document_title: Little Shop of Horrors (film)

question_text: who played seymour in little shop of horrors

text: Little Shop of Horrors (film)

text: Plot[edit]

text: A three-girl "Greek chorus"—Crystal, Ronnette, and Chiffon—introduce the movie, warning the audience that some horror is coming their way ("Prologue: Little Shop of Horrors"). Seymour Krelborn (Rick Moranis) and his colleague, Audrey (Ellen Greene), work at Mushnik's Flower Shop in a run-down, rough neighborhood referred to as "Skid Row" in the slums of New York City. They lament that they cannot escape the neighborhood ("Skid Row" (Downtown)"). Struggling from a lack of customers, Mr. Mushnik (Vincent Gardenia) decides to close the store, but Audrey suggests he may have more success by displaying an unusual plant that Seymour owns. Immediately attracting a customer, Seymour explains he bought the plant, which he dubbed "Audrey II", from a Chinese flower shop during a solar eclipse ("Da-Doo"). Attracting business to Mushnik's shop, the plant soon starts dying, worrying Seymour. Accidentally pricking his finger, he then discovers Audrey II needs human blood to thrive ("Grow for Me").

text: Seymour takes Audrey II and is interviewed on the radio, and Audrey misses the broadcast due to being "hand-cuffed a little" by her sadistic, mean-spirited boyfriend Orin Scrivello (Steve Martin). The three girls suggest Audrey dump Orin and get another man to protect her, like Seymour, but Audrey states she doesn't deserve a nice guy. Despite this, Audrey has feelings for Seymour and secretly dreams of running off with him to the suburbs ("Somewhere That's Green"). Audrey II continues to grow rapidly and Seymour becomes a local celebrity ("Some Fun Now"). Seymour soon attempts to ask Audrey out, but she turns him down because she has a date with her boyfriend, revealed to be a dentist ("Dentist!"). After Seymour closes up shop, Audrey II begins to talk to Seymour, demanding more blood than Seymour can give. The plant proposes that Seymour murder someone in exchange for fame and fortune: Seymour initially refuses, but agrees after witnessing Orin beating Audrey ("Feed Me (Get It)").

text: After Orin finishes with his masochistic patient, Arthur Denton (Bill Murray), who requested "a long, slow, root canal", Seymour books an appointment with Orin and arms himself with a revolver; however, he cannot bring himself to use it. Orin, who abuses nitrous oxide, puts on a type of venturi mask to receive a constant flow of the gas. Accidentally breaking an intake valve and unable to remove the mask, Orin begs Seymour for help removing it, but Seymour does nothing. When Orin asks Seymour what he ever did to him, Seymour coldly replies, "Nothing, it's what you did to her." Orin dies from asphyxiation and Seymour drags his body back to Audrey II. While dismembering the body to feed to the plant, Seymour is unknowingly witnessed by Mushnik, who flees in fear.

text: After feeding Orin's parts to Audrey II, which has grown to enormous size, Seymour discovers the police investigating Orin's disappearance. Audrey, feeling guilty about wishing Orin would disappear, is comforted by Seymour and the two admit their feelings for each other ("Suddenly, Seymour"). That night, Mushnik confronts Seymour about what he saw and holds Seymour at gunpoint, threatening to report him to the police. Mushnik then changes his mind, saying that since Seymour was "like a son" to him, he'll allow Seymour to leave town, leaving the plant to Mushnik. With no choice, Seymour steadily backs him towards the plant, which swallows Mushnik whole ("Suppertime").

text: Despite widespread success, Seymour worries about Audrey II's growth and unbridled appetite ("The Meek Shall Inherit"). Offered money and a contract for a botany TV show, Seymour plans to escape Skid Row with Audrey using the money, leaving the plant to starve. After Audrey accepts Seymour's marriage proposal, Audrey II catches Seymour leaving and demands another meal: Seymour agrees, but insists on meat from a butcher. While Seymour is gone, the plant telephones Audrey, coaxes her into the shop, and then tries to eat her. Seymour, returning in time to save Audrey, escapes the store with her. Explaining that he fed the plant to become successful and win Audrey's heart, Seymour discovers she has always loved him. Approached by an executive from a botanical company named Patrick Martin (James Belushi), Seymour is offered a contract to breed Audrey II and sell the saplings worldwide. Horrified by the idea, Seymour drives Martin away, and realizes he must destroy Audrey II for the sake of humanity.

text: Returning to the shop, Seymour learns that Audrey II is actually an alien from outer space ("Mean Green Mother from Outer Space"). Audrey II traps Seymour and destroys the shop, but Seymour grabs an exposed electrical cable and electrocutes Audrey II. Leaving the destroyed shop, Seymour safely reunites with Audrey. The two wed and move to the suburbs: arriving at their new home, which is the one seen in Audrey's daydreams, a smiling Audrey II bud can be seen among the flowers in their front yard.

text: Original ending[edit]

text: During production, director Oz shot a 23-minute ending based on the off-Broadway musical's ending. However, after audiences at the preview screenings did not react positively to it, the ending had to be rewritten and re-shot for the theatrical release with a "happier ending."[3] The changes also comprised re-edits to many scenes, amounting to a lighter tonal shift throughout the whole movie in order to appease test audiences and accommodate the new ending. These were either moments foreshadowing the original ending or establishing the tragic karma of the characters; most notably in the darker editing of the scenes in which Seymour feeds Orin and Mushnik to the plant and the alternative dialogue between Seymour and Audrey before a cut "Suddenly Seymour" reprise.[4] [5]

text: In the original ending, when Audrey is attacked by the plant, Seymour pulls her from its jaws but is too late to save her, as she is mortally wounded. As she is dying she tells him what the plant said about Orin and Mushnik, and then Seymour confesses that he fed them to the plant. Audrey requests that Seymour feed her to the plant too so that it will live and Seymour can earn the success he deserves ("Somewhere That's Green (Reprise)"). After fulfilling her dying wish, he attempts suicide by jumping off the roof of a building, only to be stopped by Patrick Martin. Martin offers to reproduce and sell Audrey IIs and has already grown a smaller Audrey II from one of the clippings that he harvested earlier. He also warns Seymour that his consent isn't necessary, as plants are considered to be in the public domain. Realizing Audrey II is planning global domination, Seymour climbs down from the roof with the resolution to destroy the plant. Returning to the shop, he confronts and tries to kill Audrey II, who tears down the shop, fishes him from the rubble and eats him alive. The plant then spits out Seymour's glasses and laughs victoriously ("Mean Green Mother from Outer Space)".

text: The three chorus girls appear in front of a large American flag and tell how although Audrey II buds became a worldwide consumer craze, the buds grew into an army of monstrous plants who begin to take over the Earth.[6] Giant Audrey II plants are shown destroying cities, toppling buildings, as well as eating people. The United States Army attempts to fight the buds as they ascend the Statue of Liberty and Audrey II eventually bursts through the movie screen and presumably eats the viewers ("Finale (Don't Feed The Plants)").

text: Cast[edit]

text:
Rick Moranis as Seymour Krelborn, a nerdy florist who loves "strange and interesting" plants. He is nice and well-intentioned, but is easily influenced: the plant, Audrey II, tricks him into feeding it humans.
Ellen Greene as Audrey, a kind, shy, friendly, and awkward coworker who is the object of Seymour's affections, but who is dating the sadistic Orin Scrivello.
Vincent Gardenia as Mr. Mushnik, the grumpy, stingy owner of Mushnik's Flower Shop.
Steve Martin as Orin Scrivello, DDS, a sadistic, nitrous oxide-addicted dentist and Audrey's violent, abusive boyfriend.
Levi Stubbs as the voice of Audrey II, an evil and boisterous flytrap-like extraterrestrial plant with plans to take over the planet.
Tichina Arnold, Michelle Weeks, and Tisha Campbell as Crystal, Ronette, and Chiffon, the three mysterious girls who act as a Greek chorus and often provide back-up to the songs throughout the film.
James Belushi as Patrick Martin, a Licensing and Marketing executive from World Botanical Enterprises who offers Seymour a proposal to sell Audrey IIs worldwide. Belushi appears in the theatrical release after re-shoots, as actor Paul Dooley (who played Martin in the original ending) was unavailable to reprise his scenes.
John Candy as Wink Wilkinson, the DJ for WSKID who puts on a radio show about "weird stuff" called "Wink Wilkinson's Weird World".
Christopher Guest as The First Customer, the first customer to enter the flower shop and notice Audrey II.
Bill Murray as Arthur Denton, a hyperactive masochist who visits Orin the dentist for "a long, slow root canal."
Miriam Margolyes as a Dental Nurse, Orin's cynical nurse/secretary who Orin frequently appears to enjoy hurting.
Stanley Jones as the Narrator, whose voice is heard reading the opening words.
Mak Wilson, Danny John-Jules, Danny Cunningham, Gary Palmer, and Paul Swaby as the doo-wop backup singers.
Jim Henson's daughter Heather Henson cameos as one of Orin's patients.
Vincent Wong as the Chinese Florist
Kerry Shale as Life magazine assistant
Audrey II was operated by John Alexander, Anthony Asbury, Don Austen, David Barclay, Michael Barclay, James Barton, Michael Bayliss, Marcus Clarke, Sue Dacre, Graham Fletcher, Brian Henson, Terry Lee, Christopher Leith, Toby Philpott, Mike Quinn, Paul Springer, William Todd-Jones, Ian Tregonnian, Robert Tygner, and Mak Wilson.

text: Musical numbers[edit]

text:
"Prologue: Little Shop of Horrors"– Chiffon, Ronette, Crystal
"Skid Row (Downtown)"– Seymour, Audrey, Mushnik, Chiffon, Ronette, Crystal, Company
"Da-Doo"– Seymour, Chiffon, Ronette, Crystal
"Grow for Me"– Seymour, Chiffon, Ronette, Crystal (off-screen)
"Somewhere That's Green"– Audrey
"Some Fun Now"– Chiffon, Ronette, Crystal
"Dentist!"– Orin, Chiffon, Ronette, Crystal
"Feed Me (Git It)"– Audrey II, Seymour
"Suddenly, Seymour"– Seymour, Audrey, Chiffon, Ronette, Crystal
"Suppertime"– Audrey II, Chiffon, Ronette, Crystal
"The Meek Shall Inherit"– Chiffon, Ronette, Crystal, Company
"Suppertime (Reprise)"– Audrey II, Audrey, Chiffon, Ronette and Crystal (off screen)
"Suddenly, Seymour (Reprise)"– Audrey, Seymour
"Mean Green Mother from Outer Space"– Audrey II, the Pods
"Little Shop of Horrors medley" (end credits)– Company

text:
"Somewhere That's Green (Reprise)"– Audrey, Seymour
"Mean Green Mother from Outer Space"– Audrey II, the Pods
"Finale (Don't Feed the Plants)"– Chiffon, Ronette, Crystal, Company

text: Production[edit]

text: Development[edit]

text: David Geffen was one of the original producers of the off-Broadway show and he began planning to produce a feature film adaptation. He originally wanted Steven Spielberg to executive produce the film and Martin Scorsese to direct. Scorsese wanted to shoot the film in 3-D, but plans fell through and Scorsese's first 3-D film would be Hugo 25 years later.[citation needed] John Landis was also attached to the project for a time. [7]

text: Geffen then offered the film to Frank Oz, who was finishing work on The Muppets Take Manhattan around the same time. Oz initially rejected it, but he later had an idea that got him into the cinematic aspect of the project, which he did not figure out before. Oz spent a month and a half to restructure the script which he felt was stage-bound. Geffen and Ashman liked what he had written and decided to go with what he did. Oz was also studying the Off-Broadway show and how it was thematically constructed, all in order to reconstruct it for a feature film.[3]

text: The film differs only slightly from the stage play. The title song is expanded to include an additional verse to allow for more opening credits.[citation needed] The song "Ya Never Know" was re-written into a calypso-style song called "Some Fun Now", although some of the lyrics were retained.[citation needed] Four other songs ("Closed for Renovation", "Mushnik and Son", "Now (It's Just the Gas)", as well as "Call Back in the Morning") were cut from the original production score. An original song written by Ashman and Menken, "Mean Green Mother from Outer Space", was created for the film.

