document_title: Smokey and the Bandit

question_text: name of car in smokey and the bandit

question_tokens: name of car in smokey and the bandit

text: Smokey and the Bandit

text: Plot[edit]

text: Wealthy Texan Big Enos Burdette (Pat McCormick) and his son Little Enos (Paul Williams) seek a truck driver willing to bootleg Coors beer to Georgia for their refreshment. At the time, Coors was regarded as one of the finest beers in the United States,[3] but it could not be legally sold east of the Mississippi River. Truck drivers who had taken the bet previously had been caught and arrested by "Smokey" (CB slang for highway patrol officers, referring to the Smokey Bear–type hats worn in some states).

text: The Burdettes find legendary trucker Bo "Bandit" Darville (Burt Reynolds) competing in a truck rodeo at Lakewood Fairgrounds in Atlanta; they offer him $80,000 to haul 400 cases of Coors beer from Texarkana, Texas back to Atlanta in 28 hours; Big Enos has sponsored a driver running in the Southern Classic stockcar race and "when he wins I want to celebrate in style." Bandit accepts the bet and recruits his best friend and partner Cledus "Snowman" Snow (Jerry Reed) to drive the truck, while Bandit drives the "blocker", a black Trans Am bought on an advance from the Burdettes, to divert attention away from the truck and its illegal cargo.

text: The trip to Texas is mostly uneventful except for at least one pursuing Smokey whom Bandit evades with ease. They reach Texarkana an hour ahead of schedule, load their truck with the beer and head back toward Atlanta. Immediately upon starting the second leg of the run, Bandit picks up runaway bride Carrie (Sally Field), whom he eventually nicknames "Frog" because she is "kinda cute like a frog" and "always hoppin' around". But in so doing, Bandit makes himself a target of Texas Sheriff Buford T. Justice (Jackie Gleason), a career lawman whose handsome but slow-witted son Junior (Mike Henry) was to have been Carrie's bridegroom. Ignoring his own jurisdiction, Sheriff Justice, with Junior in tow, chases Bandit all the way to Georgia, even as various mishaps cause his cruiser to disintegrate around them.

text: The remainder of the film is one lengthy high-speed chase, as Bandit's antics attract more and more attention from local and state police across Dixie while Snowman barrels on toward Atlanta with the contraband beer. Bandit and Snowman are helped along the way via CB radio by many colorful characters, including an undertaker with his hearse driver and their funeral procession, an elderly lady, a drive-in waitress and all her customers, a convoy of trucks, and even a madam who runs a brothel out of her RV. Neither Sheriff Justice nor any other police officers have any knowledge of Snowman's illegal manifest.

text: The chase intensifies as Bandit and Snowman get closer to Atlanta; moments after crossing back into Georgia, Bandit comes to the rescue when Snowman is pulled over by a motorcycle patrolman, and state and local police step up their pursuit with more cruisers, larger roadblocks, and even a police helicopter to track Bandit's movements. Discouraged by the unexpected mounting attention, and with just four miles left to go, Bandit is about to give up, but Snowman refuses to listen and takes the lead, smashing through the police roadblock at the entrance to the fairgrounds. They arrive back at Lakewood Speedway (while the Southern Classic race is being run) with only 10 minutes to spare, but instead of taking the payoff, Frog and Bandit accept a double-or-nothing offer from Little Enos: a challenge to run up to Boston and bring back clam chowder in 18 hours. They quickly escape in one of Big Enos' Cadillac convertibles, passing Sheriff Justice's badly damaged police car by the side of the road. Bandit first directs Sheriff Justice to Big and Little Enos, but then in a gesture of respect, reveals his true location and invites Justice to give chase, leaving Junior behind.

text: Cast[edit]

text:
Burt Reynolds as Bo Darville ("Bandit")
Sally Field as Carrie ("Frog")
Jerry Reed as Cledus Snow ("Snowman")
Jackie Gleason as Sheriff Buford T. Justice ("Smokey")
Mike Henry as Junior Justice
Pat McCormick as Big Enos Burdette
Paul Williams as Little Enos Burdette
Macon McCalman as Mr. B
Susan McIver as Hot Pants
George Reynolds as Sheriff Branford
Laura Lizer Sommers as Little Beaver
Michael Mann as Branford's Deputy
Lamar Jackson as Sugar Bear
Ronnie Gay as Georgia Trooper
Quinnon Sheffield as Alabama Trooper
Alfie Wise as Patrolman
Pat Hustis as Tow Truck Driver
Ingeborg Kjeldsen as Foxy Lady
Ben Jones as Trucker #1
Joe Klecko as Trucker #2
Hank Worden as Trucker #3

text: Production[edit]

text: Director Hal Needham originally planned the film as a low-budget B movie with a production cost of $1 million,[2] with Jerry Reed as the Bandit. It was not until Needham's friend Burt Reynolds read the script, and said he would star, that the film was aimed at a more mainstream release; Reed would now portray Bandit's friend Snowman (Reed would eventually play the Bandit in Smokey and the Bandit Part III). At that time Reynolds was the top box office star in the world.

text: Burt Reynolds revealed in his autobiography that Needham had written the first draft script on legal pads. Upon showing it to his friend, Reynolds told Needham that it was the worst script he had ever read but that he would still make the movie. Most of the dialogue was improvised on set.[4]

text: Universal Studios bankrolled Smokey and the Bandit for $5.3 million, figuring it was a good risk.[2] Just two days before production was to begin, Universal sent a "hatchet man" to Atlanta to inform Needham that the budget was being trimmed by $1 million. With Reynolds' salary at $1 million, Needham was left with only $3.3 million to make the film. Needham and assistant director David Hamburger spent 30 hours revising the shooting schedule.[2]

text: "Buford T. Justice" was the name of a real Florida Highway Patrolman known to Reynolds' father, who himself was once Police Chief of Riviera Beach, Florida. His father was also the inspiration for the word "sumbitch" used in the film, a variation of the phrase "son-of-a-bitch" that according to Reynolds he uttered quite often.

text: Jackie Gleason was given free rein to ad-lib dialogue and make suggestions. It was his idea to have Junior alongside him throughout. In particular the scene where Sheriff Justice unknowingly encounters the Bandit in the "choke and puke" (a roadside diner) wasn't in the original story, but rather was Gleason's idea.

text: Before Gleason was cast in the film, Richard Boone was originally considered for the role of Buford T. Justice.[4]

text: Reportedly, Needham had great difficulty getting any studios or producers to take his project seriously (in the film industry, he was better known as a stuntman). He managed to obtain studio attention after his friend Reynolds agreed to portray the Bandit in the film.

text: The movie was primarily filmed in Georgia in the cities of McDonough, Jonesboro and Lithonia. The scenes set in Texarkana were filmed in Jonesboro and the surrounding area, and many of the chase scenes were filmed in the surrounding areas on Highway 54 between Fayetteville and Jonesboro for a majority of the driving scenes, Mundy's Mill Road, Main Street in Jonesboro, Georgia State Route 400, I-85 (Pleasant Hill exit), and in McDonough. However, the scene where they drive through the Shell gas station was filmed in Ojai, California on the corner of Ojai and El Paseo. Much of the surrounding scene comes from that immediate vicinity. The scene featuring the racetrack was filmed at Lakewood Speedway at the old Lakewood Fairgrounds on the south side of Atlanta. The rollercoaster seen in the movie was the Greyhound. It had not been used for some time and was repainted for the film. It was destroyed in Smokey and the Bandit II and a flashback scene in Part 3.[5]

text: The film's theme song, "East Bound and Down," was written virtually overnight by Jerry Reed. He gave Needham a preview of the song, and when initially he got no reaction from the director, offered to rewrite the song. Needham however liked the song so much he assured Jerry not to change a word. It became one of Reed's biggest hits and his signature number.[6]

text: The area around Helen, Georgia was also used for some locations. The scene where Buford T. Justice's car has the door knocked off by a passing semi was shot on GA 75, 3 miles (4.8 km) north of Helen. The tow truck driver was an actual local garage owner, Berlin Wike.

text: The film features the custom clothing and costuming of Niver Western Wear of Fort Worth, Texas.[7] NWW provided much of the western attire worn in the film, as well as the custom-made (size 64) sheriff's uniforms that Jackie Gleason wore throughout the film.

text: Reynolds and Sally Field began dating during the filming of Smokey and the Bandit.

text: While made to take advantage of the ongoing 1970s CB radio fad, the film itself added to the craze.[8]

text: Though the film Moonrunners (1975) is the precursor to the television series The Dukes of Hazzard (1979-1985), from the same creator and with many identical settings and concepts, the popularity of Smokey and the Bandit and similar films helped get the Dukes series on air. Three actors from the main cast of The Dukes of Hazzard appear in small uncredited roles in Smokey and the Bandit: Ben Jones, John Schneider and Sonny Shroyer (who played a police officer in both). In return, Reynolds portrayed the Dukes character Boss Hogg (originally portrayed by Sorrell Booke) in the film adaptation The Dukes of Hazzard (2005). Reynolds is also referenced by name in several early episodes of the series.

