document_title: All in the Family

question_text: who sang the theme song for all in the family

question_tokens: who sang the theme song for all in the family

text: All in the Family

text: Premise[edit]

text: All in the Family is about a typical white working-class family living in Queens, New York. Its patriarch is Archie Bunker (O'Connor), an outspoken, narrow-minded man, seemingly prejudiced against everyone who is not like him or his idea of how people should be. Archie's wife Edith (Jean Stapleton) is sweet and understanding, though somewhat naïve and uneducated; her husband sometimes disparagingly calls her "dingbat". Their one child, Gloria (Sally Struthers), is generally kind and good-natured like her mother, but displays traces of her father's stubbornness; unlike them, however, she is a feminist. Gloria is married to college student Michael Stivic (Reiner) – referred to as "Meathead" by Archie – whose values are likewise influenced and shaped by the counterculture of the 1960s. The two couples represent the real-life clash of values between the so-called Greatest Generation and Baby Boomers. For much of the series, the Stivics live in the Bunkers' home to save money, providing abundant opportunity for them to irritate each other.

text: The show is set in the Corona section of Queens, with the vast majority of scenes taking place in the Bunkers' home at 704 Hauser Street. Occasional scenes take place in other locations, especially during later seasons, such as Kelsey's Bar, a neighborhood tavern where Archie spends a good deal of time and which he eventually buys, and the Stivics' home after Mike and Gloria move to the house next door. The house seen in the opening is at 89-70 Cooper Avenue near the junction of the Glendale, Middle Village, and Rego Park sections of Queens.[9] Supporting characters represent the demographics of the neighborhood, especially the African American Jeffersons, who live in the house next door in the early seasons.

text: Cast[edit]

text: Main characters[edit]

text:
Carroll O'Connor as Archie Bunker: Frequently called a "lovable bigot", Archie was an assertively prejudiced blue-collar worker. A World War II veteran, Archie longs for better times when people sharing his viewpoint were in charge, as evidenced by the nostalgic theme song "Those Were the Days" (also the show's original title). Despite his bigotry, he is portrayed as loving and decent, as well as a man who is simply struggling to adapt to the changes in the world, rather than someone motivated by hateful racism or prejudice. His ignorance and stubbornness seem to cause his malapropism-filled arguments to self-destruct. He often rejects uncomfortable truths by blowing a raspberry. Former child actor Mickey Rooney was Lear's first choice to play Archie, but Rooney declined the offer because of the strong potential for controversy, and in Rooney's opinion, a poor chance for success. Scott Brady, formerly of the Western series Shotgun Slade, also declined the role of Archie Bunker, but appeared four times on the series in 1976 in the role of Joe Foley. O'Connor appears in all but seven episodes of the series' run.
Jean Stapleton as Edith Bunker, née Baines: Edith is Archie's ditzy but kind-hearted wife. Archie often tells her to "stifle" herself and calls her a "dingbat", and although Edith generally defers to her husband's authority and endures his insults, on the rare occasions when Edith takes a stand, she proves to have a simple but profound wisdom.[10] Despite their different personalities, they love each other deeply. Stapleton developed Edith's distinctive voice.[11] Stapleton remained with the show through the original series run, but decided to leave at that time. During the first season of Archie Bunker's Place, Edith was seen in four episodes in guest appearances. After that point, Edith was written out as having suffered a stroke and died off-camera, leaving Archie to deal with the death of his beloved "dingbat". Stapleton appeared in all but four episodes of All in the Family. In the series' first episode, Edith is portrayed as being less of a dingbat and even sarcastically refers to her husband as "Mr. Religion, here..." after they come home from church, something her character would not be expected to say later.
Sally Struthers as Gloria Stivic, née Bunker: The Bunkers' college-aged daughter who is married to Michael Stivic. She has the generally kind nature of her mother, but the stubbornness of her father, which early in the series manifests as childishness, later as a more mature feminism. Gloria frequently attempts to mediate between her father and husband, generally siding with the latter. The roles of the Bunkers' daughter and son-in-law (then named "Dickie") initially went to Candice Azzara and Chip Oliver. However, after seeing the show's pilot, ABC requested a second pilot expressing dissatisfaction with both actors. Lear later recast the roles of Gloria and Dickie with Struthers and Reiner. Penny Marshall (Reiner's wife, whom he married in April 1971, shortly after the program began) was also considered for the role of Gloria. During the earlier seasons of the show, Struthers was known to be discontented with how static her part was and, in 1974, sued to get out of her contract. But the character became more developed, satisfying her.[12] Struthers appeared in 157 of the 202 episodes during the first eight seasons—from January 12, 1971 to March 19, 1978. She later reprised the role in the spin-off series Gloria, which lasted for a single season in 1982–1983.
Rob Reiner as Michael Stivic: Gloria's Polish-American hippie husband is part of the counterculture of the 1960s. While good-hearted and well-meaning, he constantly spars with Archie, and is equally stubborn, although his moral views are generally presented as being more ethical and his logic somewhat sounder. He is the most-educated person in the household, a fact which gives him a self-assured arrogance, and despite his intellectual belief in progressive social values, he tends to expect Gloria to defer to him as her husband. As discussed in All in the Family retrospectives, Richard Dreyfuss sought the part, but Norman Lear was convinced to cast Reiner. Harrison Ford turned down the role, citing Archie Bunker's bigotry. Reiner appeared in 174 of the 202 episodes of the series during the first eight seasons—from January 12, 1971 to March 19, 1978. Reiner is also credited with writing three of the series' episodes.[13]
Danielle Brisebois as the cute nine-year-old daughter of one of Edith's cousins, Stephanie Mills, who is a regular throughout the ninth season. Despite being cute and having a sweet side, she is smart, clever, and does give her own few remarks at Archie from time to time. The Bunkers take her in after the child's father, Floyd Mills, abandons her on their doorstep in 1978 (he later extorts money from them to let them keep her). She remained with the show through its transition to Archie Bunker's Place, and appeared in all four seasons of the latter show.

text: Supporting characters[edit]

text:
Sherman Hemsley as George Jefferson, Isabel Sanford as his wife Louise, and Mike Evans as their son Lionel, Archie's black neighbors: George is Archie's combative black counterpart, while Louise is a smarter, more assertive version of Edith. Lionel first appeared in the series' premiere episode "Meet the Bunkers", with Louise appearing later in the first season. Although George had been mentioned many times, he was not seen until 1973. Hemsley, who was Norman Lear's first choice to play George, was performing in the Broadway musical Purlie and did not want to break his commitment to that show. However, Lear kept the role waiting for him until he had finished with the musical. Plots frequently find Archie and George at odds with one another, while Edith and Louise attempt to join forces to bring about a resolution. They later moved to an apartment in Manhattan in their own show, The Jeffersons.
Mel Stewart, as George's brother Henry Jefferson: The two appeared together only once, in the 1973 episode in which the Bunkers host Henry's going-away party, marking Stewart's final episode and Hemsley's first. After the Jeffersons were spun off into their own show in 1975, Stewart's character was rarely referred to again and was never seen. In the closing credits of "The First and Last Supper" episode, Mel Stewart is incorrectly credited as playing George Jefferson. Stewart was actually playing George's brother, Henry Jefferson, who was pretending to be George for most of the episode. (Season 1-4, 8 episodes)
Bea Arthur as Edith's cousin Maude: Maude was white-collared and ultra-liberal, the perfect foil to Archie, and one of his main antagonists. She appeared in only two episodes, "Cousin Maude's Visit", where she took care of the Bunker household when all four were sick, and "Maude" from the show's second season, which was basically a backdoor pilot. Her spin-off series, Maude, began in fall 1972. (Season 2, 2 episodes)
Betty Garrett and Vincent Gardenia as the liberal and Roman Catholic next-door neighbors Irene and Frank Lorenzo: Both first appeared as a married couple as Irene was trying to use the Bunker's phone. During an argument earlier in the episode, Archie and Mike had broken the phone wire. Irene being a 'handyman' of sorts with her own tools, which she carried in her purse, fixed it. Irene fixed many things at the Bunker house during her time on the show. She also had a sister who was a nun and appeared in one episode. "Edith's Christmas Story" reveals that Irene has had a mastectomy. Archie got her a job as a forklift operator at the plant where he worked. Irene was a strong-willed woman of Irish heritage, and Frank was a jovial Italian househusband who loved cooking and singing. He also was a salesman, but what he sold was never said. Gardenia, who also appeared as Jim Bowman in episode eight of season one (as the man who sold his house to the Jeffersons) and as Curtis Rempley in episode seven of season three (as a swinger opposite Rue McClanahan), became a semiregular along with Garrett in 1973. Gardenia only stayed for one season as Frank Lorenzo, but Garrett remained until her character was phased out in late 1975. (Season 4-6)
Allan Melvin as Archie's neighbor and good friend Barney Hefner: Barney started appearing in 1972 as a recurring character. Over time, he appeared progressively more often until he became a regular. He appeared as a regular in all four seasons of Archie Bunker's Place. He also appeared in the first season as a desk seargent at a police precinct.

