document_title: Ballon d'Or

question_text: who has won the ballon d'or most times

question_tokens: who has won the ballon d'or most times

text: Ballon d'Or

text: History[edit]

text: Stanley Matthews of Blackpool was the inaugural winner of the Ballon d'Or.[4] Prior to 1995, the award was often known in English language media as the "European Footballer of the Year" award. Milan's George Weah, the only African recipient, became the first non-European to win the award in the year the rules of eligibility were changed.[2] Ronaldo of Internazionale became the first South American winner two years later.[2] Three players have won the award three times each: Johan Cruyff of Ajax and Barcelona, Michel Platini of Juventus and Marco van Basten of Milan, while Cristiano Ronaldo of Real Madrid has won four and Lionel Messi of Barcelona has won five. With seven awards each, Dutch and German players won the most Ballons d'Or. Spanish club Barcelona had the most winners.[5]

text: Between 2010 and 2015 inclusive the award was merged with a similar award, the FIFA World Player of the Year award, to create the FIFA Ballon d'Or, which was awarded to the world's best male player, before FIFA and France Football broke the merging agreement.[6] After 2011, UEFA created the UEFA Best Player in Europe Award to maintain the format of the original Ballon d'Or.[7]

text: Winners[edit]

text:
Key

Indicates player also won the FIFA World Player of the Year (1991–2009) or The Best FIFA Men's Player (2016–present) in the same year

text:
Year
Rank
Player
Team
Points

Ballon d'Or (1956–2009)

1956
1st
 Stanley Matthews
 Blackpool
47

2nd
 Alfredo Di Stéfano
 Real Madrid
44

3rd
 Raymond Kopa
 Real Madrid
33

1957
1st
 Alfredo Di Stéfano[note 1]
 Real Madrid
72

2nd
 Billy Wright
 Wolverhampton Wanderers
19

3rd
 Duncan Edwards
 Manchester United
16

 Raymond Kopa
 Real Madrid

1958
1st
 Raymond Kopa
 Real Madrid
71

2nd
 Helmut Rahn
 Rot-Weiss Essen
40

3rd
 Just Fontaine
 Stade de Reims
23

1959
1st
 Alfredo Di Stéfano
 Real Madrid
80

2nd
 Raymond Kopa
 Real Madrid
42

3rd
 John Charles
 Juventus
24

1960
1st
 Luis Suárez
 Barcelona
54

2nd
 Ferenc Puskás
 Real Madrid
37

3rd
 Uwe Seeler
 Hamburg
33

1961
1st
 Omar Sívori[note 2]
 Juventus
46

2nd
 Luis Suárez
 Internazionale
40

3rd
 Johnny Haynes
 Fulham
22

1962
1st
 Josef Masopust
 Dukla Prague
65

2nd
 Eusébio
 Benfica
53

3rd
 Karl-Heinz Schnellinger
 Köln
33

1963
1st
 Lev Yashin
 Dynamo Moscow
73

2nd
 Gianni Rivera
 Milan
53

3rd
 Jimmy Greaves
 Tottenham Hotspur
33

1964
1st
 Denis Law
 Manchester United
61

2nd
 Luis Suárez
 Internazionale
43

3rd
 Amancio
 Real Madrid
38

1965
1st
 Eusébio
 Benfica
67

2nd
 Giacinto Facchetti
 Internazionale
59

3rd
 Luis Suárez
 Internazionale
45

1966
1st
 Bobby Charlton
 Manchester United
81

2nd
 Eusébio
 Benfica
80

3rd
 Franz Beckenbauer
 Bayern Munich
59

1967
1st
 Flórián Albert
 Ferencváros
68

2nd
 Bobby Charlton
 Manchester United
40

3rd
 Jimmy Johnstone
 Celtic
39

1968
1st
 George Best
 Manchester United
61

2nd
 Bobby Charlton
 Manchester United
53

3rd
 Dragan Džajić
 Red Star Belgrade
46

1969
1st
 Gianni Rivera
 Milan
83

2nd
 Luigi Riva
 Cagliari
79

3rd
 Gerd Müller
 Bayern Munich
38

1970
1st
 Gerd Müller
 Bayern Munich
77

2nd
 Bobby Moore
 West Ham United
70

3rd
 Luigi Riva
 Cagliari
65

1971
1st
 Johan Cruyff
 Ajax
116

2nd
 Sandro Mazzola
 Internazionale
57

3rd
 George Best
 Manchester United
56

1972
1st
 Franz Beckenbauer
 Bayern Munich
81

2nd
 Gerd Müller
 Bayern Munich
79

 Günter Netzer
 Borussia Mönchengladbach

1973
1st
 Johan Cruyff[note 3]
 Barcelona
96

2nd
 Dino Zoff
 Juventus
47

3rd
 Gerd Müller
 Bayern Munich
44

1974
1st
 Johan Cruyff
 Barcelona
116

2nd
 Franz Beckenbauer
 Bayern Munich
105

3rd
 Kazimierz Deyna
 Legia Warsaw
35

1975
1st
 Oleg Blokhin
 Dynamo Kyiv
122

2nd
 Franz Beckenbauer
 Bayern Munich
42

3rd
 Johan Cruyff
 Barcelona
27

1976
1st
 Franz Beckenbauer
 Bayern Munich
91

2nd
 Rob Rensenbrink
 Anderlecht
75

3rd
 Ivo Viktor
 Dukla Prague
52

1977
1st
 Allan Simonsen
 Borussia Mönchengladbach
74

2nd
 Kevin Keegan[note 4]
 Hamburg
71

3rd
 Michel Platini
 Nancy
70

1978
1st
 Kevin Keegan
 Hamburg
87

2nd
 Hans Krankl
 Barcelona
81

3rd
 Rob Rensenbrink
 Anderlecht
50

1979
1st
 Kevin Keegan
 Hamburg
118

2nd
 Karl-Heinz Rummenigge
 Bayern Munich
52

3rd
 Ruud Krol
 Ajax
41

1980
1st
 Karl-Heinz Rummenigge
 Bayern Munich
122

2nd
 Bernd Schuster
 Barcelona
34

3rd
 Michel Platini
 Saint-Étienne
33

1981
1st
 Karl-Heinz Rummenigge
 Bayern Munich
106

2nd
 Paul Breitner
 Bayern Munich
64

3rd
 Bernd Schuster
 Barcelona
39

1982
1st
 Paolo Rossi
 Juventus
115

2nd
 Alain Giresse
 Bordeaux
64

3rd
 Zbigniew Boniek
 Juventus
39

1983
1st
 Michel Platini
 Juventus
110

2nd
 Kenny Dalglish
 Liverpool
26

3rd
 Allan Simonsen
 Vejle
25

1984
1st
 Michel Platini
 Juventus
110

2nd
 Jean Tigana
 Bordeaux
57

3rd
 Preben Elkjær
 Hellas Verona
48

1985
1st
 Michel Platini
 Juventus
127

2nd
 Preben Elkjær
 Hellas Verona
71

3rd
 Bernd Schuster
 Barcelona
46

1986
1st
 Igor Belanov
 Dynamo Kyiv
84

2nd
 Gary Lineker[note 5]
 Barcelona
62

3rd
 Emilio Butragueño
 Real Madrid
59

1987
1st
 Ruud Gullit[note 6]
 Milan
106

2nd
 Paulo Futre[note 7]
 Atlético Madrid
91

3rd
 Emilio Butragueño
 Real Madrid
61

1988
1st
 Marco van Basten
 Milan
129

2nd
 Ruud Gullit
 Milan
88

3rd
 Frank Rijkaard[note 8]
 Milan
45

1989
1st
 Marco van Basten
 Milan
129

2nd
 Franco Baresi
 Milan
80

3rd
 Frank Rijkaard
 Milan
43

1990
1st
 Lothar Matthäus
 Internazionale
137

2nd
 Salvatore Schillaci
 Juventus
84

3rd
 Andreas Brehme
 Internazionale
68

1991
1st
 Jean-Pierre Papin
 Marseille
141

2nd
 Dejan Savićević
 Red Star Belgrade
42

 Darko Pančev
 Red Star Belgrade

 Lothar Matthäus
 Internazionale

1992
1st
 Marco van Basten
 Milan
98

2nd
 Hristo Stoichkov
 Barcelona
80

3rd
 Dennis Bergkamp
 Ajax
53

1993
1st
 Roberto Baggio
 Juventus
142

2nd
 Dennis Bergkamp
 Internazionale
83

3rd
 Eric Cantona
 Manchester United
34

1994
1st
 Hristo Stoichkov
 Barcelona
210

2nd
 Roberto Baggio
 Juventus
136

3rd
 Paolo Maldini
 Milan
109

1995
1st
 George Weah[note 9]
 Milan
144

2nd
 Jürgen Klinsmann
 Bayern Munich
108

3rd
 Jari Litmanen
 Ajax
67

1996
1st
 Matthias Sammer
 Borussia Dortmund
144

2nd
 Ronaldo[note 10]
 Barcelona
143

3rd
 Alan Shearer
 Newcastle United
107

1997
1st
 Ronaldo[note 11]
 Internazionale
222

2nd
 Predrag Mijatović
 Real Madrid
68

3rd
 Zinedine Zidane
 Juventus
63

1998
1st
 Zinedine Zidane
 Juventus
244

2nd
 Davor Šuker
 Real Madrid
68

3rd
 Ronaldo
 Internazionale
66

1999
1st
 Rivaldo
 Barcelona
219

2nd
 David Beckham
 Manchester United
154

3rd
 Andriy Shevchenko
 Milan
64

2000
1st
 Luís Figo[note 12]
 Real Madrid
197

2nd
 Zinedine Zidane
 Juventus
181

3rd
 Andriy Shevchenko
 Milan
85

2001
1st
 Michael Owen
 Liverpool
176

2nd
 Raúl
 Real Madrid
140

3rd
 Oliver Kahn
 Bayern Munich
114

2002
1st
 Ronaldo[note 13]
 Real Madrid
169

2nd
 Roberto Carlos
 Real Madrid
145

3rd
 Oliver Kahn
 Bayern Munich
110

2003
1st
 Pavel Nedvěd
 Juventus
190

2nd
 Thierry Henry
 Arsenal
128

3rd
 Paolo Maldini
 Milan
123

2004
1st
 Andriy Shevchenko
 Milan
175

2nd
 Deco[note 14]
 Porto
139

3rd
 Ronaldinho
 Barcelona
133

2005
1st
 Ronaldinho
 Barcelona
225

2nd
 Frank Lampard
 Chelsea
148

3rd
 Steven Gerrard
 Liverpool
142

2006
1st
 Fabio Cannavaro[note 15]
 Real Madrid
173

2nd
 Gianluigi Buffon
 Juventus
124

3rd
 Thierry Henry
 Arsenal
121

2007
1st
 Kaká
 Milan
444

2nd
 Cristiano Ronaldo
 Manchester United
277

3rd
 Lionel Messi
 Barcelona
255

2008
1st
 Cristiano Ronaldo
 Manchester United
446

2nd
 Lionel Messi
 Barcelona
281

3rd
 Fernando Torres
 Liverpool
179

2009
1st
 Lionel Messi
 Barcelona
473

2nd
 Cristiano Ronaldo[note 16]
 Real Madrid
233

3rd
 Xavi
 Barcelona
170

FIFA Ballon d'Or (2010–2015)

