfinger would only release one more single on Apple Records, "Apple of My Eye" in December 1973.

text: Personnel[edit]

text:
Pete Ham - lead vocals, rhythm guitar
Tom Evans - backing vocals, bass guitar
Joey Molland - lead guitar
Mike Gibbins - drums, percussion

text: Other uses and resurgence of popularity[edit]

text: Aimee Mann covered the song as the B-side to her 1993 single "I Should've Known".[4]

text: Singer-songwriter Barbara Manning covered the song with her band, S.F. Seals, on the 1994 album "Nowhere" (Matador Records).[5]

text: "Baby Blue" made an appearance in Martin Scorsese's 2006 Oscar-winning film, The Departed.

text: "Baby Blue" made an appearance in season 3 of The OC.

text: Phil Keaggy covered the song in his EPIC Records LP "Blue" in 1994.

text: The song later achieved fame when it played during the closing scene of the series finale of Breaking Bad.[6] Online streams increased in popularity strongly almost immediately following the broadcast.[7] The song is, according to Nielson SoundScan,[8] selling over 5,300 downloads since the broadcast. Billboard.com predicts that the song "could return to the Billboard charts as well, most likely with a placing on the Rock Digital Songs chart."[9] Joey Molland, the last surviving member of the classic line-up of Badfinger, took to Twitter to express his excitement at the song's use in the finale[10] and subsequently began to retweet news articles about the song's usage in the finale. This appearance led to a 2,981 percent increase of sales of the song as well as 9,000 percent increase in streaming over Spotify.[11] It became a top-selling song on iTunes following the broadcast.[12]


document_title: Brisbane Bears

question_text: when did the brisbane bears merged with fitzroy

root

text: Brisbane Bears

text: History[edit]

text: Establishment[edit]

text: In 1986, the VFL Commission announced plans to set up privately owned clubs based in Perth and Brisbane, motivated by the need to sell multimillion-dollar licences to save a number of Victorian clubs which were struggling financially. A consortium headed by former actor Paul Cronin and bankrolled by entrepreneur Christopher Skase was awarded the Brisbane licence. Not long afterwards, the club was officially announced as the Brisbane Bears, signing recently retired Hawthorn player Peter Knights as coach, and unveiling a playing strip consisting of a gold with a maroon yoke and a triangular "BB" logo intended to represent a stylised map of the club's home state, Queensland, with the outline of a koala head appearing inside of the larger B.

tag: p

text: The choice of the koala as a mascot and moniker was often mocked and tagged tacky as the Australian marsupial animal is not a bear and is typically sedate and hardly ferocious. Despite this, the bear appeared roaring on many of the marketing and promotional materials for the club, including the club's official VFL logo [1]. However, regardless of such marketing, the team's poor on-field performances in the first seven years allowed the Bears' mascot to be targeted gratuitously, with nicknames like "The Bad News Bears" and "The Carrara Koalas".

text: The new club was given very little time in which to set itself up, with few players and no suitable home ground. Brisbane's main outdoor venue, the Gabba, was encircled by a greyhound racing track at the time. The only other stadiums that were reasonably large enough to accommodate the Bears were rectangular fields designed for rugby league and rugby union, long established as the main football codes in Brisbane. Without an acceptable facility in Brisbane itself, the Bears-based themselves at Carrara Oval, an hour's drive south-east of Brisbane on the Gold Coast. Temporary stands, club rooms and facilities were erected on the slopes surrounding the field.

text: Upon its admission, the Bears did not have a large reserve of local players from which to compile a VFL-standard playing list. To assist with its inaugural playing list, the VFL arranged for every other club to provide at least two players; understandably, other clubs were averse to providing top-line players and few of the players provided were of a high quality. The Bears pursued a number of stars aggressively and did manage a few key signings, including Collingwood's captain Mark Williams, and 1985 Brownlow Medallist Brad Hardie. A significant proportion of the player list was recruited from the South Australian National Football League and West Australian Football League. Mark Mickan, a 6'5" (196 cm) ruckman recruited from West Adelaide, was appointed captain of the Bears in its inaugural season.

text: Early years[edit]

text: The Bears won their first game in the VFL against North Melbourne at the Melbourne Cricket Ground 19.23 (137) to 15.14 (104) in front of 14,096 fans, and also won its second game, but ultimately fell towards the bottom of the ladder. The club avoided the wooden spoon by beating Richmond in the final round, and finished with six wins. The club attracted 98,616 fans to the eleven matches at Carrara, an average of 8,965 per game, which was the lowest in the competition behind Fitzroy's 11,498. By contrast, the other new 1987 team the West Coast Eagles, with Australian rules football long established as the major football code in Perth, attracted 291,317 to their home games at Subiaco Oval and the WACA at an average of 26,483 per game.[1]

text: The club again recruited aggressively, landing Sydney Swans glamour spearhead Warwick Capper. In 1988 and 1989 the club suffered some severe defeats, finishing 13th and 10th respectively. Knights was sacked with eight rounds to play in the 1989 season. The club psychologist, Paul Feltham, took charge of the team for the remainder of the year.

text: By this stage, the club was also under severe financial pressure. Attendances had been very poor due to poor performances and the long distance between Carrara and Brisbane. The collapse of Skase's business empire and his sudden departure for Spain in late 1989 almost resulted in the death of the Bears. Over the ensuing preseason the players threatened strike action, but Cronin resigned, the club was taken over by the AFL, re-sold to Gold Coast businessman Reuben Pelerman, and the crisis was averted. The AFL spent significant amounts of money to help the Bears survive over the coming years, and the club was provided with priority draft picks and special recruiting zones to give it access to some of the nation's best talent, which over the next few years allowed the club to recruit future stars such as Michael Voss, Jason Akermanis, Clark Keating, Steven Lawrence and Darryl White.

text: Four-time QAFL premiership coach Norm Dare took over as coach in 1990, but the club won the wooden spoon. He was replaced in 1991 by former Carlton premiership coach Robert Walls, who immediately set about rebuilding the playing list; having inherited the oldest list in the league, by the end of the season he had the youngest. He insisted that the Bears not bend to the will of powerful Victorian clubs in recruitment matters, which was seen most notably in the case of the young Nathan Buckley – Buckley, who in 1992 won the SANFL's Magarey Medal and was a premiership winner with Port Adelaide, winning the Jack Oatey Medal for being Best on Ground in the SANFL Grand Final, was a zone recruit signed to the club on a one-year contract in 1993, which stipulated that he would be released to the club of his choice if he so desired at the completion of the contract; he was cleared to Collingwood as he had requested, in exchange for premiership centre-half forward Craig Starcevich, goalsneak Troy Lehmann and an early draft pick which the Bears used to recruit future star Chris Scott.

text: Later years[edit]

text: Off-field, Pelerman was losing millions of dollars annually on the club, and he agreed to release the Bears from private ownership and revert to a traditional club structure in which the club's members were able to elect the board. In 1992, the club abandoned its oft-ridiculed "BB" guernsey and adopted a predominantly maroon strip with a gold V and white trim. More significantly, in 1993 the club moved permanently to the Gabba; with the club now playing in its home city, membership and attendances instantly tripled. The greyhound track around the ground was removed, the surface was upgraded and the stands gradually replaced over the next few years with a view to converting the tired old ground to a state-of-the-art sporting facility.

text: In 1994, the Bears began to show signs of a competitive side and were contenders for a finals berth before falling away in the last five games of the season. Then, in 1995, the club reached the finals after an extraordinary late-season recovery. After Round 15, the Bears were third-last on the ladder with four wins, and Robert Walls had announced his resignation as coach halfway through the season, but committed himself to seeing out the year. In Round 16, the Bears trailed Hawthorn by 45 points at three-quarter time, but mounted an astounding final-quarter comeback to win the match by 7 points; it was the largest final quarter comeback in league history. Brisbane then won five of its six remaining matches in the home-and-away season, including against Richmond and Essendon who were both in the top four, to just reach the finals for the first time, albeit with a win-loss record of only 10–12. The team was eliminated, but not disgraced, after losing its first ever final to eventual premiers Carlton by 13 points.

text: Under the coaching of former Richmond premiership player John Northey, Brisbane had an excellent 1996 season, finishing third behind Sydney and North Melbourne. They made a good accounting of themselves in the finals, with two wins at the Gabba and a loss in the Preliminary Final to eventual premiers North Melbourne. Michael Voss also became the only Brisbane Bears player to win the Brownlow Medal, sharing the honour with Essendon's James Hird.

text: However, the club was still struggling off-field. One of the Bears' biggest problems was its lack of support (both on and off the field) in Melbourne, the location of most of its away matches. In mid-1996, the struggling Fitzroy Football Club collapsed due to financial pressures and was seeking to merge its assets with another club. When a merger with North Melbourne in forming the North Fitzroy Kangaroos failed to win the support of the other AFL clubs, a deal for a merger was done between Fitzroy and the Bears. The new team was known as the Brisbane Lions, based at the Gabba, with Northey as the coach of the merged club. As such, the history of the Brisbane Bears as an individual entity ended after the 1996 season, with ten seasons of competition and the third-place finish in 1996 as its best performance. The Bears last match as a separate entity was a preliminary final on Saturday 21 September 1996 at the Melbourne Cricket Ground (where the Bears played their first VFL/AFL game). It was against North Melbourne, their first and last ever opponents, the Bears lost by 38 points to North who would go on to win the premiership that year.When the team came off the MCG, the Bears were finished after a short and troubled existence.

text: Club facts[edit]

text: Mascot[edit]

text: The Bears' mascot was the koala, which is not a Bear. Their uniform originally featured a koala.

text: Colours[edit]

text:
Maroon      and Gold      (1987–1988)
Cerise      and Gold      (1989–1991)
Maroon     , Gold      and White      (1992–1996)

tag: ul

text: Club Songs[edit]

text: The Brisbane Football Club had 2 Club Songs in its existence.

text: We're the Brisbane Bears[edit]

text: Their first song was sung to an original tune.

text: 1st Verse

text: What do we sing when we run out to play? Dare to beat the Bear. What do we sing when we're on our way? Dare to beat the Bear. We're Hot! (We're Hot!) We're Mean! (We're Mean!) We're Strong! (We're Strong!) We're a Team! (We're a Team!) We're the very best team you've ever seen, We're the Brisbane Bears.

text: 2nd Verse

text: What do we know before every game? We're going out to win! How do we know that we'll read the play? We won't let 'em in! We're Hot! (We're Hot!) We're Mean! (We're Mean!) We're Strong! (We're Strong!) We're a Team! (We're a Team!) We're the very best team you've ever seen, We're the Brisbane Bears.