text: Casting[edit]

text: Greene was not the first choice for the role of Audrey. The studio wanted Cyndi Lauper, who turned it down. Barbra Streisand was also rumored to have been offered the part. Since Greene was the original off-Broadway Audrey, the role was given to her. "She's amazing," Oz said. "I couldn't imagine any other Audrey, really. She nailed that part for years off-Broadway."[3] The character of the masochistic dental patient, Arthur Denton, played in the original film by Jack Nicholson under the name "Wilbur Force", and cut from the stage version, was added back to the story and played by Bill Murray, who improvised all of his dialogue. It supposedly took Steve Martin six weeks to film all his scenes as Orin. He contributed ideas such as socking the nurse in the face (originally he was to knock her out using his gas mask) and ripping off the doll head.

text: Filming[edit]

text: All the scenes were filmed at Pinewood Studios in England, making use of every sound stage there, including the 007 Stage. Oz and his crew did not want to shoot on location as it would tamper with the fantastical mood of the film. Part of the giant 007 stage was used to film the 'Suddenly Seymour' number. But because of its size, the stage was impractical to heat properly and thus caused breath condensation to appear from the actor's lips. This was countered by having Ellen Greene and Rick Moranis put ice cubes in their mouths. This would be the first time Moranis and Martin starred in a film together, and they would later appear together in three more films: Parenthood, My Blue Heaven and L.A. Story.

text: As mentioned, additional sequences and songs from the original off-Broadway show were dropped or re-written in order for the feature version to be paced well. The notable change was for the "Meek Shall Inherit" sequence. As originally filmed, it detailed through a dream sequence Seymour's rising success and the need to keep the plant fed and impress Audrey. In the final cut, the dream sequence and much of the song is cut out. Oz said, "I cut that because I felt it just didn't work and that was before the first preview in San Jose. It was the right choice, it didn't really add value to the entire cut."[3] The full version of the song was included on the film's soundtrack album, as were the songs from the original ending. The sequence was deemed to be lost until in 2012 when it was rediscovered on a VHS workprint that contained alternate and extended takes and sequences.[8]

text: Operating the plant[edit]

text: The film's version of Audrey II was an extremely elaborate creation, using puppets designed by Lyle Conway.

text: While developing the mouth of the plant for the dialogue scenes and musical numbers, Oz, Conway and his crew were struggling to figure out how to make the plant move convincingly. "We kept trying and trying and it didn't work."[9] The solution presented itself while reviewing test footage of the puppet. When the film was run backwards or forward at a faster than normal speed, the footage looked much more convincing and lifelike. They realized they could film the puppet at a slower speed, making it appear to move faster when played back at normal speed. "By slowing it down it looked it was talking real fast. We then went 'holy cow, look at that. We can do it.'"[9] The frame rate for filming the plant was slowed to 12 or 16 frames per second, depending on the scene, and frequent screen cuts were used to minimize the amount of screen time the puppet spent with human actors, and when interaction was totally necessary, the actors (usually Moranis) would pantomime and lip sync in slow motion.[9] The film was then sped up to the normal 24 frames per second and voices were reinserted in post-production. Levi Stubbs' recordings were run through a harmonizer when slowed down so that they were coherent for Moranis or Ellen Greene.

text: There are no blue screens or opticals involved in any of Audrey II's scenes, with the exception of the reshot ending where the plant is electrocuted, designed by Visual Effects supervisor Bran Ferren, and in some shots during the rampage in the original ending. The plant was made in six different stages of growth and there were three different versions of Mushnik's shop, making it possible for two units to work with different sized plants at the same time. Each of the talking plants had to be cleaned, re-painted and patched up at the end of each shooting day, which would take up to three hours depending on the size. The "Suppertime" number uses two different sizes of Audrey II. When the plant is singing all alone in the shop, it is actually a smaller size: the same size as when it sang "Feed Me", but now standing on a scaled down set to make it look larger. The full size one that is seen to interact with Seymour and Mushnik was not provided with lip movement, but was built to swallow Mushnik's (mechanical) legs. During Audrey II's final stage of growth, 60 technicians were necessary to operate the one-ton puppet.[10]

text: The finale[edit]

text: Oz and Ashman wanted to retain the ending of the musical where Seymour and Audrey die and the plant succeeds and takes over the city of New York, but Geffen was actually against it. "He said you can't do that," Oz recounts. "But again he knew what Howard and I wanted to do, so he supported us."[3] A special effects team skilled in working with miniatures, and Special Visual Effects team, went to great lengths to create the finale. The model department was supervised by Richard Conway, known for his model work on Flash Gordon and Brazil. "It was all model stuff, that was the brilliant thing. He created the bridge, the buildings, several Audrey IIs and created all of it, all on tabletop. It's all old-fashioned, tabletop animation"[3] [although no stop motion animation was used in the film or in the ending]. The Visual Effects work was supervised by Bran Ferren (Altered States).

text: Reportedly the entire planned climax cost about $5 million to produce, and included elaborate special and visual effects.[citation needed] Oz said in an interview, "this was, I think, the most expensive film Warner Bros. had done at the time."[3] As the film was nearing completion, the excited studio set up a test screening in San Jose. Oz said, "For every musical number, there was applause, they loved it, it was just fantastic... until Rick and Ellen died, and then the theatre became a refrigerator, an ice box. It was awful and the cards were just awful. You have to have a 55 percent "recommend" to really be released and we got a 13. It was a complete disaster." Oz insisted on setting another test screening in L.A. to see if they would get a different reaction. Geffen agreed to this, but they received the same negative reaction as before.[3] Oz later recounted, "I learned a lesson: in a stage play, you kill the leads and they come out for a bow—in a movie, they don't come out for a bow, they're dead. They're gone and so the audience lost the people they loved, as opposed to the theater audience where they knew the two people who played Audrey and Seymour were still alive. They loved those people, and they hated us for it."[11]

text: Oz and Ashman scrapped Audrey and Seymour's grim deaths and the finale rampage, and Ashman rewrote a happier ending, with James Belushi replacing Paul Dooley (who was unavailable for the re-shoot) as Patrick Martin. The musical number "Mean Green Mother from Outer Space" was left mostly intact from the original cut, with new shots of Audrey observing from a window added in. A brief sequence from the "Mean Green Mother" number was also removed in which Seymour fires his revolver at Audrey II, only to discover that the bullets ricochet harmlessly off of the plant. In the happy ending, Audrey II is destroyed and Seymour, Audrey, and humanity survive. This happy ending is made somewhat ambiguous, however, with a final shot of a smiling Audrey II bud in Seymour and Audrey's front yard. Tisha Campbell was unavailable for the final appearance of the chorus girls in the yard and was replaced with a lookalike seen only from the waist down.[9]

text: "We had to do it," Oz recounted. "[and do it] in such a manner that the audience would enjoy the movie. It was very dissatisfying for both of us that we couldn't do what we wanted. So creatively, no, it didn't satisfy us and being true to the story. But we also understood the realities that they couldn't release the movie if we had that ending."[3] "We had to take [the workprint] apart, and we never made a dupe of [the original ending]." At the time, the only copies of it that were made to be viewed were VHS workprint tapes given to few crew members.[12] The scene in which Seymour proposes to Audrey originally contained the reprise of "Suddenly, Seymour". This scene was re-shot and the reprise was placed later in the new ending.[9] In the final theatrical cut, the only miniatures that are retained are the New York City streets passing behind Steve Martin's motorcycle ride at the beginning of "Dentist!"[9] "When we did re-shoot the ending, the crowd reaction went over 50 percent in our favor. Before it was a point where they hated it so much, Warner probably wouldn't even release the movie," Oz said.[12]

text: Release[edit]

text: Box office[edit]

text: Little Shop of Horrors, after a delay needed to complete the revised ending, was released on December 19, 1986 and was anticipated to do strong business over the 1986 holiday season.[13] The film grossed $38 million at the box office,[14] which, from the view point of the studio, was considered an underperformer. However, it became a smash hit upon its home video release in 1987 on VHS and Beta.

text: Critical reception[edit]

text: Rotten Tomatoes retrospectively collected reviews to give it a score of 90% based on reviews from 48 critics, the general consensus states: "Remixing Roger Corman's B-movie by way of the Off-Broadway musical, Little Shop of Horrors offers camp, horror and catchy tunes in equal measure—plus some inspired cameos by the likes of Steve Martin and Bill Murray."[15] On Metacritic, which uses an average of critics' reviews, the film has an 81% rating based on 15 reviews, indicating "universal acclaim" (14 positive reviews, 1 mixed, and no negative).[16] Richard Corliss of Time magazine said, "You can try not liking this adaptation of the Off-Broadway musical hit -- it has no polish and a pushy way with a gag -- but the movie sneaks up on you, about as subtly as Audrey II."[17]

text: In The New York Times, Janet Maslin called it "a full-blown movie musical, and quite a winning one".[18] Roger Ebert said in his review: "All of the wonders of Little Shop of Horrors are accomplished with an offhand, casual charm. This is the kind of movie that cults are made of, and after Little Shop finishes its first run, I wouldn't be at all surprised to see it develop as one of those movies that fans want to include in their lives".[19] Oz's friend and Muppet colleague Jim Henson praised the film and said "the lip sync on the plant in that film is just absolutely amazing".[12]

text: Accolades[edit]

text: The film was also nominated for two Academy Awards, one for Best Visual Effects (Lyle Conway, Bran Ferren, Martin Gutteridge), the other for Best Original Song (Alan Menken, Howard Ashman) for Audrey II's new number, "Mean Green Mother from Outer Space". "Mean Green" was the first Oscar-nominated song to contain profanity in the lyrics and thus had to be slightly censored for the show. It's also the first of only two songs sung by a villain to be nominated, the other being "Blame Canada" from South Park: Bigger, Longer & Uncut. It lost to "Take My Breath Away" from Top Gun. It was also nominated for Best Motion Picture - Comedy/Musical (it lost to Hannah and Her Sisters) and Best Original Score (Miles Goodman) during the 44th Golden Globe Awards. The Score went to Ennio Morricone for The Mission.