2010
1st
 Lionel Messi
 Barcelona
22.65%

2nd
 Andrés Iniesta
 Barcelona
17.36%

3rd
 Xavi
 Barcelona
16.48%

2011
1st
 Lionel Messi
 Barcelona
47.88%

2nd
 Cristiano Ronaldo
 Real Madrid
21.60%

3rd
 Xavi
 Barcelona
9.23%

2012
1st
 Lionel Messi
 Barcelona
41.60%

2nd
 Cristiano Ronaldo
 Real Madrid
23.68%

3rd
 Andrés Iniesta
 Barcelona
10.91%

2013
1st
 Cristiano Ronaldo
 Real Madrid
27.99%

2nd
 Lionel Messi
 Barcelona
24.72%

3rd
 Franck Ribéry
 Bayern Munich
23.36%

2014
1st
 Cristiano Ronaldo
 Real Madrid
37.66%

2nd
 Lionel Messi
 Barcelona
15.76%

3rd
 Manuel Neuer
 Bayern Munich
15.72%

2015
1st
 Lionel Messi
 Barcelona
41.33%

2nd
 Cristiano Ronaldo
 Real Madrid
27.76%

3rd
 Neymar
 Barcelona
7.86%

Ballon d'Or (2016–present)

2016
1st
 Cristiano Ronaldo
 Real Madrid
745

2nd
 Lionel Messi
 Barcelona
316

3rd
 Antoine Griezmann
 Atlético Madrid
198

2017
1st
To be announced on December 2017 by France Football Magazine

2nd
To be announced on December 2017 by France Football Magazine

3rd
To be announced on December 2017 by France Football Magazine

text: Wins by player[edit]

text: One-time winners are only included if they have also finished 2nd or 3rd in another year.

text:
Player
1st
2nd
3rd

 Lionel Messi
5 (2009, 2010, 2011, 2012, 2015)
4 (2008, 2013, 2014, 2016)
1 (2007)

 Cristiano Ronaldo
4 (2008, 2013, 2014, 2016)
5 (2007, 2009, 2011, 2012, 2015)
—

 Michel Platini
3 (1983, 1984, 1985)
—
2 (1977, 1980)

 Johan Cruyff
3 (1971, 1973, 1974)
—
1 (1975)

 Marco van Basten
3 (1988, 1989, 1992)
—
—

 Franz Beckenbauer
2 (1972, 1976)
2 (1974, 1975)
1 (1966)

 Ronaldo
2 (1997, 2002)
1 (1996)
1 (1998)

 Alfredo Di Stéfano
2 (1957, 1959)
1 (1956)
—

 Kevin Keegan
2 (1978, 1979)
1 (1977)
—

 Karl-Heinz Rummenigge
2 (1980, 1981)
1 (1979)
—

 Luis Suárez
1 (1960)
2 (1961, 1964)
1 (1965)

 Eusébio
1 (1965)
2 (1962, 1966)
—

 Bobby Charlton
1 (1966)
2 (1967, 1968)
—

 Raymond Kopa
1 (1958)
1 (1959)
2 (1956, 1957)

 Gerd Müller
1 (1970)
1 (1972)
2 (1969, 1973)

 Zinedine Zidane
1 (1998)
1 (2000)
1 (1997)

 Gianni Rivera
1 (1969)
1 (1963)
—

text: Wins by country[edit]

text:
Country
Players
Total

 Portugal
3
8

 Germany
5
7

 Netherlands
3
7

 France
4
6

 Italy
5
5

 Brazil
4
5

 England
4
5

 Argentina
1
5

 Soviet Union
3
3

 Spain
2
3

 Czech Republic
2
2

 Bulgaria
1
1

 Denmark
1
1

 Hungary
1
1

 Liberia
1
1

 Northern Ireland
1
1

 Scotland
1
1

 Ukraine
1
1

text: Wins by club[edit]

text:
Club
Players
Total

 Barcelona
6
11

 Real Madrid
6
9

 Juventus
6
8

 Milan
6
8

 Bayern Munich
3
5

 Manchester United
4
4

 Dynamo Kyiv
2
2

 Internazionale
2
2

 Hamburg
1
2

 Ajax
1
1

 Benfica
1
1

 Blackpool
1
1

 Borussia Dortmund
1
1

 Borussia Mönchengladbach
1
1

 Dukla Prague
1
1

 Dynamo Moscow
1
1

 Ferencváros
1
1

 Liverpool
1
1

 Marseille
1
1

text: Additional awards[edit]

text: A special Ballon d'Or, under the name Super Ballon d'Or, was awarded to Alfredo Di Stéfano in 1989, after he surpassed Johan Cruyff and Michel Platini in France Football's voting.[8] A decade later, France Football elected Pelé the Football Player of the Century after consulting their former Ballon d'Or recipients. Among the 34 previous winners, 30 cast their votes; Stanley Matthews, Omar Sívori and George Best abstained, and Lev Yashin had died. Each voter was allotted five votes worth up to five points; however, Di Stéfano only chose a first place, Platini a first and second place, and George Weah two players for fifth place. Pelé was named the greatest by 17 voters, receiving almost double the number of points earned by the runner-up, Diego Maradona.[9]

text:
Football Player of the Century

Player
Pts
1st
2nd
3rd
4th
5th

 Pelé (BRA)
122
17
5
4
2
1

 Diego Maradona (ARG)
65
3
6
5
5
1

 Johan Cruyff (NED)
62
1
4
7
9
2

 Alfredo Di Stéfano (ESP)
44
4
3
3
1
1

 Michel Platini (FRA)
40
1
5
1
3
6

text: To coincide with the 60th anniversary of the Ballon d'Or in 2016, France Football published a reevaluation of the awards presented before 1995, when only European players were eligible to win the award. 12 out of the 39 Ballons d'Or presented during this time period would have been awarded to South American players; in addition to Pelé and Diego Maradona, Garrincha, Mario Kempes, and Romário were retrospectively recognized as worthy winners. The original recipients, however, remain unchanged.[10] Maradona and Pelé received honorary Ballons d'Or for their services to football in 1996 and 2013, respectively.[11][12]

text:
Le nouveau palmarès (the new winners)

Year
Original
Alternative

1958
 Raymond Kopa (FRA)
 Pelé (BRA)

1959
 Alfredo Di Stéfano (ESP)
 Pelé (BRA)

1960
 Luis Suárez (ESP)
 Pelé (BRA)

1961
 Omar Sívori (ITA)
 Pelé (BRA)

1962
 Josef Masopust (TCH)
 Garrincha (BRA)

1963
 Lev Yashin (URS)
 Pelé (BRA)

1964
 Denis Law (SCO)
 Pelé (BRA)

1970
 Gerd Müller (FRG)
 Pelé (BRA)

1978
 Kevin Keegan (ENG)
 Mario Kempes (ARG)

1986
 Igor Belanov (URS)
 Diego Maradona (ARG)

1990
 Lothar Matthäus (GER)
 Diego Maradona (ARG)

1994
 Hristo Stoichkov (BUL)
 Romário (BRA)


document_title: Dancing with the Stars (U.S. season 25)

question_text: who won dancing with the stars 2017 cast

root

text: Dancing with the Stars (U.S. season 25)

text: Cast[edit]

text: Couples[edit]

text: Good Morning America announced the professional dancers who would be competing in the upcoming season.[2] The two professionals from the previous season that did not return were Kym Johnson-Herjavec and Sasha Farber. Farber returned to the troupe, and Mark Ballas, who last appeared on season 22, also returned. Alan Bersten, a troupe member since season 20, was promoted to pro. On September 4, it was revealed that Cheryl Burke was the thirteenth pro added to the lineup.[3] Drew Scott was announced as the first celebrity competing for the season partnered with Emma Slater.[4] On September 6, the rest of the cast was revealed on Good Morning America.[5]

tag: p

text:
Celebrity
Notability (known for)
Professional partner
Status
Ref.

Barbara Corcoran
Shark Tank panelist & businesswoman
Keo Motsepe
Eliminated 1st
on September 25, 2017
[5][6]

Debbie Gibson
Singer-songwriter & Broadway actress
Alan Bersten
Eliminated 2nd
on September 26, 2017
[5][7]

Derek Fisher
Former NBA point guard
Sharna Burgess
Eliminated 3rd
on October 9, 2017
[5][8]

Sasha Pieterse
Pretty Little Liars actress
Gleb Savchenko
Eliminated 4th
on October 16, 2017
[5][9]

Nick Lachey
98 Degrees singer
Peta Murgatroyd
Eliminated 5th
on October 23, 2017
[5][10]

Nikki Bella
WWE superstar & model
Artem Chigvintsev
Eliminated 6th
on October 30, 2017
[5][11]

Vanessa Lachey
Actress & television host
Maksim Chmerkovskiy
Alan Bersten (week 3)

Terrell Owens
Former NFL wide receiver
Cheryl Burke
Eliminated 8th
on November 6, 2017
[5][12]

Victoria Arlen
ESPN host & former paralympic swimmer
Valentin Chmerkovskiy
Eliminated 9th
on November 13, 2017
[5][13]

Drew Scott
Property Brothers co-host
Emma Slater
Eliminated 10th
on November 20, 2017
[4][14]

Frankie Muniz
Actor & race car driver
Witney Carson
Third place
on November 21, 2017
[5][15]

Lindsey Stirling
Violinist & composer
Mark Ballas
Runner-up
on November 21, 2017

Jordan Fisher
Singer & actor
Lindsay Arnold
Winner
on November 21, 2017

tag: table

text: Hosts and judges[edit]

text: Tom Bergeron and Erin Andrews returned as hosts, while Carrie Ann Inaba, Len Goodman, and Bruno Tonioli returned as judges.[16] Julianne Hough did not return as a permanent judge this season, though she did return as a guest judge on Monday during the final week.[17] On October 23, singer Shania Twain joined the panel as a guest judge.[18]

text: Dance troupe[edit]

text: The dance troupe members for the season are former pros Sasha Farber and Jenna Johnson, and season 24 troupe members Artur Adamski, Brandon Armstrong, Hayley Erbert, and Britt Stewart.[19]

text: Scoring charts[edit]

text:
Couple
Place
1
2
3
22+3
4
5
6[a]
7
8
9
10[b]

1
2
Top 4
Top 3

Jordan & Lindsay
1
22
24
24
25
49
29
30
39
30+24=54
30+30=60
28+30=58
40+40=80
+30+30=140

Lindsey & Mark
2
22
21
24
27
51
26
28
40
27+24=51
26+28=54
29+28=57
40+40=80
+30+30=140

Frankie & Witney
3
19
23
25
21
46
24
29
31
30+30=60
26+27=53
25+26=51
38+38=76
+30+28=134

Drew & Emma
4
16
20
21
23
44
24
25
30
27+30=57
22+25=47
24+24=48
36+39=75

Victoria & Val
5
19
24
20
22
42
27
27
31
27+30=57
24+24=48
27+29=56

Terrell & Cheryl
6
15
20
19
21
40
24
25
37
25+24=49
27+24=51

Nikki & Artem
7
20
21
18
21
39
24
27
36
24+24=48

Vanessa & Maks
21
24
23
23
46
24
24
36
24+30=54

Nick & Peta
9
18
19
19
21
40
22
22
26

Sasha & Gleb
10
18
23
22
19
41
24
24

Derek & Sharna
11
18
19
19
21
40
23

Debbie & Alan
12
17
20
21

Barbara & Keo
13
14
17

text: Average score chart[edit]

text: This table only counts dances scored on a 30-point scale (scores by guest judges are excluded).