text: Recurring characters[edit]

text:
James Cromwell as Jerome [14] "Stretch" Cunningham (1973–1976) "The Funniest Man in The World", Archie's friend and co-worker from the loading dock (Archie claims that he is known as the "Bob Hope" of the loading platform): What Archie did not know was that Stretch was Jewish, evident only after Stretch died and Archie went to the funeral. Archie's eulogy (or "urology" as he called it) for his friend is often referred to as a rare occasion when he was capable of showing the humanity he tried so earnestly to hide. In the episode titled "Archie in the Cellar", Billy Sands is referred to as Stretch Cunningham, the voice on the tape recorder telling jokes. Sands also appeared as other characters on the show during its run, in Kelsey's Bar as a patron. (Season 5, 3 episodes)
Liz Torres as Theresa Betancourt (1976–1977): A Puerto Rican nursing student who meets Archie when he is admitted to the hospital for surgery. She later rents Mike and Gloria's former room at the Bunker house. She called Archie "Papi". Torres had just completed the first season of the CBS sitcom Phyllis in the spring of 1976 before being dropped from the cast. (She had replaced the late actress Barbara Colby in the role of Julie Erskine.) Torres joined All in the Family in the fall of 1976, but her character was not popular with viewers, and the role was phased out before the end of the season. (Season 7, 7 episodes)
Billy Halop as Mr. Munson (1971–74), the cab driver who lets Archie use his cab to make extra money. (Season 1-3 & 5-6, 10 episodes)
Bob Hastings as Kelcy or Tommy Kelsey, who owns the bar Archie frequents and later buys: Kelcy was also played by Frank Maxwell in the episode "Archie Gets The Business". The name of the establishment is Kelcy's Bar (as seen in the bar window in various episodes). However, due to a continuity error, the end credits[15] of episodes involving the bar owner spell the name "Kelcy" for the first two seasons and "Kelsey" thereafter, although the end credits show "Kelcy" in the "Archie Gets the Business" episode.
Jason Wingreen as Harry Snowden, a bartender at Kelcy's Bar who continues to work there after Archie purchases it as his business partner: Harry had tried to buy the bar from Kelcy, but Archie was able to come up with the money first, by taking a mortgage out on his house, which the Bunkers owned outright.
Gloria LeRoy as Mildred "Boom-Boom" Turner, a buxom, middle-aged secretary at the plant where Archie works: Her first appearance was when Archie is lost on his way to a convention and Mike and Gloria suspect he and she could be having an affair. Archie gave her that moniker as she was walking by the loading dock. He said when she walked, "Boom-Boom". She is not fond of Archie because he and Stretch leer at her and because of their sexist behavior, but later becomes friendly with him, occasionally working as a barmaid at Archie's Place. Gloria LeRoy also appeared in a third-season episode as "Bobbi Jo" Loomis, the wife of Archie's old war buddy "Duke".
Barnard Hughes as Father Majeskie, a local Catholic priest who was suspected by Archie one time of trying to convert Edith: He appeared in multiple episodes. The first time was when Edith accidentally hit Majeskie's car near the local supermarket with a can of cling peaches in heavy syrup. (Season 2,3 & 4, 3 episodes)
Eugene Roche appeared as practical jokester friend and fellow lodge member "Pinky Peterson", one of Archie Bunker's buddies, in three episodes, first in the episode "Beverly Rides Again", then the memorable Christmas Day episode called "The Draft Dodger" (episode 146, 1976), and finally the episode "Archie's Other Wife". (Season 7 & 9, 3 episodes)
Sorrell Booke as Lyle Sanders, personnel manager at Archie Bunker's workplace, Prendergast Tool and Die Company: He had appeared on the series as Lyle Bennett, the manager of a local television station, in the episode "Archie and the Editorial" in season three.
Lori Shannon played Beverly La Salle, a transvestite entertainer, who appeared in three episodes: "Archie the Hero", "Beverly Rides Again", and "Edith's Crisis of Faith". In that third episode, Mike and Beverly are attacked, and he dies in a hospital from injuries suffered during the fight.[16]
Estelle Parsons as Blanche Hefner (1977–1979), Barney's second wife: Blanche and Archie are not fond of one another, though Edith likes her very much. The character is mentioned throughout much of the series after Barney's first wife, Mabel, had died, though she only appeared in a handful of episodes during the last few seasons. Estelle Parsons also appeared in the season-seven episode "Archie's Secret Passion" as Dolores Fencel. (Season 7 & 9)
Bill Quinn as Mr. Edgar van Ranseleer (Mr. van R), a blind patron and regular at the bar: He was almost never referred to by his first name. In a running joke, Archie usually waves his hand in front of Mr. van R's face when he speaks to him. His role was later expanded on Archie Bunker's Place, where he appeared in all four seasons.
Burt Mustin as Justin Quigley, a feisty octogenarian/nonagenarian: Mr. Quigley first appeared in the episode: "Edith Finds an Old Man" (season four, episode three, Sept 23, 1973) where he runs away from an old age home. He temporarily moves in with the Bunkers but quickly leaves to share an apartment with his friend Josephine "Jo" Nelson, played by Ruth McDevitt. He appeared in several other episodes, including "Archie's Weighty Problem". Mr. Mustin previously appeared in a first-season episode as Harry Feeney, the night watchman at Archie's workplace. (1, 4-6, 5 episodes)
Nedra Volz as Aunt Iola: Edith's aunt, she was mentioned several times in the eighth season and stayed with the Bunkers for two weeks. Edith wanted her to move in, but Archie would not allow it, though when he thought Iola did not have any place to go, he told her privately that she could always stay with them.
Francine Beers and Jane Connell as Sybil Gooley, who worked at Ferguson's Market: Frequently mentioned, usually by Edith, Sybil predicted that Gloria and Mike were having a baby boy by performing a ring on a string "swing test" over Gloria's abdomen. Sybil also appeared in the episode "Edith's 50th Birthday" and spilled the beans on her surprise party because she had not been invited. Archie and she did not get along, and he referred to her as a "Big Mouth".
Rae Allen and Elizabeth Wilson as Cousin Amelia: Archie detested Amelia and her husband, Russ, who were both wealthy. Once, she sent Edith a mink and Archie wanted to send it back, until he found out how much it was worth. In another episode, Amelia and her husband visit the Bunkers to bring them gifts from a recent trip to Hawaii, but in a private moment, Amelia shares with Edith that, despite appearances, she and Russ are considering a divorce. The character was played by two different actresses in three episodes of the show.
Richard Dysart and George S. Irving as Russ DeKuyper, Amelia's husband. He is a plumbing contractor who continued the business started by Amelia's father and uncles. He constantly flaunts his monetary wealth in front of Archie and looks askance at the way Archie lives, forgetting that he walked into a profitable plumbing business. He appeared in two of the episodes that featured Amelia
Clyde Kusatsu as Reverend Chong appeared in three episodes. He refused to baptize little Joey in season six, and then remarried Archie and Edith, and Mike and Gloria in season eight, and gave counsel to Stephanie in season nine as it was learned that she was Jewish. (Season 6, 8 & 9, 3 episodes)
Ruth McDevitt as Josephine "Jo" Nelson: She played Justin Quigley's girlfriend, the older man Edith found walking around the supermarket. She appeared in three episodes from seasons four through six. Gloria and Mike adopted them as their godgrandparents. Of most of the characters, Archie took a liking to Justin and Jo. She died following the end of the sixth season. (Season 4 & 5, 3 episodes)
William Benedict as Jimmy McNabb: The Bunkers' neighbor, he appeared in two episodes during the first and second seasons, and was referred to many times during the first few seasons.
Jack Grimes as Mr. Whitehead: A member of Archie's lodge, he was the local funeral director. The death of Archie's cousin Oscar in a season-two episode of All in the Family brings the very short, white-haired, and silver-tongued Whitehead with his catalog of caskets. (Season 2 & 4, 2 episodes)

text: History and production[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. (January 2015) (Learn how and when to remove this template message)

text: The show came about when Norman Lear read an article in Variety magazine on Till Death Us Do Part and its success in the United Kingdom.[17] He immediately knew it portrayed a relationship just like the one between his father and him.[18]

text: Lear bought the rights to the show and incorporated his own family experiences with his father into the show. Lear's father would tell Lear's mother to "stifle herself" and she would tell Lear's father "you are the laziest white man I ever saw" (two "Archieisms" that found their way onto the show).

text: The original pilot was titled Justice for All[19] and was developed for ABC. Tom Bosley, Jack Warden, and Jackie Gleason were all considered for the role of Archie Bunker. In fact, CBS wanted to buy the rights to the original show and retool it specifically for Gleason, who was under contract to them, but producer Lear beat out CBS for the rights and offered the show to ABC.

text: In the pilot, Carroll O'Connor and Jean Stapleton played Archie and Edith Justice. Kelly Jean Peters played Gloria and Tim McIntire played her husband, Richard. It was taped in October 1968 in New York City. After screening the first pilot, ABC gave the producers more money to shoot a second pilot, titled Those Were the Days,[20] which was taped in February 1969 in Hollywood. Candice Azzara played Gloria and Chip Oliver played Richard. D'Urville Martin played Lionel Jefferson in both pilots.

text: After stations' and viewers' complaints caused ABC to cancel Turn-On after only one episode in February 1969, the network became uneasy about airing a show with a "foul-mouthed, bigoted lead" character, and rejected the series[21][22] at about the time Richard Dreyfuss sought the role of Michael. Rival network CBS was eager to update its image and was looking to replace much of its then popular "rural" programming (Mayberry R.F.D., The Beverly Hillbillies, Petticoat Junction, and Green Acres) with more "urban", contemporary series and was interested in Lear's project. CBS bought the rights from ABC and retitled the show All in the Family. The pilot episode CBS developed had the final cast and was the series' first episode.

text: Lear wanted to shoot in black and white as Till Death Us Do Part had been. While CBS insisted on color, Lear had the set furnished in neutral tones, keeping everything relatively devoid of color. As costume designer Rita Riggs described in her 2001 Archive of American Television interview, Lear's idea was to create the feeling of sepia tones, in an attempt to make viewers feel as if they were looking at an old family album.

text: All in the Family was the first major American series to be videotaped in front of a live studio audience. In the 1960s, most sitcoms had been filmed in the single-camera format without audiences, with a laugh track simulating an audience response. Lear employed the multiple-camera format of shooting in front of an audience, but used tape, whereas previous multiple-camera shows like Mary Tyler Moore had used film. Due to the success of All in the Family, videotaping sitcoms in front of an audience became a common format for the genre during the 1970s, '80s, and '90s. The use of videotape also gave All in the Family the look and feel of early live television, including the original live broadcasts of The Honeymooners, to which All in the Family is sometimes compared.

text: For the show's final season, the practice of being taped before a live audience changed to playing the already taped and edited show to an audience and recording their laughter to add to the original sound track. Thus, the voice-over during the end credits was changed from Rob Reiner's "All in the Family was recorded on tape before a live audience" to Carroll O'Connor's "All in the Family was played to a studio audience for live responses". (Typically, the audience was gathered for a taping of One Day at a Time, and got to see All In the Family as a bonus.) Throughout its run, Norman Lear took pride in the fact that canned laughter was never used (mentioning this on many occasions); the laughter heard in the episodes was genuine.