text: Home media[edit]

text: Little Shop of Horrors was the first DVD to be recalled for content.[6] In 1998, Warner Bros. released a special edition DVD that contained approximately 23 minutes of unfinished footage from Oz's original ending, although it was in black and white and was missing some sound, visual, and special effects.[citation needed] Producer and rights owner David Geffen was not aware of this release until it made it to the stores. Geffen said, "They put out a black-and-white, un-scored, un-dubbed video copy of the original ending that looked like shit." As a result, the studio removed it from shelves in a matter of days and replaced it with a second edition that did not contain the extra material. Geffen wanted to re-release the film to theaters with the original ending intact.[20] Geffen also claimed to have a color copy of the original ending, while the studio had lower quality, black and white duplicates as their own color print was destroyed in a studio fire years earlier. But Geffen had not known, until after the DVD was pulled, that the studio did not know there was a colored copy of the original ending in existence.[3]

text: In November 2011, Oz held a Q&A session at the Museum of the Moving Image in Astoria, Queens during a Henson themed exhibit. During the talk, he announced that the film would be released as a new special edition with the original ending restored.[21] Warner Bros. reconstructed and restored the ending in an alternate edit, with re-discovered color negatives of the sequence and the help of production notes from Frank Oz and others on the film's creative team. It was released on Blu-ray and DVD on October 9, 2012 with features returning from the original DVD.[22] It was initially subtitled as "The Intended Cut",[23] but changed to "The Director's Cut" once Oz began to support the release. The new edit was screened at the 50th New York Film Festival in the "Masterwork" line-up on September 29, 2012, alongside titles such as Laurence Olivier's Richard III and Heaven's Gate.[24] Frank Oz worried that the audience would give a negative reaction at the 2012 screening, however, "the audience accepted Audrey and Seymour's deaths with applause and roared in glee during the plant rampage," says Oz.


document_title: Ancient Egyptian technology

question_text: contribution of egypt in the field of science

root

text: Ancient Egyptian technology

text: Technology in Dynastic Egypt[edit]

text: Significant advances in ancient Egypt during the dynastic period include astronomy, mathematics, and medicine. Their geometry was a necessary outgrowth of surveying to preserve the layout and ownership of farmland, which was flooded annually by the Nile river. The 3,4,5 right triangle and other rules of thumb served to represent rectilinear structures, and the post and lintel architecture of Egypt. Egypt also was a center of alchemy research for much of the western world.

tag: p

text: Paper and writing[edit]

text: The word paper comes from the Greek term for the ancient Egyptian writing material called papyrus, which was formed from beaten strips of papyrus plants. Papyrus was produced as early as 3000 BC in Egypt, and sold to ancient Greece and Rome. The establishment of the Library of Alexandria limited the supply of papyrus for others. As a result, according to the Roman historian Pliny (Natural History records, xiii.21), parchment was invented under the patronage of Eumenes II of Pergamon to build his rival library at Pergamon. This however is a myth; parchment had been in use in Anatolia and elsewhere long before the rise of Pergamon.

text: Egyptian hieroglyphs, a phonetic writing system, served as the basis for the Phoenician alphabet from which later alphabets were derived. With this ability, writing and record keeping, the Egyptians developed one of the —if not the— first decimal system.[1][2][3]

text: The city of Alexandria retained preeminence for its records and scrolls with its library. That ancient library was damaged by fire when it fell under Roman rule,[4] and was destroyed completely by 642 CE.[5][6] With it, a huge amount of antique literature, history, and knowledge was lost.

text: Structures and construction[edit]

text: Tools[edit]

text: Some of the older tools used in the construction of Egyptian housing included reeds and clay. According to Lucas and Harris, “reeds were plastered with clay in order to keep out of heat and cold more effectually”. [7] Other tools that were used were "limestone, chiseled stones, wooden mallets, and stone hammers". [8] With these tools, ancient Egyptians were able to create more than just housing, but also sculptures of their gods, goddesses, pyramids, etc.

text: Buildings[edit]

text: Many temples from Ancient Egypt are not standing today. Some are in ruin from wear and tear, while others have been lost entirely. The Egyptian structures are among the largest constructions ever conceived and built by humans. They constitute one of the most potent and enduring symbols of Ancient Egyptian civilization. Temples and tombs built by a pharaoh famous for her projects, Hatshepsut, were massive and included many colossal statues of her. Pharaoh Tutankamun's rock-cut tomb in the Valley of the Kings was full of jewellery and antiques. In some late myths, Ptah was identified as the primordial mound and had called creation into being, he was considered the deity of craftsmen, and in particular, of stone-based crafts. Imhotep, who was included in the Egyptian pantheon, was the first documented engineer.[9]

text: In Hellenistic Egypt, lighthouse technology was developed, the most famous example being the Lighthouse of Alexandria. Alexandria was a port for the ships that traded the goods manufactured in Egypt or imported into Egypt. A giant cantilevered hoist lifted cargo to and from ships. The lighthouse itself was designed by Sostratus of Cnidus and built in the 3rd century BC (between 285 and 247 BC) on the island of Pharos in Alexandria, Egypt, which has since become a peninsula. This lighthouse was renowned in its time and knowledge of it was never lost. A 2006 drawing of it created from the study of many references, is shown at the right.

text: Monuments[edit]

text: The Nile valley has been the site of one of the most influential civilizations in the world with its architectural monuments, which include the pyramids of Giza and the Great Sphinx—among the largest and most famous buildings in the world.

text: The most famous pyramids are the Egyptian pyramids—huge structures built of brick or stone, some of which are among the largest constructions by humans. Pyramids functioned as tombs for pharaohs. In Ancient Egypt, a pyramid was referred to as mer, literally "place of ascendance." The Great Pyramid of Giza is the largest in Egypt and one of the largest in the world. The base is over 13 acres (53,000 m2) in area. It is one of the Seven Wonders of the World, and the only one of the seven to survive into modern times. The Ancient Egyptians capped the peaks of their pyramids with gold and covered their faces with polished white limestone, although many of the stones used for the finishing purpose have fallen or been removed for use on other structures over the millennia.

text: The Red Pyramid of Egypt (c.26th century BC), named for the light crimson hue of its exposed granite surfaces, is the third largest of Egyptian pyramids. Menkaure's Pyramid, likely dating to the same era, was constructed of limestone and granite blocks. The Great Pyramid of Giza (c. 2580 BC) contains a huge granite sarcophagus fashioned of "Red Aswan Granite." The mostly ruined Black Pyramid dating from the reign of Amenemhat III once had a polished granite pyramidion or capstone, now on display in the main hall of the Egyptian Museum in Cairo (see Dahshur). Other uses in Ancient Egypt,[10] include columns, door lintels, sills, jambs, and wall and floor veneer.

text: The ancient Egyptians had some of the first monumental stone buildings (such as in Sakkara). How the Egyptians worked the solid granite is still a matter of debate. Archaeologist Patrick Hunt[11] has postulated that the Egyptians used emery shown to have higher hardness on the Mohs scale. Regarding construction, of the various methods possibly used by builders, the lever moved and uplifted obelisks weighing more than 100 tons.

text: Obelisks and pillars[edit]

text: Obelisks were a prominent part of the architecture of the ancient Egyptians, who placed them in pairs at the entrances of various monuments and important buildings, such as temples. In 1902, Encyclopædia Britannica wrote, "The earliest temple obelisk still in position is that of Senusret I of the XIIth Dynasty at Heliopolis (68 feet high)". The word "obelisk" is of Greek rather than Egyptian origin because Herodotus, the great traveler, was the first writer to describe the objects. Twenty-nine ancient Egyptian obelisks are known to have survived, plus the unfinished obelisk being built by Hatshepsut to celebrate her sixteenth year as pharaoh. It broke while being carved out of the quarry and was abandoned when another one was begun to replace it. The broken one was found at Aswan and provides the only insight into the methods of how they were hewn. The obelisk symbolized the sky deity Ra and during the brief religious reformation of Akhenaten, was said to be a petrified ray of the Aten, the sun disk. It is hypothesized by New York University Egyptologist Patricia Blackwell Gary and Astronomy senior editor Richard Talcott that the shapes of the ancient Egyptian pyramid and Obelisk were derived from natural phenomena associated with the sun (the sun-god Ra being the Egyptians' greatest deity).[12] It was also thought that the deity existed within the structure. The Egyptians also used pillars extensively.

text: It is unknown whether the Ancient Egyptians had kites, but a team led by Maureen Clemmons and Mory Gharib raised a 5,900-pound, 15-foot (4.6 m) obelisk into vertical position with a kite, a system of pulleys, and a support frame.[13] Maureen Clemmons developed the idea that the ancient Egyptians used kites for work.[13] Ramps have been reported as being widely used in Ancient Egypt. A ramp is an inclined plane, or a plane surface set at an angle (other than a right angle) against a horizontal surface. The inclined plane permits one to overcome a large resistance by applying a relatively small force through a longer distance than the load is to be raised. In civil engineering the slope (ratio of rise/run) is often referred to as a grade or gradient. An inclined plane is one of the commonly-recognized simple machines. Maureen Clemmons subsequently lead a team of researchers demonstrating a kite made of natural material and reinforced with shellac (which according to their research pulled with 97% the efficiency of nylon), in a 9 mph wind, would easily pull an average 2-ton pyramid stone up the 1st two courses of a pyramid (in collaboration with Cal Poly, Pomona, on a 53-stone pyramid built in Rosamond, CA).

text: Navigation and ship building[edit]

text: The Ancient Egyptians had knowledge to some extent of sail construction. This is governed by the science of aerodynamics.[14] The earliest Egyptian sails were simply placed to catch the wind and push a vessel.[15] Later Egyptian sails dating to 2400 BCE were built with the recognition that ships could sail against the wind using the lift of the sails.[15][16] Queen Hatshepsut oversaw the preparations and funding of an expedition of five ships, each measuring seventy feet long, and with several sails.[dubious – discuss][citation needed]Various others exist, also.

text:
Egyptian ship with a loose-footed sail, similar to a longship. From the 5th dynasty (around 2700 BC)

Model ship from the Old Kingdom (2686–2181 BC)

Stern-mounted steering oar of an Egyptian riverboat depicted in the Tomb of Menna (c. 1422–1411 B.C.) Note that the sail is stretched between yards.