text:
Rank by
average
Place
Couple
Total
points
Number
of dances
Average

1
1
Jordan & Lindsay
475
17
27.9

2
2
Lindsey & Mark
460
27.1

3
3
Frankie & Witney
442
26.0

4
5
Victoria & Val
324
13
24.9

5
7
Vanessa & Maks
220
9
24.4

6
4
Drew & Emma
357
15
23.8

7
7
Nikki & Artem
206
9
22.9

8
6
Terrell & Cheryl
251
11
22.8

9
10
Sasha & Gleb
130
6
21.7

10
11
Derek & Sharna
100
5
20.0

9
Nick & Peta
140
7

12
12
Debbie & Alan
58
3
19.3

13
13
Barbara & Keo
31
2
15.5

text: Highest and lowest scoring performances[edit]

text: The best and worst performances in each dance according to the judges' 30-point scale (scores by guest judges are excluded) are as follows:

text:
Dance
Highest scored dancer(s)
Highest score
Lowest scored dancer(s)
Lowest score

Cha-cha-cha
Frankie Muniz
Drew Scott
25
Terrell Owens
15

Foxtrot
Jordan Fisher
30
Drew Scott
16

Salsa
Jordan Fisher
30
Barbara Corcoran
14

Tango
Lindsey Stirling
28
Barbara Corcoran
17

Quickstep
Jordan Fisher
Lindsey Stirling
30
Debbie Gibson
Drew Scott
20

Waltz
Vanessa Lachey
24
Nikki Bella
21

Viennese Waltz
Victoria Arlen
27
Nikki Bella
21

Samba
Jordan Fisher
30
Nikki Bella
18

Rumba
Jordan Fisher
29
Victoria Arlen
20

Paso doble
Jordan Fisher
30
Derek Fisher
19

Argentine tango
Lindsey Stirling
Frankie Muniz
30
Nick Lachey
19

Jazz
Lindsey Stirling
28
Sasha Pieterse
19

Jive
Jordan Fisher
Lindsey Stirling
30
Drew Scott
Nikki Bella
Victoria Arlen
24

Charleston
Jordan Fisher
30
Jordan Fisher
25

Contemporary
Frankie Muniz
30
Nick Lachey
22

Team dance
Victoria Arlen
Vanessa Lachey
Frankie Muniz
Drew Scott
30
Nikki Bella
Jordan Fisher
Terrell Owens
Lindsey Stirling
24

Freestyle
Jordan Fisher
Lindsey Stirling
30
Frankie Muniz
28

Fusion dance
Lindsey Stirling
Jordan Fisher
30
Frankie Muniz
28

text: Couples' highest and lowest scoring dances[edit]

text: Scores are based upon a potential 30-point maximum (team dances and scores by guest judges are excluded).

text:
Couple
Highest scoring dance(s)
Lowest scoring dance(s)

Jordan & Lindsay
Foxtrot, Paso doble, Quickstep, Salsa, Jive, Charleston, Freestyle, Samba & Salsa/Paso doble fusion (30)
Tango (22)

Lindsey & Mark
Argentine tango, Quickstep, Freestyle, Jive & Cha-cha-cha/Tango fusion (30)
Quickstep (21)

Frankie & Witney
Contemporary & Argentine tango (30)
Foxtrot (19)

Drew & Emma
Freestyle (29)
Foxtrot (16)

Victoria & Val
Charleston (29)
Cha-cha-cha (19)

Terrell & Cheryl
Jive & Charleston (27)
Cha-cha-cha (15)

Nikki & Artem
Jazz & Argentine tango (27)
Samba (18)

Vanessa & Maks
Quickstep (27)
Cha-cha-cha (21)

Nick & Peta
Contemporary & Quickstep (22)
Cha-cha-cha (18)

Sasha & Gleb
Foxtrot & Rumba (24)
Cha-cha-cha (18)

Derek & Sharna
Jazz (23)
Salsa (18)

Debbie & Alan
Argentine tango (21)
Foxtrot (17)

Barbara & Keo
Tango (17)
Salsa (14)

text: Weekly scores[edit]

text: Individual judges' scores in the charts below (given in parentheses) are listed in this order from left to right: Carrie Ann Inaba, Len Goodman, Bruno Tonioli.

text: Week 1: First Dances[edit]

text: The couples danced the cha-cha-cha, foxtrot, salsa or tango.

text:
Couple
Scores[20]
Dance
Music[21]

Terrell & Cheryl
15 (5, 5, 5)
Cha-cha-cha
"Ain't Too Proud to Beg"—The Temptations

Debbie & Alan
17 (6, 5, 6)
Foxtrot
"Lost in Your Eyes"—Debbie Gibson

Sasha & Gleb
18 (6, 6, 6)
Cha-cha-cha
"Like That"—Fleur East

Drew & Emma
16 (6, 5, 5)
Foxtrot
"Our House"—Madness

Barbara & Keo
14 (5, 4, 5)
Salsa
"Money Maker"—Ludacris feat. Pharrell Williams

Jordan & Lindsay
22 (8, 7, 7)
Tango
"There's Nothing Holdin' Me Back"—Shawn Mendes

Nick & Peta
18 (6, 6, 6)
Cha-cha-cha
"Come Get It Bae"—Pharrell Williams

Vanessa & Maks
21 (7, 7, 7)
Cha-cha-cha
"Woman"—Kesha feat. The Dap-Kings Horns

Frankie & Witney
19 (7, 6, 6)
Foxtrot
"Sign of the Times"—Harry Styles

Nikki & Artem
20 (7, 7, 6)
Tango
"So What"—Pink

Derek & Sharna
18 (6, 6, 6)
Salsa
"Basketball"—Kurtis Blow

Victoria & Val
19 (7, 6, 6)
Cha-cha-cha
"Born Ready"—The Disco Fries feat. Hope Murphy

Lindsey & Mark
22 (7, 8, 7)
Cha-cha-cha
"Don't Worry"—Madcon feat. Ray Dalton

text: Week 2: Ballroom Night / Latin Night[edit]

text: The couples had to prepare two new dances to be performed on two consecutive nights. On Monday, the couples performed an unlearned ballroom routine, with one couple being eliminated at the end of the show. On Tuesday, the remaining couples performed an unlearned Latin routine, with another couple being eliminated.

text: Argentine tango, paso doble, quickstep, rumba, samba, Viennese Waltz, and waltz are introduced.

text:
Couple
Scores[6]
Dance
Music[22]
Result

Debbie & Alan
20 (7, 6, 7)
Quickstep
"This Is My Time"—Amy Stroup
Safe

Nikki & Artem
21 (7, 7, 7)
Waltz
"Come Away with Me"—Norah Jones
Safe

Lindsey & Mark
21 (7, 7, 7)
Quickstep
"Swing Set"—Jurassic 5
Safe

Barbara & Keo
17 (6, 5, 6)
Tango
"Whatever Lola Wants"—Sarah Vaughan
Eliminated

Nick & Peta
19 (7, 6, 6)
Foxtrot
"Mandy"—Barry Manilow
Safe

Drew & Emma
20 (7, 6, 7)
Quickstep
"Sing, Sing, Sing (With a Swing)"—Louis Prima
Safe

Vanessa & Maks
24 (8, 8, 8)
Foxtrot
"Hit Me with a Hot Note"—Tami Tappan Damiano
Safe

Frankie & Witney
23 (8, 7, 8)
Tango
"Whatever It Takes"—Imagine Dragons
Safe

Terrell & Cheryl
20 (7, 6, 7)
Foxtrot
"Pillowtalk"—ZAYN
Last to be called safe

Sasha & Gleb
23 (8, 8, 7)
Viennese Waltz
"I'm Going Down"—Rose Royce
Safe

Victoria & Val
24 (8, 8, 8)
Tango
"Look What You Made Me Do"—Taylor Swift
Safe

Derek & Sharna
19 (6, 6, 7)
Foxtrot
"Hallelujah I Love Her So"—Ray Charles
Safe

Jordan & Lindsay
24 (8, 8, 8)
Viennese Waltz
"Count on Me"—Judah Kelly
Safe

text:
Couple
Scores[7]
Dance
Music[23]
Result

Nikki & Artem
18 (6, 6, 6)
Samba
"Despacito"—Luis Fonsi feat. Daddy Yankee
Safe

Victoria & Val
20 (7, 6, 7)
Rumba
"Easy"—Sky Ferreira
Safe

Derek & Sharna
19 (7, 6, 6)
Paso doble
"Diablo Rojo"—Rodrigo y Gabriela
Safe

Sasha & Gleb
22 (8, 7, 7)
Samba
"Most Girls"—Hailee Steinfeld
Safe

Nick & Peta
19 (7, 6, 6)
Argentine tango
"She's a Lady"—Lion Babe
Last to be called safe

Jordan & Lindsay
24 (8, 8, 8)
Samba
"Mi Gente"—J Balvin & Willy William
Safe

Drew & Emma
21 (7, 7, 7)
Rumba
"Lights Down Low"—MAX feat. gnash
Safe

Debbie & Alan
21 (7, 7, 7)
Argentine tango
"Havana"—Camila Cabello feat. Young Thug
Eliminated

Vanessa & Maks
23 (8, 8, 7)
Salsa
"Instruction"—Jax Jones feat. Demi Lovato & Stefflon Don
Safe

Terrell & Cheryl
19 (6, 6, 7)
Samba
"Hot in Herre"—Nelly
Safe

Lindsey & Mark
24 (8, 8, 8)
Salsa
"Mani Picao"—Ricky Campanelli
Safe

Frankie & Witney
25 (8, 8, 9)
Cha-cha-cha
"Perm"—Bruno Mars
Safe

text: Week 3: Guilty Pleasures Night[edit]

text: The couples performed one unlearned dance to a song that reminded them of their secret indulgences.

text: Charleston, jazz and jive are introduced.

text: At the start of the show, a moment of silence was held to honor the victims of the 2017 Las Vegas shooting, which occurred the previous day.[24] It was announced at the beginning of the show that, due to the tragedy, no elimination would take place.

text: Maksim Chmerkovskiy was unable to perform due to an unspecified personal issue, so eliminated pro Alan Bersten danced with Vanessa Lachey instead.

text:
Couple
Scores[25]
Dance
Music[26]
Guilty pleasure

Drew & Emma
23 (8, 7, 8)
Argentine tango
"Red Right Hand"—Nick Cave and the Bad Seeds
TV crime dramas

Derek & Sharna
21 (7, 7, 7)
Cha-cha-cha
"The Fresh Prince of Bel-Air"—DJ Jazzy Jeff & The Fresh Prince
The Fresh Prince of Bel-Air reruns

Victoria & Val
22 (8, 7, 7)
Quickstep
"Tubthumping"—Chumbawamba
Listening to "Tubthumping"