text: 1st Bridge

text: Our home is mighty Brisbane and we're playing for our State. The Bear will growl across the land, Our victories will be great (great)

text: 3rd Verse

text: What do we shout when we sense their fear? Beware the mighty Bear! What are the words that we love to hear? Beware the mighty Bear! We're Tough! (We're Tough!) We're Keen! (We're Keen!) We're Good! (We're Good!) We're a Team! (We're a Team!) We're the very best team you've ever seen, We're the Brisbane Bears.

text: 2nd Bridge

text: Our home is here in Queensland and there is not a shade of doubt, Right around Australia, we're gonna knock 'em out!

text: 3rd Verse - Repeated

text: What do we shout when we sense their fear? Dare to beat the Bear! What are the words that we love to hear? Dare to beat the Bear! We're Tough! (We're Tough!) We're Keen! (We're Keen!) We're Good! (We're Good!) We're a Team! (We're a Team) We're the very best team you've ever seen, We're the Brisbane Bears.

text: Home Run

text: We're Tough! (We're Tough!) We're Keen! (We're Keen!) We're Good! (We're Good!) We're a Team! (We're a Team!) We're the very best team you've ever seen, We're the Brisbane Bears. We're the very best team you've ever seen, We're the Brisbane Bears.

text: Beware the mighty Bears!

text: Brisbane Bears will live forever[edit]

text: Their second song was sung to the tune of Glory Glory Hallelujah. This version of the song has been lost, with neither the AFL of the Brisbane Lions having a copy.

text: 1st Verse

text: If you are a Queenslander then sing along with me We are the Bears on the Road to victory All for one and one for all We'll answer to the call We're the greatest team of all

text: 2nd Verse

text: We're the fearless Brisbane Bears From the mighty Northern State Our Pride and Guts and Character are gonna make us great Sydney, Melbourne, Adelaide and Perth will know their fate When the Bears run out and roar

text: Chorus

text: Brisbane Bears will live forever We will always stick together The 'Gabba is the place where people always come to see The greatest team of all

text: 3rd Verse

text: The Whistle blows, the Ball is bounced The Crowd all give a yell And we will do our very best until the final Bell And when the Game is over we'll be closer to the Flag We're the greatest team of all

text: Chorus

text: Home Run

text: Supporter base[edit]

text:
Year
Members
Finishing Position
Average Home Crowd

1987

3,449

13th/14

8,965

1988

7,607

13th/14

12,781

1989

7,176

10th/14

10,944

1990

5,630

14th/14

8,887

1991

5,696

15th/15

8,011

1992

5,401

14th/15

6,499

1993

5,750

13th/15

11,148

1994

6,158

12th/15

12,433

1995

6,893

Qualifying Final (8th/16)

10,305

1996

10,267

Preliminary Final (3rd/16)

18,088

tag: table

text: Premierships[edit]

text:
Reserves - 1991
Seniors - None
Night Series/Pre-Season - None
Lightning Series - None

text: Wooden spoons[edit]

text:
1990
1991

text: Individual awards[edit]

text:
Darryl White - Goal of the Year (1992)
Nathan Buckley - AFL Rising Star (1993)
Chris Scott - AFL Rising Star (1994)
Michael Voss - Brownlow Medal (1996), All-Australian (1996)
Craig Lambert - All-Australian (1996)

text: Honour roll[edit]

text:
Season
Position
Coach
Captain
Best & Fairest¹
Leading goalkicker
Goals

1987
13
Peter Knights
Mark Mickan
Phil Walsh
Jim Edmond
34

1988
13
Peter Knights
Mark Mickan
Mark Withers
Warwick Capper
45

1989
10
Peter Knights, Paul Feltham
Mark Mickan
John Gastev
Brad Hardie
54

1990
14
Norm Dare
Roger Merrett
David Bain and Martin Leslie
Brad Hardie
37

1991
15
Robert Walls
Roger Merrett
Michael McLean
Laurence Schache
47

1992
14
Robert Walls
Roger Merrett
John Gastev
John Hutton
43

1993
13
Robert Walls
Roger Merrett
Martin Leslie
Roger Merrett
60

1994
12
Robert Walls
Roger Merrett
Craig Lambert
Roger Merrett
41

1995
8
Robert Walls
Roger Merrett
Michael Voss
Roger Merrett
44

1996
3
John Northey
Roger Merrett
Michael Voss
Alastair Lynch
52

text: Club Records[edit]

text:
Total Matches Played: 222 (72 wins, 2 draws, 148 losses)
Highest Score: 33.21 (219) vs Sydney, Round 8, 1993
Lowest Score: 2.5 (17) vs Hawthorn, Round 12, 1988
Greatest Winning Margin: 162 points vs Sydney, Round 8, 1993
Greatest losing margin: 164 points vs Geelong, Round 7, 1992
Longest Winning Streak: 7 (Round 15 to Round 21, 1996)
Longest Losing Streak: 12 (Round 20 1990 to Round 10, 1991)
Most Goals in a Season: 60 by Roger Merrett in 1993 (18 games)
Most Goals for the Club: 285 by Roger Merrett (1988–96 - 164 games)
Most Games for the Club: 164 by Roger Merrett (1988–96)
Most Years as Coach: 5 by Robert Walls (1991–95)
Most Years as Captain: 7 by Roger Merrett (1990–96)
Highest Ladder Position at end of season: Third in 1996
Record Attendance: 66,719 vs North Melbourne, Preliminary Final 1996
Record Attendance at the Gabba: 21,964 vs Essendon, Qualifying Final 1996
Record Attendance at Carrara Oval: 18,198 vs Geelong, Round 15, 1989
Brownlow Medalists: Michael Voss in 1996
All-Australians Michael Voss and Craig Lambert in 1996


document_title: The Brian Conley Show

question_text: who used to say it's a puppet

question_tokens: who used to say it 's a puppet

text: The Brian Conley Show

text: Synopsis[edit]

text: The show was commissioned following Conley's last successful comedy series, Brian Conley: This Way Up. The show lasted for four series, although a live special was shown a year after the series ended, and a Christmas special aired a year after that. Shows were broadcast Saturdays on ITV between 22 February 1992 and 22 July 1995. Repeats began to show a few years later on the now defunct Granada Plus, though episodes stopped showing on the channel a few years before it closed, and has since never been broadcast again. Extracts from various episodes were uploaded to a dedicated YouTube channel, but was subsequently closed due to copyright claims.

text: The show was a mix of comedy, music, sketches, and variety acts. The first two series were recorded in the Churchill Theatre in Bromley rather than a television studio, giving the show a "live" feel. Conley would perform musical numbers, stand-up routines and sketches, the latter of which were performed on sets that were wheeled out onto the stage, and he'd often change costume in front of the audience. Series three and four were filmed in The London Studios and given a new look. Sketches were now performed on a rotating platform that switched between different sets as it spun. However, Conley's trademark characters were either performed on their own set or were pre-recorded.

text: Conley decided that the fourth series would be the last when, in an interview with TV Times, he decided to pursue a career on stage. However, after Conley compered the Royal Variety Performance in 1999, the show returned in 2000 albeit in a chat show format, dramatically different to the original show. Whilst it retained Conely's stand-up sets at the beginning of the show, as well as his special guests, sketches and Conley's characters were removed from the show. Whilst this had some fans unhappy, the show managed to pull in some famous guests including Leslie Nielsen and Kathleen Turner. The revival lasted for three series.

text: Features[edit]

text: Sketch characters[edit]

text: With the exception of Septic Peg, some of Conley's characters were revived from This Way Up. They were all dropped after the original series run and didn't return for the revival in 2000.

text: Nick Frisbee and Larry the Loafer[edit]

text: Nick Frisbee was a children's in-vision continuity presenter who had a squirrel puppet sidekick, Larry the Loafer (operated by Ray Tizzard). The premise of the character was to mock children's television presenters at the time, many who had puppet sidekicks – Larry was loosely based, and named after, BBC Saturday morning show Going Live's puppet Gordon the Gopher. Unlike children's television presenters, Nick was crude, and often cared very little for Larry or his viewers. He'd famously treat Larry very harshly, often hitting him with a club, which prompted the audience to 'aww,' to which Nick would reiterate to the audience that "it's a puppet!" Nick would read out letters, poems and jokes "sent in" by viewers with double-entendre names, and show spoof trailers for movies. In the last episode, Larry gets his revenge on Nick by dropping a studio light on him when he appeals for the welfare of loafers.

text: "Dangerous Brian" Conley[edit]

text: "Dangerous Brian" Conley was Conley's alter-ego stuntman. He would perform stunts that would often vary in danger and ludicrousness, some of which he'd often not perform. Stunts varied from bungee jumps to riding pizza delivery scooters. From the second series, he was accompanied by commentator John Sachs who would often make fun of Dangerous much to his despair. He was occasionally joined by his scrawny helper, Nearly Dangerous Norris (played by Ray Tizzard) who dressed in a pink costume and often had no idea what he was doing.

text: Septic Peg[edit]

text: Introduced in series four, Septic Peg was an astrologist who featured in sketches entitled Septic Peg Predicts. She was a direct parody of Mystic Meg who appeared on the then newly devised National Lottery draws that aired around the same time as The Brian Conley Show on BBC One. Like Mystic Meg, Septic Peg would make predictions with the help of her crystal ball, but were often blatantly obvious predictions, such as guessing the Lottery winner would be celebrating a birthday this year, their name would begin with a letter of the alphabet, and they will be either a man or a woman. Her predictions were often accompanied with funny looks to camera.

text: Conley's Car Boot Quiz[edit]

text: Only featuring in the third series, Conley's Car Boot Quiz was a game played by two members of the public in a bid to win £1000. Conley would be filmed on location asking various people if they wanted to play, and mostly involved people not knowing who he was or what he was talking about. When two people were eventually chosen, they were given various impressions to identify which were performed by Jake, a robot from the year 3003 and was able to perform thousands of voices. After Jake performed the impression, the contestants would have to look through a car boot to find an item relating to the person Jake impersonated. The first person to return with the correct prop, Conley would give trivia about the person to the contestant, and had to say whether the trivia was a Fact (True) or a Fib (False). Guessing correctly won them £50. After four impressions, the winner with the most money would move on to the final round, which was based on word association. Conley would name a celebrity, such as Frank Bruno, and the contestant would have to think of words associated to that celebrity, such as boxing. Conley would often give clues if the contestant was stuck or simply show them the answer on his card. For every correct answer, the contestant won £100.