Loading Egyptian vessels with the produce of Punt. Shows folded sails, lowered upper yard, yard construction, and heavy deck cargo.

tag: ul

text: Ancient Egyptians had experience with building a variety of ships.[17][18][19] Some of them survive to this day as Khufu Solar ship.[20] The ships were found in many areas of Egypt as the Abydos boats[21][22][23] and remnants of other ships were found near the pyramids.[22][24][25]

text: Sneferu's ancient cedar wood ship Praise of the Two Lands is the first reference recorded to a ship being referred to by name.[26]

text: Although quarter rudders were the norm in Nile navigation, the Egyptians were the first to use also stern-mounted rudders (not of the modern type but center mounted steering oars).

text: Irrigation and agriculture[edit]

text: Irrigation as the artificial application of water to the soil was used to some extent in Ancient Egypt, a hydraulic civilization (which entails hydraulic engineering).[27] In crop production it is mainly used to replace missing rainfall in periods of drought, as opposed to reliance on direct rainfall (referred to as dryland farming or as rainfed farming). Before technology advanced, the people of Egypt relied on the natural flow of the Nile River to tend to the crops. Although the Nile provided sufficient watering survival domesticated animals, crops, and the people of Egypt, there were times where the Nile would flood the area wreaking havoc amongst the land. [28] There is evidence of the ancient Egyptian pharaoh Amenemhet III in the twelfth dynasty (about 1800 BCE) using the natural lake of the Fayûm as a reservoir to store surpluses of water for use during the dry seasons, as the lake swelled annually with the flooding of the Nile.[29] Construction of drainage canals reduced the problems of major flooding from entering homes and areas of crops; but because it was a hydraulic civilization, much of the water management was controlled in a systematic way. [30]

text: Glassworking[edit]

text: Egyptian knowledge of glassmaking was advanced.[31] The earliest known glass beads from Egypt were made during the New Kingdom around 1500 BC and were produced in a variety of colors. They were made by winding molten glass around a metal bar and were highly prized as a trading commodity, especially blue beads, which were believed to have magical powers. The Egyptians made small jars and bottles using the core-formed method. Glass threads were wound around a bag of sand tied to a rod. The glass was continually reheated to fuse the threads together. The glass-covered sand bag was kept in motion until the required shape and thickness was achieved. The rod was allowed to cool, then finally the bag was punctured and the sand poured out and reused . The Egyptians also created the first colored glass rods which they used to create colorful beads and decorations. They also worked with cast glass, which was produced by pouring molten glass into a mold, much like iron and the more modern crucible steel.[32]

text: Astronomy[edit]

text: The Egyptians were a practical people and this is reflected in their astronomy[33] in contrast to Babylonia where the first astronomical texts were written in astrological terms.[34] Even before Upper and Lower Egypt were unified in 3000 BCE, observations of the night sky had influenced the development of a religion in which many of its principal deities were heavenly bodies. In Lower Egypt, priests built circular mud-brick walls with which to make a false horizon where they could mark the position of the sun as it rose at dawn, and then with a plumb-bob note the northern or southern turning points (solstices). This allowed them to discover that the sun disc, personified as Ra, took 365 days to travel from his birthplace at the winter solstice and back to it. Meanwhile, in Upper Egypt a lunar calendar was being developed based on the behavior of the moon and the reappearance of Sirius in its heliacal rising after its annual absence of about 70 days.[35]

text: After unification, problems with trying to work with two calendars (both depending upon constant observation) led to a merged, simplified civil calendar with twelve 30-day months, three seasons of four months each, plus an extra five days, giving a 365-year day but with no way of accounting for the extra quarter day each year. Day and night were split into 24 units, each personified by a deity. A sundial found on Seti I's cenotaph with instructions for its use shows us that the daylight hours were at one time split into 10 units, with 12 hours for the night and an hour for the morning and evening twilights.[36] However, by Seti I's time day and night were normally divided into 12 hours each, the length of which would vary according to the time of year.

text: Key to much of this was the motion of the sun god Ra and his annual movement along the horizon at sunrise. Out of Egyptian myths such as those around Ra and the sky goddess Nut came the development of the Egyptian calendar, time keeping, and even concepts of royalty. An astronomical ceiling in the burial chamber of Ramesses VI shows the sun being born from Nut in the morning, traveling along her body during the day and being swallowed at night.

text: During the Fifth Dynasty six kings built sun temples in honour of Ra. The temple complexes built by Niuserre at Abu Gurab and Userkaf at Abusir have been excavated and have astronomical alignments, and the roofs of some of the buildings could have been used by observers to view the stars, calculate the hours at night and predict the sunrise for religious festivals.[citation needed]

text: Claims have been made that precession of the equinoxes was known in Ancient Egypt prior to the time of Hipparchus.[37] This has been disputed however on the grounds that pre-Hipparchus texts do not mention precession and that "it is only by cunning interpretation of ancient myths and images, which are ostensibly about something else, that precession can be discerned in them, aided by some pretty esoteric numerological speculation involving the 72 years that mark one degree of shift in the zodiacal system and any number of permutations by multiplication, division, and addition." [38]

text: Note however that the Egyptian observation of a slowly changing stellar alignment over a multi-year period does not necessarily mean that they understood or even cared what was going on. For instance, from the Middle Kingdom onwards they used a table with entries for each month to tell the time of night from the passing of constellations. These went in error after a few centuries because of their calendar and precession, but were copied (with scribal errors) long after they lost their practical usefulness or the possibility of understanding and use of them in the current years, rather than the years in which they were originally used.

text: Medicine[edit]

text: The Edwin Smith Papyrus is one of the first medical documents still extant, and perhaps the earliest document which attempts to describe and analyze the brain: given this, it might be seen as the very beginnings of neuroscience. However, medical historians believe that ancient Egyptian pharmacology was largely ineffective.[39] According to a paper published by Michael D. Parkins, 72% of 260 medical prescriptions in the Hearst Papyrus had no curative elements.[40] According to Michael D. Parkins, sewage pharmacology first began in ancient Egypt and was continued through the Middle Ages,[39] and while the use of animal dung can have curative properties,[41] it is not without its risk. Practices such as applying cow dung to wounds, ear piercing, tattooing, and chronic ear infections were important factors in developing tetanus.[42] Frank J. Snoek wrote that Egyptian medicine used fly specks, lizard blood, swine teeth, and other such remedies which he believes could have been harmful.[43]

text: Mummification of the dead was not always practiced in Egypt. Once the practice began, an individual was placed at a final resting place through a set of rituals and protocol. The Egyptian funeral was a complex ceremony including various monuments, prayers, and rituals undertaken in honor of the deceased. The poor, who could not afford expensive tombs, were buried in shallow graves in the sand, and because of the arid environment they were often naturally mummified.

text: The Wheel[edit]

text: Evidence indicates that Egyptians made use of potter's wheels in the manufacturing of pottery from as early as the 4th Dynasty.[44] Chariots, however, are only believed to have been introduced by the invasion of the Hyksos in the Second Intermediate period;[45] during the New Kingdom era, chariotry became central to Egypt's military.

text: Other developments[edit]

text: The Egyptians developed a variety of furniture. There in the lands of ancient Egypt is the first evidence for stools, beds, and tables (such as from the tombs similar to Tutenkhamen's). Recovered Ancient Egyptian furniture includes a third millennium BC bed discovered in the Tarkhan Tomb, a c.2550 BC. gilded set from the tomb of Queen Hetepheres I, and a c. 1550 BC. stool from Thebes.

text: Some have suggested that the Egyptians had some form of understanding electric phenomena from observing lightning and interacting with electric fish (such as Malapterurus electricus) or other animals (such as electric eels).[46] The comment about lightning appears to come from a misunderstanding of a text referring to "high poles covered with copper plates" to argue this[47] but Dr. Bolko Stern has written in detail explaining why the copper covered tops of poles (which were lower than the associated pylons) do not relate to electricity or lightning, pointing out that no evidence of anything used to manipulate electricity had been found in Egypt and that this was a magical and not a technical installation.[48]

text: Those exploring fringe theories of ancient technology have suggested that there were electric lights used in Ancient Egypt. Engineers have constructed a working model based on their interpretation of a relief found in the Hathor temple at the Dendera Temple complex.[49] Authors (such as Peter Krassa and Reinhard Habeck) have produced a basic theory of the device's operation.[49] The standard explanation, however, for the Dendera light, which comprises three stone reliefs (one single and a double representation) is that the depicted image represents a lotus leaf and flower from which a sacred snake is spawned in accordance with Egyptian mythological beliefs. This sacred snake sometimes is identified as the Milky Way (the snake) in the night sky (the leaf, lotus, or "bulb") that became identified with Hathor because of her similar association in creation.

text: Later technology in Egypt[edit]

text: Greco-Roman Egypt[edit]

text: Under Hellenistic rule, Egypt was one of the most prosperous regions of the Hellenistic civilization. The ancient Egyptian city of Rhakotis was renovated as Alexandria, which became the largest city around the Mediterranean Basin. Under Roman rule, Egypt was one of the most prosperous regions of the Roman Empire, with Alexandria being second only to ancient Rome in size.

text: Recent scholarship suggests that the water wheel originates from Ptolemaic Egypt, where it appeared by the 3rd century BC.[50][51] This is seen as an evolution of the paddle-driven water-lifting wheels that had been known in Egypt a century earlier.[50] According to John Peter Oleson, both the compartmented wheel and the hydraulic Noria may have been invented in Egypt by the 4th century BC, with the Sakia being invented there a century later. This is supported by archeological finds at Faiyum, Egypt, where the oldest archeological evidence of a water-wheel has been found, in the form of a Sakia dating back to the 3rd century BC. A papyrus dating to the 2nd century BC also found in Faiyum mentions a water wheel used for irrigation, a 2nd-century BC fresco found at Alexandria depicts a compartmented Sakia, and the writings of Callixenus of Rhodes mention the use of a Sakia in Ptolemaic Egypt during the reign of Ptolemy IV in the late 3rd century BC.[51]

text: Ancient Greek technology was often inspired by the need to improve weapons and tactics in war. Ancient Roman technology is a set of artifacts and customs which supported Roman civilization and made the expansion of Roman commerce and Roman military possible over nearly a thousand years.

text: Arabic-Islamic Egypt[edit]

text: Under Arab rule, Egypt once again became one of the most prosperous regions around the Mediterranean. The Egyptian city of Cairo was founded by the Fatimid Caliphate and served as its capital city. At the time, Cairo was second only to Baghdad, capital of the rival Abbasid Caliphate. After the fall of Baghdad, however, Cairo overtook it as the largest city in the Mediterranean region until the early modern period.

text: Inventions in medieval Islam covers the inventions developed in the medieval Islamic world, a region that extended from Al-Andalus and Africa in the west to the Indian subcontinent and Central Asia in the east. The timeline of Islamic science and engineering covers the general development of science and technology in the Islamic world.


document_title: I Dream of Jeannie

question_text: who played jeannie's mother on i dream of jeannie

question_tokens: who played jeannie 's mother on i dream of jeannie

text: I Dream of Jeannie

text: Plot[edit]

text: In the pilot episode, "The Lady in the Bottle", astronaut Captain Tony Nelson, United States Air Force, is on a space flight when his one-man capsule Stardust One comes down far from the planned recovery area, near a deserted island in the South Pacific. On the beach, Tony notices a strange bottle that rolls by itself. When he rubs it after removing the stopper, smoke starts shooting out and a Persian-speaking female genie materializes and kisses Tony on the lips, shocking him.