Vanessa & Alan
23 (7, 8, 8)
Jazz
"Girls Just Want to Have Fun"—Cyndi Lauper
Girls' nights

Nikki & Artem
21 (7, 7, 7)
Viennese Waltz
"Love on the Brain"—Rihanna
Romance novels

Frankie & Witney
21 (7, 7, 7)
Samba
"It's Gonna Be Me"—NSYNC
Boy bands

Lindsey & Mark
27 (9, 9, 9)
Jive
"Wake Me Up Before You Go-Go"—Wham!
Wearing pajamas all day

Sasha & Gleb
19 (7, 6, 6)
Jazz
"I Can't Help Myself (Sugar Pie Honey Bunch)"—The Four Tops
Baking

Nick & Peta
21 (7, 7, 7)
Jazz
"Jump (For My Love)"—The Pointer Sisters
Romantic comedies

Terrell & Cheryl
21 (7, 7, 7)
Salsa
"The Breaks"—Kurtis Blow
Breakdancing

Jordan & Lindsay
25 (9, 7, 9)
Charleston
"The Glory Days"—Michael Giacchino
Comic books

text: Week 4: Most Memorable Year Night[edit]

text: The couples danced one unlearned dance to celebrate the most memorable year of their lives.

text: Contemporary is introduced.

text:
Couple
Scores[8]
Dance
Music[27]
Result

Frankie & Witney
24 (8, 8, 8)
Quickstep
"Adventure of a Lifetime"—Coldplay
Safe

Terrell & Cheryl
24 (8, 8, 8)
Viennese Waltz
"I Have Nothing"—Whitney Houston
Safe

Nikki & Artem
24 (8, 8, 8)
Contemporary
"Fight Song"—Rachel Platten
Safe

Nick & Peta
22 (8, 7, 7)
Contemporary
"Falling Slowly"—Glen Hansard & Markéta Irglová
Last to be called safe

Lindsey & Mark
26 (9, 8, 9)
Viennese Waltz
"Anchor"—Mindy Gledhill
Safe

Derek & Sharna
23 (7, 8, 8)
Jazz
"Move On Up"—Curtis Mayfield
Eliminated

Jordan & Lindsay
29 (10, 9, 10)
Contemporary
"Take Me Home"—Us the Duo
Safe

Sasha & Gleb
24 (8, 8, 8)
Foxtrot
"Over My Head (Cable Car)"—The Fray
Safe

Vanessa & Maks
24 (8, 8, 8)
Rumba
"Godspeed (Sweet Dreams)"—Nick Lachey
Safe

Drew & Emma
24 (8, 8, 8)
Jive
"Don't Stop Me Now"—Queen
Safe

Victoria & Val
27 (9, 9, 9)
Foxtrot
"I Lived"—OneRepublic
Safe

text: Week 5: Disney Night[edit]

text: The couples performed one unlearned dance to a song from a Disney film to celebrate Walt Disney through the years. All performances were chronological, based on when the couple's respective movie was released.

text:
Couple
Scores[9]
Dance
Music[28]
Disney film
Result

Victoria & Val
27 (9, 9, 9)
Jazz
"Steamboat Willie Suite"—Wilfred Jackson & Bert Lewis
Steamboat Willie
Safe

Vanessa & Maks
24 (8, 8, 8)
Waltz
"Un jour mon prince viendra"—Nikki Yanofsky
Snow White and the Seven Dwarfs
Safe

Lindsey & Mark
28 (9, 10, 9)
Foxtrot
"When You Wish Upon a Star"—Ray Chew
Pinocchio
Safe

Nick & Peta
22 (7, 8, 7)
Quickstep
"The Bare Necessities"—Phil Harris & Bruce Reitherman
The Jungle Book
Safe

Drew & Emma
25 (9, 8, 8)
Viennese Waltz
"Rainbow Connection"—Kermit the Frog
The Muppet Movie
Safe

Sasha & Gleb
24 (8, 8, 8)
Rumba
"Kiss the Girl"—Samuel E. Wright
The Little Mermaid
Eliminated

Terrell & Cheryl
25 (9, 8, 8)
Quickstep
"I Just Can't Wait to Be King"—Jason Weaver, Rowan Atkinson & Laura Williams
The Lion King
Safe

Frankie & Witney
29 (10, 9, 10)
Argentine tango
"Angelica"—Rodrigo y Gabriela
Pirates of the Caribbean: On Stranger Tides
Last to be called safe

Jordan & Lindsay
30 (10, 10, 10)
Foxtrot
"You're Welcome"—Jordan Fisher feat. Lin-Manuel Miranda
Moana
Safe

Nikki & Artem
27 (9, 9, 9)
Jazz
"Remember Me"—Benjamin Bratt
Coco
Safe

text: Week 6: A Night at the Movies[edit]

text: Individual judges' scores in the chart below (given in parentheses) are listed in this order from left to right: Carrie Ann Inaba, Len Goodman, Shania Twain, Bruno Tonioli.

text: The couples performed one unlearned dance, capturing the spirit of a specific movie genre.

text:
Couple
Scores[10]
Dance
Music[18]
Movie genre
Result

Nikki & Artem
36 (9, 9, 9, 9)
Argentine tango
"Dernière danse"—Indila
Foreign
Safe

Drew & Emma
30 (7, 7, 9, 7)
Paso doble
"Legend"—The Score
Action
Safe

Nick & Peta
26 (7, 6, 7, 6)
Samba
"Wild Wild West"—Will Smith feat. Dru Hill & Kool Moe Dee
Western
Eliminated

Victoria & Val
31 (8, 8, 7, 8)
Paso doble
"We Will Rock You"—Queen
Sports
Safe

Terrell & Cheryl
37 (9, 9, 10, 9)
Jive
"Feel It Still"—Portugal. The Man
Spy
Last to be called safe

Frankie & Witney
31 (7, 8, 8, 8)
Jazz
"Holly Rock"—Sheila E.
Animation
Safe

Vanessa & Maks
36 (9, 9, 9, 9)
Quickstep
"Let's Be Bad"—Smash cast feat. Megan Hilty
Musical
Safe

Jordan & Lindsay
39 (10, 9, 10, 10)
Rumba
"Supermarket Flowers"—Ed Sheeran
Drama
Safe

Lindsey & Mark
40 (10, 10, 10, 10)
Argentine tango
"Human"—Sevdaliza
Sci-fi
Safe

text: Week 7: Halloween Night[edit]

text: The couples performed one unlearned dance and a team dance to Halloween themes and songs.

text:
Couple
Scores[11]
Dance
Music[29]
Result

Victoria & Val
27 (9, 9, 9)
Viennese Waltz
"The Night We Met"—Lord Huron
Safe

Jordan & Lindsay
30 (10, 10, 10)
Paso doble
"Animals"—Martin Garrix
Safe

Nikki & Artem
24 (8, 8, 8)
Jive
"I Put a Spell on You"—Bette Midler
Eliminated

Vanessa & Maks
24 (8, 8, 8)
Paso doble
"Game of Survival"—Ruelle

Terrell & Cheryl
25 (8, 8, 9)
Tango
"Super Freak"—Rick James
Last to be called safe

Lindsey & Mark
27 (9, 9, 9)
Paso doble
"Roundtable Rival"—Lindsey Stirling
Safe

Frankie & Witney
30 (10, 10, 10)
Contemporary
"Every Breath You Take"—Chase Holfelder
Safe

Drew & Emma
27 (9, 9, 9)
Charleston
"Remains of the Day"—Danny Elfman
Safe

Nikki & Artem
Lindsey & Mark
Terrell & Cheryl
Jordan & Lindsay
24 (8, 8, 8)
Freestyle
(Team Monster Mash)
"Monster Mash"—Bobby "Boris" Pickett

Vanessa & Maks
Frankie & Witney
Victoria & Val
Drew & Emma
30 (10, 10, 10)
Freestyle
(Team Phantom of the Ballroom)
"The Phantom of the Opera"—Sarah Brightman & Michael Crawford

text: Week 8: Celebrity Trio Dances (Quarterfinals)[edit]

text: The couples performed an unlearned dance and a trio dance. Unlike in prior seasons, where the trios involved eliminated pros or troupe members, the trios were instead composed of past celebrity winners or finalists.

text:
Couple
(Trio Dance Partner)
Scores[12]
Dance
Music[30]
Result

Terrell & Cheryl
(Kelly Monaco)
27 (9, 9, 9)
Charleston
"Bad Boy Good Man"—Tape Five feat. Henrik Wager
Eliminated

24 (8, 8, 8)
Rumba
"Slow Hands"—Niall Horan

Drew & Emma
(Rashad Jennings)
22 (7, 7, 8)
Waltz
"Both Sides Now (Torch Songs)"—Years & Years
Safe

25 (9, 8, 8)
Cha-cha-cha
"Get Up Offa That Thing"—James Brown

Victoria & Val
(Laurie Hernandez)
24 (8, 8, 8)
Argentine tango
"Down"—Marian Hill
Safe

24 (8, 8, 8)
Jive
"Magic"—B.o.B feat. Rivers Cuomo

Lindsey & Mark
(Kristi Yamaguchi)
26 (9, 8, 9)
Samba
"Morning Drums"—Gregor Salto
Safe

28 (10, 9, 9)
Jazz
"Let's Face the Music and Dance"—Seth MacFarlane

Frankie & Witney
(Alfonso Ribeiro)
26 (9, 8, 9)
Viennese Waltz
"Perfect"—Ed Sheeran
Last to be called safe

27 (9, 9, 9)
Jive
"Good Place"—Leo Soul

Jordan & Lindsay
(Corbin Bleu)
30 (10, 10, 10)
Quickstep
"Chuck Berry"—Pharrell Williams
Safe

30 (10, 10, 10)
Salsa
"Que Viva la Vida"—Wisin

text: Week 9: Semifinals[edit]

text: The couples performed an unlearned dance using music chosen by the pros, as well as a dance that reinterpreted an iconic routine from a previous season.

text:
Couple
Scores[13]
Dance
Music (Iconic Routine)[31]
Result

Drew & Emma
24 (8, 8, 8)
Tango
"I'm Gonna Be (500 Miles)"—The Proclaimers
Safe

24 (8, 8, 8)
Jazz
"Yeah!"—Usher feat. Lil Jon & Ludacris (Corbin & Karina, season 17)

Victoria & Val
27 (9, 9, 9)
Contemporary
"To Build a Home"—The Cinematic Orchestra feat. Patrick Watson
Eliminated

29 (9, 10, 10)
Charleston
"Bang Bang"—will.i.am (Amber & Derek, season 17)

Jordan & Lindsay
28 (9, 9, 10)
Argentine tango
"Brother"—NEEDTOBREATHE feat. Gavin DeGraw
Safe

30 (10, 10, 10)
Jive
"Proud Mary"—Tina Turner (Paige & Mark, season 22)

Lindsey & Mark
29 (10, 9, 10)
Contemporary
"Head High"—Alexander Jean
Safe

28 (9, 9, 10)
Tango
"Feel So Close"—Calvin Harris (Meryl & Maks, season 18)

Frankie & Witney
25 (8, 8, 9)
Salsa
"Shake"—Yin Yang Twins feat. Pitbull
Last to be called safe