text: Theme song[edit]

text: The series' opening theme song "Those Were The Days",[23] written by Lee Adams (lyrics) and Charles Strouse (music), was presented in a unique way for a 1970s series: Carroll O'Connor and Jean Stapleton seated at a console or spinet piano (played by Stapleton) and singing the tune together on-camera at the start of every episode, concluding with live-audience applause. (The song dates back to the first Justice For All pilot, although on that occasion O'Connor and Stapleton performed the song off-camera and at a faster tempo than the series version.) Six different performances were recorded over the run of the series, including one version that includes additional lyrics. The song is a simple, pentatonic melody (that can be played exclusively with black keys on a piano) in which Archie and Edith wax nostalgic for the simpler days of yesteryear. A longer version of the song was released as a single on Atlantic Records, reaching number 43 on the U.S. Billboard Hot 100 and number 30 on the Billboard Adult Contemporary chart in early 1972; the additional lyrics in this longer version lend the song a greater sense of sadness, and make poignant reference to social changes taking place in the 1960s and early 1970s.

text:
Those Were The Days
Boy, the way Glenn Miller played
Songs that made the hit parade
Guys like us, we had it made
Those were the days!

text:
And you knew where you were then
Girls were girls, and men were men
Mister, we could use a man like Herbert Hoover again

text:
Didn't need no welfare state
Everybody pulled his weight
Gee, our old LaSalle ran great
Those were the days!

text: In the original 1968 pilot episode an additional verse was sung:

text:
Had my twelve tube radio
Loved the Eddie Cantor Show
Oh where did all that beauty go?
Those were the days!

text: A few perceptible drifts can be observed when listening to each version chronologically. In the original version, the lyric "Those Were The Days" was sung over the tonic (root chord of the song's key), and the piano strikes a dominant 7th passing chord in transition to the next part, which is absent from subsequent versions. Jean Stapleton's screeching high note on the line "And you knew who you WEEERRE then" became louder, longer, and more comical, although only in the original version did the line draw a laugh from the audience. Carroll O'Connor's pronunciation of "welfare state" gained more of Archie's trademark whining enunciation, and the closing lyrics (especially "Gee, our old LaSalle ran great") were sung with increasingly deliberate articulation, as viewers had complained that they could not understand the words. Also in the original version, the camera angle was shot slightly from the right side of the talent as opposed to the straight on angle of the next version. Jean Stapleton performed the theme song without glasses beginning in season 6.

text: In addition to O'Connor and Stapleton singing, footage is also shown beginning with aerial shots of Manhattan, and continuing to Queens, progressively zooming in, culminating with a still shot of a lower middle-class semidetached home, presumably representing the Bunkers' house in Astoria. The house shown in the opening credits, however, is actually located at 89–70 Cooper Avenue in the Glendale section of Queens,[24][25] New York. A notable difference exists, however, between the Cooper Avenue house and the All in the Family set: the Cooper Avenue house has no porch, while the Bunkers' home featured a front porch. The footage for the opening had been shot back in 1968 for the series' first pilot, thus the establishing shot of the Manhattan skyline was completely devoid of the World Trade Center towers, which had not yet been built. When the series aired two years later, the Trade Center towers, although under construction, had still not yet risen high enough to become a prominent feature on the Manhattan skyline (this did not happen until the end of 1971). Despite this change in the Manhattan skyline, the original 1968 footage continued to be used for the series opening until the series transitioned into Archie Bunker's Place in 1979. At that time, a new opening with current shots of the Manhattan skyline was used with the Trade Center towers being seen in the closing credits. This opening format – showing actual footage of the cities and neighborhoods in which the show was set – became the standard for most of Norman Lear's sitcoms, including Maude, Good Times, and The Jeffersons.

text: At the end of the opening, the camera then returns to a few final seconds of O'Connor and Stapleton, as they finish the song. At the end of the original version, Edith smiles at Archie and Archie smiles off at a slight distance. In the longest running version (from season 2 to season 5), Edith smiles blissfully at Archie, and Archie puts a cigar in his mouth and returns a rather cynical, sheepish look to Edith. From season 6 through the season 8, Edith smiles and rests her chin on Archie's shoulder. In the final season, Edith hugs Archie at the conclusion. Additionally, in the first three versions of the opening, Archie is seen wearing his classic trademark white shirt. In the last version of the opening for the series' ninth season, Archie is seen wearing a grey sweater-jacket over his white shirt. In all versions of the opening, the song's conclusion is accompanied by applause from the studio audience.

text: The opening for the animated series Family Guy begins with Peter and Lois Griffin singing at the piano, a tribute to the All in the Family opening. As with "Those Were the Days", the lyrics to the Family Guy theme song also seem to imply that things have changed for the worse since the old days ("But where are those good old fashioned values/On which we used to rely?"). The All in the Family opening is also parodied in The Simpsons ninth-season episode "Lisa's Sax", as Homer and Marge Simpson sit at a piano and perform "Those Were the Days" with altered lyrics pertaining to the episode's plot.

text: In interviews, Norman Lear stated that the idea for the piano song introduction was a cost-cutting measure. After completion of the pilot episode, the budget would not allow an elaborate scene to serve as the sequence played during the show's opening credits. Lear decided to have a simple scene of Archie and Edith singing at the piano.

text: The closing theme (an instrumental) was "Remembering You" played by Roger Kellaway with lyrics co-written by Carroll O'Connor. It was played over footage of the same row of houses in Queens as in the opening (but moving in the opposite direction down the street), and eventually moving back to aerial shots of Manhattan, suggesting the visit to the Bunkers' home has concluded. O'Connor recorded a vocal version of "Remembering You" for a record album, but though he performed it several times on TV appearances, the lyrics (about the end of a romance) were never heard in the actual series.

text: Except for some brief instances in the first season, no background or transitional music was used.

text: Setting and location[edit]

text: Lear and his writers set the series in the Queens neighborhood of Astoria. The location of the Bunkers' house at 704 Hauser Street is fictitious (no Hauser Street exists in Queens). The address is not presented the way addresses are given in Queens: most address numbers are hyphenated, containing the number of the nearest cross street. Nevertheless, many episodes reveal that the Bunkers live near the major thoroughfare Northern Boulevard, which was the location of Kelsey's Bar and later Archie Bunker's Place.

text: The façade of the house shown at the show opening is a home located at 89-70 Cooper Avenue, Glendale, Queens, New York, across from St. John Cemetery (40°42′45″N 73°51′39″W / 40.712492°N 73.860784°W / 40.712492; -73.860784).[24]

text: Many real Queens institutions are mentioned throughout the series. Carroll O’Connor, a Queens native from Forest Hills, said in an interview with the Archive of American Television that he suggested to the writers many of the locations to give the series authenticity. For example, Archie is revealed to have attended Flushing High School, a real high school located in Flushing, Queens (although in the "Man Of The Year" episode of Archie Bunker's Place, Archie attended Bryant High School in Long Island City, graduating in 1940). As another example, the 1976 episode "The Baby Contest" deals with Archie entering baby Joey in a cutest baby contest sponsored by the Long Island Daily Press, a then-operating local newspaper in Queens and Long Island.

text: The writers of All in the Family continued throughout the series to have the Bunkers and other characters use telephone exchange names when giving a telephone number (most other series at the time, such as The Mary Tyler Moore Show, were using the standard fake 555 telephone number) at a time when AT&T was trying to discontinue them. At different times throughout the series, the telephone exchanges Ravenswood and Bayside were used for the Bunkers' telephone number. Both exchanges were and still are applicable names for phone numbers in the neighborhoods of Astoria and Bayside. This may have had to do with the fact that at the time many major cities in the United States, such as New York, were resisting the dropping of telephone exchange names in favor of all-number calling, and were still printing their telephone books with exchange names. Actual residents of the Bunkers' age continued using exchange names into the early 1980s. This fact is referred to in the 1979 episode "The Appendectomy", when Edith, while dialing a telephone number, uses the Parkview exchange name only to correct herself by saying that she keeps forgetting that it is all-number dialing now. However, she comes to the conclusion that the number is exactly the same either way.

text: Episodes[edit]

text:
Season
Episodes
Originally aired
Nielsen ratings[26]

First aired
Last aired
Rank
Rating
Tied with

Pilots
2
1968
1969
N/A
N/A
N/A

1
13
January 12, 1971 (1971-01-12)
April 6, 1971 (1971-04-06)
N/A
N/A
N/A

2
24
September 18, 1971 (1971-09-18)
March 11, 1972 (1972-03-11)
1
34.0
N/A

3
24
September 16, 1972 (1972-09-16)
March 24, 1973 (1973-03-24)
1
33.3
N/A

4
24
September 15, 1973 (1973-09-15)
March 16, 1974 (1974-03-16)
1
31.2
N/A

5
23
September 14, 1974 (1974-09-14)
March 8, 1975 (1975-03-08)
1
30.2
N/A

6
24
September 8, 1975 (1975-09-08)
March 8, 1976 (1976-03-08)
1
30.1
N/A

7
25
September 22, 1976 (1976-09-22)
March 12, 1977 (1977-03-12)
12
22.9
N/A

8
24
October 2, 1977 (1977-10-02)
March 19, 1978 (1978-03-19)
4
24.4
60 Minutes
Charlie's Angels

9
24
September 24, 1978 (1978-09-24)
April 8, 1979 (1979-04-08)
9
24.9
Taxi

text: "Sammy's Visit," first broadcast in February 1972, is a particularly notable episode, whose famous episode-ending scene produced the longest sustained audience laughter in the history of the show. Guest star Sammy Davis, Jr. plays himself in the episode. Davis leaves a briefcase behind in Archie's taxi (Archie is moonlighting as a cab driver) and goes to the Bunker home to pick it up. After hearing Archie's racist remarks, Davis asks for a photograph with him. At the moment the picture is taken, Davis suddenly kisses a stunned Archie on the cheek. The ensuing laughter went on for so long that it had to be severely edited[27] for network broadcast, as Carroll O'Connor still had one line ("Well, what the hell — he's Jewish!") to deliver after the kiss. (The line is usually cut in syndication.)