text: They cannot understand each other until Tony expresses his wish that Jeannie (a homophone of genie) could speak English, which she then does. Then, per his instructions, she "blinks" and causes a recovery helicopter to show up to rescue Tony, who is so grateful, he tells her she is free, but Jeannie, who has fallen in love with Tony at first sight after being trapped for 2,000 years, re-enters her bottle and rolls it into Tony's duffel bag so she can accompany him back home. One of the first things Jeannie does, in a subsequent episode, is break up Tony's engagement to his commanding general's daughter Melissa, who, along with that particular general, is never seen again. This event reflects producer Sidney Sheldon's decision that the engagement depicted in the pilot episode would not be part of the series continuity; he realized the romantic triangle he created between Jeannie, "Master", and Melissa would not pan out in the long run.

text: Tony at first keeps Jeannie in her bottle most of the time, but he finally relents and allows her to enjoy a life of her own. However, her life is devoted mostly to his, and most of their problems stem from her love and affection towards Tony, and her desire to please him and fulfill her ancient heritage as a genie, especially when he does not want her to do so. His efforts to cover up Jeannie's antics, because of his fear that he would be dismissed from the space program if her existence were known, brings him to the attention of NASA's resident psychiatrist, U.S. Air Force Colonel Dr. Alfred Bellows. In a running gag, Dr. Bellows tries over and over to prove to his superiors that Tony is either crazy or hiding something, but he is always foiled ("He's done it to me, again!") and Tony's job remains secure. A frequently used plot device is that Jeannie loses her powers when she is confined in a closed space. She is unable to leave her bottle when it is corked, and under certain circumstances, the person who removed the cork would become her new master. A multiple-episode story arc involves Jeannie (in miniature) becoming trapped in a safe when it is accidentally locked.

text: Tony's best friend and fellow astronaut, United States Army Corps of Engineers Captain Roger Healey, does not know about Jeannie for several episodes; when he finds out (in the episode "The Richest Astronaut in the Whole Wide World" [January 15, 1966]), he steals her so he can live in luxury, but not for long before Tony reclaims his status as Jeannie's master. Roger is often shown trying to make a quick buck or girl-crazy, and hopes to claim Jeannie so he can use her to live a princely life or gain beautiful girlfriends, but overall he is respectful that Tony is Jeannie's master, and later her husband. Both Tony and Roger are promoted to the rank of major late in the first season. In later seasons, Roger's role is retconned to portray him knowing about Jeannie from the beginning (i.e., to him having been with Tony on the space flight that touched down, and thus having seen Jeannie introduce herself to Tony).

text: Jeannie's evil fraternal twin sister, mentioned in a second-season episode (also named Jeannie - since, as Barbara Eden's character explains it, all female genies are named Jeannie -- and also portrayed by Barbara Eden in a brunette wig), proves to have a mean streak starting in the third season (demonstrated in her initial appearance in "Jeannie or the Tiger?" [September 19, 1967]), repeatedly trying to steal Tony for herself, with her as the real "master". Her final attempt in the series comes right after Tony and Jeannie get married, with a ploy involving a man played by Barbara Eden's real-life husband at the time, Michael Ansara (in a kind of in-joke, while Jeannie's sister pretends to be attracted to him, she privately scoffs at him). The evil sister wears a green costume, with a skirt rather than pantaloons.

text: Early in the fifth season (September 30, 1969), Jeannie is called upon by her Uncle Sully (Jackie Coogan) to become queen of their family's native country, Basenji. Tony inadvertently gives grave offense to Basenji national pride in their feud with neighboring Kasja. To regain favor, Tony is required by Sully to marry Jeannie and avenge Basenji's honor, by killing the ambassador from Kasja when he visits NASA. After Sully puts Tony through an ordeal of nearly killing the ambassador, Tony responds in a fit of anger that he is fed up with Sully and his cohorts and he would not marry Jeannie if she were "the last genie on earth". Hearing this, Jeannie bitterly leaves Tony and returns to Basenji. With Jeannie gone, Tony realizes how deeply he loves her. That outweighs all concerns he has had about Jeannie's threat to his career. He flies to Basenji to win Jeannie back. Upon their return to NASA, Tony introduces Jeannie as his fiancée, in which she attires herself as a modern American woman in public and it is easily accepted Tony found a girlfriend. This changed the show's premise in that instead of the avoidance of Jeannie's exposure, it was to hide her magical abilities. This is contrary to the mythology created by Sidney Sheldon's own season-two script for "The Birds and Bees Bit", in which it was claimed that, upon marriage, a genie loses all of her magical powers.

text: Cast and characters[edit]

text: Main[edit]

text:
Barbara Eden as Jeannie
Larry Hagman as Captain/Major Anthony "Tony" Nelson
Bill Daily as Captain/Major Roger Healey
Hayden Rorke as Dr. Alfred Bellows

text: Recurring[edit]

text:
Philip Ober as Brig. Gen. Wingard Stone (season 1, episodes 1 and 4)
Karen Sharpe as Melissa (season 1, episodes 1 and 4)
Florence Sundstrom as Jeannie's mother (season 1, episode 2)
Lurene Tuttle as Jeannie's mother (season 1, episode 14)
Barton MacLane as Maj. Gen. Martin Peterson (seasons 1–4)
Emmaline Henry as Amanda Bellows (seasons 2–5)
Abraham Sofaer as Haji, the "master of all the genies" (seasons 2–3)
Barbara Eden as Jeannie's evil fraternal twin sister, Jeannie II (seasons 3–5)
Vinton Hayworth as Maj. Gen. Winfield Schaeffer (seasons 4–5)
Barbara Eden as Jeannie's mother (season 4, episode 2 and 18)
Michael Ansara as The Blue Djinn

text: Production[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2013) (Learn how and when to remove this template message)

tag: table

text: Background[edit]

text: The series was created and produced by Sidney Sheldon in response to the great success of rival network ABC's Bewitched series, which had debuted in 1964 as the second-most watched program in the United States. Sheldon, inspired by the movie The Brass Bottle, which had starred Tony Randall, Barbara Eden, and Burl Ives as the jinn Fakrash, conceived of the idea for a beautiful female genie. Both I Dream of Jeannie and Bewitched were Screen Gems productions. The show debuted at 8 pm, Saturday, September 18, 1965, on NBC.

text: When casting was opened for the role of Jeannie, producer Sidney Sheldon could not find an actress who could play the role the way that he had written it. He did have one specific rule: He did not want a blonde genie, because the similarity with the blonde witch on Bewitched would be too much. However, after many unsuccessful auditions, he called Barbara Eden's agent. When NBC began broadcasting most of its prime-time television programs in color in the fall of 1965, Jeannie was one of two regular programs on NBC that remained in black and white, in this case because of the special photographic effects employed to achieve Jeannie's magic. By the second season, however, further work had been done on techniques to create the visual effects in color, necessary because by 1966 all prime-time series in the United States were being made in color.

text: According to Dreaming of Jeannie, a book by Stephen Cox and Howard Frank, Sheldon originally wanted to film season one in color, but NBC did not want to pay for the extra expenses, as the network (and Screen Gems) believed the series would not make it to a second season. According to Sheldon in his autobiography The Other Side of Me, he offered to pay the extra US$400 an episode needed for color filming at the beginning of the series, but Screen Gems executive Jerry Hyams advised him: "Sidney, don't throw your money away."[1]

text: Opening sequence[edit]

text: The first few episodes after the pilot (episodes two through eight) used a nonanimated, expository opening narrated by Paul Frees; the narration mentions that Nelson lived in "a mythical town" named Cocoa Beach in "a mythical state called Florida". The remaining episodes of that first season featured an animated sequence that was redone and expanded in season two, when the show switched from black and white to color. This new sequence, used from season 2–5, featured Captain Nelson's space capsule splashing down on the beach, and Jeannie dancing out of her bottle (modified to reflect its new decoration) and then kissing Nelson. Both original versions of the show's animated opening sequence were done by famed animator Friz Freleng.

text: Setting[edit]

text: Although the series was set in and around Cape Kennedy, Florida, and Nelson lived at 1020 Palm Drive[2][3] in nearby Cocoa Beach, locales in California were used in place of those in Florida. The exterior of the building where Healey and he had offices was actually the main building at the Dryden Flight Research Center at Edwards Air Force Base, north of Los Angeles.[4] "If you look at some of those old [episodes], it's supposed to be shot in Cocoa Beach, but in the background you have mountains — the Hollywood Hills," Bill Daily said.[5] In actuality, the home of Major Nelson was filmed at the Warner Ranch, in Burbank (on Blondie Street). Many exteriors were filmed at this facility. Interior filming was done at the Sunset Gower Studios (the original Columbia Pictures studio lot) in Hollywood.

text: The cast and crew only made two visits to Florida's Space Coast, both in 1969. On June 27, a parade in Cocoa Beach escorted Eden and the rest of the cast to Cocoa Beach City Hall, where she was greeted by fans and city officials. They were then taken to LC-43 at Cape Canaveral where she pressed a button to launch a Loki-Dart weather rocket. They had dinner at Bernard's Surf, where Eden was given the state of Florida's Commodore Award for outstanding acting. Later, the entourage went to Lee Caron's Carnival Club, where Eden was showered with gifts and kissed astronaut Buzz Aldrin on the cheek, just two weeks before the Apollo 11 launch.[6]

text: The cast and crew returned on November 25, 1969, for three days for a mock wedding of Eden and Hagman staged for television writers from around the nation (timed to the airing of the nuptials episode on December 2) at the Patrick Air Force Base Officers Club.[5] Then-Florida Governor Claude R. Kirk, Jr., attended and cut the cake for the couple.[6]

text: Eden returned 27 years later, in July 1996, as a featured speaker for Space Days at the Kennedy Space Center. Cocoa Beach Mayor Joe Morgan presented her an "I Dream of Jeannie Lane" street sign, later installed on a short street off Florida State Road A1A near Lori Wilson Park.[6]

text: On September 15, 2005, the area held a "We Dream of Jeannie" festival, including a Jeannie lookalike contest. Plans for one in 2004 were interrupted by Hurricane Frances and Hurricane Jeanne. However, a Jeannie lookalike contest was held in 2004, with Bill Daily attending.

text: On August 24, 2012, Cocoa Beach City leaders honored the show with a roadside plaque outside Lori Wilson Park.[7]

text: Jeannie's origin[edit]

text: In the first season, Jeannie clearly was originally a human who was turned into a genie by (as later revealed [Season 1, Episode 2: My Hero?]) the Blue Djinn when she refused to marry him (the term "djinn" is synonymous with "genie"). Several members of Jeannie's family, including her parents, are rather eccentric, but none is a genie. Her mother describes the family as "just peasants from the old country" (Season 1, Episode 14, What House Across the Street?). The Blue Djinn was played by Barbara Eden's first husband, Michael Ansara. In later seasons, he also played King Kamehameha (Season 3, Episode 15 The Battle of Waikiki), and Biff Jellico (Season 5, Episode 12 My Sister, the Homewrecker).