26 (9, 8, 9)
Paso doble
"Carnaval de Paris"—Dario G (Apolo & Julianne, season 4)

text: Week 10: Finals[edit]

text: Individual judges' scores in the chart below (given in parentheses) are listed in this order from left to right: Carrie Ann Inaba, Len Goodman, Julianne Hough, Bruno Tonioli.

text: On the first night, the couples performed a redemption dance and a freestyle.

text: On the second night, the final three couples danced their favorite routine and a fusion dance of two styles. For the first time, a short window of "last chance" audience voting was added for the Eastern and Central time zones immediately after the final scored dance.

text:
Couple
Scores[14]
Dance
Music[32]
Result

Drew & Emma
36 (9, 9, 9, 9)
Paso doble
"Get Ready"—Rayelle
Eliminated

39 (9, 10, 10, 10)
Freestyle
"The Ding-Dong Daddy of the D-Car Line"—Cherry Poppin' Daddies

Frankie & Witney
38 (10, 9, 10, 9)
Foxtrot
"I Won't Dance"—Frank Sinatra
Last to be called safe

38 (9, 9, 10, 10)
Freestyle
"Run Boy Run"—Woodkid

Jordan & Lindsay
40 (10, 10, 10, 10)
Charleston
"Bad Man"—Pitbull feat. Robin Thicke, Joe Perry & Travis Barker
Safe

40 (10, 10, 10, 10)
Freestyle
"Puttin' on the Ritz 2017 (Jazzy Radio Mix)"—Taco feat. tomX

Lindsey & Mark
40 (10, 10, 10, 10)
Quickstep
"Barflies at the Beach"—Royal Crown Revue
Safe

40 (10, 10, 10, 10)
Freestyle
"Palladio"—Escala

text:
Couple
Scores[15]
Dance
Music
Result

Lindsey & Mark
30 (10, 10, 10)
Jive
"Wake Me Up Before You Go-Go"—Wham!
Runner-up

30 (10, 10, 10)
Cha-cha-cha
Tango
"Hot2Touch"—Felix Jaehn feat. Hight & Alex Aiono

Frankie & Witney
30 (10, 10, 10)
Argentine tango
"Angelica"—Rodrigo y Gabriela
Third place

28 (10, 9, 9)
Foxtrot
Tango
"Without You"—Avicii feat. Sandro Cavazza

Jordan & Lindsay
30 (10, 10, 10)
Samba
"Mi Gente"—J Balvin & Willy William
Winner

30 (10, 10, 10)
Salsa
Paso doble
"Kill the Lights"—Alex Newell, Jess Glynne & DJ Cassidy with Nile Rodgers

text: Dance chart[edit]

text: The celebrities and professional partners will dance one of these routines for each corresponding week:

text:
Week 1: Cha-cha-cha, foxtrot, salsa, or tango (First Dances)
Week 2:

Night 1: One unlearned ballroom dance (Ballroom Night)
Night 2: One unlearned Latin dance (Latin Night)

Week 3: One unlearned dance (Guilty Pleasures Night)
Week 4: One unlearned dance (Most Memorable Year Night)
Week 5: One unlearned dance (Disney Night)
Week 6: One unlearned dance (A Night at the Movies)
Week 7: One unlearned dance and team dances (Halloween Night)
Week 8: One unlearned dance and trio dances (Quarterfinals)
Week 9: Two unlearned dances (Semifinals)
Week 10: Finals

Night 1: Redemption dance and freestyle (Final 4)
Night 2: Favorite dance and 24-hour fusion challenge (Final 3)

tag: ul

text:
Couple
Week 1
Week 2
Week 3
Week 4
Week 5
Week 6
Week 7
Week 8
Week 9
Week 10

Jordan & Lindsay
Tango
Viennese Waltz
Samba
Charleston
Contemporary
Foxtrot
Rumba
Paso doble
Freestyle
(Team Monster Mash)
Quickstep
Salsa
Argentine tango
Jive
Charleston
Freestyle
Samba
Salsa
Paso doble

Lindsey & Mark
Cha-cha-cha
Quickstep
Salsa
Jive
Viennese Waltz
Foxtrot
Argentine tango
Paso doble
Freestyle
(Team Monster Mash)
Samba
Jazz
Contemporary
Tango
Quickstep
Freestyle
Jive
Cha-cha-cha
Tango

Frankie & Witney
Foxtrot
Tango
Cha-cha-cha
Samba
Quickstep
Argentine tango
Jazz
Contemporary
Freestyle
(Team Phantom of the Ballroom)
Viennese Waltz
Jive
Salsa
Paso doble
Foxtrot
Freestyle
Argentine tango
Foxtrot
Tango

Drew & Emma
Foxtrot
Quickstep
Rumba
Argentine tango
Jive
Viennese Waltz
Paso doble
Charleston
Freestyle
(Team Phantom of the Ballroom)
Waltz
Cha-cha-cha
Tango
Jazz
Paso doble
Freestyle

Jive

Victoria & Val
Cha-cha-cha
Tango
Rumba
Quickstep
Foxtrot
Jazz
Paso doble
Viennese Waltz
Freestyle
(Team Phantom of the Ballroom)
Argentine tango
Jive
Contemporary
Charleston

Viennese Waltz

Terrell & Cheryl
Cha-cha-cha
Foxtrot
Samba
Salsa
Viennese Waltz
Quickstep
Jive
Tango
Freestyle
(Team Monster Mash)
Charleston
Rumba

Nikki & Artem
Tango
Waltz
Samba
Viennese Waltz
Contemporary
Jazz
Argentine tango
Jive
Freestyle
(Team Monster Mash)

Quickstep

Vanessa & Maks
Cha-cha-cha
Foxtrot
Salsa
Jazz
Rumba
Waltz
Quickstep
Paso doble
Freestyle
(Team Phantom of the Ballroom)

Quickstep

Nick & Peta
Cha-cha-cha
Foxtrot
Argentine tango
Jazz
Contemporary
Quickstep
Samba

Sasha & Gleb
Cha-cha-cha
Viennese Waltz
Samba
Jazz
Foxtrot
Rumba

Quickstep

Derek & Sharna
Salsa
Foxtrot
Paso doble
Cha-cha-cha
Jazz

Salsa

Debbie & Alan
Foxtrot
Quickstep
Argentine tango

Quickstep

Barbara & Keo
Salsa
Tango

Jive

text: Ratings[edit]

text: U.S. Nielsen ratings[edit]

text:
Episode
Air date
Rating/Share
(18–49)
Viewers
(millions)

1
"Week 1: Premiere"
September 18, 2017
1.6
6
10.71[33]

2
"Week 2: Ballroom Night (Night 1)"
September 25, 2017
1.4
5
8.67[34]

3
"Week 2: Latin Night (Night 2)"
September 26, 2017
1.2
4
7.22[35]

4
"Week 3: Guilty Pleasures Night"
October 2, 2017
1.4
5
9.06[36]

5
"Week 4: Most Memorable Year Night"
October 9, 2017
1.3
5
9.25[37]

6
"Week 5: Disney Night"
October 16, 2017
1.4
5
9.76[38]

7
"Week 6: A Night at the Movies"
October 23, 2017
1.3
5
9.15[39]

8
"Week 7: Halloween Night"
October 30, 2017
1.4
5
9.93[40]

9
"Week 8: Quarterfinals"
November 6, 2017
1.2
5
9.30[41]

10
"Week 9: Semifinals"
November 13, 2017
1.4
5
9.88[42]

11
“Week 10: Finals”
November 20, 2017
1.4
5
10.08[43]

12
“Season Finale”
November 21, 2017
1.3
5
9.20[44]

text: Notes[edit]

text:
Jump up ^ Shania Twain was a guest judge, so the couples were scored on a 40-point scale.
Jump up ^ Julianne Hough was a guest judge for Monday night only, so those dances were scored on a 40-point scale. The Tuesday dances were scored on a 30-point scale.

tag: ol


document_title: National Insurance number

question_text: when are you issued with a national insurance number

text: National Insurance number

text: Allocation of number[edit]

text: People born and resident in the UK are assigned a Child Reference Number shortly after birth when a claim is made for Child Benefit.[3] At age 15 years 9 months HM Revenue and Customs (HMRC) notifies each child of their NI number.[4]

text: In 1993, a one-off mass allocation of NI numbers was made to all children under the age of 16 whose parents were in receipt of Child Benefit.  As a result of this, siblings who met the criteria above were allocated NI numbers sequentially.[5]

text:
Persons from abroad who wish to work in the UK, or those to whom a number was not initially allocated as children, must apply for a number through the Department for Work and Pensions (DWP).[6]
The prefixes used are typically different from those used in the normal run.[6][not in citation given]

text: Format[edit]

text: The format of the number is two prefix letters, six digits, and one suffix letter.[7] The example used is typically QQ123456C.  Often, the number is printed with spaces to pair off the digits, like this: QQ 12 34 56 C.

text: Neither of the first two letters can be D, F, I, Q, U or V. The second letter also cannot be O. The prefixes BG, GB, NK, KN, TN, NT and ZZ are not allocated.[8] Validation lists of issued two-letter prefixes are published from time to time.[9][10]

text: After the two prefix letters, the six digits are issued sequentially from 00 00 00 to 99 99 99. The last two digits determine the day of the week on which various social security benefits are payable and when unemployed claimants need to attend their Jobcentre to sign on (renew their claims): 00 to 19 for Monday, 20 to 39 for Tuesday, 40 to 59 for Wednesday, 60 to 79 for Thursday and 80 to 99 for Friday.[11][12]

text: The suffix letter is either A, B, C, or D.[7] (although F, M, and P have been used for temporary numbers in the past). The NI number is unique without the suffix letter, so, for example, if AB 12 34 56 C exists, then there will be no other numbers beginning with AB 12 34 56 (although temporary numbers were not necessarily unique, because two people with the same date of birth would have had the same number). In official electronic submissions, the final letter may be represented by a space if not known.[13]

text: Until 1975, the suffixes A, B, C and D at the end of the NI number signified the period of validity of the National Insurance cards originally used to collect National Insurance contributions (NICs). Cards were exchanged every twelve months and because of the very large numbers of cards issued the exchange was staggered. Suffix A cards ran from March of one year until March of the next when they were exchanged for a new one. Stagger B suffix cards ran from June until the following June, stagger C from September until the following September and stagger D from December until the following December. For example, a B stagger card issued in 1955 might have run from the first Monday in June that year until the first Sunday in June the following year. This staggered system operated from 5 July 1948 until 1975, at which time the A stagger cards were extended to run an extra five weeks, until 5 April 1975, in line with the end of the tax year. The B, C and D stagger NI Cards had a shorter period of validity in their final year, and ran from June, September and December respectively in 1974 until 6 April 1975. From 6 April 1975 onwards, a computerised National Insurance Recording System (NIRS) was used to allocate all NICs by tax years.

text: In Great Britain, expired NI cards were sorted into one hundred separate groups corresponding to the final two numbers of the NI number and were posted to the individual insured person's NI account (the RF1) by the corresponding one hundred ledger sections at the Records Branch of the Central Office of the Ministry of Labour and its successors—the Ministry of National Insurance (from 1945), Ministry of Pensions and National Insurance (1953), the Department of Health and Social Security (1968), Department of Social Security (1988), and Department for Work and Pensions (since 2001). These 100 sections dealt not only with the recording of NI contributions but with requests for information about qualifying contributions necessary to pay sickness, unemployment, widows, and other benefits and also with any correspondence arising from those NI accounts and NI cards. Within each of the 100 sections, NI numbers were allocated among 16 splits with one clerk administering each split. To trace unknown NI numbers, a general index contained millions of small RF2 index slips, filed in order of surname and listing the name(s), date of birth, and NI number for every person within the National Insurance scheme.