text: Vehicles[edit]

text: Needham saw an advertisement for the soon-to-be-released 1977 Pontiac Trans Am and knew right away that would be the Bandit's car, or–as Needham referred to it–a character in the movie. He contacted Pontiac and an agreement was made that four 1977 Trans Ams and two Pontiac LeMans 4-door sedans would be provided for the movie.[9] The Trans Ams were actually 1976 model cars with '77 front ends. (From 1970 to 1976, both the Firebird/Trans Am and Chevrolet Camaro had two round headlights, and in 1977, the Firebird/Trans Am was changed to four square headlights, while the Camaro remained unchanged.) The decals were also changed to 1977-style units, as evidenced by the engine size callouts on the hood scoop being in liters rather than cubic inches as had been the case in 1976. The hood scoop on these cars says "6.6 LITRE", which in 1977 would have denoted an Oldsmobile 403-equipped car or a non W-72, 180 hp version of the 400 Pontiac engine. All four of the cars were badly damaged during production,[10] one of which was all but destroyed during the jump over the dismantled bridge. The Trans Am used for the dismantled bridge jump was equipped with a booster rocket, the same type that was used by Evel Knievel during his failed Snake River Canyon jump. Needham served as the driver for the stunt (standing in for Reynolds) while Lada St. Edmund was in the same car (standing in for Sally Field during the jump). By the movie's ending, the final surviving Trans Am and LeMans were both barely running and the other cars had become parts donors to keep them running. The Burdettes' car is a 1974 Cadillac Eldorado convertible painted in a "Candy Red" color scheme, and is seen briefly at the beginning of the movie and as Bandit, Snowman, Fred, and Frog make their escape in the final scene.

text: The film also made use of three Kenworth W900A short-frame semi trucks which Jerry Reed can be seen driving, each equipped with 38" sleepers. Two units were 1974 models as evidenced by standard silver Kenworth emblems on the truck grille, and one unit was a 1973 model as evidenced by the gold-painted Kenworth emblem on the truck's grille signifying Kenworth's 50 years in business. The paint code for each truck was coffee brown with gold trims, and the 48-foot (15 m) mural trailer used was manufactured by Hobbs Trailers in Texas with a Thermo King Refrigeration unit which was non-operational. This is obvious because there is no fuel tank on the underside of the trailer to power the refrigeration unit, and the unit is never heard running.[11]

text: Legal status of Coors beer[edit]

text: In 1977, Coors was unavailable for sale east of Oklahoma. A 1974 Time magazine article explains why Coors was so sought after that someone could be willing to pay the Bandit such a high price to transport it. Coors Banquet Beer had a brief renaissance as certain people sought it out for its lack of stabilizers and preservatives. The article says that future Vice President Gerald Ford hid it in his luggage after a trip to Colorado in order to take it back to Washington. President Dwight D. Eisenhower had a steady supply airlifted to Washington by the Air Force. The article also mentions Frederick Amon, who smuggled it from Colorado to North Carolina and sold it for four times the retail price.[12] The lack of additives and preservatives meant that Coors had the potential for spoiling in a week if it were not kept cold throughout its transportation and in storage at its destination. This explains the 28-hour deadline.[13]

text: Soundtrack[edit]

text:
Smokey And The Bandit: Music from the Motion Picture

Soundtrack album by Various artists

Released
1977 (1977)

Genre
Truck-driving country
country rock
country
rock

Length
41:11

Label
MCA Records

Producer
Sonny Burke

Singles from Smokey And The Bandit: Music from the Motion Picture

"East Bound and Down"
Released: August 1, 1977

text: The theme music, "East Bound and Down", was sung and co-written by Reed (credited under his birth name, Jerry Hubbard) and Dick Feller. It became Reed's signature song and is found on multiple albums, including Country Legends and his live album Jerry Reed: Live Still. In 1991 it was arranged for orchestra by Crafton Beck and recorded by Erich Kunzel and the Cincinnati Pops Orchestra for their album Down on the Farm. Several other groups, such as US rock band Tonic, have also covered it. Reed also penned and performed the song for the opening credits, entitled "The Legend", which tells of some of The Bandit's escapades prior to the events of the film, and the ballad "The Bandit", which features in several versions in the movie and on the soundtrack. Reed's hit not withstanding, Bill Justis is the first name on the credits for the soundtrack as he composed and arranged original music throughout the film. Musicians such as Beegie Adair and George Tidwell played on the soundtrack as part of long careers in music. Legendary five-string banjo player Bobby Thompson is also heard prominently towards the end of "East Bound and Down." The soundtrack album was released in 1977 on vinyl, cassette and 8-track through MCA Records.[14]

text: Track listing[edit]

text:
No.
Title
Writer(s)
Length

1.
"The Legend"
Jerry R. Hubbard
2:09

2.
"Incidental CB Dialogue" (Voice ["bandit"] – Burt Reynolds, Voice ["snowman"] – Jerry Reed)

0:28

3.
"West Bound And Down"
Jerry R. Hubbard, Dick Feller
2:45

4.
"Foxy Lady"
Bill Justis
2:51

5.
"Incidental CB Dialogue" (Voice ["bandit"] – Burt Reynolds, Voice ["smokey"] – Jackie Gleason, Voice ["snowman"] – Jerry Reed)

0:56

6.
"Orange Blossom Special"
Ervin T. Rouse
2:40

7.
"The Bandit"
Dick Feller
3:00

8.
"March Of The Rednecks"
Bill Justis
2:22

9.
"If You Leave Me Tonight I'll Cry"
Gerald Sanford, Hal Mooney
2:47

10.
"East Bound and Down (Incidental CB Dialogue Included)" (Voice ["bandit"] – Burt Reynolds, Voice ["snowman"] – Jerry Reed)
Jerry R. Hubbard, Dick Feller
4:42

11.
"The Bandit"
Dick Feller
2:48

12.
"And The Fight Played On!"
Bill Justis
2:22

13.
"Ma Cousin Plays Steel"
Bill Justis
3:11

14.
"Hot Pants Fuzz Parade"
Bill Justis
4:48

15.
"Incidental CB Dialogue" (Voice ["bandit"] – Burt Reynolds, Voice ["snowman"] – Jerry Reed)

1:05

16.
"The Bandit (Reprise)"
Dick Feller
2:17

Total length:
41:11

text: Reception[edit]

text: Smokey and the Bandit was a smash hit at the box office. With an original budget of $5.3 million (cut to $4.3 million two days before initial production),[2] the film grossed $126,737,428 in North America,[15] making it the second-highest-grossing movie of 1977. The worldwide gross is estimated at over $300 million.[2]

text: Film critic Leonard Maltin gave the film a good rating (3 stars out of a possible 4) and characterized it as "About as subtle as The Three Stooges, but a classic compared to the sequels and countless rip-offs which followed."[16]

text: Gene Siskel, in his review in the Chicago Tribune, gave the film two stars and complained that the film failed to tell the audience when the clock started on the beer run, thus removing suspense throughout the film concerning how long remained to them. He also claimed that Bandit is never made aware of Frog's leaving Junior at the altar, which is why the Bandit continually asks why a Texas sheriff is chasing him. However, this is inaccurate: within seconds of Bandit picking her up, Frog tells him "there is a wedding in search of a bride", and goes on to explain her ill-advised romance with Junior, as Bandit holds up the CB mic for Snowman to hear.

text: The film's editors, Walter Hannemann and Angelo Ross, were nominated for the Academy Award for Best Film Editing. It currently holds an 81% "Fresh" rating on review aggregate website Rotten Tomatoes, based on 27 reviews.[17]

text: Burt Reynolds rated the film as the one he most enjoyed and had the most fun making in his career.[18]

text: Legendary film maker Alfred Hitchcock stated that the movie was one of his favorites.[19]

text: Upon meeting Burt Reynolds, Billy Bob Thornton told him that the picture was not considered as such in the south, and was considered more of a documentary.[20]

text: "Smokey and the Bandit" was released in the United Kingdom on August 28, 1977 and was a sizeable success there, garnering positive reviews[21]

text: American Film Institute Lists

text:
AFI's 100 Years...100 Laughs – Nominated
AFI's 100 Years...100 Thrills – Nominated
AFI's 100 Years...100 Heroes and Villains:

Bandit (Bo Darville) – Nominated Hero

text: Cultural impact[edit]

text: Trans Am[edit]

text: After the debut of the movie the Trans Am became wildly popular with sales almost doubling in two years of the film's release, to the delight of General Motors; in fact, it outsold its Camaro counterpart for the first time ever.[22] Reynolds was given the 1977 vehicle used during promotion of the film as a gift, though the car itself never actually appeared in the film. Because of the popularity of the movie and the sales success of the Trans Am, then President of Pontiac Alex Mair promised to supply Reynolds with a Trans Am each year. Owing to his financial difficulties, in 2014 Reynolds put his vast collection of artwork and memorabilia up for auction, including the Trans Am. High estimates for the car were up to $80,000, but that was dwarfed by the actual sale price of $450,000. Also up for auction was a go-kart replica of the car, which sold for nearly $14,000.[23] In 2016, Trans Am Depot, a Florida-based automobile customization company, announced that it would build 77 Trans Ams that would be modeled after the car that Reynolds drove in the 1977 original, despite Pontiac having been discontinued by GM in 2009. These new models were built off the Camaro platform (the very same one that the real Firebird and Trans Am used), came with Pontiac arrowhead, flaming bird and Bandit logos, as well as instrument panels, center consoles and hood scoops emulating their 1977 counterparts, and were signed by Reynolds. Some differences included the use of a supercharged 454-cid (7.4-liter) Chevrolet-sourced engine that put out 840 HP, and four round headlights, which appeared on the 1967-69 Firebirds/Trans Ams only; the actual 1977-81 models had square headlights.[24]

text: Diablo sandwich[edit]

text: The diablo sandwich ordered by Sheriff Justice in the Arkansas barbecue restaurant scene has entered popular culture as a minor reference to the film. While no authoritative source identifies the composition of the sandwich, there are several possibilities. A segment of the CMT program Reel Eats used a sloppy joe-style recipe consisting of seasoned ground beef, corn and sour cream.[25] Another proposal, based more closely on images from the film and the shooting location of the scene (at an Old Hickory House restaurant in Georgia), is pulled pork and hot sauce on a hamburger bun.[26]

text: The Bandit Run[edit]

text: First run in 2007 to celebrate the 30th anniversary of the movie, The Bandit Run was the brainchild of Dave Hall, owner of Restore A Muscle Car. A group of Trans Am owners and fans of the movie take part in an annual road trip from Texarkana to Jonesboro, Georgia, recreating the route taken by the characters in the film.