text: The topic of Jeannie originally being human is restated in season two during the episode, "How to be a Genie in 10 Easy Lessons". Jeannie mentions that she has a sister who is a genie, but the phrasing – "she was a genie when I left Baghdad" – does bring up the question of whether she, too, was born a genie. One small subplot that lasted over multiple episodes was WHEN Jeanie was born. In Season 2, Episode 10, "The Girl Who Never Had a Birthday" it was revealed that Jeanie was born in 46 BC and in Season 2, Episode 13 "My Master, the Great Caruso" it was revealed that she was born on April 1.

text: In the third season, this continuity was changed retroactively and Jeannie was assumed to have always been a genie. All her relatives are then also genies, including, by the fourth season, her mother (also played by Barbara Eden beginning in Season 4, Episode 2 Jeannie and the Wild Pipchicks). This may have been done to increase the similarity with Bewitched, or simply to increase the number of possible plotlines. Whatever the reason, this new concept was retained for the rest of the series.

text: The TV movie I Dream of Jeannie... Fifteen Years Later (1985) reiterates most of Jeannie's first-season origin when she tells her son, Tony Jr., that she was trapped in her bottle by an evil djinn after she refused to marry him. (No specific statement is given, however, about whether he turned her into a genie at that time or if she had been born one.)

text: In a 1966 paperback novel I Dream of Jeannie, by Al Hine, writing pseudonymously as “Dennis Brewster”, published by Pocket Books, very loosely based on the series, Jeannie (in the book, her real name is revealed as "Fawzia") and her immediate family were established in the story as genies living in Tehran hundreds of years before Tony found her bottle on an island in the Persian Gulf (instead of the South Pacific, as depicted on TV).

text: Theme music[edit]

text: The first-season theme music was an instrumental jazz waltz written by Richard Wess. Eventually, Sidney Sheldon became dissatisfied with Wess's theme and musical score.[citation needed] From the second season on, it was replaced by a new theme entitled "Jeannie", composed by Hugo Montenegro with lyrics by Buddy Kaye. Episodes 20 and 25 used a rerecorded ending of "Jeannie" for the closing credits with new, longer drum breaks and a different closing riff. The lyrics were never used in the show.

text: Songwriters Gerry Goffin and Carole King wrote a theme, called "Jeannie", for Sidney Sheldon before the series started, but it was not used.[8]

text: In the third and fourth seasons of the show, another instrumental theme by Hugo Montenegro was introduced that was played during the show's campy scenes. Simply titled "Mischief", the theme was heard mainly on outdoor locations, showing the characters attempting to do something such as Jeannie learning to drive, Major Nelson arriving up the driveway, a monkey walking around, or reactions to Doctor Bellows. This theme featured the accompaniment of a sideshow organ, a trombone, and electric bass. It was introduced in the first episode of season 3, "Fly Me to the Moon".[citation needed]

text: The I Dream of Jeannie theme music was sampled by Dutch dance music DJ Ben Liebrand for the 1990 re-release of American hip-hop artist Dimples D.'s single, "Sucker DJ".

text: The bottle[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2015) (Learn how and when to remove this template message)

text: Jeannie's famous bottle was not created for the show. The actual bottle was a special Christmas 1964 Jim Beam liquor decanter containing "Beam's Choice" bourbon whiskey. It was designed by Roy Kramer for the Wheaton Bottle Company. For years, Sidney Sheldon was said to have received one as a gift and thought it would be a perfect design for the series. Several people in the Screen Gems art department also take credit for finding the bottle. Strong evidence, however, indicates first season director Gene Nelson saw one in a liquor store and bought it, bringing it to Sheldon.[citation needed]

text: Jeannie's bottle was left in its original dark, smoke-green color, with a painted gold-leaf pattern (to make it look like an antique), during the first season. The plot description of the pilot episode in TV Guide in September 1965 referred to it as a "green bottle". In that first episode, it also looked quite rough and weathered. Since the show was originally filmed in black and white, a lot of colors and patterns were not necessary. When the show switched to color, the show's art director came up with a brightly colored purple bottle to replace the original. The later colorized version of the show's first season tried to make out that the smoked glass look of the original gold-leaf design is in fact purple, to match the consistent look of the bottle used in the second through fifth seasons.

text: The first season bottle had a clear glass stopper that Tony took from a 1956 Old Grand-Dad Bourbon bottle in his home, as the original stopper was left behind on the beach where Tony found Jeannie. In the first color episode, Jeannie returns to the beach, and her bottle is seen to have its original stopper (painted to match the bottle), presumably retrieved by her upon her return there. The rest of the TV series (and the movies) used the original bottle stopper. (During some close-ups, one can still see the plastic rings that hold the cork part of the stopper in place.)

text: During the first season, in black and white, the smoke effect was usually a screen overlay of billowing smoke, sometimes combined with animation. Early color episodes used a purely animated smoke effect. Sometime later, a live smoke pack, lifted out of the bottle on a wire, was used.

text: Jeannie's color-episodes bottle was painted mainly in pinks and purples, while the bottle for the Blue Djinn was a first-season design with a heavy green wash, and Jeannie's sister's bottle was simply a plain, unpainted Jim Beam bottle.

text: No one knows exactly how many bottles were used during the show, but members of the production have estimated that around 12 bottles were painted and used during the run of the series. The stunt bottle used mostly for the smoke effect was broken frequently by the heat and chemicals used to produce Jeannie's smoke. In the pilot episode, several bottles were used for the opening scene on the beach; one was drilled through the bottom for smoke, and another was used to walk across the sand and slip into Tony's pack. Two bottles were used from promotional tours to kick off the first season, and one bottle was used for the first-season production.

text: Barbara Eden got to keep the color stunt bottle used on the last day of filming the final episode of the series. It was given to her by her make-up woman after the show was canceled while the show was on hiatus. According to the DVD release of the first season, Bill Daily owns an original bottle, and according to the Donny & Marie talk show, Larry Hagman also owned an original bottle.

text: In the penultimate episode, "Hurricane Jeannie", Nelson dreams that Dr. Bellows discovers Jeannie's secret, and that Jeannie's bottle is broken when dropped. A broken bottle is shown on camera. This was intended to be the series' final episode and is often shown that way in syndication.

text: Broadcast[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
30
September 18, 1965 (1965-09-18)
May 7, 1966 (1966-05-07)

2
31
September 12, 1966 (1966-09-12)
April 24, 1967 (1967-04-24)

3
26
September 12, 1967 (1967-09-12)
March 26, 1968 (1968-03-26)

4
26
September 16, 1968 (1968-09-16)
May 12, 1969 (1969-05-12)

5
26
September 16, 1969 (1969-09-16)
May 26, 1970 (1970-05-26)

TV movies
2
October 20, 1985 (1985-10-20)
October 20, 1991 (1991-10-20)

text: Multi-part story arcs[edit]

text: On several occasions, multipart story arcs were created to serve as backgrounds for national contests. During the second season, in a story that is the focus of a two-part episode and a peripheral plot of two further episodes (the "Guess Jeannie's Birthday" contest began with the opening two-part episode on November 14, 1966, concluding with the name of the winner revealed after the end of the fourth episode, "My Master, the Great Caruso", on December 5), it was established that Jeannie did not know her birthday, and her family members could not agree when it was, either. Tony and Roger use NASA's powerful new computer and horoscopic guidance based on Jeannie's traits to calculate it. The year is quickly established as 64 BC, but only Roger is privy to the exact date and he decides to make a game out of revealing it. This date became the basis of the contest. Jeannie finally forces it out of him at the end of the fourth episode: April 1. This date conflicts with the birthday given to her in the season 1 episode "G.I. Jeannie": July 1.

text: In a third-season four-part episode ("Genie, Genie, Who's Got the Genie?" January 16 – February 6, 1968), Jeannie is locked in a safe bound for the moon. Any attempt to force the safe or use the wrong combination will destroy it with an explosive. Jeannie is in there so long that whoever opens the safe will become her master. The episodes spread out over four weeks, during which a contest was held to guess the safe's combination. This explains why Larry Hagman is never seen saying the combination out loud: His mouth is hidden behind the safe or the shot is on Jeannie when he says it. The combination was not decided until just before the episode aired, with Hagman's voice dubbed in. Over the closing credits, Barbara Eden announced and congratulated the contest winner, with 4–9–7 as the winning combination.

text: In the fourth season, a two-part episode, "The Case Of My Vanishing Master" (January 6–13, 1969), concerned Tony being taken to a secret location somewhere in the world, while a perfect double took his place at home. A contest was held to guess the location where Tony had been taken. Unlike earlier contests, the answer was not revealed within the story. At the end of "Invisible House For Sale" (February 3, 1969), a special "contest epilogue" had Jeannie and Tony reveal to the audience the "secret location", Puerto Rico, followed by the name of the "Grand Prize Winner".

text: Reception[edit]

text: Nielsen ratings[edit]

text:
Season
Time
Rank
Rating

1965–66
Saturday at 8:00-8:30 PM
#27
21.8 (tie)[9]

1966–67
Monday at 8:00-8:30 PM
Not in the Top 30[10][11]

1967–68
Tuesday at 7:30-8:00 PM

1968–69
Monday at 7:30-8:00 PM
#26
20.7[12]

1969–70
Tuesday at 7:30-8:00 PM
Not in the Top 30[13]

text: Syndication[edit]

text: When reruns debuted on New York's WPIX, Jeannie won its time period with a 13 rating and a 23 share of the audience.[14] The series averaged a 14 share and 32 share of the audience when WTTG in Washington, DC began airing the series.[15] It was the first off-network series to best network competition in the ratings: "The big switch no doubt representing the first time in rating history that indies (local stations) have knocked over the network stations in a primetime slot was promoted by WPIX's premiere of the off-web Jeannie reruns back to back from 7 to 8 pm."[16]

text: Reunion movies[edit]

text: Two made-for-television reunion movies were made that followed the further exploits of Jeannie and Tony in the successive years. For various reasons, Larry Hagman did not reprise his role as Anthony Nelson in either of these reunion movies. In 1985, Wayne Rogers played the role of retiring Colonel Nelson in I Dream of Jeannie... Fifteen Years Later. In 1991, I Still Dream of Jeannie was released with Hagman's Dallas co-star Ken Kercheval essentially playing the role of Jeannie's "master". A third film was planned, but never finalized.

text: Animated series[edit]

text: Hanna-Barbera Productions produced an animated series Jeannie. This animated series is completely separate from the Eden live-action series. Jeannie the animated series was originally broadcast from September 1973 to 1975, which featured Jeannie (voiced by Julie McWhirter) and genie-in-training Babu (voiced by former Three Stooges star Joe Besser) as the servants of Corey Anders, a high-school student and surfer (voiced by Mark Hamill).

text: Factual and geographic errors[edit]

text: NASA astronauts did not live in Florida at the time of the series. Since 1962, they had lived and trained at the Manned Spacecraft Center (now Lyndon B. Johnson Space Center) in Houston.