text: Music[edit]

text: Music featured heavily during the show's original run. Conley opened with his own adaptation of a famous song and closed with a song and dance number with a band and dancers. Each show also had a musical guest that'd perform after the commercial break.

text: Speciality acts[edit]

text: One of the show's stand-out features was its showcase of weird and wonderful variety acts. Many of these guests were magicians, although some were out of the ordinary. Notable guests include Octopus (which was essentially a human slinky), Christopher Hart who played Thing from The Addams Family movies, Christopher who would perform as all five members of the Village People, and a man whose costume played musical notes and drum beats. This feature was retained in the 2000 revival, and had guests such as a "boneless" man, a supposedly juggling fly, and a scientist who had Conely lay down on a bed of nails and had a concrete block smashed on his stomach.

text: Transmissions[edit]

text:
Series
Start date
End date
Episodes

1
22 February 1992
28 March 1992
6

2
15 May 1993
26 June 1993
6

3
7 May 1994
18 June 1994
7

4
3 June 1995
22 July 1995
8

5
18 March 2000
6 May 2000
8

6
30 March 2001
18 May 2001
8

7
1 June 2002
3 August 2002
10

text: Specials[edit]

text: Brian Conley: Alive and Dangerous (1996)[edit]

text: A year after the end of The Brian Conley Show saw Alive and Dangerous, a special live show that aired on ITV on 28 September 1996. Similar to the original show, albeit performed on a stage rather than in a studio, it featured Conley's sketch characters, as well as considerably more songs and stand-up. It also featured a performance from Conley as Al Jolson, a performance that would later earn him awards, praise and recognition. The show was released on VHS and DVD with extra material, although neither are currently in production.

text: Brian Conley's Crazy Christmas (1997)[edit]

text: Broadcast on ITV on 23 December 1997, Crazy Christmas was essentially an extended, Christmas special of The Brian Conley Show, but featured more sketches less reliant on his trademark characters similar to This Way Up.


document_title: One for All Tour

question_text: when was the bee gees one for all tour

question_tokens: when was the bee gees one for all tour

text: One for All Tour

text:
One for All Tour

Video by Bee Gees

Released
10 April 1991

Recorded
November 1989

Venue
National Tennis Centre, Melbourne Park , Melbourne, Australia

Genre
Rock, pop, disco, funk, soul, R&B, acoustic

Length
102 min.

Label
MPI Home Video

Director
Adrian Woods & Peter Demetris

Producer
Adrian Woods

Bee Gees chronology

The Bee Gees Special
(1979)The Bee Gees Special1979
One for All Tour
(1991)
Keppel Road
(1997)Keppel Road1997

text: One for All Tour is a concert video from The Bee Gees recorded live at the National Tennis Centre in Melbourne, Australia in November 1989. Melbourne was the third final stop on their 1989 One for All World Tour, which included the United States, Europe and Asia the first time the Bee Gees played live there since their 1979 Spirits Having Flown Tour. Originally, this video was released in two volumes on VHS, each 50 minutes apiece. Volume One incorrectly listed the song "My World" from 1972 instead of the song "World" from 1967. In the DVD era, the cover was slightly changed and was released under the title, The Very Best of The Bee Gees Live! in 1997.

text: In 2014, the Melbourne show was made available on CD for the first time as part of a box set chronicling their period on Warner Bros.

text: Track listings[edit]

text:
"Ordinary Lives"
"Giving Up the Ghost"
"To Love Somebody"
"I've Gotta Get a Message to You"
"One"
"Tokyo Nights"
"Words"
"Juliet"
"New York Mining Disaster 1941"
"Holiday"
"Too Much Heaven"
"Heartbreaker"
"Islands in the Stream"
"Run to Me"
"World"
"Spicks and Specks"
"Lonely Days"
"How Deep Is Your Love"
"It's My Neighborhood"
"How Can You Mend a Broken Heart"
"House of Shame"
"I Started a Joke"
"Massachusetts"
"Stayin' Alive"
"Nights on Broadway"
"Jive Talkin'"
"You Win Again"
"You Should Be Dancing"

tag: ol

text: Personnel[edit]

text:
Barry Gibb - vocals, guitar
Robin Gibb - vocals
Maurice Gibb - vocals, keyboard, guitar
Alan Kendall - lead guitar
Tim Cansfield - guitar
Vic Martin - keyboard, synthesizer
Gary Moberly - keyboard, synthesizer
George Perry - bass
Mike Murphy - drums
Tampa Lann, Linda Harmon, Phyllis St. James - Backup singers and percussionists

text:
[show]

v
t
e

Bee Gees

Barry Gibb
Robin Gibb
Maurice Gibb

Colin Petersen
Vince Melouney
Alan Kendall
Dennis Bryon
Blue Weaver

Studio albums

The Bee Gees Sing and Play 14 Barry Gibb Songs
Spicks and Specks
Bee Gees' 1st
Horizontal
Idea
Odessa
Cucumber Castle
2 Years On
Trafalgar
To Whom It May Concern
Life in a Tin Can
Mr. Natural
Main Course
Children of the World
Spirits Having Flown
Living Eyes
E.S.P.
One
High Civilization
Size Isn't Everything
Still Waters
This Is Where I Came In

Extended plays

The Bee Gees
New York Mining Disaster 1941

Soundtracks

Melody
Saturday Night Fever

Live albums

Here at Last... Bee Gees... Live
One Night Only

Compilation albums

Turn Around, Look at Us
Rare, Precious and Beautiful
Rare, Precious and Beautiful, Volume 2
Best of Bee Gees
Inception/Nostalgia
Best of Bee Gees, Volume 2
Bee Gees Gold
Bee Gees Greatest
Tales from the Brothers Gibb
The Very Best of the Bee Gees
Their Greatest Hits: The Record
Number Ones
Love Songs
The Ultimate Bee Gees
Mythology
Timeless: The All-Time Greatest Hits

Videography

Idea
Cucumber Castle
The Bee Gees Special
One for All Tour
One Night Only
The Ultimate Bee Gees
In Our Own Time

Tours

The Bee Gees' concerts in 1967 and 1968
2 Years On Tour
Trafalgar Tour
Mr. Natural Tour
Main Course Tour
Children of the World Tour
Spirits Having Flown Tour
One for All World Tour
High Civilization World Tour
One Night Only World Tour

Articles

Discography

List of songs recorded
List of unreleased material

A Kick in the Head Is Worth Eight in the Pants
The Barry Gibb Talk Show
IBC Studios
Hither Green rail crash

Bands

The Rattlesnakes
Humpy Bong
The Fut
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text: 1989 concert toursBee Gees

text: Use British English from December 2011Use dmy dates from December 2011Duration without hAudio microformatArticles with hAudio microformatsMusic infoboxes with deprecated parameters


document_title: My Country, 'Tis of Thee

question_text: when did my country tis of thee written

question_tokens: when did my country tis of thee written

text: My Country, 'Tis of Thee

text: History[edit]

text: Samuel Francis Smith wrote the lyrics to "My Country 'Tis of Thee" in 1831,[4] while he was a student at the Andover Theological Seminary in Andover, Massachusetts. His friend Lowell Mason had asked him to translate the lyrics in some German school songbooks or to write new lyrics. A melody in Muzio Clementi's Symphony No. 3 (also called 'The Great National' and contains the melody of 'God Save the Queen' as a tribute to Clementi's adopted country) caught his attention. Rather than translating the lyrics from German, Smith wrote his own American patriotic hymn to the melody, completing the lyrics in thirty minutes.

text: Smith gave Mason the lyrics he had written and the song was first performed in public on July 4, 1831,[4] at a children's Independence Day celebration at Park Street Church in Boston. First publication of "America" was in 1832.[4]

text: Lyrics[edit]

text: Additional verse to celebrate Washington's Centennial:[5]

text: Additional verses by Henry van Dyke:

text: Additional Abolitionist verses by A. G. Duncan, 1843:[6]

text: Notable performances[edit]

text:
Marian Anderson performed the song at the Lincoln Memorial on Easter Sunday, April 9, 1939.
Martin Luther King, Jr. recited the first verse of the song toward the end of his famous "I Have a Dream" speech at the Lincoln Memorial during the March on Washington for Jobs and Freedom on August 28, 1963.[7]
Cary Grant and Jim Hutton sang the first verse in the 1966 film "Walk, Don't Run", while simultaneously Grant and Samantha Eggar sang "God Save the Queen".
Crosby, Stills & Nash performed the song on the first episode of The Tonight Show with Jay Leno to air after the September 11 attacks in 2001.[8]
On January 20, 2009, Aretha Franklin sang the song at the first inauguration of President Barack Obama.
On January 21, 2013, Kelly Clarkson sang the song at the second inauguration of President Barack Obama.
The Doors used a guitar riff of the song at the beginning of their song "L.A. Woman" on the 40th anniversary editions of L.A. Woman in 2001 and on The Very Best of The Doors 2007 re-release.
Madonna and  Steven Klein sing some verses of the song in their Secret Project video.[9]
Dan Berggren updated lyrics in 2004, slanted towards the environment and freedom. It appears as "From Every Mountain Side" on the 2006 Sleeping Giant Records album Fresh Territory.[10]
Alec Benjamin sings the first two lines of the song in his song titled "1994".


document_title: That Lady (song)

question_text: who played lead guitar on who's that lady

question_tokens: who played lead guitar on who 's that lady

text: That Lady (song)

text: This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2010) (Learn how and when to remove this template message)

text:
"Who's That Lady"Single by The Isley BrothersFormat
7" singleRecorded
1964Genre
R&BLength
2:48Label
United Artists  p00l714Songwriter(s)
Rudolph Isley  Ronald Isley  O'Kelly Isley, Jr.Producer(s)
Bert Berns

text:
"That Lady, Pts. 1 & 2"Single by The Isley Brothersfrom the album 3 + 3Released
July 14, 1973Format
7" singleRecorded
Burbank Studios, Burbank, California; 1973Genre
Funk, R&B, soulLength
5:34 (Album version)3:09 (Radio version)Label
T-Neck  2251Songwriter(s)
Rud. IsleyRon. IsleyIsley, Jr.Ernie IsleyMarvin IsleyChris JasperProducer(s)
Ronald Isley  Rudolph IsleyThe Isley Brothers singles chronology

"It's Too Late" (1973)

"That Lady, Pts. 1 & 2" (1973)

"What It Comes Down To" (1973)