text: The Bandit Run quickly caught on and has become a fixture, most recently celebrating the 40th anniversary of the movie with a special screening of the film attended by Burt Reynolds and a recreation of the jump undertaken by Bandit and Frog across a river.[27]

text: Mobil 1 commercial[edit]

text: In 2014, petroleum company Mobil 1 produced television commercials, featuring NASCAR star Tony Stewart, closely based on the film. Called Smoke is the Bandit playing on Stewart's nickname, the commercials featured him as the Bandit opposite Darrell Waltrip who played Snowman and Jeff Hammond as Buford T. Justice. The story replaced the Coors beer with Mobil 1 products. The adverts poked fun at the film and even featured a Pontiac Trans Am and a cover version of the song East Bound and Down. The commercials were produced after Stewart mentioned that the movie was one of his favorites.[28]

text: Television censorship and alternative versions[edit]

text: When Smokey and the Bandit first aired on American network television in the early 1980s, censors were faced with the challenge of toning down the raw language of the original film. For this purpose, they overdubbed dialogue deemed offensive, which was (and remains, to an extent) common practice. The most noted change made for network broadcast was the replacing of Buford's often-spoken phrase "sumbitch" (a contraction of "son of a bitch"; usually in reference to the Bandit) with the phrase "scum bum". This phrase achieved a level of popularity with children, and the 2007 Hot Wheels release of the 1970s Firebird Trans Am has "scum bum" emblazoned on its tail. The TV prints of the first two Bandit films are still shown regularly on television, although a few TV stations aired the unedited version in recent years as some of the phraseology (i.e. "(son of a) bitch", "ass", etc.) became more acceptable on TV.

text: The original actors mostly redubbed their own lines for the television version, except for Gleason. Actor Henry Corden, who voiced Fred Flintstone after original performer Alan Reed died, was used to replace a considerable amount of Sheriff Justice's dialogue. This is fitting, as Fred Flintstone was a parody of/homage to Gleason's character Ralph Kramden and The Flintstones was a parody of/homage to The Honeymooners.

text: In the UK, the heavily dubbed version was shown for a number of years, particularly by the BBC. However, in more recent years, the original version has been shown (on ITV, a commercial channel), usually with the stronger language edited out, often quite awkwardly and noticeably.

text: The theatrical release itself had a few lines deleted, including a creative edit in which Sheriff Justice tells a state trooper to "fuck off." His expletive is obscured when a passing big rig sounds its horn. At the time, using the 'F' word would immediately require an R rating which the producers were looking to avoid. This clever self-censorship allowed the film to avoid this rating and reach a much larger audience.

text: In 2006, a DVD re-release was issued of Smokey and the Bandit featuring a digitally-remastered audio track with 5.1 Dolby-compatible surround sound. It should be noted however that many of the film's original sounds were replaced. For instance, the diesel engine start and run up sequence in the opening sequence of the film was completely dubbed over with a totally new sound. A few other examples of "sound effect replacement" occur when Bandit takes off after managing to get a reluctant Cledus involved in the bet, and after he comes to a screeching halt on a roadway moments before picking up Carrie. Some of the original sound effects (such as Cledus' dog Fred's barking) and music (such as the final chase to the Southern Classic) were removed and not replaced. (Note: earlier DVD releases of the film have the original soundtrack intact.)

text: Major portions of the audio 'background' have been modified with different engine sounds or tire squeals from the original film. The updated version of the film features sounds inaccurate for what would be produced by the Trans Am or the numerous other Pontiac vehicles in the film. The original film had correct sounds that were usually recorded live as the action took place.

text: Some TV versions also feature a longer version of the scene where Cledus wades into the pond after Fred.[29]

text: Spinoff[edit]

text: This section needs expansion. You can help by adding to it. (April 2013)

text: A television movie was aired in 1994. The car featured was a Dodge Stealth.

text: Reboot[edit]

text: In late 2017, Universal Pictures accquires Edgar Wright to direct a reimagining/reboot of the first film, due to the summer of 2019 release.


document_title: Powhatan

question_text: what brought the powhatan confederacy to an end

root

text: Powhatan

text: Naming and terminology[edit]

text: The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsunacawh. The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site. Although the specific site of his home village is unknown, in modern times the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village. Tree Hill Farm, which is situated in nearby Henrico County a short distance to the east, is also considered as the possible site.

tag: p

text: "Powhatan" was also the name used by the natives to refer to the river where the town sat at the head of navigation. The English colonists chose to name it for their own leader, King James I. The English colonists named many features in the early years of the Virginia Colony in honor of the king, as well as for his three children, Elizabeth, Henry, and Charles.

text: Although portions of Virginia's longest river upstream from Columbia were much later named for Queen Anne of Great Britain, in modern times, it is called the James River. It forms at the confluence of the Jackson and Cowpasture rivers near the present-day town of Clifton Forge, flowing east to Hampton Roads. (The Rivanna River, a tributary of the James River, and Fluvanna County, were named in reference to Queen Anne). The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg.

text: Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later, in locations west of the area populated by the Powhatan peoples. The county was formed in May 1777.

text: History[edit]

text: Complex chiefdom[edit]

text: Various tribes each held some individual powers locally, and each had a chief known as a weroance (male) or, more rarely, a weroansqua (female), meaning "commander".[9]

text: As early as the era of John Smith, the individual tribes of this grouping were clearly recognized by the English as falling under the greater authority of the centralized power led by the chiefdom of Powhatan (c. June 17, 1545 – c. 1618), whose proper name was Wahunsenacawh or (in 17th century English spelling) Wahunsunacock.[10]

text: At the time of the 1607 English Settlement at Jamestown, he ruled primarily from Werowocomoco, which was located on the northern shore of the York River. This site of Werowocomoco was rediscovered in the early 21st century; it was central to the tribes of the confederacy. The improvements discovered at the site during archaeological research have confirmed that Powhatan had a paramount chiefdom over the other tribes in the power hierarchy. Anthropologist Robert L. Carneiro in his The Chiefdom: Precursor of the State. The Transition to Statehood in the New World (1981), deeply explores the political structure of the chiefdom and confederacy.

text: Powhatan (and his several successors) ruled what is called a complex chiefdom, referred to by scholars as the Powhatan Paramount Chiefdom. Research work continues at Werowocomoco and elsewhere that deepens understanding of the Powhatan world.

text: Powhatan builds his chiefdom[edit]

text: Wahunsunacawh had inherited control over six tribes, but dominated more than thirty by 1607, when the English settlers established their Virginia Colony at Jamestown. The original six tribes under Wahunsunacock were: the Powhatan (proper), the Arrohateck, the Appamattuck, the Pamunkey, the Mattaponi, and the Chiskiack.

text: He added the Kecoughtan to his fold by 1598. Some other affiliated groups included the ]Rappahannocks, Moraughtacund, Weyanoak, Paspahegh, Quiyoughcohannock, Warraskoyack, and Nansemond. Another closely related tribe of the same language group was the Chickahominy, but they managed to preserve their autonomy from the Powhatan Paramount Chiefdom. The Accawmacke, located on the Eastern Shore across the Chesapeake Bay, were nominally tributary to the Powhatan Chiefdom, but enjoyed autonomy under their own Paramount Chief or "Emperor", Debedeavon (aka "The Laughing King").

text: In his Notes on the State of Virginia (1781–82), Thomas Jefferson estimated that the Powhatan Confederacy occupied about 8,000 square miles (20,000 km2) of territory, with a population of about 8,000 people, of whom 2400 were warriors.[11] Later scholars estimated the total population of the paramountcy as 15,000.

text: English settlers in the land of the Powhatan[edit]

text: The Powhatan Confederacy was where the English made their first permanent settlement in North America. Conflicts began immediately between the Powhatan people and the English; the English colonists fired shots as soon as they arrived (due to a bad experience they had with the Spanish prior to their arrival). Within two weeks of the English arrival at Jamestown, deaths had occurred.

text: The settlers had hoped for friendly relations and had planned to trade with the Virginia Indians for food. Captain Christopher Newport led the first English exploration party up the James River in 1607, when he met Parahunt, weroance of the Powhatan proper. The English initially mistook him for the paramount Powhatan (mamanatowick), his father Wahunsunacawh, who ruled the confederacy.

text: On a hunting and trade mission on the Chickahominy River in December 1607, Captain John Smith, later president of the colony, was captured by Opechancanough, the younger brother of Wahunsunacawh. Smith became the first Englishman to meet the paramount chief Powhatan. According to Smith's account, Pocahontas, the Powhatan's daughter, prevented her father from executing Smith.

text: Some researchers have asserted that a mock execution of Smith was a ritual intended to adopt Smith into the tribe, but other modern writers dispute this interpretation. They point out that nothing is known of 17th-century Powhatan adoption ceremonies. They note that an execution ritual is different from known rites of passage. Other historians, such as Helen Rountree, have questioned whether there was any risk of execution. They note that Smith failed to mention it in his 1608 and 1612 accounts, and only added it to his 1624 memoir, after Pocahontas had become famous.