text: Many of the exterior shots of Tony's home or other areas show mountains or hills in the background. The actual respective terrains of Florida and southeast Texas – where the real-life astronauts of that time lived and trained – are flat (especially the areas around Cape Canaveral and Cocoa Beach where the Nelsons were shown to have lived in the sitcom).


document_title: Michael Jackson albums discography

question_text: when was michael jackson's first album released

question_tokens: when was michael jackson 's first album released

text: Michael Jackson albums discography

text: Studio albums[edit]

text:
Title

Album details

Peak chart positions

Sales

Certifications(sales threshold)

US[1]

AUS[2]

CAN[3]

FRA[4]

GER[5]

NL[6]

NZ[7]

SPN[8]

SWI[9]

UK[10]

Got to Be There

Released: January 24, 1972
Label: Motown
Formats: LP, cassette, 8-track

14

—

—

121

—

—

—

—

—

37

US: Gold[11]

Ben

Released: August 4, 1972
Label: Motown
Formats: LP, cassette, 8-track

5

65

12

162

—

—

—

—

—

17

UK: Silver[12]

Music & Me

Released: April 13, 1973
Label: Motown
Formats: LP, cassette, 8-track

92

27

—

108

—

—

—

—

—

—

Forever, Michael

Released: January 16, 1975
Label: Motown
Formats: 8-track, cassette, LP

101

—

—

—

—

—

—

—

—

—

Off the Wall

Released: August 10, 1979
Label: Epic
Formats: Reel-to-reel, LP, cassette, 8-track, MD

3

1

4

27

25

8

2

11

27

3

World: 20,000,000[13]
CAN: 300,000[14]
UK: 1,800,000[15]

US: 8× Platinum[11]
AUS: 5× Platinum[16]
CAN: Platinum[17]
FRA: Platinum[18]
GER: Platinum[19]
NL: Platinum[20]
NZ: 6× Platinum[21]
SWI: Platinum[22]
UK: 6× Platinum[12]

Thriller

Released: November 30, 1982
Label: Epic
Formats: Reel-to-reel, LP, cassette, 8-track, CD, MD

1

1

1

1

1

1

1

1

1

1

World: 66,000,000[23][24][25][26]
AUS: 1,150,000[27]
CAN: 2,400,000[28]
FRA: 2,366,700[29]
NL: 1,400,000[30]
UK: 4,248,000[31]

US: 3x Diamond (33× Platinum)[11]
AUS: 16× Platinum[32]
CAN: 2× Diamond[17]
FRA: Diamond[18]
GER: 3× Platinum[19]
NL: 8× Multi-Platinum[20]
NZ: 12× Platinum[33]
SWI: 6× Platinum[22]
UK: 13× Platinum[12]

Bad

Released: September 1, 1987
Label: Epic
Formats: LP, cassette, 8-track, CD, MD

1

2

1

1

1

1

1

1

1

1

World: 35,000,000[34][35][36]
US: 10,000,000[37]
FRA: 1,289,400[29]
NL: 500,000[30]
UK: 3,961,000[38]

US: Diamond[11]
AUS: 6× Platinum[39]
CAN: 7× Platinum[17]
FRA: Diamond[18]
GER: 4× Platinum[19]
NL: Platinum[20]
NZ: 9× Platinum[33]
SWI: 5× Platinum[40]
UK: 13× Platinum[12]

Dangerous

Released: November 26, 1991
Label: Epic
LP, cassette, CD, MD

1

1

3

1

1

1

1

1

1

1

World: 32,000,000[41][42][43]
AUS: 740,000[27]
FRA: 1,985,500[29]
UK: 2,010,069[44]

US: 8× Platinum[11]
AUS: 10× Platinum[32]
CAN: 6× Platinum[17]
FRA: Diamond[18]
GER: 4× Platinum[19]
NL: 3× Multi-Platinum[20]
NZ: 6× Platinum[33]
SWI: 5× Platinum[22]
UK: 6× Platinum[12]

HIStory: Past, Present and Future, Book I

Released: June 20, 1995
Label: Epic
Formats: LP, cassette, CD, MD

1

1

1

1

1

1

1

2

1

1

World: 20,000,000[45]
US: 4,000,000[46]
FRA: 1,644,200 [29]
UK: 1,500,000[47]

US: 8× Platinum[11]
AUS: 8× Platinum[16]
CAN: 5× Platinum[17]
FRA: Diamond[18]
GER: 3× Platinum[19]
NL: 3× Multi-Platinum[20]
NZ: 10× Platinum[21]
SWI: 3× Platinum[22]
UK: 4× Platinum[12]

Invincible

Released: October 30, 2001
Label: Epic
Formats: LP, cassette, CD, MD

1

1

3

1

1

1

4

2

1

1

World: 6,000,000[48]
US: 2,138,000[49][50]
CAN: 100,000[51]
UK: 369,913[52]

US: 2× Platinum[11]
AUS: 2× Platinum[53]
FRA: Platinum[18]
GER: Platinum[19]
NL: Platinum[20]
NZ: Platinum[21]
SWI: Platinum[22]
UK: Platinum[12]

"—" denotes releases that did not chart

text: Posthumous albums[edit]

text:
Title

Album details

Peak chart positions

Sales

Certifications(sales threshold)

US[1]

AUS[2]

CAN[3]

FRA[4]

GER[5]

NL[6]

NZ[7]

SPN[8]

SWI[9]

UK[10]

Michael

Released: December 10, 2010
Label: Epic
Formats: CD

3

10

2

4

1

1

10

2

2

4

US: 541.000[54]
FR: 120,000[55]

US: Platinum[11]
AUS: Gold[56]
CAN: Platinum[17]
FRA: 2× Platinum[57]
NL: Gold[58]
NZ: Gold[33]
UK: Platinum[12]

Xscape

Released: May 9, 2014
Label: Epic
Formats: LP, CD

2

2

3

1

2

2

3

1

2

1

WW: 1,700,000[59]
US: 500,000[60]

US: Gold[11]
AUS: Gold[61]
CAN: Gold[17]
FRA: Platinum[18]
GER: Gold[62]
SWI: Gold[22]
UK: Gold[12]

text: Compilations[edit]

text:
Title

Album details

Peak chart positions

Sales

Certifications(sales threshold)

US[1]

AUS[2]

CAN[3]

FRA[4]

GER[5]

NL[6]

NZ[7]

SPN[8]

SWI[9]

UK[10]

A Collection of Michael Jackson's Oldies

Released: December 8, 1972
Label: Motown

The Best of Michael Jackson

Released: August 28, 1975
Label: Motown
Formats: LP, cassette

156

76

—

16

—

3

—

—

—

11

UK: Silver[12]

One Day in Your Life

Released: March 25, 1981
Label: Motown
Formats: LP, cassette

144

—

—

—

—

—

—

—

—

29

18 Greatest Hits

Released: 1983
Label: Motown
Formats: LP, cassette

—

53

—

—

—

23

22

—

—

1

UK: Platinum[12]

9 Singles Pack

Released: 1983
Label: Epic
Formats: 7"

—

—

—

—

—

—

—

—

—

66

14 Greatest Hits

Released: 1984
Label: Motown
Formats: LP, cassette

168

—

—

—

—

—

—

—

—

—

Farewell My Summer Love

Released: May 8, 1984
Label: Motown
Formats: Reel-to-reel, LP, cassette, 8-track

46

90

94

—

40

47

50

—

—

9

UK: Platinum[12]

Anthology

Released: November 14, 1986
Label: Motown
Formats: CD

—

—

—

17

—

—

—

89

—

—

Their Very Best – Back to Back(with Diana Ross, Gladys Knight and Stevie Wonder)

Released: 1986
Label: Motown
Formats: LP

—

—

—

—

—

—

—

—

—

21

Love Songs(with Diana Ross)

Released: 1987
Label: Motown
Formats: LP, cassette, CD

—

86

—

—

—

—

—

—

—

12

UK: Platinum[12]

Singles Souvenir Pack

Released: 1988
Label: Epic
Formats: LP

—

—

—

—

—

—

—

—

—

91

Motown's Greatest Hits

Released: 1992
Label: Motown
Formats: LP, cassette, CD

—

27

—

6

—

—

—

—

—

53

Tour Souvenir Pack

Released: 1992
Label: Epic
Formats: CD

—

83

—

—

—

—

—

—

—

32

The Best of Michael Jackson & The Jackson 5ive(with The Jackson 5)

Released: 1997
Label: Motown
Formats: CD

—

—

—

—

—

—

—

—

—

5

UK: Platinum[12]

The Very Best of Michael Jackson with The Jackson Five(with The Jackson 5)

Released: 1999
Label: Motown
Formats: Cassette, CD

—

41

—

—

—

—

—

—

—

15

UK: Gold[12]

20th Century Masters – The Millennium Collection: The Best of Michael Jackson

Released: 2000
Label: Motown
Formats: CD

—

—

27

—

—

—

—

—

—

—

CAN: (100,000)[51]

HIStory: Past, Present and Future, Book I

Released: June 16, 1995
Label: Epic
Formats: CD LP Cassette

85

44

8

10

—

—

—

54

45

15

UK: (245,000)[47]

UK: Gold[12]
US: Platinum[11]
AUS: Gold[16]

Number Ones

Released: November 18, 2003
Label: Epic
Formats: Cassette, CD, video CD, DVD, HDCD, UMD Music Video

13

2

1

5

2

17

1

17

9

1

US: 5,054,000[63]

US: 4× Platinum[11]
AUS: 6× Platinum[64]
GER: Gold[19]
NZ: 4× Platinum[33]
SWI: Gold[22]
UK: 8× Platinum[12]

Off the Wall / Thriller

Released: 2004
Label: Motown
Formats: LP, CD

—

25

87

65

—

—

—

—

—

—

Bad / Dangerous

Released: 2004
Label: Epic
Formats: CD

—

27

—

85

58

—

—

—

—

163

The Ultimate Collection

Released: November 17, 2004
Label: Epic
Formats: CD/DVD

154

—

29

29

37

46

—

29

33

75

US: Platinum[11]

The Essential Michael Jackson

Released: July 19, 2005
Label: Epic
Formats: LP, CD

31

1

4

1

10

19

1

23

2

1

US: 2,120,000[65]
UK: 829,884[66]

US: 4× Platinum[11]
AUS: 8× Platinum[61]
FRA: 2× Gold[18]
NZ: 2× Platinum[33]
UK: 4× Platinum[12]

Blood on the Dance Floor: HIStory in the Mix / Invincible

Released: 2006
Label: Epic
Formats: CD

—

—

—

125

—

—

—

—

—

112

Visionary: The Video Singles

Released: February 20, 2006
Label: Epic
Formats: DualDisc

—

—

—

—

—

—

27

—

—

—

50 Best Songs – The Motown Years: Michael Jackson & The Jackson 5 (Les 50 plus belles chansons)

Released: 2007
Label: Motown
Formats: CD

—

14

—

4

36

4

12

7

19

4

AUS: Gold[16]