Music video
"That Lady, Pts. 1 & 2" on YouTube

text: "That Lady" is a 1973 R&B and soul song by The Isley Brothers, released on their T-Neck imprint. The song was originally performed by the group nearly a decade before in 1964 (released as "Who's That Lady?") inspired by The Impressions. After signing with Epic Records in 1973, the eldest members of the group (O'Kelly Isley, Jr., Rudolph Isley and Ronald Isley) had included younger members, guitarist Ernie Isley, bassist Marvin Isley and keyboardist/pianist Chris Jasper, as official members. In a response to this transformation, the group gave themselves the moniker of 3 + 3, describing the three original vocalists in the group and three recruited instrumentalists, inspiring the album title that came out that year. They performed the song on Soul Train on September 22, 1973.

text: The group entered the studio to remake "Who's That Lady?" after being inspired by rock acts such as Carlos Santana (who himself covered it on his 1990 album Spirits Dancing in the Flesh) bringing in a Latin percussive rock feel to it including congas and an organ solo by assorted other musicians while the other Isleys played various instrumentation. The two youngest Isley brothers and in-law Jasper re-wrote the instrumental while the older brothers revamped their harmonies, with Ronald's vocal smoother than the original version. Brother Ernie Isley's Jimi Hendrix/Santana-inspired guitar solo was one of the elements that defined the 3 + 3 era of the Isleys, and the song became their first Top 10 pop single since 1969's "It's Your Thing" peaked at number two on the pop singles chart, reaching number six on the pop chart and number two on the US R&B Singles chart. It was also a cross-Atlantic hit for the group, reaching number fourteen in the UK.

text: The song is ranked #357 on Rolling Stone's list of the 500 Greatest Songs of All Time.

text: Personnel[edit]

text:
Ronald Isley: lead vocals
Ronald Isley, Rudolph Isley and O'Kelly Isley, Jr.: background vocals
Ernie Isley: guitar and percussion
Marvin Isley: bass and percussion
Chris Jasper: piano, keyboards
George Moreland: drums, percussion
Truman Thomas: organ

text: Cover versions[edit]

text: In 2001, instrumentalist Peter White cover the song in his album Glow.[1][2]

text: Rapper Kendrick Lamar sampled the song on the track "i", released in 2014 as a single from his 2015 album To Pimp a Butterfly.


document_title: Harry Potter and the Cursed Child

question_text: who dies in harry potter and the cursed child

text: Harry Potter and the Cursed Child

text: Plot[edit]

text: Act 1[edit]

text: In the opening scene, set during the epilogue of Harry Potter and the Deathly Hallows in the year 2017, Harry Potter and Ginny Potter send their second son, Albus Severus Potter, on the Hogwarts Express to begin his first year at Hogwarts. Harry is now working in a desk job as the Head of Magical Law Enforcement at the Ministry of Magic, while Ginny is the editor of the sports section of The Daily Prophet. Ron Weasley and Hermione Granger also send their daughter Rose Granger-Weasley on the train. Hermione is now Minister of Magic, while Ron manages Weasley's Wizard Wheezes in Diagon Alley. Albus makes an unlikely friendship in Scorpius Malfoy, the son of Harry's former nemesis Draco Malfoy and Astoria Malfoy (née  Greengrass). The school is stunned when, in a break with the tradition of Potters being sorted into Gryffindor, Albus is sorted into Slytherin alongside Scorpius.

text: Both boys are bullied by other students over the next few years, Albus due to his perceived failure to live up to his parents, Scorpius due to unproven rumours that he is the son of Lord Voldemort. In addition, Albus and Harry begin to drift apart, owing to Albus's struggles with his father's shadow and Harry's uncertainty on how to deal with his son's issues. Albus also drifts apart from Rose, with whom he was friends before meeting Scorpius and was sorted into Gryffindor. Prior to Albus and Scorpius's fourth year, Albus gets into a fight with his father after he is given Harry's baby blanket and a love potion from Ron. During the fight, Harry accidentally says that he sometimes wishes Albus was not his son, and Albus spills the potion on the blanket.

text: Harry obtains a prototype of a more powerful version of the Time-Turner, built by a Slytherin contemporary of Harry's, Theodore Nott, that allows one to travel back several years into the past and change history. Simultaneously, Harry's scar begins to hurt again, causing him to become concerned that Voldemort may somehow be returning. Amos Diggory, who has become old and is cared for by his niece, Delphi Diggory, asks Harry to use the Time-Turner to prevent the death of his son, Cedric Diggory. After overhearing Harry refuse to help the Diggorys, Albus is inspired to do so himself and convinces Scorpius to help him. The two escape from the Hogwarts Express and the trolley operator, who is revealed to be a monster placed on the train to prevent students from escaping. The two arrive at St. Oswald's Home for Old Witches and Wizards in Yorkshire, where Amos lives, and team up with Delphi to steal the Time-Turner from Hermione's office, in the Ministry of Magic, while disguised with Polyjuice Potion.

text: Act 2[edit]

text: Knowing that Cedric's death was the result of him winning the Triwizard Tournament alongside Harry, the boys use the Time-Turner to travel back to the first challenge of the Triwizard Tournament in 1994 and sabotage Cedric during the tournament's first task in the hope of preventing his victory. Instead, they only succeed in creating an alternate reality in which Ron and Hermione never married, and thus Rose was never born, and Albus was sorted into Gryffindor. Albus discovers that this was because they chose to disguise themselves as Durmstrang students, causing Hermione to become suspicious of Viktor Krum and go to the Yule Ball with Ron instead of Viktor. As a result, Ron never experienced the jealousy fundamental to his relationship with Hermione, fell in love with Padma Patil at the Ball, and eventually became married to her, having a son named Panju. Hermione, in turn, became a frustrated and mean professor at Hogwarts, teaching Defense Against the Dark Arts.

text: At around the same time, Harry's fear that Voldemort may return increases as his scar continues to hurt and as he has Voldemort-related nightmares. After speaking with a portrait of Dumbledore, and being told by centaur Bane that a "dark cloud" is around Albus, he becomes convinced that Scorpius is a threat to Albus and tries to have the boys kept apart at Hogwarts by forcing a reluctant Minerva McGonagall, now Headmistress of Hogwarts, to keep tabs on Albus using the Marauder's Map, threatening to shut down the school otherwise.

text: Albus and Scorpius's friendship is destroyed, but the two eventually reconcile after Albus steals Harry's old Invisibility Cloak from James Sirius (Albus’ older brother), and after McGonagall refuses to enforce Harry's request. Harry himself is persuaded to relent after a conversation with Draco and Ginny. Meanwhile, Albus and Scorpius decide to make another attempt to use the Time-Turner to change Cedric's fate, this time by humiliating him during the Triwizard Tournament's second task. When Scorpius returns to the present day, however, Albus is not with him, and Scorpius finds himself in a reality in which Harry is dead, and Lord Voldemort rules the wizarding world.

text: Act 3[edit]

text: Scorpius discovers that – as a result of his actions – an embittered Cedric joined the Death Eaters and killed Neville Longbottom during the events of Deathly Hallows, preventing him from killing Nagini and allowing Voldemort to win the Battle of Hogwarts. With Harry now dead, Albus subsequently never existed, while Voldemort was able to completely consolidate power and transform the Ministry of Magic into a dictatorial regime. In the new timeline, Scorpius became a popular Head Boy and Quidditch star, helping the staff and students torment Muggle-borns. Dolores Umbridge became the new Headmistress of Hogwarts, and patrols the school with Dementors and a revived Inquisitorial Squad led by Scorpius. Draco Malfoy occupies Harry's old position as the Head of Magical Law Enforcement, using his post to encourage routine attacks on Muggles and bribe the Prime Minister to remain silent on the actions of the Death Eaters.

text: A powerful dark figure called "The Augurey" leads the Ministry of Magic. With help from Ron, Hermione, and Severus Snape, now the final members of a dwindling anti-Voldemort resistance movement, Scorpius is able to use the Time-Turner to prevent the interference of Albus and his past self and restore the events of the original timeline, the alternate Ron, Hermione, and Snape sacrificing themselves to the Dementors in order to allow him to do so. Scorpius reunites with Albus, and the two boys are eventually found by their parents, as well as Ron and Hermione. Following these events, Harry scolds Albus for his actions, but the two nevertheless begin to reconcile.

text: Realising the danger the Time-Turner poses and deciding their parents will continue to keep it (as Hermonie had done in the Ministry of Magic), Scorpius and Albus attempt to destroy it themselves, but they are joined by Delphi Diggory. Scorpius realizes that Delphi was in charge of the Ministry of Magic in the alternate timeline (from her tattoo of the wings of a magical bird, which she says is called an Augurey), and she takes them captive, later revealing her intention of restoring the alternate timeline.

text: After the adults learn Albus and Scorpius were seen disappearing with Delphi, they confront Amos, only to discover Delphi is not his niece, but the daughter of Lord Voldemort and Bellatrix Lestrange. Delphi had placed Amos under a "confundus" charm.  Searching her room, they discover she is following a prophecy that, if fulfilled, would lead to Lord Voldemort's return. Delphi takes the boys to the final challenge of the Triwizard Tournament, but Albus and Scorpius prevent her from acting, and Delphi uses the Time-Turner again to travel further back in time. She inadvertently takes the boys with her and then destroys the Time-Turner to leave them all stranded in time.

text: Act 4[edit]

text: Abandoned by Delphi, Albus and Scorpius discover they have been taken back to the night Harry's parents were killed at Godric's Hollow (30 October 1981), and assume Delphi is planning to kill Harry before Voldemort attempts to do so (which severely weakens Voldemort). Albus and Scorpius write an invisible message on Harry's baby blanket, knowing in the present (which is now also the night of the anniversary of the death of Harry's parents, when he often looks for his blanket as it is the only physical memento he has), the blanket would become stained with love potion and expose the message to Harry.

text: Meanwhile, Draco reveals the Time-Turner was actually a prototype for a perfected model owned by him (it was made for his father), but they remain unable to rescue the boys due to their uncertainty over which time period they have entered. After Harry receives the message from the boys, he and his allies use Draco's Time-Turner to travel back in time to save them and stop Delphi. While waiting for Delphi, they deduce she intends to convince Voldemort to abandon his doomed attempt to kill Harry, ensuring her father's survival and allowing her to be with him.