text: In 1608, Captain Newport realized that Powhatan's friendship was crucial to the survival of the small Jamestown colony. In the summer of that year, he tried to "crown" the paramount Chief, with a ceremonial crown, to make him an English "vassal."[12] They also gave Powhatan many European gifts, such as a pitcher, feather mattress, bed frame, and clothes. The coronation went badly because they asked Powhatan to kneel to receive the crown, which he refused to do. As a powerful leader, Powhatan followed two rules: "he who keeps his head higher than others ranks higher," and "he who puts other people in a vulnerable position, without altering his own stance, ranks higher." To finish the "coronation", several English had to lean on Powhatan's shoulders to get him low enough to place the crown on his head, as he was a tall man. Afterwards, the English might have thought that Powhatan had submitted to King James, whereas Powhatan likely thought nothing of the sort.[13]

text: After John Smith became president of the colony, he sent a force under Captain Martin to occupy an island in Nansemond territory and drive the inhabitants away. At the same time, he sent another force with Francis West to build a fort at the James River falls. He purchased the nearby fortified Powhatan village (present site of Richmond, Virginia) from Parahunt for some copper and an English servant named Henry Spelman, who wrote a rare firsthand account of the Powhatan ways of life. Smith then renamed the village "Nonsuch", and tried to get West's men to live in it. Both these attempts at settling beyond Jamestown soon failed, due to Powhatan resistance. Smith left Virginia for England in October 1609, never to return, because of an injury sustained in a gunpowder accident. Soon afterward, the English established a second fort, Fort Algernon, in Kecoughtan territory.

text: Anglo-Powhatan Wars and treaties[edit]

text: In November 1609, Captain John Ratcliffe was invited to Orapakes, Powhatan's new capital. After he had sailed up the Pamunkey River to trade there, a fight broke out between the colonists and the Powhatan. All of the English ashore were killed, including Ratcliffe, who was tortured by the women of the tribe. Those aboard the pinnace escaped and told the tale at Jamestown.

text: During that next year, the tribe attacked and killed many Jamestown residents. The residents fought back, but only killed twenty. However, arrival at Jamestown of a new Governor, Thomas West, 3rd Baron De La Warr, (Lord Delaware) in June 1610 signalled the beginning of the First Anglo-Powhatan War. A brief period of peace came only after the capture of Pocahontas, her baptism, and her marriage to tobacco planter John Rolfe in 1614. Within a few years both Powhatan and Pocahontas were dead. Powhatan died in Virginia, but Pocahontas died while in England. Meanwhile, the English settlers continued to encroach on Powhatan territory.

text: After Wahunsunacawh's death, his younger brother, Opitchapam, briefly became chief, followed by their younger brother Opechancanough. In 1622 (Indian massacre of 1622) and 1644 he attacked the English to force them from Powhatan territories. Both these attempts were met with strong reprisals from the English, ultimately resulting in the near destruction of the tribe. The Second Anglo–Powhatan War that followed the 1644 incident ended in 1646, after Royal Governor of Virginia William Berkeley's forces captured Opechancanough, thought to be between 90 and 100 years old. While a prisoner, Opechancanough was killed, shot in the back by a soldier assigned to guard him. He was succeeded as Weroance by Necotowance, and later by Totopotomoi and by his daughter Cockacoeske.

text: The Treaty of 1646 marked the effective dissolution of the united confederacy, as white colonists were granted an exclusive enclave between the York and Blackwater Rivers. This physically separated the Nansemonds, Weyanokes and Appomattox, who retreated southward, from the other Powhatan tribes then occupying the Middle Peninsula and Northern Neck. While the southern frontier demarcated in 1646 was respected for the remainder of the 17th century, the House of Burgesses lifted the northern one on September 1, 1649. Waves of new immigrants quickly flooded the peninsular region, then known as Chickacoan, and restricted the dwindling tribes to lesser tracts of land that became some of the earliest Indian reservations.

text: In 1665, the House of Burgesses passed stringent laws requiring the Powhatan to accept chiefs appointed by the governor. After the Treaty of Albany in 1684, the Powhatan Confederacy all but vanished.

text: Capitals of the Powhatan people[edit]

text: The capital village of "Powhatan" was believed to be in the present-day Powhatan Hill section of the eastern part of Richmond, Virginia, or perhaps nearby in a location which became part of Tree Hill Farm.

text: Another major center of the confederacy about 75 miles (121 km) to the east was called Werowocomoco. It was located near the north bank of the York River in present-day Gloucester County.

text: Werowocomoco was described by the English colonists as only 15 miles (24 km) as the crow flies from Jamestown, but also described as 25 miles (40 km) downstream from present-day West Point, measurements which conflict with each other. In 2003 archaeologists initiated excavations at a site in Gloucester County that have revealed an extensive indigenous settlement from about 1200 (the late Woodland period) through the early Contact period. Work since then has added to their belief that this is the location of Werowocomoco. The site is on a farm bordering on Purtain Bay of the York River, about 12 nautical miles (22 km) from Jamestown. The more than 50 acres (200,000 m2) residential settlement extends up to 1,000 feet (300 m) back from the river. In 2004, researchers excavated two curving ditches of 200 feet (60 m) at the far edge, which were constructed about 1400 CE. In addition to extensive artifacts from hundreds of years of indigenous settlement, researchers have found a variety of trade goods related to the brief interaction of Native Americans and English in the early years of Jamestown.

text: Around 1609, Wahunsunacock shifted his capital from Werowocomoco to Orapakes, located in a swamp at the head of the Chickahominy River, near the modern-day interchange of Interstate 64 and Interstate 295. Sometime between 1611 and 1614, he moved further north to Matchut, in present-day King William County on the north bank of the Pamunkey River, not far from where his brother Opechancanough ruled one of the member tribes at Youghtanund.

text: Characteristics[edit]

text: The Powhatan lived east of the fall line in Tidewater Virginia. They built their houses, called yehakins, by bending saplings and placing woven mats or bark over top of the saplings. They supported themselves primarily by growing crops, especially maize, but they also fished and hunted in the great forest in their area. Villages consisted of a number of related families organized in tribes led by a chief (weroance/werowance or weroansqua if female). They paid tribute to the paramount chief (mamanatowick), Powhatan.[3]

text: According to research by the National Park Service, Powhatan "men were warriors and hunters, while women were gardeners and gatherers. The English described the men, who ran and walked extensively through the woods in pursuit of enemies or game, as tall and lean and possessed of handsome physiques. The women were shorter, and were strong because of the hours they spent tending crops, pounding corn into meal, gathering nuts, and performing other domestic chores. When the men undertook extended hunts, the women went ahead of them to construct hunting camps. The Powhatan domestic economy depended on the labor of both sexes." [14]

text: All of Virginia's natives practiced agriculture. They periodically moved their villages from site to site. Villagers cleared the fields by felling, girdling, or firing trees at the base and then using fire to reduce the slash and stumps. A village became unusable as soil productivity gradually declined and local fish and game were depleted. The inhabitants then moved on. With every change in location, the people used fire to clear new land. They left more cleared land behind. The natives also used fire to maintain extensive areas of open game habitat throughout the East, later called "barrens" by European colonists. The Powhatan also had rich fishing grounds. Bison had migrated to this area by the early 15th century.[15]

text: The Powhatan people today[edit]

text: State and federal recognition[edit]

text: As of 2014, the state of Virginia has recognized eight Powhatan Indian-descended tribes in Virginia. Collectively, the tribes currently have 3,000-3,500 enrolled tribal members.[16] It is estimated, however, that 3 to 4 times that number are eligible for tribal membership.[12] Two of these tribes, the Mattaponi and Pamunkey, still retain their reservations from the 17th century and are located in King William County, Virginia.

text: Since the 1990s, the Powhatan Indian tribes which have state recognition, along with other Virginia Indian tribes which have state recognition, have been seeking federal recognition. That recognition process has proved difficult as it has been hampered by the lack of official records to verify heritage and by the historical misclassification of family members in the 1930s and 1940s, largely a result of Virginia's state policy of race classification on official documents.

text: After Virginia passed stringent segregation laws in the early 20th century and ultimately the Racial Integrity Act of 1924 which mandated every person who had any African heritage be deemed black, Walter Plecker, the head of Vital Statistics office, directed all state and local registration offices to use only the terms "white" or "colored" to denote race on official documents and thereby eliminated all traceable records of Virginia Indians. All state documents, including birth certificates, death certificates, marriage licenses, tax forms and land deeds, thus bear no record of Virginia Indians. Plecker oversaw the Vital Statistics office in the state for more than 30 years, beginning in the early 20th century, and took a personal interest in eliminating traces of Virginia Indians. Plecker surmised that there were no true Virginia Indians remaining as years of intermarriage has diluted the race. Over his years of service, he conducted a campaign to reclassify all bi-racial and multi-racial individuals as black, believing such persons were fraudulently attempting to claim their race to be Indian or white. The effect of his reclassification has been described by tribal members as "paper genocide".[17]

text: Initially, the Virginia tribes' efforts to gain federal recognition encountered resistance due to federal legislators' concerns over whether gambling would be established on their lands if recognition were granted. Casinos are illegal in Virginia and concerns were expressed about tax effects. In March 2009, five of the state-recognized Powhatan Indian tribes and the other state-recognized Virginia Indian tribe introduced a bill to gain federal recognition through an act of Congress. The bill, "The Thomasina E. Jordan Indian Tribes of Virginia Federal Recognition Act", included a section forbidding the tribes from opening casinos, even if casinos became legal in Virginia. The House Committee on Natural Resources recommended the bill be considered by the US House of Representatives at the end of April, and the House approved the bill on June 3, 2009. The bill was sent to the Senate's Committee on Indian Affairs, who recommended it be heard by the Senate as a whole in October. On December 23, 2009, the bill was placed on the Senate Legislative Calendar under general orders, which is where the bill is currently.[18][19] The bill had a hold on it placed for "jurisdictional concerns," as Senator Tom Coburn (R-Ok) believes requests for tribal recognition should be processed through the Bureau of Indian Affairs. The Virginia tribes say that the disrupted record keeping under the racially discriminatory practices of Walter Plecker destroyed their ability to demonstrate historical continuity of identity.[20] The bill died in the Senate.