text: Syndication[edit]

text: During the show's sixth season, starting on December 1, 1975, CBS began showing reruns on weekdays at 3 pm (EST), replacing long-running soap opera The Edge of Night, which had been purchased by ABC. It would later move to 3:30 pm and in September 1978, 10 am. This lasted until September 1979, when the reruns entered off-network syndication by Viacom. The show was picked up in most television markets as such. In 1991, the show began to be syndicated by Columbia Pictures Television and has been by their heirs since then.

text: Since the late 1980s, All in the Family has been rerun on various cable and satellite networks including TBS (although they had the rights locally in Atlanta, as well), TV Land, and Nick at Nite. From January 3, 2011 to December 31, 2017, the show aired on Antenna TV. As of January 1, 2018, the show now airs on GetTV.

text: The cast settled their residual rights for a cash payout early in the production run.[28]

text: Ratings[edit]

text: All in the Family is one of three television shows (The Cosby Show and American Idol being the others) that have been number one in the Nielsen ratings for five consecutive TV seasons. The show remained in the top 10 for seven of its nine seasons.

text:
Season
Time
Nielsen Ratings

Rank
Rating

1 (1970–71)
Tuesday at 9:30-10:00 pm on CBS
#34
18.9[29]

2 (1971–72)
Saturday at 8:00-8:30 pm on CBS
#1
34.0[30]

3 (1972–73)
33.3[31]

4 (1973–74)
31.2[32]

5 (1974–75)
30.2[33]

6 (1975–76)
Monday at 9:00-9:30 pm on CBS
30.1[34]

7 (1976–77)
Wednesday at 9:00-9:30 pm on CBS (September 22—October 27, 1976)
Saturday at 9:00-9:30 pm on CBS (November 6, 1976—March 12, 1977)
#12
22.9[35]

8 (1977–78)
Sunday at 9:00-9:30 pm on CBS
#4
24.4 (Tied with 60 Minutes and Charlie's Angels)[36]

9 (1978–79)
Sunday at 9:00-9:30 pm on CBS (September 24—October 1, 1978)
Sunday at 8:00-8:30 pm on CBS (October 8, 1978—April 8, 1979)
#9
24.9 (Tied with Taxi)[37]

text: The series finale was seen by 40.2 million viewers.[38]

text: Spin-offs[edit]

text: According to The Complete Directory to Prime Time Network and Cable TV Shows 1946–Present, All in the Family has the most spin-offs for a prime-time television series, spawning five other shows, three of which were very successful and two of which are spin-offs from spin-offs.[39]

text:
The first spin-off was Maude, which debuted in September 1972. It features Edith's acerbic cousin Maude Findlay (Bea Arthur), who first appeared on All in the Family in the December 1971 episode "Cousin Maude's Visit", visiting to take care of the influenza-suffering Bunkers. In March 1972, at the end of the series' second season, the character was again featured in the episode "Maude". In this episode, a "back door pilot" for a new series, Archie and Edith visit her home in Westchester County to attend the wedding of her daughter Carol. Bill Macy played Maude's husband Walter and Marcia Rodd played Carol; Rodd was replaced by Adrienne Barbeau for the series. The show lasted for six seasons and 141 episodes, airing its final episode in April 1978.

Good Times is considered by some to be a spin off of Maude, as the show's focus was Florida Evans, a character first appearing on Maude during its initial seasons as the Findlays maid. But the character's history and situation were changed for the new show. According to producer Allan Manings, "It wasn't really a spin-off."[40] The show features no reference to Maude, changes the name of Florida's husband from Henry to James, and sets the show in a Chicago housing project. It ran for six seasons from February 1974 to August 1979.

The second and longest-lasting spin-off of All in the Family was The Jeffersons. Debuting on CBS in January 1975, The Jeffersons lasted 11 seasons and 253 episodes (more than All in the Family's nine seasons and 208 episodes). The main characters were the Bunkers' former next-door neighbors George and Louise Jefferson (Sherman Hemsley and Isabel Sanford). George was the owner of seven successful dry-cleaning stores, and the series featured their life after moving from the Bunkers' working-class neighborhood to a luxury high-rise apartment building in Manhattan's Upper East Side.

Checking In was spun off from The Jeffersons, focusing on the Jeffersons' maid Florence Johnston, working as an executive housekeeper at the St. Frederick Hotel in Manhattan. It only lasted four weeks in April 1981, and the character returned to her old job as the Jeffersons' maid.

Gloria was the third spin-off of All in the Family, focusing on now-divorced Gloria, starting a new life as an assistant trainee to a couple of veterinarians in Foxridge, New York. It premiered in September 1982, and ran for one season.
Archie Bunker's Place was technically a spin-off, but was essentially a renamed continuation of the series, beginning in September 1979 following the final season of the original. It was primarily set in the titular neighborhood tavern which Archie Bunker purchased in the eighth-season of All in the Family. It aired for four seasons, until April 1983.
704 Hauser features the Bunkers' house with a new family. It was an inversion of the formula of the original, featuring a liberal African-American couple with a conservative son, who is dating a white Jewish woman. Gloria and Mike's son Joey Stivic, now in his twenties, makes a brief appearance in the first episode. Five episodes aired in April and May 1994.

text: Specials[edit]

text: At the height of the show's popularity, Henry Fonda hosted a special one-hour retrospective of All in the Family and its impact on American television. Included were clips from the show's most memorable episodes up to that time. It was titled The Best of "All in the Family", and aired on December 21, 1974.

text: A 90-minute retrospective, All in the Family 20th Anniversary Special, was produced to commemorate the show's 20th anniversary and aired on CBS on February 16, 1991. It was hosted by Norman Lear, and featured a compilation of clips from the show's best moments, and interviews with the four main cast members. The special was so well received by the viewing audience CBS aired reruns of All in the Family during their summer schedule in 1991,[41] garnering higher ratings than the new series scheduled next to it, Norman Lear's sitcom Sunday Dinner. The latter was Lear's return to TV series producing after a seven-year absence, and was cancelled after the six-week tryout run.[citation needed]

text: DVD releases[edit]

text: Sony Pictures Home Entertainment (formerly Columbia TriStar Home Entertainment) released the first six seasons of All in the Family on DVD in Region 1 between 2002 and 2007. No further seasons were released, because the sales figures did not match Sony's expectations.

text: On June 23, 2010, Shout! Factory announced that it had acquired the rights to the series, and has since released the remaining three seasons.[42][43][44][45]

text: On October 30, 2012, Shout! Factory released All in the Family - The Complete Series on DVD in Region 1. The 28-disc boxed set features all 208 episodes of the series, as well as bonus features.[46]

text:
DVD Name
Ep #
Release Date

The Complete First Season
13
March 26, 2002

The Complete Second Season
24
February 4, 2003

The Complete Third Season
24
July 20, 2004

The Complete Fourth Season
24
April 12, 2005

The Complete Fifth Season
25
January 3, 2006

The Complete Sixth Season
24
February 13, 2007

The Complete Seventh Season
25
October 5, 2010

The Complete Eighth Season
24
January 11, 2011

The Complete Ninth Season
24
May 17, 2011

The Complete Series
208
October 30, 2012

text: Cultural impact[edit]

text: As one of US television's most acclaimed and groundbreaking programs, All in the Family has been referenced or parodied in countless other forms of media. References on other sitcoms include That '70s Show and The Simpsons. The animated series Family Guy pays homage to All in the Family in the opening sequence which features Peter and Lois Griffin playing the piano and singing a lament on the loss of traditional values and also paid tribute to the ending credits of the show at the end of the episode "Stewie Loves Lois".

text: Popular T-shirts, buttons, and bumper stickers showing O'Connor's image and farcically promoting "Archie Bunker for President" appeared around the time of the 1972 presidential election. In 1998, All in the Family was honored on a 33-cent stamp by the USPS.[48]

text: Archie and Edith Bunker's chairs are on display in the Smithsonian National Museum of American History.[49] The originals had been purchased by the show's set designer for a few dollars at a local Goodwill thrift store, and were given to the Smithsonian (for an exhibit on American television history) in 1978. It cost producers thousands of dollars to create replicas to replace the originals.

text: Then-US President Richard Nixon can be heard[50] discussing the show (specifically the 1971 episodes "Writing the President" and "Judging Books by Covers") on one of the infamous Watergate tapes.[51]

text: Rapper Redman has made references to Archie Bunker in a few of his songs, specifically his smoking of large cigars.[52]

text: Awards and nominations[edit]

text: All in the Family is the first of four sitcoms in which all the lead actors (O'Connor, Stapleton, Struthers, and Reiner) won Primetime Emmy Awards. The other three are The Golden Girls, The Simpsons, and Will and Grace.

text: Primetime Emmy awards and nominations[edit]

text:
Outstanding New Series (Won)
Outstanding Series - Comedy (Won)
Outstanding Continued Performance by an Actor in a Leading Role in a Comedy Series: Carroll O'Connor (Nominated)
Outstanding Continued Performance by an Actress in a Leading Role in a Comedy Series: Jean Stapleton (Won)
Outstanding Directorial Achievement in Comedy: John Rich for "Gloria's Pregnant" (Nominated)
Outstanding Writing Achievement in Comedy:

Norman Lear for "Meet the Bunkers" (Nominated)
Stanley Ralph Ross for "Oh, My Aching Back" (Nominated)

text:
Outstanding Series - Comedy (Won)
Outstanding Single Program - Drama or Comedy for "Sammy's Visit" (Nominated)
Outstanding Achievement in Live or Tape Sound Mixing: Norman Dewes for "The Elevator Story" (Won)
Outstanding Continued Performance by an Actor in a Leading Role in a Comedy Series: Carroll O'Connor (Won)
Outstanding Continued Performance by an Actress in a Leading Role in a Comedy Series: Jean Stapleton (Won)
Outstanding Performance by an Actor in a Supporting Role in a Comedy Series: Rob Reiner (Nominated)
Outstanding Performance by an Actress in a Supporting Role in a Comedy Series: Sally Struthers (Won)
Outstanding Directorial Achievement in Comedy: John Rich for "Sammy's Visit" (Won)
Outstanding Writing Achievement in Comedy:

Burt Styler for "Edith's Problem" (Won)
Alan J. Levitt and Philip Mishkin for "Mike's Problem" (Nominated)
Norman Lear and Burt Styler for "The Saga of Cousin Oscar" (Nominated)

text:
Outstanding Comedy Series (Won)
Outstanding Continued Performance by an Actor in a Leading Role in a Comedy Series: Carroll O'Connor (Nominated)
Outstanding Continued Performance by an Actress in a Leading Role in a Comedy Series: Jean Stapleton (Nominated)
Outstanding Performance by an Actor in a Supporting Role in a Comedy Series: Rob Reiner (Nominated)
Outstanding Performance by an Actress in a Supporting Role in a Comedy Series: Sally Struthers (Nominated)
Outstanding Directorial Achievement in Comedy: Bob LaHendro and John Rich for "The Bunkers and the Swingers" (Nominated)[53]
Outstanding Writing Achievement in Comedy: Lee Kalcheim & Michael Ross & Bernie West for "The Bunkers and the Swingers" (Won)[53]

text:
Outstanding Comedy Series (Nominated)
Best Lead Actor in a Comedy Series: Carroll O'Connor (Nominated)
Best Lead Actress in a Comedy Series: Jean Stapleton (Nominated)
Best Supporting Actor in a Comedy Series: Rob Reiner (Won)
Best Supporting Actress in a Comedy Series: Sally Struthers (Nominated)

text:
Outstanding Comedy Series (Nominated)
Outstanding Lead Actor in a Comedy Series: Carroll O'Connor (Nominated)
Outstanding Lead Actress in a Comedy Series: Jean Stapleton (Nominated)
Outstanding Continuing Performance by a Supporting Actor in a Comedy Series: Rob Reiner (Nominated)

text: Outstanding Comedy Series (Nominated)

text:
Outstanding Comedy Series (Nominated)
Outstanding Lead Actor in a Comedy Series: Carroll O'Connor (Won)
Outstanding Lead Actress in a Comedy Series: Jean Stapleton (Nominated)
Outstanding Directing for a Comedy Series: Paul Bogart for "The Draft Dodger" (Nominated)
Outstanding Art Direction or Scenic Design for a Comedy Series: Don Roberts for "The Unemployment Story" (Nominated)

text:
Outstanding Comedy Series (Won)
Outstanding Lead Actor in a Comedy Series: Carroll O'Connor (Won)
Outstanding Lead Actress in a Comedy Series: Jean Stapleton (Won)
Outstanding Continuing Performance by a Supporting Actor in a Comedy Series: Rob Reiner (Won)
Outstanding Continuing Performance by a Supporting Actress in a Comedy Series: Sally Struthers (Nominated)
Outstanding Directing for a Comedy Series: Paul Bogart for "Edith's 50th Birthday" (Won)
Outstanding Writing for a Comedy Series:

Bob Schiller and Bob Weiskopf for "Edith's 50th Birthday" (Nominated)
Larry Rhine & Erik Tarloff & Mel Tolkin for "Edith's Crisis of Faith" (Nominated)
Harve Brosten & Barry Harman & Bob Schiller & Bob Weiskopf for "Cousin Liz" (Won)

text:
Outstanding Comedy Series (Nominated)
Outstanding Lead Actor in a Comedy Series: Carroll O'Connor (Won)
Outstanding Lead Actress in a Comedy Series: Jean Stapleton (Nominated)
Outstanding Supporting Actress in a Comedy, Comedy-Variety, or Music Series: Sally Struthers (Won)
Outstanding Directing for a Comedy, Comedy-Variety, or Music Series: Paul Bogart for "California, Here We Are" (Nominated)
Outstanding Writing for a Comedy, Comedy-Variety, or Music Series: Milt Josefsberg & Bob Schiller & Phil Sharp & Bob Weiskopf for "California, Here We Are" (Nominated)
Outstanding Video Tape Editing for a Series: Harvey W. Berger and Hal Collins for "The 200th Episode Celebration of 'All in the Family'" (Nominated)

text: Golden Globe Awards and Nominations[edit]

text:
Best TV Show - Musical/Comedy (Won)
Best TV Actor - Musical/Comedy: Carroll O'Connor (Won)
Best TV Actress - Musical/Comedy: Jean Stapleton (Nominated)
Best Supporting Actor - Television: Rob Reiner (Nominated)
Best Supporting Actress - Television: Sally Struthers (Nominated)

text:
Best TV Show - Musical/Comedy (Won)
Best TV Actor - Musical/Comedy: Carroll O'Connor (Nominated)
Best TV Actress - Musical/Comedy: Jean Stapleton (Won)
Best Supporting Actor - Television: Rob Reiner (Nominated)
Best Supporting Actress - Television: Sally Struthers (Nominated)

text:
Best TV Show - Musical/Comedy (Nominated)
Best TV Actor - Musical/Comedy: Carroll O'Connor (Nominated)
Best TV Actress - Musical/Comedy: Jean Stapleton (Nominated)
Best Supporting Actress - Television: Betty Garrett (Won)

text:
Best TV Actor - Musical/Comedy: Carroll O'Connor (Nominated)
Best Supporting Actor - Television: Rob Reiner (Nominated)

text:
Best TV Series - Musical/Comedy (Won)
Best TV Actor - Musical/Comedy: Carroll O'Connor (Nominated)
Best TV Actress - Musical/Comedy: Jean Stapleton (Nominated)

text:
Best TV Series - Musical/Comedy (Nominated)
Best TV Actress - Musical/Comedy: Jean Stapleton (Nominated)

text: Best TV Actress - Musical/Comedy: Jean Stapleton (Nominated)

text: TCA Heritage Award[edit]

text: In 2013, the Television Critics Association honored All in the Family with its Heritage Award for its cultural and social impact on society.[54]


document_title: Lead paint

question_text: when did lead start being used in paint

question_tokens: when did lead start being used in paint

root

text: Lead paint

text: History[edit]

text: Lead white was being produced during the 4th century BC; the process is described by Pliny the Elder, Vitruvius and the ancient Greek author Theophrastus.

tag: p

text: The traditional method making the pigment was called the stack process. Hundreds or thousands of earthenware pots containing vinegar and lead were embedded in a layer of either tan bark or cow feces. The pots were designed so that the vinegar and lead were in separate compartments, but the lead was in contact with the vapor of the vinegar. The lead was usually coiled into a spiral, and placed on a ledge inside the pot. The pot was loosely covered with a grid of lead, which allowed the carbon dioxide formed by the fermentation of the tan bark or the dung to circulate in the pot. Each layer of pots was covered by a new layer of tan, then another layer of pots. the heat created by the fermentation, acetic acid vapor and carbon dioxide within the stack did their work, and within a month the lead coils were covered with a crust of white lead. This crust was separated from the lead, washed and ground for pigment. This was an extremely dangerous process for the workmen. Medieval texts warned of the danger of "apoplexy, epilepsy, and paralysis" from working with lead white.[2]

text: Despite the risks, the pigment was very popular with artists because of its density and opacity; a small amount could cover a large surface. It was widely used by artists until the 19th century, when it was replaced by zinc white and titanium white.[3]

text: The dangers of lead paint were considered well-established by the beginning of the 20th century. In the July 1904 edition of its monthly publication, Sherwin-Williams reported the dangers of paint containing lead, noting that a French expert had deemed lead paint "poisonous in a large degree, both for the workmen and for the inhabitants of a house painted with lead colors."[4] As early as 1886, German health laws prohibited women and children from working in factories processing lead paint and lead sugar.[5]

text: Toxicity[edit]

text: Lead paint is hazardous. It can cause nervous system damage, stunted growth, kidney damage, and delayed development.[6] It is dangerous to children because it tastes sweet, therefore encouraging children to put lead chips and toys with lead dust in their mouths. Lead paint is dangerous to adults and can cause reproductive problems in men or women. Decreases in sperm production in men have been noted. Lead is considered a possible and likely carcinogen. High levels may result in death.

text: Regulation[edit]

text: The examples and perspective in this section deal primarily with the United States and do not represent a worldwide view of the subject. You may improve this article, discuss the issue on the talk page, or create a new article, as appropriate. (May 2012) (Learn how and when to remove this template message)

tag: table

text: The European Union has passed a directive controlling lead paint use.

text: In Canada, regulations were first enacted under the Hazardous Products Act in 1976 that limited lead content of paints and other liquid coatings on furniture, household products, children's products, and exterior and interior surfaces of any building frequented by children to 0.5% by weight.[7] New regulations on surface coating materials, which came into force in 2005, further limit lead to its background level for both interior and exterior paints sold to consumers. Canadian paint manufacturers have been conforming to this background level in their interior and exterior consumer paints since 1991.[8] Nevertheless, a Canadian company, Dominion Colour Corporation, is "the largest manufacturer of lead-based paint pigments in the world" and has faced public criticism for obtaining permission from the European Chemicals Agency to continue to export lead chromate paints from its Dutch subsidiary to countries where its uses are not tightly regulated.[9]

text: The United States' Consumer Product Safety Commission (CPSC) banned lead paint in 1977 in residential properties and public buildings (16 CFR 1303), along with toys and furniture containing lead paint. The cited reason was "to reduce the risk of lead poisoning in children who may ingest paint chips or peelings."[10] For manufacturers, the CPSC instituted the Consumer Product Safety Improvement Act of 2008, which changed the cap on lead content in paint from 0.06% to 0.009% starting August 14, 2009.