text: Harry disguises himself as Voldemort using Transfiguration to distract Delphi, and after a struggle, the group manages to subdue her. Rather than killing Delphi, it is decided that she will be brought to Azkaban Prison. Lord Voldemort then appears and is oblivious to the presence of Harry and the group. The group allows the murder of Harry's parents to play out again, unwilling to risk the consequences of altering the past.

text: They all stand with Harry to watch the sad event replay.  After returning to the present day, Delphi is sent to Azkaban. Albus and Scorpius now decide to be more active at Hogwarts, with Scorpius expressing interest in trying out for Quidditch and asking Rose on a date. Harry and Albus visit Cedric's grave, with Harry apologizing for his role in Cedric's death. Albus has also witnessed the death of a fellow student Craig Bowker Jr (the only current timeline murder in the play), who tried to intervene when Delphi held Albus and Scorpius captive on the Quidditch pitch.

text: Background[edit]

text: In December 2013, it was revealed that a stage play based on Harry Potter had been in development for around a year,[3] with the view to bringing it to the stage sometime in 2016.[4] At the time of the announcement, Rowling revealed that the play would "explore the previously untold story of Harry's early years as an orphan and outcast".[5] The following May, Rowling began establishing the creative team for the project.[6]

text: On 26 June 2015, the project was officially confirmed under the title of Harry Potter and the Cursed Child,[7] and it was revealed it would receive its world premiere in mid-2016 at London's Palace Theatre.[8] The announcement marked the eighteenth anniversary of the publication of the first Harry Potter novel, Harry Potter and the Philosopher's Stone,[9] published on 26 June 1997.[10]

text: On announcing plans for the project, Rowling stated that the play would not be a prequel.[11] In response to queries regarding the choice of a play rather than a new novel, Rowling has stated that she "is confident that when audiences see the play they will agree that it is the only proper medium for the story".[12] Rowling has also assured audiences that the play will contain an entirely new story and will not be a rehashing of previously explored content.[13] On 24 September 2015, Rowling announced that the play had been split into two parts.[14] The parts are designed to be viewed on the same day or consecutively over two evenings.[15][16]

text: On 23 October 2015, it was confirmed the plays were set nineteen years after the conclusion of the final novel Harry Potter and the Deathly Hallows,[17] and would open at London's Palace Theatre in July 2016.[18] The plays principally follow Harry, now Head of the Department of Magical Law Enforcement, and his younger son Albus Severus Potter.[19] As of 22 July 2016, little more had been revealed about the plot even by those who had attended the previews since 7 June.[20]

text: #KeepTheSecrets[edit]

text: The producers and Rowling have maintained a campaign called #KeepTheSecrets to ask people who have seen the play not to reveal its major twists.  The slogan is printed on the tickets for the play and badges with the slogan are handed out for free during intervals. People buying their tickets online are emailed a video after the play from J.K. Rowling asking them to support the campaign.[21]

text: Productions[edit]

text:
Production
Venue/Location
Opening Night
Closing Night
Notes

 London, England
Palace Theatre
July 30, 2016
Currently running
Debut production.

 Broadway
Lyric Theatre
April 16, 2018
Currently running
First production outside of the UK.

 Melbourne
Princess Theatre
January 16, 2019
TBC

 San Francisco
Curran Theatre
Fall 2019
TBC

 Hamburg
Mehr! Theater
Early 2020
TBC
First non-English language production.

text: Harry Potter and the Cursed Child, a two-part play, was written by British playwright Jack Thorne based on an original story by Thorne, John Tiffany and Rowling. Some websites were listing all three as authors of the script[22] but by 26 July 2016, the official web site for the play[23] and many others (including the BBC)[24] were listing Thorne as the sole script writer.

text: Harry Potter and the Cursed Child is directed by John Tiffany[25][26] with choreography by Steven Hoggett,[27] set design by Christine Jones,[28] costume design by Katrina Lindsay,[29] lighting design by Neil Austin,[30] music by Imogen Heap,[31] and sound design by Gareth Fry.[32] In addition, special effects were created by Jeremy Chernick,[33] with illusions by Jamie Harrison, and musical supervision by Martin Lowe.[34]

text: West End[edit]

text: Previews at the West End Palace Theatre, London began on 7 June 2016,[2] with the official opening night for both parts on 30 July,[35] and originally booking until 18 September 2016.[36] Tickets went on sale to pre-registered priority bookers on 28 October 2015, with a public sale scheduled to commence on 30 October.[37] In just under 8 hours of priority booking 175,000 tickets were sold for the world premiere production,[38] with the play's booking period extended to January 2017.[39] On commencement of the public sale booking was extended until 30 April 2017,[40] with a further extension issued the same day to 27 May 2017.[41]

text: Tickets for the opening performance were priced from £30 up to £130 for a ticket for both parts,[42] although ticket resale agencies were selling seats for up to £3,000.[38] Ticket resale has been banned by the producers, with tickets no longer valid if sold on.[43] In mid-July 2016, the theatre began holding a ticket lottery at 1 pm each Friday, releasing 40 for sale on their website for “some of the best seats” in the theatre for the lowest price, advertised at £20 per part. For example, the "Friday Forty" tickets sold on 29 July 2016 were for performances on 3, 5, 6, and 7 August.[44]

text: On 20 December 2015, initial casting was announced with Jamie Parker playing Harry Potter, Noma Dumezweni playing Hermione Granger and Paul Thornley playing Ron Weasley.[45][46][47] The casting of the dark-skinned Noma Dumezweni as Hermione sparked fervent discussion, to which Rowling responded that Hermione's skin was never specified as white.[48][49] Further notable casting includes Poppy Miller as Ginny Potter, Alex Price as Draco Malfoy, Sam Clemmett as Albus Severus Potter and Anthony Boyle as Scorpius Malfoy.[50] The production features an overall cast of 42.[51][52]

text: Broadway[edit]

text: The production began previews on 16 March 2018, officially opening on 22 April at the Lyric Theatre. Clemmett, Boyle, Dumezweni, Miller, Parker, Price and Thornley reprised their roles, from the West End.[53][54] The theatre removed 400 seats from the auditorium and moved the entrance to 43rd Street[55]. The production is produced by Sonia Friedman Productions, Sir Colin Callender, and Harry Potter Theatrical Productions. Tickets initially went on sale through Ticketmaster Verified Fan on 18 October 2017, for performances from 16 March through 18 November 2018.[56]  The New York Times estimates that it is the most expensive non-musical Broadway play ever, incurring $68 million in opening costs.[57]

text: Melbourne[edit]

text: On 24 October 2017, the Michael Cassel Group announced that it will be producing the Australian premiere of Harry Potter and the Cursed Child. The production will begin performances early 2019 in Melbourne's Princess Theatre.[58] Sale of tickets to the general public is scheduled to commence 6 August 2018.[59]

text: Cast and principal roles[edit]

text:
Character

Original West End Cast[60](2016–2017)

Original Broadway Cast[61](2018)

Harry Potter

Jamie Parker

Ron Weasley

Paul Thornley

Hermione Granger

Noma Dumezweni

Ginny Potter

Poppy Miller

Draco Malfoy

Alex Price

Albus Severus Potter

Sam Clemmett

Scorpius Malfoy

Anthony Boyle

Rose Granger-Weasley

Cherrelle Skeete

Susan Heyward

Young Hermione

Delphi Diggory

Esther Smith

Jessie Fisher

Craig Bowker Jr.

Jeremy Ang Jones

Joshua DeJesus

Moaning Myrtle

Annabel Baldwin

Lauren Nicole Cipoletti

Lily Potter Sr.

Polly Chapman

Claudia Grant

Madeline Weinstein

Vernon Dursley

Paul Bentall

Byron Jennings

Severus Snape

Lord Voldemort

Rubeus Hagrid

Chris Jarman

Brian Abraham

Sorting Hat

Yann Fredericks

James Le Lacheur

Jess Barbagallo

Petunia Dursley

Helena Lymbery

Kathryn Meisle

Madam Hooch

Dolores Umbridge

Amos Diggory

Barry McCarthy

Edward James Hyland

Albus Dumbledore

Trolley Witch

Sandy McDade

Geraldine Hughes

Minerva McGonagall

Cedric Diggory

Tom Milligan

Benjamin Wheelwright

James Sirius Potter

James Potter Sr.

Dudley Dursley

Jack North

Joey LaBrasca

Karl Jenkins

Viktor Krum

Bane

Nuno Silva

David St. Louis

Young Harry Potter

Rudi GoodmanAlfred JonesBili KeoghEwan RutherfordNathaniel SmithDylan Standen

Will CoombsLandon Maas

Lily Luna Potter

Zoe BroughCristina FrayChristiana Hutchings

Olivia BondBrooklyn Shuck

text: West End cast replacements[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2017) (Learn how and when to remove this template message)

text: In May 2017, Jamie Glover took over from Jamie Parker as Harry Potter, while Emma Lowndes will play his wife Ginny Potter. Thomas Aldridge is to play Ron Weasley, replacing Paul Thornley, while Rakie Ayola will play Hermione Granger, replacing Noma Dumezweni. Annabel Baldwin, previously playing Moaning Myrtle will take over from Esther Smith as Delphi.

text: Original cast members Helen Aluko and James Howard play Rose Granger-Weasley and Draco Malfoy respectively. Samuel Blenkin and Theo Ancient made their professional debut, playing Scorpius Malfoy and Albus Potter, respectively.

text: The lead cast are joined by new cast members David Annen, Ruthxjiah Bellenea, Danny Dalton, Leah Haile, Rupert Henderson, Elizabeth Hill, April Hughes, James McGregor, Sarah Miele, Jordan Paris, James Phoon, Henry Rundle, Ged Simmons, Mark Theodore, Gideon Turner and Ed White.

text: Original cast members who will continue include Nicola Alexis, Rosemary Annabella, Phoebe Austen, Annabel Baldwin, Jabez Cheeseman, Morag Cross, Esme Grace, Lowri James, Martin Johnston, Alfred Jones, Barry McCarthy, Sandy McDade, Tom Mackley, Harrison Noble, Ben Roberts, Nuno Silva, Hope Sizer and Joshua Wyatt.

text: The second cast took over on 24 May 2017, with the original cast having their final performance on 21 May 2017.[62]

text: The third cast took over on 23 May 2018.