text: In February 2011, the six Virginia tribes started the process again to try to gain federal recognition. They introduced a bill in the US House of Representatives and a companion bill in the Senate on the same day.[21] As of April 2011, the bills are in the Senate Committee on Indian Affairs and the Subcommittee Indian and Alaska Native Affairs, respectively.[22][23]

text: Powhatan languages[edit]

text: The tribes of the Powhatan confederacy shared mutually intelligible Algonquian languages. The most common was likely Powhatan. Its use became dormant due to the widespread deaths and social disruption suffered by the peoples. Much of the vocabulary bank is forgotten. Attempts have been made to reconstruct the vocabulary of the language using sources such as word lists provided by Smith and by the 17th-century writer William Strachey.

text: Powhatan Renape Nation of New Jersey[edit]

text: The Powhatan Renape Nation are descendants of Powhatan peoples who migrated to present-day southern New Jersey, where they have been concentrated in the areas of Morrisville and Medford.[24] They have been officially recognized as an American Indian tribe by that state since 1980.[8] They have not been officially recognized by the U.S. government.[25]

text: No cognate of Renape was ever recorded for Virginia Algonquian, although the form Renapoaks was recorded for Carolina Algonquian by Ralph Lane in 1586 (as a term used by the inhabitants of Roanoke Island for all those on the mainland).[26]

text: The Powhatan Renape maintained a 237-acre (96 ha) reservation in Rancocas State Park from 1982 until 2011, when it was closed down due to lack of maintenance.[27][28][29]

text: Powhatan and film[edit]

text: The Powhatan people are featured in the Disney animated film Pocahontas (1995). They also appeared in the straight-to-video sequel Pocahontas II: Journey to a New World (1998). Some of the current members of Powhatan-descended tribes complained about the Disney film. Roy Crazy Horse of the Powhatan Renape Nation said the Disney movie "distorts history beyond recognition."[30]

text: An attempt at a more historically accurate representation was the drama The New World (2005), directed by Terrence Malick, which had actors speaking a reconstructed Powhatan language devised by the linguist Blair Rudes. The Powhatan people generally criticize the film for continuing the myth of a romance between Pocahontas and John Smith. Her English husband was John Rolfe, whom she married on April 5, 1614.


document_title: Salt Shaker (song)

question_text: who sings shake it like a salt shaker

question_tokens: who sings shake it like a salt shaker

text: Salt Shaker (song)

text:
"Salt Shaker"

Single by The Ying Yang Twins featuring Lil Jon & the East Side Boyz

from the album Me & My Brother

A-side
"F**k That H**"

Released
October 27, 2003

Format
CD single, Digital download

Recorded
2003

Genre
Dirty rap, crunk

Length
4:00

Songwriter(s)
Deongelo Holmes, Eric Jackson, Michael A Jones, Craig Love, Jonathan Smith

Producer(s)
Lil Jon

Ying Yang Twins singles chronology

"Naggin"
(2003)
"Salt Shaker"
(2003)
"What Happnin!"
(2004)

"Naggin"
(2003)
"Salt Shaker"
(2003)
"What Happnin!"
(2004)

tag: table

text: "Salt Shaker" is a crunk music song released by rap group The Ying Yang Twins featuring Lil Jon and The East Side Boyz. It was released on their third studio album, Me & My Brother (2003). The song was released as the album's only single. It reached the top 10 in the United States, reaching #9.[1]

text: In the United States, "Salt Shaker" has become the biggest hit of The Ying Yang Twins' career, debuting in the top 10 at #9 on February 14, 2004 and staying there for two weeks.

text: The official remix featured Lil Jon and The East Side Boyz, Murphy Lee, Fat Joe & Juvenile. There is an official extended remix that the above artists and additional verses by Fatman Scoop, Jacki-O, B.G., & Pitbull. There is also a remix on DJ Drama's Gangsta Grillz X with Big Boi & Snoop Dogg.

text: Charts[edit]

text:
Chart (2004)
Peak
position

U.S. Billboard Hot 100
9

U.S. Billboard Hot R&B/Hip-Hop Songs
9

U.S. Billboard Hot Rap Tracks
2

U.S. Mainstream Top 40
38


document_title: Radio Times

question_text: when does the radio times come out for christmas

text: Radio Times

text: History and publication[edit]

text: Radio Times was first issued on 28 September 1923, carrying details of BBC radio programmes (newspapers at the time boycotted radio listings, fearing that increased listenership might decrease their sales[8]).

text: Initially, Radio Times was a combined enterprise between the BBC and the publisher George Newnes, who type-set, printed and distributed the magazine. But in 1925 the BBC assumed full editorial control, and by 1937 the publication was fully in-house.[3] The Radio Times established a reputation for using leading writers and illustrators, and the covers from the special editions are now collectible design classics.

text: In 1928, Radio Times announced a regular series of 'experimental television transmissions by the Baird process' for half an hour every morning. The launch of the first regular 405-line television service by the BBC was reflected with television listings in the Radio Times edition of 23 October 1936.[9] Thus Radio Times became the first television listings magazine in the world. Initially only two pages in each edition were devoted to television. However, in January 1937 the magazine published a lavish photogravure supplement and by September 1939, there were three pages of television listings.

text: Britain declared war on Germany on 3 September 1939 and television broadcasting ceased. Radio listings continued throughout the war for a reduced service, but by 1944, paper rationing meant editions were only 20 pages of tiny print on thin paper.

text: After the war television resumed and the Radio Times expanded too. Regional editions were introduced. In 1953 the television listings, which so far had been in the back of the magazine, were alongside the daily radio schedules. During the mid-50s Radio Times covers featured television rather than radio more and more, and in February 1957 television listings were moved to a separate section at the front; radio listings were relegated to the back.

text: By the 1950s Radio Times had grown to be the magazine with the largest circulation in Europe, with an average sales of 8.8 million in 1955.[10]

text: Until the deregulation of television listings in 1991, the Radio Times carried programme listings for BBC radio and television channels only, while the ITV-published magazine, TVTimes, carried television programme listings for ITV and, from 1982, Channel 4.[11] Today both publications carry listings for all major terrestrial, cable and satellite television channels in the United Kingdom. A number of similar magazines, from independent publishers, also exist. Separate television and radio magazines began to be published from 1 March 1991, when the Radio Times and TV Times lost their duopoly to publish programme listings. However, the Radio Times still lives up to its name by being the most comprehensive source of UK radio listings in print, and also since the edition of 22 May 2007 has carried two extra pages of TV listings per day as part of a slight tweak in the publication's format, bringing it up to ten pages of listings per day in total.

text: Radio Times is published on Tuesdays (its publication day having gradually moved forward from Fridays over many years) and carries listings for the following Saturday through to Friday (this began in 1960, before which issues ran Sunday to Saturday; the changeover meant that Saturday 8 October 1960 was listed twice).

text: Since Christmas 1969, a double-sized issue has been published each December containing listings for two weeks of programmes. Originally, this covered Christmas and New Year listings, but in some years these appear in separate editions, with the two-week period ending just before New Year. The cover of the 'Christmas Number' (as this issue came to be called) dating from the time when it contained just a single week's listings, usually features a generic festive artwork, atypical for the magazine, which since the 1970s has almost exclusively used photographic covers for all other issues.

text: From April 2010, each day's television listed over ten pages or five double-page spreads: two pages of reviews of highlights ("Choices") followed by two pages of terrestrial TV listings (one column for daytime television, and five columns for the evening television), then six pages of listings for digital channels.

text: Before digital channels became commonplace, a terrestrial day's television was sometimes spread over up to three double-spreads mixed with advertisements, but this format was phased out when independent publishers were allowed to publish television programme schedules.

text: After television listings were deregulated in 1991, there was strong criticism from other listings magazines that Radio Times was advertised on the BBC (as well as on commercial channels), saying that it gave unfair advantage to the publication. The case went to court, but the outcome was that as the Radio Times had close connections with the BBC it would be allowed to be advertised by the BBC; however, it must be a static picture of the cover, and that the clear disclaimer "Other television listings magazines are available" be given (leading to the phrase entering common public usage for a time).[citation needed] By the early 2000s, advertisements for the publication had become sparse on the BBC.[citation needed] The Radio Times has not been promoted on BBC television and radio channels since 2005, following complaints by rival publications that the promotions were unfair competition.[12]

text: The latest circulation figure (January 2013 – January 2014) for the Radio Times is 831,591 ( 6.9%) making it third in the TV listings magazine market behind TV Choice (1,374,813  11.8%) and What's on TV (1,049,558  14.1%).[13]

text: Regional editions[edit]

text: There are several regional editions, which each contain different listings for regional programming. All editions carry variations for adjoining regions and local radio listings.

text: The number of English regional editions has been reduced since the 1990s due to there being fewer variations in the schedules, such as the Yorkshire version was absorbed by the North East version in September 1993 and later added the North West version in August 2007.

text: The most recent of these was in August 2007 when the Midlands and London/Anglia versions were merged. The exception to this process of merging is Wales, which used to be part of a larger Wales/West (of England) version, mirroring the HTV region.

text:
Edition
BBC regions
ITV regions
Other channels

London/Anglia/Midlands
BBC London, BBC South East, BBC East, BBC Midlands, BBC East Midlands
ITV London, ITV Anglia, ITV Central
BBC One Wales, BBC Two Wales, ITV Wales, London Live