text: In April 2010 the U.S. Environmental Protection Agency required that all renovators working in homes built before 1978 and disturbing more than six square feet of lead paint inside the home or 20 square feet outside the home be certified. EPA's Lead Renovation, Repair and Painting Rule (RRP Rule) lowers the risk of lead contamination from home renovation activities. It requires that firms performing renovation, repair, and painting projects that disturb lead-based paint in homes, child care facilities and pre-schools (any child occupied facility) built before 1978 be certified by EPA and use certified renovators who are trained by EPA-approved training providers to follow lead-safe work practices.[11]

text: Lead paint is not prohibited in India. A 2015 study found that over 31% of household paints in India had lead concentration above 10,000 parts per million (ppm), which far exceeds the BIS standard of 90 ppm for lead in paint.[12]

text: Lead paint in art[edit]

text: Oil paints[edit]

text: In art, white lead paint is known as "flake white" or "Cremnitz white". It is valued for the ease of handling and resilience the lead confers to oil paints. Lead white paint dries relatively quickly to form a strong, flexible paint film. Lead-based white is one of the oldest manufactured pigments. It was the only white pigment available to artists in appreciable quantities until the twentieth century, when zinc-white and titanium-white became available.[13] Industrially produced lead white, the typical pigment from the 19th century until its ban, was thought to be inferior to traditionally fabricated forms, which had larger "flake" particles that conferred ease of handling.

text: Titanium and zinc whites are far less toxic than lead white and have largely supplanted it in most fine arts applications. Safety regulations have also made lead white more expensive and difficult to obtain in some regions, such as the EU. However, lead white oil paints are still produced and in use by artists who prefer their unique handling, mixing, and structural qualities.[13]

text: Flake white has various drawbacks, including a tendency to become transparent over time. It also blackens in the presence of certain atmospheric pollutants, although this can be reversed.

text: Water-based paints[edit]

text: Lead is not a traditional pigment in water mediums, as zinc is superior for works on paper, as is calcium hydroxide (slaked lime) for frescos. Lead-based paints, when used on paper, often cause the work to become discolored after long periods of time; the paint's lead carbonate reacts with hydrogen sulfide in the air and with acids, which often come from fingerprints.[14]

text: Substitutes[edit]

text: Titanium[edit]

text: Paint manufacturers have replaced white lead with a less toxic substitute, titanium white (based on the pigment titanium dioxide), which was first used in paints in the 19th century. Titanium dioxide is considered safe enough to use as a food coloring and in toothpaste. It is also a common ingredient in sunscreen. When used in paints today, it is often coated with silicon or aluminum oxides for durability. Titanium white has far greater opacity and tinting strength than lead white, and it can easily overpower most other pigments if not mixed carefully. Titanium white has been criticized for leading to "chalkiness" in mixtures, and for allegedly decreasing the permanence of organic pigments mixed with it due to its high refractive index.

text: Zinc[edit]

text: Zinc white is less opaque and weaker in tinting strength than either titanium white or lead white. It is commonly used to lighten mixtures subtly while maintaining transparency. Although zinc white is the standard white in watercolors, its structural soundness in oils has been debated. Zinc white dries slowly and creates a relatively inflexible paint film. Critics of the pigment argue that its use leads to excessive cracking and delamination, even when used sparingly.[15]


document_title: List of National Basketball Association single-game scoring leaders

question_text: who has the most points scored in a nba game

text: Key[edit]

text:
^

Denotes player who is currently active in the NBA

*

Denotes player who has been inducted into the Naismith Memorial Basketball Hall of Fame

Occurred in playoff competition

Player's team lost the game

MP
Minutes played
FGM
Field goals made
FGA
Field goal attempts

3PM
3-point field goals made
3PA
3-point field goal attempts
DNP
Did not play

FTM
Free throws made
FTA
Free throw attempts

text: List[edit]

text:
Rank

Points

Player

Date

1st

2nd

3rd

4th

Team

Opponent

Score

MP

FGM

FGA

3PM

3PA

FTM

FTA

Notes

Ref.

Scoring by quarter

1

100

Wilt Chamberlain*

March 2, 1962

23

18

28

31

Philadelphia Warriors

New York Knicks

169–147

48

36

63

—

—

28

32

[A]

[1][2] [3][4][5]

2

81

Kobe Bryant

January 22, 2006

14

12

27

28

Los Angeles Lakers

Toronto Raptors

122–104

41:56

28

46

7

13

18

20

[B]

[6][7][8]

3

78

Wilt Chamberlain*

December 8, 1961

—

—

—

—

Philadelphia Warriors

Los Angeles Lakers

147–151

63

31

62

—

—

16

31

[C]

[5]

4

73

Wilt Chamberlain*

January 13, 1962

—

—

—

—

Philadelphia Warriors

Chicago Packers

135–117

48

29

48

—

—

15

25

[D]

[5]

73

Wilt Chamberlain*

November 16, 1962

—

—

—

—

San Francisco Warriors

New York Knicks

127–111

48

29

43

—

—

15

19

[E]

[9]

73

David Thompson*

April 9, 1978

32

21

9

11

Denver Nuggets

Detroit Pistons

137–139

43

28

38

—

—

17

20

[F]

7

72

Wilt Chamberlain*

November 3, 1962

—

—

—

—

San Francisco Warriors

Los Angeles Lakers

115–127

—

29

48

—

—

14

18

[9]

8

71

Elgin Baylor*

November 15, 1960

—

—

—

—

Los Angeles Lakers

New York Knicks

123–108

45

28

48

—

—

15

18

[G]

71

David Robinson*

April 24, 1994

18

6

19

28

San Antonio Spurs

Los Angeles Clippers

112–97

44

26

41

1

2

18

25

[H]

[10][11]

10

70

Wilt Chamberlain*

March 10, 1963

—

—

—

—

San Francisco Warriors

Syracuse Nationals

148–163

48

27

38

—

—

16

22

[9]

70

Devin Booker^

March 24, 2017

10

9

23

28

Phoenix Suns

Boston Celtics

120–130

45

21

40

4

11

24

26

[I]

12

69

Michael Jordan*

March 28, 1990

16

15

20

18

Chicago Bulls

Cleveland Cavaliers

117–113

50

23

37

2

6

21

23

[J]

[12][13][14]

13

68

Wilt Chamberlain*

December 16, 1967

14

15

15

24

Philadelphia 76ers

Chicago Bulls

143–123

—

30

40

—

—

8

22

68

Pete Maravich*

February 25, 1977

17

14

17

20

New Orleans Jazz

New York Knicks

124–107

43

26

43

—

—

16

19

15

67

Wilt Chamberlain*

March 9, 1961

—

—

—

—

Philadelphia Warriors

New York Knicks

135–126

—

27

37

—

—

13

17

67

Wilt Chamberlain*

February 17, 1962

—

—

—

—

Philadelphia Warriors

St. Louis Hawks

121–128

48

26

44

—

—

15

20

[5]

67

Wilt Chamberlain*

February 25, 1962

—

—

—

—

Philadelphia Warriors

New York Knicks

135–149

48

25

38

—

—

17

22

[5]

67

Wilt Chamberlain*

January 11, 1963

—

—

—

—

San Francisco Warriors

Los Angeles Lakers

129–134

—

28

47

—

—

11

17

[9]

19

66

Wilt Chamberlain*

February 9, 1969

17

17

22

10

Los Angeles Lakers

Phoenix Suns

134–116

48

29

35

—

—

8

18

[K]

20

65

Wilt Chamberlain*

February 13, 1962

—

—

—

—

Philadelphia Warriors

Cincinnati Royals

132–152

48

24

40

—

—

17

30

[5]

65

Wilt Chamberlain*

February 27, 1962

—

—

—

—

Philadelphia Warriors

St. Louis Hawks

147–137

48

25

43

—

—

15

20

[5]

65

Wilt Chamberlain*

February 7, 1966

—

—

—

—

Philadelphia 76ers

Los Angeles Lakers

132–125

—

28

43

—

—

9

20

65

Kobe Bryant

March 16, 2007

4

19

9

24

Los Angeles Lakers

Portland Trail Blazers

116–111

49:58

23

39

8

12

11

12

[L]

[15]

24

64

Elgin Baylor*

November 8, 1959

13

12

17

22

Minneapolis Lakers

Boston Celtics

136–115

—

25

47

—

—

14

19

[M]

64

Rick Barry*

March 26, 1974

—

—

23

22

Golden State Warriors

Portland Trail Blazers

143–120

43

30

45

—

—

4

5

64

Michael Jordan*

January 16, 1993

22

8

11

16

Chicago Bulls

Orlando Magic

124–128

47

27

49

1

5

9

11

[N]

[16]

27

63

Joe Fulks*

February 10, 1949

—

—

—

—

Philadelphia Warriors

Indianapolis Jets

108–87

—

27

56

—

—

9

14

[O]

63

Elgin Baylor*

December 8, 1961

—

—

—

—

Los Angeles Lakers

Philadelphia Warriors

151–147

—

23

55

—

—

17

24

[P]

[17]

63

Jerry West*

January 17, 1962

—

—

—

—

Los Angeles Lakers

New York Knicks

129–121

39

22

36

—

—

19

22

63

Wilt Chamberlain*

December 14, 1962

—

—

—

—

San Francisco Warriors

Los Angeles Lakers

118–120

—

24

41

—

—

15

20

[9]

63

Wilt Chamberlain*

November 26, 1964

—

—

—

—

San Francisco Warriors

Philadelphia 76ers

117–128

—

27

58

—

—

9

20

63

George Gervin*

April 9, 1978

20

33

10

DNP

San Antonio Spurs

New Orleans Jazz

132–153

33

23

49

—

—

17

20

[Q]

63

Michael Jordan*

April 20, 1986

17

6

13

18

Chicago Bulls

Boston Celtics

131–135

53

22

41

0

0

19

21

[R]

34

62

Wilt Chamberlain*

January 14, 1962

—

—

—

—

Philadelphia Warriors

Boston Celtics

136–145

48

27

45

—

—

8

10

[5]

62

Wilt Chamberlain*

January 17, 1962

—

—

—

—

Philadelphia Warriors

St. Louis Hawks

136–130

53

24

48

—

—

14

20

[S]

[5]

62

Wilt Chamberlain*

January 21, 1962

—

—

—

—

Philadelphia Warriors

Syracuse Nationals

139–132

53

25

42

—

—

12

17

[T]

[5]