text: The Northern Ireland National Insurance scheme is funded and administered separately from the scheme in Great Britain but operates identically so that, in practice, the same rules apply throughout the United Kingdom.

text: Temporary numbers[edit]

text: Until April 2001, employers sometimes allocated their employees a temporary insurance number, which followed the format "TN dd mm yy x", where 'TN' stands for temporary number and is static and x is M for male, F for female, or P for pensioner and the numbers in the midsection were the employee's date of birth.[8] In the case of a woman born on 31 December 1958, for example, the temporary NI number would have been TN 31 12 58 F. Temporary NI numbers could not be used to trace back any NI credits or personal details. Since 2001 the National Insurance number must be obtained – the temporary code must not now be used.[14]

text: Another type of temporary NI number is the Revenue-issued "temporary reference" used when HMRC is unable to trace a taxpayer's original NI number. It follows the format 63T12345.

text: Administrative numbers[edit]

text: Reference numbers similar in format to NI numbers are sometimes allocated for tax or benefit purposes with special prefix letters.  Special prefixes used in the past include the letters OO (for Tax Credit claims), CR (for investigations), FY (formerly for Attendance Allowance claims, named after the Fylde social security office where claims were processed), MW (used from 1980 to 1987 for migrant workers), NC (formerly for Stakeholder Pensions, PP (for use by pension schemes as PP999999P), and PY or PZ (both used for tax-only accounts created prior to 2003).[7]

text: Numbercards[edit]

text: From 1984 until 2011, when a person was allocated an NI number they also received a plastic 'numbercard' of similar proportions to a credit card with the number raised on the front. Prior to 1984, a manila notification card was issued instead.  The card is only used as a reminder of the number and the card itself is not needed to start work, and is not considered a valid identity card.  Numbercards were phased out from September 2010, and the issue of numbercards ceased completely in October 2011.  NI numbers are now notified by letter.[15]

text: Crown dependencies[edit]

text: National Insurance numbers issued in the Isle of Man hold the prefix MA.[16] Similarly, those issued in Jersey start with JY, and those issued in Guernsey hold the prefix GY. Only Channel Island NINOs issued prior to 1975 are validated, and recognised for UK use by HMRC.[17]

text: Use for tax purposes[edit]

text: The National Insurance number is used as a reference number in the Pay As You Earn system, and also by the self-employed.  It is also used in applications for Individual Savings Accounts (ISAs), to check that an individual has opened only one ISA in a tax year.

text: However, the NI number is not used universally as a tax identification number.  Taxpayers who need to file a tax return are given a different number, a Unique Taxpayer Reference (UTR), which is used as a reference number in the self-assessment tax system.[18]

text: Use for identification[edit]

text: NI numbers are sometimes used for identification purposes in other contexts which have nothing to do with their original National Insurance purpose – such as forming part of evidence of right to work in the UK.[19] The NI card, however, is not proof of identity.


document_title: The Hunchback of Notre Dame (1996 film)

question_text: who plays the gargoyles in hunchback of notre dame

text: The Hunchback of Notre Dame (1996 film)

text: Plot

text: In 1482 Paris, Clopin, a gypsy puppeteer, narrates the origin of the titular hunchback. A group of gypsies sneak illegally into Paris, but are ambushed by Judge Claude Frollo, the Minister of Justice of Paris, and his soldiers. A gypsy woman in the group attempts to flee with her deformed baby, but Frollo chases and kills her outside Notre Dame. He tries to kill the baby as well, but the cathedral's archdeacon intervenes and accuses Frollo of murdering an innocent woman. To atone for his sin, Frollo reluctantly agrees to raise the deformed child in Notre Dame as his son, naming him Quasimodo.

text: Twenty years later, Quasimodo develops into a kind yet isolated young man who has lived inside the cathedral his entire life. A trio of living stone gargoyles—Victor, Hugo, and Laverne—serve as Quasimodo's only company, and encourage him to attend the annually-held Festival of Fools. Despite Frollo's warnings that he would be shunned for his deformity, Quasimodo attends the festival and is celebrated for his awkward appearance, only to be humiliated by the crowd after Frollo's men start a riot. Frollo refuses to help Quasimodo, but Esmeralda, a kind gypsy, intervenes by freeing the hunchback, and uses a magic trick to evade arrest. Frollo confronts Quasimodo and sends him back inside the cathedral.

text: Esmeralda follows Quasimodo inside, only to be followed herself by Captain Phoebus of Frollo's guard. Phoebus refuses to arrest her for alleged witchcraft inside Notre Dame and instead has her confined to the cathedral. Esmeralda finds and befriends Quasimodo, who helps her escape Notre Dame out of gratitude for defending him. She entrusts Quasimodo a pendant containing a map to the gypsies' hideout, the Court of Miracles. Frollo soon develops lustful feelings for Esmeralda and, upon realizing them, begs the Virgin Mary to save him from her "spell" to avoid eternal damnation. When Frollo discovers that she escaped, he instigates a citywide manhunt for her which involves setting fire to countless houses in his way. Phoebus is appalled by Frollo's evil and defies him, and Frollo sentences him to death. While fleeing, Phoebus is struck by an arrow and falls into the River Seine, but Esmeralda rescues him and takes him to Notre Dame for refuge. The gargoyles encourage Quasimodo to confess his feelings for Esmeralda, but he is heartbroken to discover she and Phoebus have fallen in love.

text: Frollo returns to Notre Dame later that night and discovers that Quasimodo helped Esmeralda escape. He bluffs to Quasimodo saying that he knows about the Court of Miracles and that he intends to attack at dawn. Using the map Esmeralda gave him, Quasimodo and Phoebus find the court to warn the gypsies, only for Frollo to follow them and capture all the gypsies present. Frollo prepares to burn Esmeralda at the stake after she rejects his advances, but Quasimodo rescues her and brings her to the cathedral. Phoebus releases the gypsies and rallies the citizens of Paris against Frollo and his men, who try to break into the cathedral. Quasimodo and the gargoyles pour molten lead onto the streets to ensure no one enters, but Frollo successfully manages to get inside. He pursues Quasimodo and Esmeralda to the balcony where he and Quasimodo both fall over the edge. Frollo falls to his death in the molten lead, while Quasimodo is caught by Phoebus on a lower floor. Afterward, Quasimodo comes to accept that Phoebus and Esmeralda are in love, and he gives them his blessing. The two encourage him to leave the cathedral into the outside world, where the citizens hail him as a hero and accept him into society.

text: Voice cast

text:
Tom Hulce as Quasimodo – Notre Dame Cathedral's 20-year-old hunchbacked bell ringer who dreams of seeing life outside the bell tower. Despite the fact that Quasimodo is being constantly informed by his guardian Judge Claude Frollo that he is an ugly monster, Clopin's opening song asks listeners to judge for themselves "who is the monster, and who is the man" of the two. James Baxter served as the supervising animator for Quasimodo.
Demi Moore as Esmeralda (singing voice by Heidi Mollenhauer) – A beautiful, streetwise Gypsy dancing girl who befriends Quasimodo and shows him that his soul is truly beautiful, even if his exterior is not. Highly independent and strong-minded, she abhors Frollo's treatment of Paris's gypsies and other outcasts, and seeks justice for them throughout the film. She falls in love with (and later marries) Captain Phoebus. Tony Fucile served as the supervising animator for Esmeralda.
Tony Jay as Judge Claude Frollo – A ruthless, self-righteous and religiously pious judge who is Quasimodo's reluctant guardian. He has an intense hatred of the gypsy population and seeks to annihilate their entire race. In comparison to Victor Hugo's original novel, he also displays a sadistic and lustful obsession with Esmeralda. Frollo generally believes all he does is in God's will, despite frequent disagreements with the cathedral's Archdeacon.[3] Kathy Zielinski served as the supervising animator for Frollo.
Kevin Kline as Captain Phoebus – A soldier who is Frollo's Captain of the Guard. He does not approve of Frollo's methods and saves people whenever they are in danger, including his love interest Esmeralda, whom he later marries. Russ Edmonds served as the supervising animator for Phoebus and Achilles (his horse is voiced by Bob Bergen, who also voices baby Quasimodo).
Paul Kandel as Clopin – A puppeteer, storyteller, and mischievous leader of all the gypsies and thieves of Paris. Michael Surrey served as the supervising animator for Clopin.
Charles Kimbrough, Jason Alexander, and Mary Wickes as Victor, Hugo, and Laverne – Three comical gargoyle statues who are Quasimodo's best friends and guardians. This would be Wickes' final acting performance; she died a year before its release, at age 85. Jane Withers provided the remaining dialogue for Laverne in the film's sequel and related merchandise. David Pruiksma served as the supervising animator for Victor and Hugo, while Will Finn served as the supervising animator for Laverne.
David Ogden Stiers as the Archdeacon – A priest at Notre Dame and a kind man who helps many characters throughout the film, including Quasimodo and Esmeralda. Dave Burgess served as the supervising animator for the Archdeacon.
Frank Welker as Djali – Esmeralda's pet goat, and Hugo's love interest. Ron Husband served as the supervising animator for Djali.

text: Production

text: Development

text: The idea to adapt The Hunchback of Notre Dame came from development executive David Stainton in 1993, who was inspired to turn Victor Hugo's novel The Hunchback of Notre-Dame into an animated feature film after reading the Classics Illustrated comic book adaptation.[4] Stainton then proposed the idea to then-studio chairman Jeffrey Katzenberg. Following Beauty and the Beast, Gary Trousdale had taken the opportunity to take a break from directing, instead spending several months developing storyboards for The Lion King.[5] Following this, Trousdale and Kirk Wise subsequently attempted developing an animated feature based on the Greek myth of Orpheus titled A Song of the Sea, adapting it to make the central character a humpback whale and setting it in the open ocean.[6][7] The concept obstinately refused to pull together, but while they were working on the project they were summoned to meet with Katzenberg. "During that time," explained Trousdale, "while we working on it, we got a call from Jeffrey. He said, 'Guys, drop everything – you're working on Hunchback now.'"[8] According to Wise, they believed that it had "a great deal of potential...great memorable characters, a really terrific setting, the potential for fantastic visuals, and a lot of emotion."[9]

text: Production on The Hunchback of Notre Dame went underway in the summer of 1993.[10] In October 1993, directors Gary Trousdale and Kirk Wise, art director David Goetz, Roy Conli, Ed Ghertner, Will Finn, Alan Menken, and Stephen Schwartz took a trip to Paris, France for ten days; three days were devoted to exploring Notre Dame including a private tour of rarely glimpsed sites as actual passageways, stairwells, towers, and a hidden room within which Hugo set his actions. Also included were visits to the Palace of Justice and an original location of the Court of Miracles.[11]

text: Writing

text:
"We knew it would be a challenge to stay true to the material while still giving it the requisite amount of fantasy and fun most people would expect from a Disney animated feature. We were not going to end it the way the book ended, with everybody dead."