text: Script publication[edit]

text: Editions[edit]

text:
Harry Potter and the Cursed Child
Special Rehearsal Edition coverAuthor
Jack Thorne (script)J. K. Rowling, John Tiffany & Jack Thorne (story)Country
United KingdomLanguage
EnglishSeries
Harry PotterGenre
Fantasy, DramaPublished
31 July 2016 (Special Rehearsal Edition)25 July 2017 (Definitive Collector's Edition)Publisher
Little, Brown and Company (UK)Scholastic (US)Pottermore (digital)Publication date
31 July 2016Pages
328 (Special Rehearsal Edition)321 (Definitive Collector's Edition)ISBN
978-1-338-09913-3 (US); 978-0-7515-6535-5 (UK)

text: Both parts of the stage play's script have been released in print and digital formats as Harry Potter and the Cursed Child Parts I & II.[63][64]

text: The first edition, entitled "Special Rehearsal Edition", corresponded to the script used in the preview shows and was scheduled to be published on 31 July 2016,[65] the date of Harry's birthday in the series and Rowling's birthday, as well.[66] Since revisions to the script continued after the book was printed, an edited version was released on 25 July 2017, as the "Definitive Collector's Edition".[67] According to CNN, this was the most preordered book of 2016.[68]

text: Sales[edit]

text: In the United States and Canada, the book sold over 2 million copies in its first two days of release.[69] 847,885 copies were sold during the book's first week of release in the United Kingdom. By June 2017, the book had sold over 4.5 million copies in the United States.[70]

text: Critical reception[edit]

text: Harry Potter and the Cursed Child has received critical acclaim. Audiences and critics have complimented the casting and performances, while many debate the quality of the piece and how it compares to entries in the main Harry Potter series.

text: Publications awarding five star ratings included The Independent, the London Evening Standard, The Stage and WhatsOnStage.com.[71][72][73][74] The Telegraph also gave five, although "there are some quibbles," while The Guardian's Michael Billington awarded four stars.[75][76]

text: Anthony Boyle's performance as Scorpius Malfoy garnered particular acclaim. WhatsOnStage.com wrote that "Boyle gives a career-making performance," while The Wall Street Journal described him as "the break-out performance".[74][77] Variety's critic, Matt Trueman, agreed, writing, "it's Boyle who really stands out", and both Trueman and Henry Hitchings, in the Evening Standard, noted that his performance was sure to be a fan favourite.[72][78]

text: Response within the Harry Potter fandom[edit]

text: The response to the play from the Harry Potter fandom was mixed. Some fans said the story seemed "like a work of fan fiction" and claimed that it diverged from previously established rules of the universe, criticising the script's characterisation.[79][80][81] Some also took issue with the style and plot of the script, complaining that the Time-Turner storylines had already been used, as had Cedric Diggory's death, and that the writers were rehashing old storylines.[82][83] These criticisms have led to some of the fandom to reject the play as separate from the Potter canon.[84] Some potential “plot holes” in the story have been highlighted, such as the likelihood of Lord Voldemort's infertility, the speed at which Polyjuice Potion is created, the unexplained non-operation of the Fidelius Charm,[85][86] and Cedric Diggory's dramatic turn to becoming a Death Eater.[87][88]

text: However, some fans responded positively to the play and its characters, with Scorpius Malfoy being particularly popular.[89] Some fans commented that the dialogue between the familiar characters was "spot on",[90] celebrating it as a faithful continuation of the books.[91][92] Others have noted that the play sheds light on some of the relationships between the characters, such as Harry and Dumbledore's.[93] The response had been particularly positive among fans who watched the play on stage.[94]

text: Identity of the "Cursed Child"[edit]

text: The play never explicitly states who the "Cursed Child" is.  There are several possible answers, including Delphi who is cursed by her parentage, Harry himself whose difficult childhood is the subject of several flashbacks in the play and who must accept and relive the death of his parents to conquer Lord Voldemort, Albus who at one stage Harry says he wished "was not his son" and can do no right in this father's eyes being "cursed" by the Potter reputation, Scorpius who is rumoured to be Lord Voldemort's child and whose mother dies during the play, and Cedric Diggory whose tragic death is a focus of the play, and whose death is also finally accepted as a necessary condition for future peace.[95]

text: Awards and nominations[edit]

text: Original London Production[edit]

text:
Year

Award Ceremony

Category

Nominee

Result

2016

Evening Standard Theatre Awards

Best Play

Won

Best Director

John Tiffany

Nominated

Best Design

Christine Jones

Nominated

Emerging Talent Award

Anthony Boyle

Nominated

Critics' Circle Theatre Awards

Best Director

John Tiffany

Won

Best Designer

Christine Jones

Won

Most Promising Newcomer

Anthony Boyle

Won

2017

WhatsOnStage Awards

Best New Play

Won

Best Actor in a Play

Jamie Parker

Won

Best Supporting Actor in a Play

Anthony Boyle

Won

Paul Thornley

Nominated

Best Supporting Actress in a Play

Poppy Miller

Nominated

Noma Dumezweni

Won

Best Direction

John Tiffany

Won

Best Costume Design

Katrina Lindsay

Nominated

Best Set Design

Christine Jones

Won

Best Lighting Design

Neil Austin

Won

Best Video Design

Finn Ross and Ash Woodward

Won

Laurence Olivier Awards

Best New Play

Won

Best Director

John Tiffany

Won

Best Actor

Jamie Parker

Won

Best Actress in a Supporting Role

Noma Dumezweni

Won

Best Actor in a Supporting Role

Anthony Boyle

Won

Best Costume Design

Katrina Lindsay

Won

Best Set Design

Christine Jones

Won

Best Sound Design

Gareth Fry

Won

Best Lighting Design

Neil Austin

Won

Best Theatre Choreographer

Steven Hoggett

Nominated

Outstanding Achievement in Music

Imogen Heap

Nominated

2018

WhatsOnStage Awards

Best West End Show

Won

Best Show Poster

Won

text: Original Broadway production[edit]

text:
Year

Award

Category

Nominee

Result

Ref.

2018

Tony Awards

Best Play

Won

[96][97]

Best Actor in a Play

Jamie Parker

Nominated

Best Featured Actor in a Play

Anthony Boyle

Nominated

Best Featured Actress in a Play

Noma Dumezweni

Nominated

Best Direction of a Play

John Tiffany

Won

Best Choreography

Steven Hoggett

Nominated

Best Scenic Design in a Play

Christine Jones

Won

Best Costume Design in a Play

Katrina Lindsay

Won

Best Lighting Design in a Play

Neil Austin

Won

Best Sound Design in a Play

Gareth Fry

Won

Drama Desk Awards

Outstanding Featured Actor in a Play

Anthony Boyle

Nominated

[98]

Outstanding Director of a Play

John Tiffany

Won

Outstanding Music in a Play

Imogen Heap

Won

Outstanding Costume Design for a Play

Katrina Lindsay

Nominated

Outstanding Lighting Design for a Play

Neil Austin

Won

Outstanding Projection Design

Finn Ross and Ash Woodward

Won

Outstanding Sound Design in a Play

Gareth Fry

Won

Outstanding Wig and Hair

Carole Hancock

Nominated

Outer Critics Circle Awards

Outstanding New Broadway Play

Won

[99]

Outstanding Featured Actor in a Play

Anthony Boyle

Nominated

Outstanding New Score (Broadway or Off-Broadway)

Imogen Heap

Nominated

Outstanding Director of a Play

John Tiffany

Won

Outstanding Choreographer

Steven Hoggett

Nominated

Outstanding Scenic Design (Play or Musical)

Christine Jones

Won

Outstanding Costume Design (Play or Musical)

Katrina Lindsay

Nominated

Outstanding Lighting Design (Play or Musical)

Neil Austin

Won

Outstanding Projection Design (Play or Musical)

Finn Ross and Ash Woodward

Won

Outstanding Sound Design (Play or Musical)

Gareth Fry

Won

Drama League Awards

Outstanding Production of a Broadway or Off-Broadway Play

Won

[100]

Distinguished Performance Award

Anthony Boyle

Nominated

Noma Dumezweni

Nominated


document_title: Billy Budd

question_text: who is the handsome sailor in billy budd

text: Billy Budd

text: Plot[edit]

text: The plot follows Billy Budd, a seaman impressed into service aboard HMS Bellipotent in the year 1797, when the British Royal Navy was reeling from two major mutinies and was threatened by the Revolutionary French Republic's military ambitions. He is impressed to this large warship from another, smaller, merchant ship, The Rights of Man (named after the book by Thomas Paine). As his former ship moves off, Budd shouts, "Good-bye to you too, old Rights-of-Man."

text: Billy, a foundling from Bristol, has an innocence, good looks and a natural charisma that make him popular with the crew. His only physical defect is a stutter which grows worse when under intense emotion. He arouses the antagonism of the ship's master-at-arms, John Claggart. Claggart, while not unattractive, seems somehow "defective or abnormal in the constitution", possessing a "natural depravity." Envy is Claggart's explicitly stated emotion toward Budd, foremost because of his "significant personal beauty," and also for his innocence and general popularity. (Melville further opines that envy is "universally felt to be more shameful than even felonious crime.") This leads Claggart to falsely charge Billy with conspiracy to mutiny. When the captain, Edward Fairfax "Starry" Vere, is presented with Claggart's charges, he summons Claggart and Billy to his cabin for a private meeting. Claggart makes his case and Billy, astounded, is unable to respond, due to his stutter. He strikes his accuser to the forehead, and the blow is fatal.

text: Vere convenes a drumhead court-martial. He acts as convening authority, prosecutor, defense counsel and sole witness (except for Billy). He intervenes in the deliberations of the court-martial panel to persuade them to convict Billy, despite their and his beliefs in Billy's moral innocence. (Vere says in the moments following Claggart's death, "Struck dead by an angel of God! Yet the angel must hang!") Vere claims to be following the letter of the Mutiny Act and the Articles of War.

text: Although Vere and the other officers do not believe Claggart's charge of conspiracy and think Billy justified in his response, they find that their own opinions matter little. The martial law in effect states that during wartime the blow itself, fatal or not, is a capital crime. The court-martial convicts Billy following Vere's argument that any appearance of weakness in the officers and failure to enforce discipline could stir more mutiny throughout the British fleet. Condemned to be hanged the morning after his attack on Claggart, Billy before his execution says, "God bless Captain Vere!" His words were repeated by the gathered crew in a "resonant and sympathetic echo."CH 26

text: The novel closes with three chapters that present ambiguity:

text:
Chapter 28 describes the death of Captain Vere. In a naval action against the French ship, Athée (the Atheist), Captain Vere is mortally wounded. His last words are "Billy Budd, Billy Budd."
Chapter 29 presents an extract from an official naval gazette purporting to give the facts of the fates of John Claggart and Billy Budd aboard HMS Bellipotent – but the "facts" offered turn the facts that the reader learned from the story upside down. The gazette article described Budd as a conspiring mutineer likely of foreign birth and mysterious antecedents who is confronted by John Claggart. The master-at-arms, loyally enforcing the law, is fatally stabbed by Budd. The gazette concludes that the crime and weapon used suggest a foreign birth and subversive character; it reports that the mutineer was executed and nothing is amiss aboard HMS Bellipotent.
Chapter 30 reprints a cheaply printed ballad written by one of Billy's shipmates as an elegy. The adult, experienced man represented in the poem is not the innocent youth portrayed in the preceding chapters.