62

Wilt Chamberlain*

January 29, 1963

—

—

—

—

San Francisco Warriors

New York Knicks

123–103

—

27

44

—

—

8

17

[9]

62

Wilt Chamberlain*

November 15, 1964

—

—

—

—

San Francisco Warriors

Cincinnati Royals

122–106

—

26

44

—

—

10

21

62

Wilt Chamberlain*

March 3, 1966

—

—

—

—

Philadelphia 76ers

San Francisco Warriors

135–125

—

26

39

—

—

10

19

62

Tracy McGrady*

March 10, 2004

7

21

24

10

Orlando Magic

Washington Wizards

108–99

45:50

20

37

5

14

17

26

[18]

62

Kobe Bryant

December 20, 2005

15

17

30

DNP

Los Angeles Lakers

Dallas Mavericks

112–90

32:53

18

31

4

10

22

25

[U]

[19][20]

62

Carmelo Anthony^

January 24, 2014

20

17

19

6

New York Knicks

Charlotte Bobcats

125–96

38:39

23

35

6

11

10

10

[V]

[21]

43

61

George Mikan*

January 20, 1952

18

18

—

—

Minneapolis Lakers

Rochester Royals

91–81

—

22

45

—

—

17

21

[W]

61

Wilt Chamberlain*

December 9, 1961

—

—

—

—

Philadelphia Warriors

Chicago Packers

135–113

48

28

48

—

—

5

10

[5]

61

Wilt Chamberlain*

February 22, 1962

—

—

—

—

Philadelphia Warriors

St. Louis Hawks

139–121

48

21

36

—

—

19

34

[5]

61

Wilt Chamberlain*

February 28, 1962

—

—

—

—

Philadelphia Warriors

Chicago Packers

128–119

48

24

46

—

—

13

17

[5]

61

Elgin Baylor*

April 14, 1962

18

15

13

15

Los Angeles Lakers

Boston Celtics

126–121

—

22

46

—

—

17

19

[X]

61

Wilt Chamberlain*

November 21, 1962

—

—

—

—

San Francisco Warriors

Cincinnati Royals

139–143

—

27

52

—

—

7

15

[9]

61

Wilt Chamberlain*

December 11, 1962

—

—

—

—

San Francisco Warriors

Syracuse Nationals

136–124

—

27

57

—

—

7

11

[9]

61

Wilt Chamberlain*

December 18, 1962

—

—

—

—

San Francisco Warriors

St. Louis Hawks

130–110

—

26

53

—

—

9

14

[9]

61

Michael Jordan*

March 4, 1987

14

10

7

26

Chicago Bulls

Detroit Pistons

125–120

43

22

39

0

0

17

18

[Y]

[22][23][24]

61

Michael Jordan*

April 16, 1987

15

17

16

13

Chicago Bulls

Atlanta Hawks

114–117

41

22

38

0

3

17

21

[Z]

[25][26][27][28][29]

61

Karl Malone*

January 27, 1990

17

13

20

11

Utah Jazz

Milwaukee Bucks

144–96

33

21

26

0

0

19

23

[30]

61

Shaquille O'Neal*

March 6, 2000

10

16

16

19

Los Angeles Lakers

Los Angeles Clippers

123–103

44:52

24

35

0

0

13

22

[AA]

[31]

61

Kobe Bryant

February 2, 2009

18

16

12

15

Los Angeles Lakers

New York Knicks

126–117

36:48

19

31

3

6

20

20

[32]

61

LeBron James^

March 3, 2014

11

13

25

12

Miami Heat

Charlotte Bobcats

124–107

41:12

22

33

8

10

9

12

[AB]

[33][34]

57

60

Wilt Chamberlain*

December 1, 1961

—

—

—

—

Philadelphia Warriors

Los Angeles Lakers

138–117

48

22

47

—

—

16

26

[5]

60

Wilt Chamberlain*

December 29, 1961

—

—

—

—

Philadelphia Warriors

Los Angeles Lakers

123–118

48

24

43

—

—

12

19

[AC]

[5]

60

Wilt Chamberlain*

January 26, 1969

18

9

10

23

Los Angeles Lakers

Cincinnati Royals

126–113

—

22

36

—

—

16

24

[AD]

60

Bernard King*

December 25, 1984

21

19

11

9

New York Knicks

New Jersey Nets

114–120

41

19

30

0

0

22

26

[35]

60

Larry Bird*

March 12, 1985

12

11

19

18

Boston Celtics

Atlanta Hawks

126–115

43

22

36

1

4

15

16

[AE]

[36]

60

Tom Chambers

March 24, 1990

14

21

14

11

Phoenix Suns

Seattle SuperSonics

121–95

42

22

32

0

0

16

18

[37][38][39][40]

60

Allen Iverson*

February 12, 2005

17

12

11

20

Philadelphia 76ers

Orlando Magic

112–99

42:01

17

36

2

5

24

27

[41][42]

60

Gilbert Arenas

December 17, 2006

12

5

12

15

Washington Wizards

Los Angeles Lakers

147–141

49:00

17

32

5

12

21

27

[AF]

[43]

60

Kobe Bryant

March 22, 2007

13

11

19

17

Los Angeles Lakers

Memphis Grizzlies

121–119

45:11

20

37

3

7

17

18

[AG]

[44]

60

Kobe Bryant

April 13, 2016

15

7

15

23

Los Angeles Lakers

Utah Jazz

101–96

42

22

50

6

21

10

12

[AH]

[45][46]

60

Klay Thompson^

December 5, 2016

17

23

20

DNP

Golden State Warriors

Indiana Pacers

142–106

29

21

33

8

14

10

11

[AI]

[47]

60

James Harden^

January 30, 2018

16

13

13

18

Houston Rockets

Orlando Magic

114–107

46:26

19

30

5

14

17

18

[AJ]

[48]


document_title: Sara Tancredi

question_text: when does sara tancredi come back to prison break

text: Sara Tancredi

text: Background[edit]

text: Raised in Chicago, Sara Tancredi's ambitions to be a doctor began when she was very young. While at Northwestern University, where she was a Phi Beta Kappa, she was introduced to the works of Mahatma Gandhi and decided to become a humanitarian, which later influenced her decision to work at Fox River State Penitentiary.[1] Another factor which contributed to her occupational choice was her past morphine addiction, culminating in being unable to help a boy after he was run over, because she was high, which was revealed in a flashback episode of the first season, "Brother's Keeper". At 29 years old, Dr. Sara Tancredi was one of the few doctors working at Fox River. Her chosen occupation became a constant source of stress for her father. Sara is the only child of the Governor of Illinois, Frank Tancredi (portrayed by John Heard). Due to her father's hectic political career and vastly differing beliefs, she did not have a close relationship with him. In episode "Buried", it was revealed that her mother has already died.

text: Appearances[edit]

text: In the first season, Sara is mostly featured in scenes with Michael Scofield, while in the second season, Sara has mainly appeared in scenes with Frank Tancredi, Paul Kellerman or by herself. She has appeared in every episode of seasons 1, 2 and 4 except for second season episodes, "Otis" and "John Doe".Her death was faked early in the third season, apparently beheaded by Gretchen Morgan, and her "head" was delivered in a box to Lincoln Burrows. In season 4 it is discovered that the head was a ploy and that Sara is alive.

text: Season 1[edit]

text: Sara is introduced to the series when Michael Scofield first visits the infirmary in the pilot episode. In the first and second episode, their interactions are cordial but formal. However, Sara's curiosity is awakened when he attempts to charm her, and after she checks his academic record, she is surprised that he had graduated with a master's degree. In "Allen", she notices his nervousness as she tests for his glucose count to confirm his diabetes. However, she dismisses it after his test apparently passed (but only because Michael had taken insulin blockers to raise his blood sugar). Michael's regular visits to the infirmary becomes an important plot point, as it represents a major step in his plan. Sara treats Michael after two of his toes are cut off in the episode "Cell Test", and the subsequent bonding between them turns their relationship into a more personal one. Most episodes feature Sara interacting with Michael during these visits, initially careful to deflect all his attempts to charm her. However, after Michael rescues Sara from inmates' intent to rape and kill her in "Riots, Drills, and the Devil", she begins to grow more comfortable around him. This is not without duality, though, as another plot point includes Sara discovering that Michael lied about a PI assignment. However, she is strengthened in her belief that Michael is different from the other prisoners, and several episodes has her trying to obtain information about him, such as when she is required to conduct a medical check-up on Michael's brother Lincoln Burrows (Dominic Purcell), and questions him on Michael's background. She also visits Michael's former psychiatrist in "Tweener". As Sara’s character searches for clues about Michael, and though she knows that something is very suspicious, she can't stop herself from being attracted to him.

text: In later episodes, though, Sara attempts to distance herself from Michael. After she discovers that he is married and had a conjugal visit in the episode "And Then There Were 7", she announces that they will now be doctor-patient only. In the following episodes, her tone with Michael is more distant, though she continues to help him in subsequent episodes despite their relationship. After meeting with Lincoln Burrows' lawyers on his execution day in episode "The Rat", Sara becomes convinced that Lincoln is innocent and attempts to persuade her father to ask him to review Lincoln's case after Michael pleads with her. Her father denies the appeal, but additional information emerges to postpone the execution. Sara's character plays a critical role in the episode "The Key", where Michael must take possession of a key to the infirmary door. He ultimately kisses her as a distraction to steal her keys, but is caught up in the moment and unable to go through with it. Instead, he has his wife meet Sara and steal the keys. His plan backfires when she discovers that Michael’s wife has stolen the keys from her, and becomes very cold towards him. At the end of the episode, she has the locks to the infirmary door changed, thwarting his efforts. Michael is then forced to come clean in "Tonight" and reveals to her his intent to break Lincoln out of prison. Sara is confronted with the decision whether she should help Michael or not. Eventually, Sara returns to Fox River and unlocks the infirmary door. Horribly distressed at what she has done, Sara injects herself with morphine from the infirmary. Suspected for being an accessory to the escape, police officers charge into her apartment with an emergency warrant in the Season Finale to find her nearly dead from a morphine overdose. The character's fate is left unresolved at the end of the first season.