Kirk Wise[12]

tag: div

text: Writer Tab Murphy was brought on board to write the screenplay, and it was decided early on that Quasimodo would be the center of the story, as he was in preceding live-action film adaptations. In the early drafts, Quasimodo served as a Cyrano between Phoebus and Esmeralda, but it was discarded to focus more on Quasimodo.[13] Meanwhile, a love story between Quasimodo and Esmeralda was also conceived, according to Murphy, but "we decided to make Phoebus more heroic and central to the story. Out of that decision grew the idea of some sort of a triangle between Quasimodo, Esmeralda and Phoebus."[14] Some of the novel's key characters were jettisoned entirely. The gargoyles of Notre Dame were added to the story by Trousdale and Wise. Their portrayal as comedic friends and confidantes of Quasimodo was inspired by a portion of the novel, which reads "The other statues, the ones of monsters and demons, felt no hatred for Quasimodo…The saints were his friends and blessed him the monsters were his friends, and protected him. Thus he would pour out his heart at length to them."[15][16]

text: One of the first changes made to accommodate Disney's request was to turn the villainous Claude Frollo into a judge rather than an archdeacon, thus avoiding religious sensibilities in the finished film.[17] "As we were exploring the characters, especially Frollo, we certainly found a lot of historical parallels to the type of mania he had: the Confederate South, Nazi Germany, take your pick," explained Wise. "Those things influenced our thinking."[14] Producer Don Hahn evaluated that one inspiration for Frollo was found in Ralph Fiennes's performance as Amon Goeth in Schindler's List, who murders Jews yet desires his Jewish maid.[12] For the opening sequence, Disney story veteran Burny Mattinson constructed an effective sequence that covered much exposition, although studio chairman Jeffrey Katzenberg felt something was missing. Following Stephen Schwartz's suggestion to musicalize the sequence, French animators Paul and Gaëtan Brizzi storyboarded the sequence to Menken and Schwartz's music resulting in "The Bells of Notre Dame".[18] Lyricist Stephen Schwartz also worked closely with the writing team even suggesting that the audience should be left wondering what the outcome of what Phoebus would do before he extinguishes the torch in water in retaliation against Frollo.[19] Another was, unsurprisingly, the film's conclusion. While Frollo's death was retained – and, indeed, made even more horrific – Quasimodo and Esmerelda were both spared their fates and given a happy ending. This revised ending was based in part on Victor Hugo's own libretto to a Hunchback opera, in which he had permitted Captain Phoebus to save Esmerelda from her execution.

text: Casting

text: In late 1993, pop singer Cyndi Lauper was the first actor attached to the film during its initial stages. Thinking she was cast as Esmeralda, Lauper was startled to learn she was to voice a gargoyle named Quinn, and was hired one week after one reading with the directors.[20] The development team would later come up with the names of Chaney, Laughton and Quinn – named after the actors who portrayed Quasimodo in preceding Hunchback film adaptations. However, Disney's legal department objected to the proposed names of the gargoyles, fearing that the estates of Lon Chaney, Charles Laughton, or Anthony Quinn (who was still alive at the time) would file a lawsuit over using their names so the names were dropped.[21] Trousdale and Wise then suggested naming the characters Lon, Charles, and Anthony – which would have resulted in the same legal concern – before naming the first two gargoyles after Victor Hugo, and the third gargoyle after Andrews Sisters singer Laverne Andrews.[21] Now cast as Laverne, Lauper was deemed too youthful for a friend to provide Quasimodo wise counsel while at the same time Sam McMurray – best known for his work on The Tracey Ullman Show – was hired for Hugo. Meanwhile, Charles Kimbrough was cast as Victor, who was initially unimpressed at an animated adaptation of Hunchback, but later became rather impressed at the level of research that went into the film and how the story ideas transitioned from the novel to the screen.[22] After several recording sessions and test screenings, Lauper and McMurray were called by the directors who regrettably released them from their roles.[23] Jason Alexander, having voiced Abis Mal in The Return of Jafar, was cast as Hugo fulfilling a lifelong desire to be in a Disney film. Laverne was then revisioned into a wiser, mature character with Mary Wickes cast in the role.[23] Following Wickes' death in October 1995,[24] Jane Withers was hired to voice her six remaining lines.[12][25]

text: Mandy Patinkin was approached for the title role, but his style of portraying Quasimodo collided with the producers' demands, and Patinkin stated "'I [was] just there at the audition [and I] said, 'I can't do this.'"[26] Tom Hulce was cast as Quasimodo following his first audition for the role, and according to the actor, he noticed during the audition that the Disney executives, producers, and directors "were staring at the floor. It looked like everyone was at a memorial service" until he noticed the floor was lined with storyboard sketches. According to Wise, the filmmakers "like to audition the voices with our eyes closed, so we see the character's face."[27] Quasimodo was originally portrayed as more monstrous, older and with more of a speech impediment during the early rehearsals, but Hulce commented that "we experimented, endlessly. At one point I was ready to call in and say 'Things just aren't happening.'".[28] Ultimately, the directors desired to portray Quasimodo with a younger voice different from the previous portrayals since "[Victor] Hugo described Quasimodo as 20".[8] Additionally, Hulce was permitted to do his own singing after performing a demo recording of "Out There".[29] Desiring a huskier voice different from the leading Disney heroines,[30] Demi Moore was cast as Esmeralda, and met with Alan Menken and Stephen Schwartz on singing. After several singing demos, the actress said "You'd better get someone else,'" according to Schwartz. New York City cabaret singer Heidi Mollenhauer was selected to provide the singing voice.[31] For the role of Phoebus, co-director Kirk Wise explained that "As we're designing the characters, we form a short list of names...to help us find the personality of the character." Subsequently, the filmmakers modeled his portrayal on the personalities of Errol Flynn and John Wayne, and "One of the names on the top of the list all the time was Kevin Kline."[8] British actor Tony Jay, who declared his role as Frollo as his "bid for immortality",[32] was cast after the directors worked with him in Beauty and the Beast. After watching his portrayal as Uncle Ernie in the musical The Who's Tommy, Broadway actor Paul Kandel was selected to voice Clopin.[30]

text: Animation

text: Alongside Pocahontas (1995), storyboard work on The Hunchback of the Notre Dame was among the first to be produced for an animated film on the new Disney Feature Animation building adjacent to the main Disney lot in Burbank, which was dedicated in 1995.[9][33] However, as the Feature Animation building was occupied with The Lion King and Pocahontas at the time, more animators were hired from Canada and United Kingdom to join the production team for Hunchback,[34] and as the development phase furthered along, most of the entire animation team was moved out into a large warehouse facility on Airway in Glendale, California. As the Disney story artists, layout crew, and animators moved in their new quarters, they decided to name the building "Sanctuary."[35]

text: Since Who Framed Roger Rabbit (1988), other animators hired by Disney Feature Animation were from Germany, France, Ireland, and additional ones from Canada were involved in providing animation duties at the recently opened satellite studio, Walt Disney Animation Paris,[18] of which about 20 percent of the film was done.[36] Meanwhile, while Walt Disney Feature Animation Florida was prepping their first in-house production then titled The Legend of Mulan, at least seven animators penned about four minutes of screentime, mostly involving Frollo and Quasimodo. Layout, cleanup, and special-effects artists provided additional support.[37]

text: To achieve large-scale crowd scenes, particularly for the Feast of Fools sequence and the film's climax, computer animation was used to create six types of characters – males and females either average in weight, fat, or thin – which were programmed and assigned 72 specific movements ranging from jumping and clapping.[38] Digital technology also provided a visual sweep that freed Quasimodo to scamper around the cathedral and soar around the plaza to rescue Esmeralda.[14]

text: Music

text: Having worked on Pocahontas for a year, Alan Menken and Stephen Schwartz were offered multiple film projects to work on when they more or less chose to work on Hunchback being attracted to underlying themes of social outcast and Quasimodo's struggle to break free of the psychological dominance of Frollo, according to Schwartz.[39]

text: The film has many musical motifs that carry throughout the film, weaving their way in and out of various pieces of music, and having varying timbres depending on the action in the story at that point. The film's soundtrack includes a musical score written by Alan Menken and songs written by Menken and Stephen Schwartz. Songs include "The Bells of Notre Dame" for Clopin, Frollo and the Archdeacon, "Out There" for Quasimodo and Frollo, "Topsy Turvy" for Clopin, "God Help the Outcasts" for Esmeralda, "Heaven's Light" for Quasimodo, "Hellfire" for the Archdeacon and Frollo, "A Guy Like You" for the gargoyles and "The Court of Miracles" for Clopin and the gypsies.

text: Three songs written for the film were discarded for the storyboarding process. Trousdale and Wise were not certain what musical number could be placed for the third act, though Menken and Schwartz conceived two love songs, "In a Place of Miracles" and "As Long as There's a Moon", between Esmeralda and Phoebus in the film. However, Trousdale and Wise felt the song took too much focus off of Quasimodo,[40] and ultimately decided to have Clopin sing about sentencing Phoebus and Quasimodo to death for finding their gypsy hideout.[41] Menken and Schwartz had also written "Someday" originally for the film, but the directors suggested that a religious song be sung in the cathedral, and the song was instead featured in the end credits.[42] R&B group All-4-One recorded the song for the end credits of the North American English release,[43] and by the British R&B girl group Eternal in the British English version. Luis Miguel recorded the version for the Latin American Spanish version, which became a major hit.

text: Themes

text: The Hunchback of Notre Dame has many themes, including infanticide, lust, damnation, and sin.[44] One of the most important to the narrative is belief in a loving, forgiving God. It also implies, according to Mark Pinsky, a "condemnation of abortion, euthanasia, and racism, and [a] moral resistance to genocide".[45]

text: The Hunchback of Notre Dame was the first—and only—Disney animated feature to have a major focus on traditional religious faith; pre-Reformation Catholicism. In fact, the words "God", "Lord", and "Hell" are uttered more times in this film than in any other. The Gospel According to Disney explains that "it is the church...that interposes, or attempts to interpose itself between the villain and his evil intentions." The creative team and the studio executives did butt heads on various issues, especially those relating to the religious content in the story, "for their failure to defend the poor and the powerless" and concerns that the story was "too controversial".[45] Deconstructing Disney notes that the studio "approached the name of God with an almost Hebraic zeal (that it should never be stated) yet here it is invoked in a manner both pious and puritan." Many of the songs were adapted from genuine Latin prayers and chants, such as "Hellfire," which uses the Tridentine form of the Confiteor as a counterpoint melody. The association of the Church with a form of evil leadership by a man who is "[a religious leader] in almost all respects except the title" "implies a church that is ineffective if not full of vice", the same criticism Hugo gave in his novel. The Gospel According to Disney includes a quote that says "religion... appears as an impotent, irrelevant caricature [and] Disney refuses to admit a serious role for religion". At one point, the archdeacon says to Esmeralda, "You can't right all the wrongs of this world by yourself... perhaps there is someone in here who can," referring to God. This questions the power religious people actually have in making the world a moral and happy place.[45]