text: Writing history[edit]

text: Created slowly over the last five years of his life, the novella Billy Budd represents Melville's return to prose fiction after three decades when he wrote only poetry. He started it as a poem, a ballad entitled "Billy in the Darbies", which he intended to include in his book, John Marr and Other Sailors. Melville composed a short, prose head-note to introduce the speaker and set the scene. The character of "Billy" in this early version was an older man condemned for inciting mutiny and apparently guilty as charged. He did not include the poem in his published book. Melville incorporated the ballad and expanded the head-note sketch into a story that eventually reached 150 manuscript pages. This was the first of what were to be three major expansions, each related to one of the principal characters.[3]

text: Melville had a difficult time writing, describing his process with Moby-Dick as follows: "Taking a book off the brain is akin to the ticklish & dangerous business of taking an old painting off a panel—you have to scrape off the whole business in order to get at it with safety."[4] The "scrapings" of Billy Budd lie in the 351 leaves of manuscript now in the Houghton Library at Harvard University.

text: The state of this manuscript has been described as "chaotic," with a bewildering array of corrections, cancellations, cut and pasted leaves, annotations inscribed by several hands, and with at least two different attempts made at a fair copy. The composition proceeded in three general phases, as shown by the Melville scholars Harrison Hayford and Merton M. Sealts, Jr., who did an extensive study of the original papers from 1953 to 1962.[5]

text: In three main phases he had introduced in turn the three main characters: first Billy, then Claggart, and finally Vere. As the focus of his attention shifted from one to another of these three principals, the plot and thematic emphasis of the expanding novel underwent consequent modifications within each main phase. Just where the emphasis finally lay in the not altogether finished story as he left it is, in essence, the issue that has engaged and divided the critics of Billy Budd.[3]

text: After Melville's death, his wife Elizabeth, who had acted as his amanuensis on other projects, scribbled notes and conjectures, corrected spelling, sorted leaves and, in some instances, wrote over her husband's faint writing. She tried to follow through on what she perceived as her husband's objectives but her editing was confusing to the first professional editors, Weaver and Freeman, who mistook her writing for Melville's. At some point Elizabeth Melville placed the manuscript in "a japanned tin box"[6] with the author's other literary materials, and it remained undiscovered for another 28 years.

text: Publication history[edit]

text: After Raymond M. Weaver, a professor at Columbia University, produced a text that would later be described as "hastily transcribed",[1] he published the first edition of the work in 1924 as Volume XIII of the Standard Edition of Melville's Complete Works (London: Constable and Company). In 1928 he published another version of the text which, despite numerous variations, may be considered essentially the same text.

text: F. Barron Freeman published a second text in 1948, edited on different principles, as Melville's Billy Budd (Cambridge: Harvard University Press). He believed he stayed closer to what Melville wrote, but still relied on Weaver's text, with what are now considered mistaken assumptions and textual errors. Subsequent editions of Billy Budd up through the early 1960s are, strictly speaking, versions of one or the other of these two basic texts.[7]

text: After several years of study, in 1962, Harrison Hayford and Merton M. Sealts, Jr., established what is now considered the correct, authoritative text. It was published by the University of Chicago Press, and contains both a "reading" and a "genetic" text. Most editions printed since then follow the Hayford-Sealts text.

text: Based on the confusing manuscripts, the published versions had many variations. For example, early versions gave the book's title as Billy Budd, Foretopman, while it now seems clear Melville intended Billy Budd, Sailor: (An Inside Narrative)'; some versions wrongly included as a preface a chapter that Melville had excised (the correct text has no preface). In addition, some early versions did not follow his change of the name of the ship to Bellipotent (from the Latin bellum war and potens powerful), from Indomitable, as Melville called it in an earlier draft. It is unclear of his full intentions in changing the name of the ship since he used the name Bellipotent only six times.[8]

text: Literary significance and reception[edit]

text: The book has undergone a number of substantial, critical reevaluations in the years since its discovery. Raymond Weaver, its first editor, was initially unimpressed and described it as "not distinguished". After its publication debut in England, and with critics of such caliber as D. H. Lawrence and John Middleton Murry hailing it as a masterpiece, Weaver changed his mind. In the introduction to its second edition in the 1928 Shorter Novels of Herman Melville, he declared: "In Pierre, Melville had hurled himself into a fury of vituperation against the world; with Billy Budd he would justify the ways of God to man."

text: In mid-1924 Murry orchestrated the reception of Billy Budd, Foretopman, first in London, in the influential Times Literary Supplement, in an essay called "Herman Melville's Silence" (July 10, 1924), then in a reprinting of the essay, slightly expanded, in the New York Times Book Review (August 10, 1924). In relatively short order he and several other influential British literati had managed to canonize Billy Budd, placing it alongside Moby-Dick as one of the great books of Western literature. Wholly unknown to the public until 1924, Billy Budd by 1926 had joint billing with the book that had just recently been firmly established as a literary masterpiece. In its first text and subsequent texts, and as read by different audiences, the book has kept that high status ever since.[1]

text: In 1990 the Melville biographer and scholar Hershel Parker pointed out that all the early estimations of Billy Budd were based on readings from the flawed transcription texts of Weaver. Some of these flaws were crucial to an understanding of Melville's intent, such as the famous "coda" at the end of the chapter containing the news account of the death of the "admirable" John Claggart and the "depraved" William Budd (25 in Weaver, 29 in Hayford & Sealts reading text, 344Ba in the genetic text) :

text: Weaver: "Here ends a story not unwarranted by what happens in this incongruous world of ours—innocence and 'infirmary', spiritual depravity and fair 'respite'."

text: The Ms: "Here ends a story not unwarranted by what happens in this {word undeciphered} world of ours—innocence and 'infamy', spiritual depravity and fair 'repute'."

text: Melville had written this as an end-note after his second major revision. When he enlarged the book with the third major section, developing Captain Vere, he deleted the end-note, as it no longer applied to the expanded story. Many of the early readers, such as Murry and Freeman, thought this passage was a foundational statement of Melville's philosophical views on life. Parker wonders what they could possibly have understood from the passage as written.[6]

text: Analysis and interpretations[edit]

text:
There appear to be three principal conceptions of the meaning of Melville's Billy Budd: the first, and most heavily supported, that it is Melville's "Testament of acceptance," his valedictory and his final benediction. The second view, a reaction against the first, holds that Billy Budd is ironic, and that its real import is precisely the opposite of its ostensible meaning. Still a third interpretation denies that interpretation is possible; a work of art has no meaning at all that can be abstracted from it, nor is a man's work in any way an index of his character or his opinion. All three of these views of Billy Budd are in their own sense true.

—R. H. Fogle[9]

tag: div

text: Hershel Parker agrees that "masterpiece" is an appropriate description of the book, but he adds a proviso.

text: Examining the history and reputation of Billy Budd has left me more convinced than before that it deserves high stature (although not precisely the high stature it holds, whatever that stature is) and more convinced that it is a wonderfully teachable story—as long as it is not taught as a finished, complete, coherent, and totally interpretable work of art.[6]

text: Given this unfinished quality and Melville's reluctance to present clear lessons, the range of critical response is not surprising.

text: Some critics have interpreted Billy Budd as a historical novel that attempts to evaluate man's relation to the past. Thomas J. Scorza has written about the philosophical framework of the story. He understands the work as a comment on the historical feud between poets and philosophers. By this interpretation, Melville is opposing the scientific, rational systems of thought, which Claggart's character represents, in favor of the more comprehensive poetic pursuit of knowledge embodied by Billy.[10]

text: In her book Epistemology of the Closet (1990/2008), Eve Sedgwick, expanding on earlier interpretations of the same themes, posits that the interrelationships between Billy, Claggart and Captain Vere are representations of male homosexual desire and the mechanisms of prohibition against this desire. She points out that Claggart's "natural depravity," which is defined tautologically as "depravity according to nature," and the accumulation of equivocal terms ("phenomenal", "mystery", etc.) used in the explanation of the fault in his character, are an indication of his status as the central homosexual figure in the text. She also interprets the mutiny scare aboard the Bellipotent, the political circumstances that are at the center of the events of the story, as a portrayal of homophobia.[11]

text: Melville's dramatic presentation of the contradiction between the requirements of the law and the needs of humanity made the novella an "iconic text" in the field of law and literature. Earlier readers viewed Captain Vere as good man trapped by bad law. Richard Weisberg, who holds degrees in both comparative literature and law, argued that Vere was wrong to play the roles of witness, prosecutor, judge and executioner, and that he went beyond the law when he sentenced Billy to immediate hanging.[12] Based on his study of statutory law and practices in the Royal Navy in the era in which the book takes place, Weisberg argues that Vere deliberately distorted the applicable substantive and procedural law to bring about Billy's death.[13] Judge Richard Posner has sharply criticized these claims. He objects to ascribing literary significance to legal errors that are not part of the imagined world of Melville's fiction and accused Weisberg and others of calling Billy an "innocent man" and making light of the fact that he "struck a lethal blow to a superior officer in wartime."[14]

text: H. Bruce Franklin sees a direct connection between the hanging of Budd and the controversy around capital punishment. While Melville was writing Billy Budd between 1886 and 1891, the public's attention was focused on the issue.[15] Other commentators have suggested that the story may have been based on events onboard USS Somers, an American naval vessel; Lt. Guert Gansevoort, a defendant in a later investigation, was a first cousin of Melville.[16]

text: Harold Schechter, a professor who has written a number of books on American serial killers, has said that the author's description of Claggart could be considered to be a definition of a sociopath. He acknowledges that Melville was writing at a time before the word "sociopath" was used.[17] Dr. Robert Hare might classify Claggart as a psychopath, since his personality did not demonstrate the traits of a sociopath (rule-breaking) but of grandiosity, conning manipulation and a lack of empathy or remorse.