text: Season 2[edit]

text: After recovering from her drug overdose in "Manhunt", Sara loses her medical license and becomes a target of The Company - the mysterious organization behind Lincoln's murder setup. Posing as Lance, a homosexual addict at a Narcotics Anonymous meeting, Agent Kellerman (Paul Adelstein) attempts to befriend Sara to find out the whereabouts of Michael Scofield. Learning that six other convicts joined Michael's escape, Sara feels betrayed by him, and the two characters initially have a strained relationship. After her father alerts her of Kellerman's suspicious identity and her father's subsequent death in episode "Buried", Sara becomes part of the show's conspiracy plot as she holds the key (left by her father) to information that may exonerate Lincoln. Following this, several attempts on Sara's life are made by The Company, which force her to find Michael via his coded messages. She meets with Michael in the episode "Rendezvous" at Gila, New Mexico but their reunion is short-lived when Kellerman and Agent Mahone (William Fichtner) find out about their rendezvous point. At first, Sara is reluctant to leave with Michael to Panama but is captured by Kellerman shortly after. Kellerman proceeds to torture Sara in episode "Bolshoi Booze", in an effort to obtain information about a USB drive he thinks her father gave her. Sara escapes from Kellerman and decides to change her appearance and throws her wallet and ID away.

text: Two episodes later, Sara returns in "The Message". She reunites with Michael in Evansville, Indiana in "Chicago". Together with the brothers, Sara travels to Chicago where her father has hidden the audio file that can help prove Lincoln's innocence. On the train to Chicago, Sara admits to Michael that she has fallen in love with him, and they kiss. Later in the episode, Michael admits he has fallen in love with her. Michael, Sara and Lincoln eventually retrieve the audio file but discover that it’s not legally valid as evidence. They decide to use it to blackmail President Reynolds for a presidential pardon instead. When this fails, Michael and Lincoln are forced to leave the country. When Sara realizes she is being tailed by the FBI, she surrenders herself in order to let the brothers escape. Sara is then faced with a 12-year prison sentence but as she is about to plead guilty, Kellerman comes forward to testify on her behalf. His testimony exonerates Sara and Lincoln in "Sona", and Sara reunites with the brothers in Panama and tells them of the news. However, when Agent Kim suddenly appears and tries to kill Lincoln and capture Michael, Sara shoots Kim in the chest. With nowhere to run, Michael and Sara surrender themselves to the Panamanian police but to Sara's surprise, Michael confesses to Kim's killing instead of her. She is last seen in a crowd by Lincoln.

text: Season 3[edit]

text: In this season, standbys are used to portray the character, including Katie A. Keane in the photographs for the episode "Call Waiting". She is revealed to have been kidnapped by The Company, and is said in "Good Fences" to have been murdered in response to a failed rescue attempt. She was decapitated and her head was sent to Lincoln Burrows in a box. Michael swears to avenge her death.

text: Season 4[edit]

text: In Season 4, Sara’s death is retconned and she returns as a main cast member for all 24 episodes. After Gretchen reveals to Michael in the season premiere that Sara's death was faked, Michael contacts Bruce Bennett, the former aide of Governor Tancredi (Sara's father) and asks him for help tracking down Sara. The two are reunited later in the episode. Much of Sara's plotline in the fourth season focuses on the character processing what happened to her in Panama and making a new life with Michael. After they are tracked down by the Company hitman Wyatt, Sara escapes with Michael and Lincoln and accompanies them as they strike a deal with, they must get their hands on Scylla, The Company’s little black book. Sara joins the rest of  team as they work to copy the cards, such as in "Breaking and Entering" where she slips, most notably in "Eagles and Angels" where Sara is informed that Bruce Bennett was found dead and goes out to a bar. She manages not to drink, and instead tells the bartender stories from her childhood and the importance Bruce had for her. In the next episode, she realizes that Wyatt is following her back from the bar and manages to lose him. In "Five the Hard Way" Sara's character takes part in holding the general's daughter, Lisa, hostage. The team is then betrayed by Self, who takes Scylla for himself to sell it to a buyer. Other homeland security agents chase after them to arrest them for the murder of Trishanne and Self (Self murdered Trishanne, faked his own death and framed the Scylla team for all of it). Michael offers Sara and Sucre to take a bus back to Chicago, although they decided to stay and help. In the next episode, Sara finds it increasingly difficult to watch as Michael neglects his health to continue chasing after Scylla. Sara urges him to get medical attention, but he resists despite her insistence, and refuses to have the necessary operation until Scylla has been acquired. She is forced to provide temporary relief from his condition through a series of injections. However she warns him that he is developing a tolerance, and that they are no substitute for proper medical attention. Nevertheless, Sara helps the team to track down Gretchen and Self. Despite their best efforts, they are unsuccessful and lose both the missing piece of Scylla, and Michael, who is captured by The Company at the end of "Just Business".

text: In the last third of the season, Sara becomes Michael's only remaining ally, as Lincoln makes a deal with The Company to get Scylla back in exchange for Michael's surgery. Michael refuses to accept this deal, and escapes from The Company's clutches after the surgery with Sara's help. The plot of the next few episodes see Michael and Lincoln's teams working against each other to acquire Scylla. Sara's character gives critical help to Michael, such as distracting a guard at the airport where they capture Vincent Sandinsky, a scientist that appears to have ties to The Company. Sara also attempts to comfort Michael after he learns that his mother, Christina Rose Scofield, is still alive and a Company operative and the buyer of Scylla. In the same episode it is revealed that Sara is pregnant with Michael's child. In "Cowboys and Indians", Michael and Lincoln put their differences aside and work together to steal Scylla from Christina. Meanwhile, Sara is kidnapped by The Company to hold Michael at ransom. In this and the next episode "Rate of Exchange", Sara shares screen-time with T-Bag for the first time. She is almost raped by him, but is rescued by Michael at the last minute. In the series finale, they hand Scylla over to the UN and are all exonerated. Their happiness is short-lived when it is revealed that Michael’s tumor is back. In the epilogue of the series set four years later, Sara is shown living in Panama with her son, Michael Scofield Jr. (presumably she is forced to relocate there after her escape from prison as documented in the Final Break). She then appears at Michael's grave with her son at the reunion of many of the series' principal characters - Lincoln, Mahone and Sucre. She lays flowers on Michael's grave and the series ends with all the characters walking towards the seaside in the sun.

text: Characteristics[edit]

text: Sara is shown in the series as a compassionate yet introverted doctor who treated each one of them with the same cordiality and respect. Given this fact, she has little sense of humour and is incorruptible. In the episode "The Rat", Sara's father questions her motive for helping Lincoln Burrows, to which she replies, "It's my job to advocate for [my patients]."[2] Sarah Wayne Callies, who portrays Sara Tancredi, remarks that the character "feels a certain level of responsibility to these guys. Partly because who her father is... she's the kind of person who would rather take a stand and sleep well at night than have a peaceful family."[3]

text: In the second season, Sara becomes part of the conspiracy plot of the show after her involvement in Michael and Lincoln's escape, and her father's later pursuit of information concerning Lincoln's case. She is continuously chased by covert agents after the death of her father in "Buried". Sara later confides in Michael in episode "Chicago" that the two things keeping her going are her feelings for him and that she wants to seek justice for her father's death. The character is described by Jay Bobbin from Zap2it.com as "gutsy",[4] while TV Guide's Maya Schechter remarks that Sara is "one tough cookie".[5] Regarding her character's change in the second season, Callies says, "She's just someone who has really rushed at life and absorbed experience with real enthusiasm. She's getting a lot more than she bargained for right now, and I certainly don't think she'll be the same person after this."[4]

text: Concept and creation[edit]

text: Character development[edit]

text: Sara Tancredi was introduced to the series as the daughter of the Illinois governor and the prison doctor who the protagonist frequently visits to obtain his insulin shot. The background story of the character, revealed in the sixteenth episode of the first season, was not actually conceived along with the original conception of the series. Callies commented in an interview that it was the "very first inkling" that she had about the character's past. Also in the same interview, the actress mentioned that during the production of the series pilot, she had suggested to Prison Break creator Paul Scheuring that "it would be interesting to play her as a recovering alcoholic".[6]

text: The character's continuation as a major role in the second season was a "surprise" to Callies since the second season revolves around the lives of the eight fugitives outside the prison. The actress states that it is "some of the most creative storytelling for women on TV right now" and that she was given "lot of latitude in establishing a sense of who [the character] is".[4] As the characterization of Sara continues to develop, Scheuring describes the character as "one of [the series'] strongest components".

text: Towards the end of the production of the second season of Prison Break, Callies' pregnancy was announced.[7] With the pregnancy not incorporated into the show, the story was written in such a way to account for Sara's disappearance during Callies' maternity leave. At the time Paul Scheuring commented, "It actually fits into what we were already planning." He also claimed that the original treatment would have included "explanations for why she wasn't in the first [batch] of episodes" of the third season,[7] later revealing that it would set up a planned 13-episode story arc that would ultimately culminate with her character's death.[8]

text: However, due to Callies and the show's producers being unable to agree on a new contract, the character was suddenly "killed off" in the fourth episode, much earlier than planned. Her sparse appearances during the season (including the use of stand-ins with their faces obscured) and her gruesome, off screen death was the result of working around the inability to film additional scenes with the actress, as well as for dramatic and emotional impact.[8]

text: However, Sara's fate was retconned due to "fan backlash" and she returned to the series with an active role in Season 4.[7]

text: Portrayal[edit]

text: The character Sara Tancredi was portrayed by Sarah Wayne Callies who was the first actress the producers saw at the audition for the role.[9] Incidentally, Callies was also the first to become a principal cast member.[10] In season 3, other actresses were used to portray the role, though their faces were never shown on screen.

text: Production details[edit]

text: A newspaper article about Sara Tancredi is visible and readable in the Pilot episode of the series (as one of the many that Michael tears off the walls of his apartment). The article gives Sara's middle name as "Wayne" (the same as that of the actress portraying her). It also says that she is the "second-eldest daughter of Frank Tancredi" (later retconned in the episode "Buried").