King of Pop

Released: August 22, 2008
Label: Epic
Formats: CD

—

5

—

1

1

1

6

1

1

3

AUS: 2× Platinum[16]
FRA: Platinum[18]
GER: 5× Gold[19]
NZ: Gold[33]
UK: Platinum[12]

Gold

Released: August 26, 2008
Label: Motown
Formats: CD

139

—

—

—

—

60

—

—

—

—

Dangerous / Dangerous: The Short Films

Released: 2008
Label: Epic
Formats: CD/DVD

—

62

—

—

—

—

—

—

—

—

The Collection

Released: June 29, 2009
Label: Epic
Formats: CD

—

2

—

1

2

2

—

1

4

14

FRA: Platinum[67]

The Definitive Collection

Released: August 25, 2009
Label: Motown
Formats: CD

39

—

—

—

—

—

—

—

—

—

La Légende de la Pop

Released: 2009
Label: Pias France
Formats: CD/DVD

—

—

—

19

—

—

—

—

—

—

The Indispensable Collection

Released: June 21, 2013
Label: MJJ Productions
Formats: Digital download

The Ultimate Fan Extras Collection

Released: June 24, 2013
Label: MJJ Productions
Formats: CD

Scream

Released: September 29, 2017
Label: Epic
Formats: LP, CD, digital download

33

14

69[68]

28[69]

22

30

—

9[70]

34

9

FR: 3,300[71]

text: In the United States, between May 25, 1991 and November 25, 2009, catalog albums (albums at least 18 months old, have fallen below No. 100 on the Billboard 200 chart and do not have an active single on the Billboard radio charts) were not eligible to chart on the Billboard 200, but could only chart on the Top Catalog Albums, so between November 20, 2003 and November 25, 2009, Billboard launched the Top Comprehensive Albums chart that included current and catalog albums.[72][73][74][75] Here, a list of his albums reached a major position in this chart while not eligible for the Billboard 200: Number Ones (#1), The Essential Michael Jackson (#2), Greatest Hits: HIStory, Volume 1 (#28), The Ultimate Collection (#32) and 7 CD Mega Bundle (#78). Here a list of his current albums (at the time) reached a minor position in this chart cause the presence of the catalog albums: The Definitive Collection (#43), The Stripped Mixes (#67), Selections from Michael Jackson's This Is It (#102) and Gold (#166).[76]

text: Other albums (remix, soundtracks, etc.)[edit]

text:
Title

Album details

Peak chart positions

Certifications(sales threshold)

US[1]

AUS[2]

CAN[3]

FRA[4]

GER[5]

NL[6]

NZ[7]

SPN[8]

SWI[9]

UK[10]

E.T. the Extra-Terrestrial

Type: Audiobook / Soundtrack
Release date: November 1982
Label: Epic
Formats: LP, cassette

—

—

—

—

—

—

—

—

—

82

The Michael Jackson Mix

Type: Remix album
Release date: 1987
Label: Stylus
Formats: LP, cassette, CD

—

—

—

—

—

—

—

—

—

27

UK: Platinum[12]

Blood on the Dance Floor: HIStory in the Mix

Type: Remix album / Studio album
Release date: May 11, 1997
Label: Epic
Formats: LP, cassette, CD, MiniDisc

24

2

16

1

2

1

1

1

2

1

US: Platinum[11]
AUS: Platinum[16]
CAN: Gold[17]
FRA: Platinum[18]
GER: Gold[19]
NL: Platinum[20]
NZ: Platinum[21]
SWI: Platinum[22]
UK: Gold[12]

Off the Wall – Special Edition

Type: Re-issue / Studio album
Release date: October 16, 2001
Label: Motown
Formats: CD

a

a

10

53

a

—

a

a

—

a

Thriller – Special Edition

Type: Re-issue / Studio album
Release date: October 16, 2001
Label: Epic
Formats: CD

a

a

6

33

60

77

a

a

38

a

Bad – Special Edition

Type: Re-issue / Studio album
Release date: October 16, 2001
Label: Epic
Formats: CD

a

a

8

43

a

96

a

91

63

a

Dangerous – Special Edition

Type: Re-issue / Studio album
Release date: October 16, 2001
Label: Epic
Formats: CD

a

a

13

63

a

—

a

a

—

a

Thriller – 25th Anniversary Edition

Type: Re-issue / Studio album
Release date: February 12, 2008
Label: Epic
Formats: LP, CD, DVD

a

a

2

1

2

2

1

2

1

3

CAN: Gold[17]
SWI: Gold[22]
UK: Platinum[12]

The Stripped Mixes

Type: Remix album
Release date: July 28, 2009
Label: Motown
Formats: LP, CD

57

—

—

—

—

—

—

—

—

76

The Remix Suite

Type: Remix album
Release date: October 20, 2009
Label: Motown
Formats: LP, CD

175

—

—

56

—

—

—

—

—

—

Michael Jackson's This Is It

Type: Soundtrack / Best of
Release date: October 26, 2009
Label: Epic
Formats: LP, CD

1

2

1

1

3

1

1

3

2

3

US: 2× Multi-Platinum[11]
AUS: Platinum[16]
CAN: 2× Platinum[17]
FRA: 3× Platinum[18]
GER: Gold[19]
NL: Platinum[77]
NZ: 2× Platinum[33]
UK: 2× Platinum[12]

Selections from Michael Jackson's This Is It

Type: EP
Release date: October 26, 2009
Label: Epic

91

—

—

—

—

—

—

—

—

—

Immortal

Type: Soundtrack / Remix album
Release date: November 21, 2011
Label: Epic
Formats: CD

24

43

28

42

23

17

35

16

17

65

Bad – 25th Anniversary Edition

Type: Re-issue / Studio album
Release date: September 18, 2012
Label: Epic
Formats: LP, CD

1

a

—

5

4

6

a

2

a

a

"—" denotes releases that did not chart
"a" – In these countries, the re-issues were counted with the original album.

text: Video albums[edit]

text:
All charts listed here pertain to the DVD or Music Video charts of that nation

Title

Album details

Peak chart positions

Certifications

US

AUS

AUT

FRA

GER

ITA

JPN

NLD

SWI

UK

Moonwalker

Released: January 10, 1989
Label: Capital Home Video
Formats: VHS, DVD,[78] Blu-ray

1
—
—
—
—
—
—
—
—
—

US: 8× Multi-Platinum[79]
CAN: 4× Platinum[80]

Dangerous: The Short Films

Released: November 12, 1993
Label: Legacy, Epic
Formats: VHS, DVD[81]

1
—
—
—
—
—
—
—
—
—

US: 3× Multi-Platinum[11]
ARG: Platinum[82]
AUS: 2× Platinum[83]
GER: Platinum[84]
MEX: 3× Platinum[85]

Video Greatest Hits – HIStory

Released: June 9, 1995
Label: Legacy, Epic
Formats: VHS, DVD[78]

1
—
—
—
—
—
—
—
—
—

US: 9× Multi-Platinum[11]
ARG: Platinum[82]
AUS: 5× Platinum[83]
AUT: Gold[86]
FRA: Diamond[87]
GER: 3× Gold[19]
MEX: 6× Platinum+Gold[85]

HIStory on Film, Volume II

Released: May 20, 1997
Label: Epic, SME
Formats: VHS, DVD[78]

—
—
—
—
—
—
—
—
—
—

US: 6× Multi-Platinum[11]
ARG: Platinum[82]
AUS: 7× Platinum[83]
BRA: Gold[88]
FRA: 3× Platinum[89]
GER: Platinum[19]
MEX: 5× Platinum+Gold[85]

Number Ones

Released: November 18, 2003
Label: Legacy, Epic
Formats: DVD,[78] UMD

—
—
—
—
—
—
—
—
—
—

US: Diamond (13× Platinum)[11]
ARG: Platinum[82]
AUS: 22× Platinum[90]
FIN: Gold[91]
FRA: 2× Platinum[92]
NZ: 6× Platinum[21]
POL: Gold[93]

The One

Released: March 9, 2004
Label: Epic
Formats: DVD[78]

—
—
—
—
—
—
—
—
—
—

US: Gold[11]
ARG: Platinum[82]
AUS: Gold[83]

Live in Bucharest: The Dangerous Tour

Released: July 26, 2005
Label: Legacy
Formats: DVD[78]

—
—
—
—
—
—
—
—
—
—

US: 8× Multi-Platinum[11]
ARG: Platinum[82]
AUS: 13× Platinum[94]
FRA: 3× Platinum[95]
NZ: 4× Platinum[96]
POL: Platinum[97]

Michael Jackson's Vision

Release date: November 22, 2010
Label: Legacy
Formats: DVD

2
—
—
—
—
—
—
—
—
—

US: 5× Multi-Platinum[11]
AUS: 2× Platinum[90]
AUT: Gold[86]
FRA: Diamond[98]
NZ: Gold[21]
POL: Platinum[97]

Live at Wembley July 16, 1988

Release date: September 18, 2012
Label: Legacy
Formats: DVD

1
—
—
—
—
—
—
—
—
—

US: Gold[11]
POL: Gold[93]

"—" denotes items which were not released in that country or failed to chart.

text: List of officially released compilations and other albums not charted in the table[edit]

text:
Portrait of Michael Jackson / Portrait of Jackson 5 (1973)
Os Grandes Sucessos, Vol. 2 (1980)
Motown Superstar Series, Vol. 7 (1980)
Superstar (1980)
Michael Jackson & The Jackson 5 (1983)
Ain't No Sunshine (1984)
The Great Love Songs of Michael Jackson (1984)
Ben / Got to Be There (1986)
Looking Back to Yesterday (1986)
The Original Soul of Michael Jackson (1987)
Rockin' Robin (1993)
Dangerous – The Remix Collection (1993)
Michael Jackson Story (1996)
Master Series (1997)
Ghosts – Deluxe Collector Box Set (1997)
Got to Be There / Forever, Michael (1999)
Bad / Thriller (2000)
Forever, Michael / Music & Me / Ben (2000)
Classic – The Universal Masters Collection (2001)
Love Songs (2002)
Michael Jackson (2004)
The Best of Michael Jackson & the Jackson Five (2005)
Visionary Remixes – EP (2006)
The Silver Collection (2007)
Off the Wall / Invincible (2008)
Thriller – 25th Anniversary Limited Japanese Single Collection (2008)
Mind Is the Magic: Anthem for the Las Vegas Show (2009)
Hello World: The Motown Solo Collection (2009)
Mellow Michael Jackson (2009)
Best Selection (2009)
Michael Jackson: The Remix Suite I (2009)
Michael Jackson: The Remix Suite II (2009)
Michael Jackson: The Remix Suite III (2009)
Michael Jackson: The Remix Suite IV (2009)
Pure Michael: Motown a Cappella (2009)
The Early Years (2009)
The Very Best of Michael Jackson & the Jackson 5 / Diana Ross & the Supremes (2010)
Hiroshi Fujiwara & K.U.D.O. Presents: Michael Jackson / Jackson 5 Remixes (2010)
Mellow Michael Jackson – Never Can Say Goodbye (2011)
Dear Michael: The Motown Collection (2011)
Icon (2012)