text: The centrality of Billy Budd's extraordinary good looks in the novella, where he is described by Captain Vere as "the young fellow who seems so popular with the men—Billy, the Handsome Sailor",[18] have led to interpretations of a homoerotic sensibility in the novel. Laura Mulvey added a theory of scopophilia and masculine and feminine subjectivity/objectivity. This version tends to inform interpretations of Britten's opera, perhaps owing to the composer's own homosexuality.[19]

text: Adaptations in other media[edit]

text: The stage[edit]

text:
In 1951, Louis O. Coxe and Robert Chapman's 1949 stage adaptation, Billy Budd, opened on Broadway, winning both the Donaldson Awards and Outer Critics Circle Awards for best play.[20]
The best-known adaptation is the opera, Billy Budd, with a score by Benjamin Britten and a libretto by E. M. Forster and Eric Crozier. It follows the earlier text of 1924. Since its premiere in December 1951, the opera has become a regular production at the Metropolitan Opera house in Manhattan, New York City. The libretto takes many creative liberties with elements of the novella's plot.
Giorgio Ghedini also composed an operatic version of the novella, which premiered in 1949. It has not been as widely performed as Britten's work.

text: Film[edit]

text:
Peter Ustinov produced, directed and worked on the script of his film version made in black and white in 1962, based on the stage play. It starred a young Terence Stamp as Billy Budd, and Ustinov took the role of Captain Vere. The movie also stars Robert Ryan as Claggart and David McCallum as Wyatt, Gunnery Officer.
Claire Denis' Beau Travail (1999), set in Djibouti, is loosely based on the novel.

text: Television[edit]

text:
General Motors Theatre presented a live telecast of Billy Budd in 1955, starring a young William Shatner as Billy Budd, with Douglas Campbell as Claggart, and Basil Rathbone as Captain Vere. Britten's "Four Sea Interludes" was included as background music.
Two different productions based on the opera were broadcast in 1988 and 1998.


document_title: Masala bonds

question_text: an indian rupee denominated bond issued outside india is called as

text: Masala bonds

text: Masala bonds are bonds issued outside India but denominated in Indian Rupees, rather than the local currency. Masala is an indian word and it means spices. The term was used by IFC to evoke the culture and cuisine of India. Unlike dollar bonds, where the borrower takes the currency risk, masala bond makes the investors bear the risk. The first Masala bond was issued by the World Bank backed International Finance Corporation in November 2014 when it raised 1,000 crore bond to fund infrastructure projects in India.[1] Later in August 2015 International Financial Cooperation for the first time issued green masala bonds and raised Rupees 3.15 Billion to be used for private sector investments that address climate change in India.[2]

text: In July 2016 HDFC raised 3,000 crore rupees from Masala bonds and thereby became the first Indian company to issue masala bonds.[3] In the month of August 2016 public sector unit NTPC issued first corporate green masala bonds worth 2,000 crore rupees.[4]


document_title: Qaumi Taranah

question_text: how many stanzas are there in pakistan national anthem

text: Qaumi Taranah

text: History[edit]

text: In early 1948, A. R. Ghani, a Muslim from Transvaal, South Africa, offered two prizes of five thousand rupees each for the poet and composer of a new national anthem for the newly independent state of Pakistan. The prizes were announced through a government press advertisement published in June 1948. In December 1948, the Government of Pakistan established the National Anthem Committee (NAC) with the task of coming up with the composition and lyrics for the official national anthem of Pakistan. The NAC was initially chaired by the Information Secretary, Sheikh Muhammad Ikram, and its members included several politicians, poets and musicians, including Abdur Rab Nishtar, Ahmad G. Chagla and Hafeez Jullundhri.[citation needed] The NAC encountered early difficulties in finding suitable music and lyrics.

text: When President Sukarno of Indonesia became the first foreign head of state to visit Pakistan on 30 January 1950, there was no Pakistani national anthem to be played. In 1950, the impending state visit of the Shah of Iran added urgency to the matter and resulted in the Government of Pakistan asking the NAC to submit an anthem without further delay. The NAC Chairman, then Federal Minister for Education, Fazlur Rahman, asked several poets and composers to write lyrics but none of the submitted works were deemed suitable. The NAC also examined several different tunes and eventually selected the one presented by Ahmed G. Chagla and submitted it for formal approval.[4] On 21 August 1949, the Government of Pakistan adopted Chagla’s tune for the national anthem.[5]

text: The anthem, without lyrics, was performed for the first time for a foreign head of state on the state visit of the Shah of Iran to Pakistan in Karachi on 1 March 1950 by a Pakistan Navy band.

text: It was later played for Prime Minister Liaquat Ali Khan during his official visit to the United States on 3 May 1950. It was played before the NAC on 10 August 1950.[6] Official recognition to the national anthem, however, was not given until August 1954.[6] The NAC distributed records of the composed tune amongst prominent poets, who responded by writing and submitting several hundred songs for evaluation by the NAC. Eventually, the lyrics written by Hafeez Jullundhri were approved and the new national anthem was broadcast publicly for the first time on Radio Pakistan on 13 August 1954, sung by Hafeez Jullundhri himself. Official approval was announced by the Ministry of Information and Broadcasting on 16 August 1954. The composer, Ahmed G. Chagla, died in 1953, before the new national anthem was officially adopted. In 1955, there was a performance of the national anthem involving 11 major singers of Pakistan, including Ahmad Rushdi, Kaukab Jahan, Rasheeda Begum, Najam Ara, Naseema Shaheen, Zawar Hussain, Akhtar Abbas, Ghulam Dastagir, Anwar Zaheer and Akhtar Wasi Ali.[7]

text: Music[edit]

text: The Qaumi Taranah is a melodious and harmonious rendering of a three-stanza composition with a tune based on eastern music but arranged in such a manner that it can be easily played by foreign bands.[citation needed]

text: The music, composed by the Pakistani musician and composer, Ahmad G. Chagla in 1949, reflects his background in both eastern and western music. Twenty-one musical instruments[5] and thirty-eight different tones[5] are used to play the Qaumi Taranah,[8] the duration of which is 80 seconds.[1][5][9]

text: Lyrics[edit]

text: The Urdu lyrics, written by the Pakistani Urdu-language poet, Hafeez Jullundhri in 1952, have commonality with Persian, making them understandable in both languages. No verse in the three stanza lyrics is repeated.[1] The anthem has heavy Persian poetic vocabulary and only uses one exclusively Urdu word 'kā'.[10][11][12][13][14]

text:
Urdu lyrics

كشورِ حسين شاد باد
پاک سرزمین شاد باد

ارضِ پاکستان!
تُو نشانِ عزمِ عالی شان

مرکزِ یقین شاد باد

قوّتِ اُخوّتِ عوام
پاک سرزمین کا نظام

پائنده تابنده باد!
قوم، ملک، سلطنت

شاد باد منزلِ مراد

رہبرِ ترقّی و کمال
پرچمِ ستاره و ہلال

جانِ استقبال!
ترجمانِ ماضی، شانِ حال

سایۂ خدائے ذوالجلال

Transliteration (ALA-LC)
Translation[15] (poetical)
Translation (literal)

Pāk sarzamīn shād bād
Kishwar-i ḥasīn shād bād
Tū nishān-i ʿazm-i ʿālī shān
Arẓ-i Pākistān!
Markaz-i yaqīn shād bād

May the holy land, stay glad;
Beautious realm, stay glad.
Thou, the sign of high resolve—
O Land of Pakistan!
Citadel of faith, stay glad.

Blessed be the sacred land,
Happy be the bounteous realm.
Thou symbol of high resolve,
O Land of Pakistan!
Blessed be the citadel of faith.

Pāk sarzamīn kā niz̤ām
Quwwat-i Ukhuwwat-i ʿawām
Qaum, mulk, salt̤anat
Pāyindah tābindah bād!
Shād bād manzil-i murād
Order of the holy land,
Power of fraternity of the populace;
The nation, country, and domain;
Ever luminous remain!
The cherished goal, stay glad.
The order of this sacred land,
The might of the brotherhood of the people,
May the nation, the country, and the state,
Shine in glory everlasting!
Blessed be the goal of our ambition.

Parcam-i sitārah o-hilāl
Rahbar-i taraqqī o-kamāl
Tarjumān-i māẓī, shān-i ḥāl
Jān-i istiqbāl!
Sāyah-yi Khudā-yi Ẕū l-jalāl
Flag with the star and crescent,
The leader of progress and ascent,
Dragoman of past, the pride of present;
Soul of the future!
Shadow of the God of grandeur.

The flag of the crescent and star,
Leads the way to progress and perfection,
Interpreter of our past, glory of our present,
inspiration for our future!
Shade of God, the Glorious and Mighty.

text: Milestones[edit]

text:
1947 – The new state of Pakistan came into being on 14 August.
1949 – Music for the Qaumi Taranah is composed by the Pakistani musical composer, Ahmad G. Chagla (running time: 80 seconds).
1952 – Verses written by the Pakistani poet, Hafeez Jullundhri, are selected from amongst 723 entries.
1954 – Officially adopted as the national anthem and broadcast for the first time on Radio Pakistan on 13 August
1955 – Sung by 11 famous Pakistani singers including Ahmad Rushdi, Shamim Bano, Kokab Jehan, Rasheeda Begum, Najam Ara, Naseema Shaheen, Zwar Hussain, Akhtar Abbas, Ghulam Dastgir, Anwar Zaheer and Akhtar Wassi
1996 – Rendered in electric guitar for the first time by Pakistani rock band Junoon in their album Inquilaab
2009 – Rendered as an acoustic instrumental for the first time by Pakistani musician Jehangir Aziz Hayat
2011 – On 14 August, 5,857 people gathered in a stadium in Karachi to sing the Qaumi Taranah and set a new world record for most people gathered to sing a national anthem simultaneously.[16]
2012 – On 20 October, 42,813 people gathered in a stadium in Lahore to sing the Qaumi Taranah and set a new world record for most people gathered to sing a national anthem simultaneously, which was certified by Guinness World Records.[17] The record was subsequently broken on 26 March 2014 in Bangladesh.[18]
2017 – The Coke Studio released a collaborative rendition of Qaumi Taranah on 4 August by the featured artistes, to celebrate the 70 years of Pakistan in the tenth season.[19][20]
2017 – An Indian A capella band Voxchord sent an independence gift to the people of Pakistan by singing Pakistan's national anthem. It was indeed a surprise for the people of Pakistan. The video was shared by 'Voice of Ram' – An Indo-Pak peace initiative page on Facebook.[21][22][23][24]