South/West/South West
BBC South, BBC South East, BBC West, BBC South West
ITV Meridian, ITV West Country, ITV Channel Television
BBC One Wales, BBC Two Wales, ITV Wales, S4C

Yorkshire/North East/North West
BBC Yorkshire, BBC Yorkshire and Lincolnshire, BBC North East and Cumbria, BBC North West
ITV Yorkshire, ITV Tyne Tees, ITV Granada
BBC One Scotland, BBC Two Scotland, BBC One Wales, BBC Two Wales, ITV Anglia, ITV Border, ITV Central, ITV Wales, S4C

Scotland/Border
BBC Scotland
STV North, STV Central, ITV Border, ITV Border Scotland
BBC Alba, BBC One England, BBC Two England, STV2

Wales
BBC Cymru Wales
ITV Cymru Wales
S4C, BBC One England, BBC Two England, ITV Central, ITV Granada, ITV West, ITV Westcountry

Northern Ireland
BBC Northern Ireland
UTV
RTÉ One, RTÉ Two, TV3

text: Colour-coded listings[edit]

text: From 2 June to 21 December 1990, the programme page headings were deep pink for films, dark blue for television (including the channels BBC One in vermilion and BBC Two in mint green) and a medium turquoise for radio. The day was also shown inside coloured block halfway down the side of each page, which had a different colour for each day (radio listing pages were using colour-coded logos):

text:
Saturday: Red
Sunday: Orange
Monday: Magenta
Tuesday: Chartreuse
Wednesday: Purple
Thursday: Salmon
Friday: Green

tag: ul

text: However these colours were slightly different from those that were adopted on 22 December 1990, through until 29 October 2004:

text:
Saturday: Red
Sunday: Sapphire
Monday: Amber
Tuesday: Indigo
Wednesday: Green
Thursday: Rose
Friday: Turquoise

text: On 3 September 1994, the pages had the day's name going vertical and lasted until 13 April 2001 (shortly before Easter), which saw the new cover font and the programme pages reverting to having the day running across the top of the page horizontally. The channel logos arrived in 1991, when they started covering all channels, but went with the revamp on 25 September 1999, which also changed the primetime listings from two narrow columns (four channels) to one wide column (Channel 5 and regional variations), and the layout that continues to this day:

text:
BBC One: Lilac
BBC Two: Viridian
ITV: Light grey
Channel 4: Black
Channel 5: Yellow (from 30 March 1997)

text: Before 1997, the regional variations were at the bottom of the relevant channel listings.

text: On 30 October 2004, the colours were later changed the day's listings for Tuesday in lavender, Wednesday in mint green, Friday in navy blue, and from 10 April 2010, the Sunday colour was changed to navy blue and the Friday colour was changed to indigo.

text: Digitisation[edit]

text: Wikidata has the property: Genome identifiers (P1573) (see uses)

text: In December 2012, the BBC completed a digitisation exercise, scanning the listings of all BBC programmes from an entire run of about 4,500 copies of the magazine from the first issue to 2009, the BBC Genome Project, with a view to creating an online database of its programme output.[14] They identified around five million programmes, involving 8.5 million actors, presenters, writers and technical staff.[14] BBC Genome was released for public use on 15 October 2014.[15][16] Corrections to OCR errors and changes to advertised schedules are being crowdsourced.[15]

text: Covers[edit]

text: When the magazine was a BBC publication, covers had a BBC bias (in 2005, 31 of the 51 issues had BBC-related covers). Doctor Who is the most represented programme on the cover, appearing on 29 issues (with 35 separate covers due to multiples) in the 49 years since the programme began.[17]

text: Most covers consist of a single side of glossy paper. However, the magazine often uses double or triple-width covers that open out for large group photographs, while events such as Crufts or new series of popular programmes are marked by producing several different covers for collectors. Sporting events with more than one of the Home Nations taking part are often marked with different covers for each nation, showing their own team. The second series of Life on Mars, meanwhile, was marked by the Radio Times producing a mock-up of a 1973-style cover promoting the series, placed on page 3 of the magazine.

text: In April 2005, a double-width cover was used to commemorate the return of the Daleks to Doctor Who and the forthcoming general election.[18] This cover recreated a scene from the 1964 Doctor Who serial The Dalek Invasion of Earth in which the Daleks were seen crossing Westminster Bridge, with the Houses of Parliament in the background. The cover text read "VOTE DALEK!" In a 2008 contest sponsored by the Periodical Publishers Association, this cover was voted the best British magazine cover of all time.[19]

text: Each year, the Radio Times celebrates those individuals and programmes that are featured on the cover at the Radio Times Covers Party, where framed oversized versions of the covers are presented.[20]

text: In recent years, Radio Times has published and sold packs of reproductions of some of the Christmas covers of the magazine as Christmas cards.

text: Missing issues[edit]

text: For various reasons, some issues were not printed. These include:[21]

text:
14 May 1926 (general strike)
21 February 1947 (fuel shortage)
28 February 1947 (fuel shortage)
8 September 1950 (printing dispute)
13 October 1950 (printing dispute)
20 October 1950 (printing dispute)
27 October 1950 (printing dispute)
1 August 1981 (printing dispute)
2 April 1983 (printing dispute)
9 April 1983 (printing dispute)
3 December 1983 (printing dispute)

text: Radio Times Guides[edit]

text: Since 2000, BBC Worldwide has published the Radio Times Guide to Films, featuring more than 21,000 films in a 1,707-page book. The 2006 edition was edited by Kilmeny Fane-Saunders and featured an introduction by Barry Norman, former presenter of the BBC's Film programme. The Radio Times Guide to Films 2007 is introduced by Andrew Collins.

text: There are also similar publications, the Radio Times Guide to Comedy and the Radio Times Guide to Science-Fiction.

text: Website[edit]

text: The Radio Times website was launched in 1997 primarily as a listings service. In 2011, it relaunched offering a diverse editorial product to accompany its listings and television, radio and film recommendations.


document_title: Moulin Rouge!

question_text: what did she die of in moulin rouge

question_tokens: what did she die of in moulin rouge

text: Moulin Rouge!

text: Plot[edit]

text: In the year 1900, a British writer named Christian (Ewan McGregor), suffering from depression, begins writing on his typewriter ("Nature Boy"). As Christian narrates, the film flashes back to one year earlier upon Christian's move to the Montmartre district of Paris to become a writer among members of the area's Bohemian movement. He soon discovers that his neighbours are a loose troupe of performers led by Henri de Toulouse-Lautrec (John Leguizamo). Toulouse-Lautrec and the others ask for Christian's help, and his writing skills allow them to finish their proposed show, "Spectacular Spectacular", that they wish to sell to the owner of the Moulin Rouge, Harold Zidler (Jim Broadbent). The group arrives at the Moulin Rouge as Zidler and his "Diamond Dog Dancers" perform for the audience ("Zidler's Rap Medley"). Toulouse arranges for Christian to see Satine (Nicole Kidman), the star courtesan, in her private quarters to present the work, unaware that Zidler has been promising Satine to the wealthy and psychopathic Duke of Monroth (Richard Roxburgh), a potential investor in the cabaret ("Sparkling Diamonds").

text: Satine mistakes Christian for the Duke, and dances with him before retiring to her private chamber with him to discuss things confidentially ("Rhythm of the Night", "Meet Me in the Red Room"), but soon learns he is just a writer ("Your Song"). The Duke interrupts them; Christian and Satine claim they were practicing lines for "Spectacular Spectacular". With Zidler's help, Toulouse and the rest of the troupe pitch the show to the Duke with an improvised plot about an evil maharajah attempting to woo an Indian courtesan who loves a poor sitar player ("The Pitch (Spectacular Spectacular)"). The Duke backs the show on the condition that only he may see Satine. Satine contemplates on Christian and her longing to leave the Moulin Rouge to become "a real actress" ("One Day I'll Fly Away"). Christian goes back to Satine to convince her that they should be together, and she eventually falls for him ("Elephant Love Medley"). As the cabaret is converted to a theater, Christian and Satine continue seeing each other under the pretense of rehearsing Satine's lines. The Duke becomes suspicious of their frequent meetings and warns Zidler that he may stop financing the show; Zidler arranges for Satine to dine with the Duke that evening, but she falls ill from tuberculosis ("If I should die (Górecki)"). Zidler makes excuses to the Duke, claiming that Satine has gone to confession ("Like a Virgin"). Zidler learns from the doctor treating Satine that she does not have long to live, but keeps this knowledge from Satine. Satine tells Christian that their relationship endangers the show, but he counters by writing a secret love song to affirm their love ("Come What May").

text: As the Duke watches Christian rehearsing with Satine, Nini, a jealous performer, points out that the play is a metaphor for Christian, Satine and the Duke. Enraged, the Duke demands the ending be changed with the courtesan choosing the maharajah; Satine offers to spend the night with the Duke to keep the original ending. At the Duke's quarters, Satine sees Christian on the streets below, and realizes she cannot sleep with the Duke. ("El Tango de Roxanne (Roxanne)"). The Duke attempts to rape her, but she is saved by Le Chocolat, one of the cabaret's male dancers. Reunited with Christian, he urges her to run away with him. The Duke tells Zidler he will have Christian killed if Satine is not his. Zidler reiterates this warning to Satine, but when she refuses to return, he finally informs her she is dying ("A Fool to Believe"). Zidler tells Satine that to save Christian's life, she has to tell him that she will be staying with the Duke and she doesn't love him ("The Show Must Go On"). Christian tries following her, but is denied entry to the Moulin Rouge, and becomes depressed, even though Toulouse insists that Satine does love him.

text: The night of the show, Christian sneaks into the Moulin Rouge, intending to pay Satine to return his love just as the Duke paid for her ("Hindi Sad Diamonds"). He catches Satine before she steps on stage and demands she tell him she does not love him. Suddenly they find themselves in the spotlight; Zidler improvises and convinces the audience that Christian is the sitar player in disguise. Christian denounces Satine and walks off the stage. From the rafters, Toulouse cries out, "The greatest thing you'll ever learn is just to love and be loved in return", spurring Satine to sing the song Christian wrote to express their love. Christian returns to the stage, joining her in the song and reaffirming his love for her. The Duke orders his bodyguard to kill Christian, but is thwarted, while the Duke's own attempt is stopped by Zidler. The Duke storms out of the cabaret as Christian and Satine complete their song ("Come What May (Reprise)", "Coup d'État (Finale)").

text: After the curtain closes, Satine succumbs to tuberculosis. Before she dies, Christian and Satine affirm their love and she tells him to write their story. A year later the Moulin Rouge has closed down, and Christian finishes writing the tale of his love for Satine, a "love that will live forever" ("Nature Boy (Reprise)").

text: Cast[edit]

text:
Nicole Kidman as Satine
Ewan McGregor as Christian
Jim Broadbent as Harold Zidler
Richard Roxburgh as The Duke of Monroth
John Leguizamo as Henri de Toulouse-Lautrec
Jacek Koman as The Narcoleptic Argentinean
Caroline O'Connor as Nini Legs-in-the-Air
Kerry Walker as Marie
Lara Mulcahy as Môme Fromage
Garry McDonald as The Doctor
Matthew Whittet as Satie
Keith Robinson as Le Pétomane
Natalie Mendoza as China Doll
Christine Anu as Arabia
David Wenham as Audrey
Kiruna Stamell as La Petite Princesse
Deobia Oparei as Le Chocolat
Kylie Minogue as The Green Fairy

Ozzy Osbourne as The Green Fairy's laugh

Peter Whitford as The Stage Manager

text: Production[edit]

text: Writing[edit]

text: The storyline of Moulin Rouge can be traced back to Alexandre Dumas, fils' The Lady of the Camellias, although Luhrmann, as an opera director, was probably more directly influenced by Verdi's adaptation, La traviata.

text: When asked about his inspiration for Moulin Rouge!, Luhrmann remarked:

text:
“
When I was in India researching Midsummer Night's Dream, we went to this huge, ice cream picture palace to see a Bollywood movie. Here we were, with 2,000 Indians watching a film in Hindi, and there was the lowest possible comedy and then incredible drama and tragedy and then break out in songs. And it was three-and-a-half hours! We thought we had suddenly learnt Hindi, because we understood everything! We thought it was incredible. How involved the audience were. How uncool they were - how their coolness had been ripped aside and how they were united in this singular sharing of the story. The thrill of thinking, 'Could we ever do that in the West? Could we ever get past that cerebral cool and perceived cool.' It required this idea of comic-tragedy. Could you make those switches? Fine in Shakespeare - low comedy and then you die in five minutes. . . . In 'Moulin Rouge', we went further. Our recognisable story, though Orphean in shape, is derived from Camille, La Boheme - whether you know those texts or not, you recognise those patterns and character types.[6]
”

text: Luhrmann revealed that he drew from the Greek tragedy of Orpheus and Eurydice in the DVD's audio commentary. The legend of Orpheus says he was a musical genius, far surpassing anyone in his world; the filmmakers chose to replicate this by using songs from the mid-to-late 20th century, many decades after the film's 1899 setting. In this way, Christian would appear to the other characters to be ahead-of-his-time as a musician and writer.

text: Development[edit]

text: Leonardo DiCaprio, who worked with Luhrmann on Romeo + Juliet, auditioned for the role of Christian.[7] Luhrmann also considered younger actors for the role, including Heath Ledger and Jake Gyllenhaal before Ewan McGregor won the part. Courtney Love auditioned for the role of Satine and assisted in clearing licensing rights for "Smells Like Teen Spirit" to be used in the film.[8]

text: Filming[edit]

text: Production began in November 1999 and was completed in May 2000, with a budget of $52.5 million.[2] Filming generally went smoothly, with the only major problem occurring when Kidman injured her ribs while filming one of the more complicated dance sequences; she also stated in an interview with Graham Norton that she broke her rib while getting into a corset, by tightening it as much as possible to achieve an 18-inch waist.[9] The production also overran in its shooting schedule and had to be out of the Fox Studios in Sydney to make way for Star Wars: Episode II – Attack of the Clones (in which McGregor also starred). This necessitated some pick-up shots being filmed in Madrid.

text: In the liner notes to the film's Special Edition DVD, Luhrmann writes that "[the] whole stylistic premise has been to decode what the Moulin Rouge was to the audiences of 1899 and express that same thrill and excitement in a way to which contemporary movie-goers can relate." With that in mind, the film takes well-known popular music, mostly drawn from the MTV Generation, and anachronizes it into a tale set in a turn-of-the-century Paris cabaret. The movie also features editing that several critics compared to a music video, involving swirling camera motion, loud music, dancing, and frenetic cutting. Some of the songs sampled include "Chamma Chamma" from the Hindi movie China Gate, Queen's "The Show Must Go On" (arranged in operatic format), David Bowie's rendition of Eden Ahbez's "Nature Boy", "Lady Marmalade" by Patti LaBelle (the Christina Aguilera/P!nk/Mýa/Lil' Kim cover commissioned for the film), Madonna's "Material Girl" and "Like a Virgin", Elton John's "Your Song", the titular number of The Sound of Music, "Roxanne" by The Police (in a tango format using the composition "Tanguera" by Mariano Mores), and "Smells Like Teen Spirit" by Nirvana, a song rarely used in films. The film uses so much popular music that it took Luhrmann almost two years to secure all the rights to the songs.

text: Release and reception[edit]

text: Originally set for release on Christmas 2000 as a high-profile Oscar contender, 20th Century Fox eventually moved the release to the following spring so director Luhrmann would have more time during post-production. The film premiered at the 2001 Cannes Film Festival[10] on 9 May – making it the festival's opening title.

text: Moulin Rouge! received generally positive reviews from critics. The film holds a rating of 66/100 at Metacritic based on 35 reviews,[11] and a 76% "Fresh" rating at Rotten Tomatoes, based on 193 reviews, and a 71% "Fresh" rating, based on 40 "top" reviewers, saying "A love-it-or-hate-it experience, Moulin Rouge is all style, all giddy, over-the-top spectacle. But it's also daring in its vision and wildly original."[12] In December 2001, it was named the best film of the year by viewers of Film 2001.[13]

text: Awards and honors[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2012) (Learn how and when to remove this template message)

text: The film was selected by the National Board of Review as the best film of 2001. It picked up six Golden Globe nominations including Best Motion Picture – Musical or Comedy, Best Actress in a Motion Picture – Musical or Comedy (for Nicole Kidman), Best Actor in a Motion Picture – Musical or Comedy (for Ewan McGregor), Best Original Score (for Craig Armstrong), Best Director (for Baz Luhrmann) and Best Song ("Come What May"). It won three including the coveted Best Picture trophy. A few weeks later, it received 13 nominations at the BAFTA Awards, making it the most nominated film of the year for that ceremony. It took home three, including Best Supporting Actor for Jim Broadbent.

text: The film received eight Oscar nominations, including Best Actress in a Leading Role and Best Picture.[14] The film was not nominated for Best Director (Luhrmann); commenting on this during the Oscar ceremony, host Whoopi Goldberg remarked, "I guess Moulin Rouge! just directed itself." The film won the awards for Best Costume Design and Best Art Direction.

text: "Come What May" (the only original song in the film) was disqualified from nomination for an Oscar because it was originally written (but unused) for Luhrmann's previous film Romeo + Juliet and not written expressly for Moulin Rouge!.[15]

text: Entertainment Weekly put it on its end-of-the-decade, "best-of" list, saying, "Baz Luhrmann's trippy pop culture pastiche from 2001 was an aesthetically arresting ode to poetry, passion, and Elton John. It was so good, we'll forgive him for Australia."[16](1079/1080).[17]

text:
Award
Category
Subject
Result

AACTA Award
(43rd Australian Film Institute Awards)
Best Film
Martin Brown, Fred Baron, Baz Luhrmann
Nominated

Best Direction
Baz Luhrmann
Nominated

Best Actor in a Leading Role
Ewan McGregor
Nominated

Best Actress in a Leading Role
Nicole Kidman
Nominated

Best Actor in a Supporting Role
Richard Roxburgh
Nominated

Best Cinematography
Donald McAlpine
Won

Best Editing
Jill Bilcock
Won

Best Sound
Andy Nelson, Roger Savage, Guntis Sics
Won

Best Production Design
Catherine Martin
Won

Best Costume Design
Catherine Martin, Angus Strathie
Won

Academy Award
Best Picture
Fred Baron, Martin Brown and Baz Luhrmann
Nominated

Best Actress
Nicole Kidman
Nominated

Best Film Editing
Jill Bilcock
Nominated

Best Cinematography
Donald McAlpine
Nominated

Best Costume Design
Catherine Martin and Angus Strathie
Won

Best Art Direction
Art Direction: Catherine Martin; Set Decoration: Brigitte Broch
Won

Best Makeup
Maurizio Silvi and Aldo Signoretti
Nominated

Best Sound
Andy Nelson, Anna Behlmer, Roger Savage and Guntis Sics
Nominated

ACE Eddie
Best Edited Feature Film – Comedy or Musical
Jill Bilcock
Won

BAFTA Award
Best Film
Fred Baron, Martin Brown, Baz Luhrmann
Nominated

Best Direction
Baz Luhrmann
Nominated

Best Original Screenplay
Baz Luhrmann, Craig Pearce
Nominated

Best Supporting Actor
Jim Broadbent
Won

Best Cinematography
Donald McAlpine
Nominated

Best Sound
Andy Nelson, Anna Behlmer, Roger Savage, Guntis Sics
Won

Best Music
Craig Armstrong, Marius De Vries
Won

Best Production Design
Catherine Martin
Nominated

Best Costume Design
Catherine Martin, Angus Strathie
Nominated

Best Editing
Jill Bilcock
Nominated

Best Special Visual Effects
Chris Godfrey, Andy Brown, Nathan McGuinness, Brian Cox
Nominated

Best Makeup and Hair
Maurizio Silvi, Aldo Signoretti
Nominated

Golden Globe Award
Best Motion Picture – Musical or Comedy
Fred Baron, Martin Brown, Baz Luhrmann
Won

Best Director
Baz Luhrmann
Nominated

Best Actor - Motion Picture Musical or Comedy
Ewan McGregor
Nominated

Best Actress - Motion Picture Musical or Comedy
Nicole Kidman
Won

Best Original Song ("Come What May")
David Baerwald, Kevin Gilbert
Nominated

Best Original Score
Craig Armstrong
Won

Grammy Award
Best Score Soundtrack for Visual Media
Craig Armstrong
Nominated

National Board of Review Award
Best Film
Fred Baron, Martin Brown, Baz Luhrmann
Won

Producers Guild of America Award
Best Picture
Fred Baron, Martin Brown, Baz Luhrmann
Won

Satellite Award
Best Film
Fred Baron, Martin Brown, Baz Luhrmann
Nominated

Best Director
Baz Luhrmann
Won

Best Original Screenplay
Baz Luhrmann, Craig Pearce
Nominated

Best Actor
Ewan McGregor
Won

Best Actress
Nicole Kidman
Won

Best Original Score
Craig Armstrong
Won

Best Original Song ("Come What May")
David Baerwald, Kevin Gilbert
Nominated

Best Cinematography
Donald McAlpine
Nominated

Best Editing
Jill Bilcock
Nominated

Best Visual Effects
Chris Godfrey, Andy Brown, Nathan McGuinness, Brian Cox
Nominated

Best Art Direction and Production Design
Catherine Martin
Won

Best Costume Design
Catherine Martin, Angus Strathie
Won

Best Sound
Andy Nelson, Anna Behlmer, Roger Savage, Guntis Sics
Nominated

text: Soundtrack[edit]

text: Musical numbers performed in the film[edit]

text:
Nature Boy – Toulouse
Complainte de la Butte/Children of the Revolution
The Sound of Music - Toulouse, Christian, and Satie
Green Fairy Medley (The Sound of Music/Children of the Revolution/Nature Boy) – Christian, The Bohemians, and the Green Fairy
Zidler's Rap Medley (Lady Marmalade/Zidler's Rap/Because We Can/Smells Like Teen Spirit) – Zidler, Moulin Rouge Dancers, Christian and Patrons
Sparkling Diamonds (Diamonds Are a Girl's Best Friend/Material Girl) – Satine, and Moulin Rouge Dancers
Rhythm of the Night - Moulin Rouge Dancers
Sparkling Diamonds - Reprise - Satine
Meet Me In The Red Room
Your Song – Christian
I Hope You Don't Mind (Your Song - Reprise) - Satine
The Pitch - Spectacular Spectacular (including short reprises of The Sound of Music and Your Song) – Zidler, Christian, Satine, The Duke, and Bohemians
One Day I'll Fly Away (including a short reprise of Your Song)– Satine, (Christian)
Elephant Love Medley – Christian and Satine
Your Song - Rehearsal Montage Scene Instrumental
Chamma, Chamma - Cast of Spectacular Spectacular
If I Should Die (Górecki) – Satine
Like a Virgin – Zidler, The Duke, and Chorus Boys
Come What May (part 1) – Christian, Satine
The Greatest Thing (Nature Boy) - Cast of Spectacular Spectacular
Come What May (part 2) - Satine, the Argentinean and Cast of Spectacular Spectacular
El Tango de Roxanne (including a short reprise of Come What May) – The Argentinean, Christian, (Satine), The Duke, and Moulin Rouge Dancers
Fool to Believe - Satine
One Day I'll Fly Away (short reprise) - Satine and Zidler
The Show Must Go On – Zidler, Satine, and Moulin Rouge Stagehands
Your Song - After the Storm Scene Instrumental
Hindi Sad Diamonds Medley (Chamma Chamma/Diamonds Are a Girl's Best Friend) – Toulouse, Nini Legs-in-the-Air, Satine, and the Cast of Spectacular Spectacular
Come What May (Reprise) – Satine and Christian
Coup d'État - Finale (Children of the Revolution/Your Song/One Day I'll Fly Away/ Come What May) – Christian, Satine, and Cast of Spectacular Spectacular
Nature Boy (Reprise) – Toulouse, Christian

text: The following is a partial list of songs featured in the film along with the artist that popularized them.

text:
"Nature Boy" – Nat King Cole, covered by David Bowie and remixed by Massive Attack for the soundtrack.
"The Sound of Music" – Mary Martin (and later by Julie Andrews) (from the Rodgers & Hammerstein musical of the same name, featuring overdubbed theremin played by Bruce Woolley)
"The Lonely Goatherd" – also from The Sound of Music (but heard as instrumental)
"Children of the Revolution" – T. Rex
"Lady Marmalade" – Labelle, covered for the film, by Christina Aguilera, Lil' Kim, Mýa, Missy Elliott, and Pink)
"Because We Can" – Fatboy Slim
"Complainte de la Butte" – Georges Van Parys and Jean Renoir covered by Rufus Wainwright
"Rhythm of the Night" – DeBarge
"Material Girl" – Madonna
"Smells Like Teen Spirit" – Nirvana
"Diamonds Are a Girl's Best Friend" – Introduced by Carol Channing, made popular by Marilyn Monroe.
"Diamond Dogs" – David Bowie covered for the film by Beck.
"Galop Infernal (Can-can)" – Jacques Offenbach (tune for Spectacular, Spectacular)
"One Day I'll Fly Away" – The Crusaders, later Randy Crawford
"Children of the Revolution" – T.Rex (Covered by Bono, Gavin Friday, Violent Femmes, and Maurice Seezer)
"Gorecki" – Lamb
"Come What May" – Ewan McGregor and Nicole Kidman (written by David Baerwald)
"Roxanne" – The Police (Title in film: "El Tango de Roxanne", combined with music "Tanguera" by Mariano Mores)
"Tanguera" – Mariano Mores (Title in film: "El Tango de Roxanne", combined with music "Roxanne" by The Police)
"The Show Must Go On" – Queen
"Like a Virgin" – Madonna
"Your Song" – Elton John
"Chamma Chamma" – Alka Yagnik (Incorporated in the film song titled "Hindi Sad Diamonds"; originally performed by Alka Yagnik in the 1998 Hindi film China Gate, composed by Anu Malik.

text: The following is a list of songs featured in the medley, along with the names of the writers and singers of the original.

text:
"Love is Like Oxygen" by Sweet – Andy Scott and Trevor Griffin
"Love Is a Many-Splendored Thing" by Sammy Fain – Sammy Fain and Paul Francis Webster
"Up Where We Belong" by Joe Cocker and Jennifer Warnes – Jack Nitzsche and Buffy Sainte-Marie
"All You Need Is Love" by The Beatles – John Lennon and Paul McCartney
"I Was Made for Lovin' You" by Kiss – Desmond Child, Paul Stanley, Vini Poncia
"One More Night" by Phil Collins – Phil Collins
"Pride" by U2 – U2
"Don't Leave Me This Way" by Harold Melvin & the Blue Notes – Kenneth Gamble, Leon Huff, and Cary Gilbert
"Silly Love Songs" by Wings – Paul McCartney
"Heroes" by David Bowie – David Bowie
"I Will Always Love You" by Dolly Parton and later Whitney Houston – Dolly Parton
"Your Song" by Elton John – Elton John and Bernie Taupin

text: The "Elephant Love Medley" also contains additional original lyrics by Italian pop tenor Alessandro Safina.[citation needed]

text: In the Blu-ray release, it was revealed that the song that was planned to open the film was originally Cat Stevens' "Father and Son", sung by Christian where he argues with his father for making him see that he has to go to Paris in order to make his dreams come true. Cat Stevens refused the permission for using the song in the film, therefore the song was changed to "Nature Boy".

text: Two soundtrack albums were released, with the second coming after the first one's massive success. The first volume featured the smash hit single "Lady Marmalade", performed by Christina Aguilera, Lil' Kim, Mýa and Pink. The first soundtrack, Moulin Rouge! Music from Baz Luhrmann's Film, was released on 8 May 2001, with the second Moulin Rouge! Music from Baz Luhrmann's Film, Vol. 2 following on 26 February 2002.

text: Stage adaptation[edit]

text: For a while in 2002–03, there was speculation about the possibility of a stage musical based on Moulin Rouge!, possibly in Las Vegas, but there have been no public talks in the years since.[18] Some sources claimed in 2006 that the director, Baz Luhrmann, had approached the leads of the film, Kidman and McGregor, to star in the potential stage version.[19]

text: In 2008, a stage adaptation, La Belle Bizarre Du Moulin Rouge (The Moulin Rouge Bizarre's Beauty) toured Germany and produced a cast recording.[20]

text: As of 2016[update], a stage musical is being developed by Global Creatures and will be directed by Alex Timbers.[21]

text: on November 1, it was announced the show will premiere in summer 2018 at the Colonial Theatre following a Broadway run.