text: Frollo is a complex figure who is torn between "good and evil; chastity and lust." While the church represents "the spirit of a Christian God," this is juxtaposed by the cruel actions and snap judgements of Frollo, who claims to be doing God's work. The Gospel According to Disney explains that "while Frollo's stated goal is to purge the world of vice and sin, according to the opening song, he 'saw corruption everywhere except within.'" Because "killing the woman on the steps has put Frollo's soul in mortal danger," he has to take the child and look after him as penance. Even then, he absolves himself of agency in the murder by claiming "God works in mysterious ways," and ponders whether "the child may be of use to him one day." During the song "God Help the Outcasts," Esmeralda brings up the point that Jesus – the person in whose name religious people such as Frollo persecute and subjugate "children of God" – was in fact an outcast too.[45]

text: According to the film's production notes, Quasimodo is "symbolically viewed as being an angel in a devil's body." He is "trapped between heaven above [and] the gritty streets of urban Paris viewed as Hell." The version of the alphabet Quasimodo recites in a daily ritual reflects Frollo's view of the world – full of abominations and blasphemy. He is also constantly reminded he is deformed, ugly, a monster, and an outcast who would be hated if he ever left the confines of the church.[45]

text: The film also criticizes materialism. When Esmeralda sings "God Help The Outcasts," she "walks in the opposite direction of more prosperous worshipers who are praying for material and earthly rewards." One literary device included in the song is the use of contrast and irony; the rich citizens pray for wealth, fame and "for glory to shine on their names" while the destitute Esmeralda prays for the poor and downtrodden.[45]

text: Release

text: In 1994, the film was scheduled for a Christmas 1995 release,[46][47] though the film was reportedly delayed following the departure of Jeffrey Katzenberg from the Walt Disney Company.[48] By January 1995, it was later pushed back to a summer 1996 release.[49][50] The film premiered on June 19, 1996 at the New Orleans Superdome, where it was played on six enormous screens. The premiere was preceded by a parade through the French Quarter, beginning at Jackson Square and utilizing floats and cast members from Walt Disney World.[51] The film was widely released two days later.

text: Marketing

text: As part of the promotion of the film, Walt Disney Records shipped two million products, including sing-along home videos, soundtrack CD's, and the "My First Read Along" novelized version of the film, aimed at a toddler demographic. Upon release, The Hunchback of Notre Dame was accompanied by a marketing campaign at more than $40 million with commercial tie-ins with Burger King, Payless Shoes, Nestlé and Mattel.[52] By 1997, Disney earned approximately $500 million in profit with the spin-off products based from the film.[53][54]

text: Home media

text: The Hunchback of Notre Dame was first released on VHS, standard CLV Laserdisc, and special edition CAV Laserdisc on March 4, 1997 under the Walt Disney Masterpiece Collection label. Sales and rentals of the VHS release would eventually accumulate to $200 million by summer 1998.[55][56] It was originally planned for a DVD release in December 2000 as part of the Walt Disney Gold Classic Collection, but instead, it was re-issued on March 19, 2002 as a Special Edition along with its direct-to-video sequel, The Hunchback of Notre Dame II.

text: Walt Disney Studios Home Entertainment released The Hunchback of Notre Dame on Blu-ray alongside its sequel in a Special Edition "2-Movie Collection" on March 12, 2013.[57]

text: Reception

text: Box office

text: In its opening weekend, the film opened in second place at the box office behind Eraser, grossing $21.3 million. In a new box office strategy, Disney also included ticket sales which were sold from Disney stores nationwide, which added about $1 million to the box-office numbers.[58] However, in comparison to Pocahontas, which had grossed $29 million the year previous, Buena Vista Pictures Distribution president Dick Cook defended the results claiming it was comparable to Beauty and the Beast (1991), which opened in half as many theaters, and grossed about $9 million.[58] In foreign markets, by December 1996, the film became the fifteenth film that year to gross over $100 million surpassing the domestic box office gross, and went on to accumulate $200 million.[59] The film would ultimately grossed just over $100 million domestically and over $325 million worldwide, making it the fifth highest-grossing film of 1996.[2]

text: Critical reception

text: Review aggregator website Rotten Tomatoes gave the film a 73% positive rating based on 51 reviews with its consensus stating, "Disney's take on the Victor Hugo classic is dramatically uneven, but its strong visuals, dark themes, and message of tolerance make for a more-sophisticated-than-average children's film."[60] Chicago Sun-Times film critic Roger Ebert rewarded the film 4 stars, calling it "the best Disney animated feature since Beauty and the Beast – a whirling, uplifting, thrilling story with a heart touching message that emerges from the comedy and song".[61] In his written review for the Chicago Tribune, Gene Siskel awarded the film 3½ (out of a possible 4) stars describing the film as "a surprisingly emotional, simplified version of the Victor Hugo novel" with "effective songs and, yes, tasteful bits of humor".[62] Owen Gleiberman of Entertainment Weekly graded the film an A in his review and labeled it: "the best of Disney's 'serious' animated features in the multiplex era, (...) an emotionally rounded fairy tale that balances darkness and sentimentality, pathos and triumph, with uncanny grace".[63]

text: Jason Alexander would note that while "Disney would have us believe this movie’s like the Ringling Bros., for children of all ages", in reality the final cut of the film would have murder, torching, emotional and physical humiliation, among other things. This dual push of the film - half toward the lighter side and half toward the darker side, led to a work that nobly yet unsuccessfully attempted to appeal to both toddlers and families, and sophisticated filmgoers and lovers of Victor Hugo's book.[64]

text: Richard Corliss of Time praised the film, giving a positive review and stating that "the result is a grand cartoon cathedral, teeming with gargoyles and treachery, hopeless love and tortured lust" and also said "Alan Menken and Stephen Schwartz have written the largest, most imposing score yet for an animated film".[65] Charles Spencer of The Daily Telegraph gave it a positive review, saying "it is thrillingly dramatic, and for long stretches you forget you are watching a cartoon at all... A dazzling treat".[66] Variety also gave the film a positive review, stating that "there is much to admire in Hunchback, not least the risk of doing such a downer of a story at all" and also saying: "the new film should further secure Disney's dominance in animation, and connoisseurs of the genre, old and young, will have plenty to savor".[67]

text: Also addressing the film's darker themes, The Daily Mail called The Hunchback of Notre Dame "Disney's darkest picture, with a pervading atmosphere of racial tension, religious bigotry and mob hysteria" and "the best version yet of Hugo's novel, a cartoon masterpiece, and one of the great movie musicals".[68] Janet Maslin wrote in her The New York Times review, "In a film that bears conspicuous, eager resemblances to other recent Disney hits, the filmmakers' Herculean work is overshadowed by a Sisyphean problem. There's just no way to delight children with a feel-good version of this story."[69]

text: Upon opening in France in March 1997, reception from French critics towards Hunchback was reported to be "glowing, largely positive".[70] French critics and audiences found resonance in the film which recounted a real-life incident from August 1995 when French police raided a Parisian church and seized over 200 illegal immigrants seeking refuge from deportation under France's strict expulsion laws. "It is difficult not to think of the undocumented immigrants of St. Bernard when Frollo tries to sweep out the rabble," wrote one reviewer.[71]

text: Audience response

text: Some criticism was provided by fans of Victor Hugo's novel, who were disappointed with the changes Disney made to the material. Arnaud Later, a leading scholar on Hugo, accused Disney of simplifying, editing and censoring the novel in numerous aspects, including the personalities of the characters. In his review, he later wrote that the animators "don't have enough confidence in their own emotional feeling" and that the film "falls back on clichés."[72] Descendants of Victor Hugo bashed Disney in an open letter to the Libération newspaper for their ancestor getting no mention on the advertisement posters, and describing the film as a "vulgar commercialization by unscrupulous salesmen".[73][74][75]

text: Criticism additionally generated among viewers over whether the film is too scary or violent for young children, and whether the storyline, which involves issues of sexual obsession and religion, might be too adult.[76] However, some newspaper publications reported child audiences being unaffected by the mature content and praising the film.[76][77] Further accusations were made of the film having homosexual undertones, noticeably with the song "Out There", being the name of a gay pressure group and as a call to come out of the closet.[78][79]

text: In June 1996, the Southern Baptist Convention voted overwhelmingly to urge its sixteen million members to boycott Disney films, theme parks, and merchandise to protest behavior it believes "disparages Christian values."[80] The cause of the protests – unrelated to the film – stemmed from the company's domestic partnership policy and gay and lesbian theme days at Walt Disney World.[81] Disney officials would not comment on the motivation for the religious content displayed in the film beyond comments on the subject included in the film's press kit with Disney vice president John Dreyer commenting, "The film speaks for itself."[82] Nevertheless, there was praise from religious organizations for its portrayal of religion in the film. Louis P. Sheldon, a Presbyterian pastor and chairman of the Anaheim-based Traditional Values Coalition, affirmed two months before its premiere that "I am thrilled at what I hear about Hunchback, that Disney is seeking to honour Christianity and its role in Western civilization. I only pray that it will accomplish much good in the minds and hearts of its viewers."[83] Following protests in the United States, thousands of British parents banned their kids from seeing The Hunchback Of Notre Dame.[84] In reaction to the controversy, Walt Disney Feature Animation president Peter Schneider said, "The only controversy I've heard about the movie is certain people's opinion that, 'Well, it's OK for me, but it might disturb somebody else." Schneider also stated in his defense that the film was test-screened "all over the country, and I've heard nobody, parents or children, complain about any of the issues. I think, for example, the issue of disabilities is treated with great respect." and "Quasimodo is really the underdog who becomes the hero; I don't think there's anything better for anybody's psychological feelings than to become the hero of a movie. The only thing we've been asked to be careful about is the word hunchback, which we have to use in the title."[85]

text: Accolades

text:
Awards

Award
Date of ceremony
Category
Recipients and nominees
Result

Academy Awards
March 24, 1997
Best Music, Original Musical or Comedy Score
Alan Menken and Stephen Schwartz
Nominated

Annie Awards
1997
Best Animated Feature
Walt Disney Pictures and Walt Disney Feature Animation
Nominated

Best Individual Achievement: Animation
Kathy Zielinski
Nominated

Best Individual Achievement: Animation
James Baxter
Nominated

Directing in an Animated Feature Production
Gary Trousdale and Kirk Wise
Nominated

Music in an Animated Feature Production
Alan Menken and Stephen Schwartz
Nominated

Producing in an Animated Feature Production
Don Hahn
Nominated

Production Design in an Animated Feature Production
David Goetz
Nominated

Storyboarding in an Animated Feature Production
Brenda Chapman & Will Finn
Nominated

Voice Acting in an Animated Feature Production
Tony Jay
Nominated

Demi Moore
Nominated

Tom Hulce
Nominated

Writing in an Animated Feature Production
Tab Murphy (story), Irene Mecchi, Bob Tzudiker, Noni White, and Jonathan Roberts
Nominated

Golden Globe Awards
January 19, 1997
Best Original Score – Motion Picture
Alan Menken
Nominated

ASCAP Award
1997
Top Box Office Films
Stephen Schwartz
Won

Saturn Awards
July 23, 1997
Best Fantasy Film

Nominated

BMI Film Music Award
1997

Alan Menken
Won

Artios Awards
1997
Best Casting for Animated Voiceover
Ruth Lambert
Won

Golden Screen Award
1997

Won

Golden Reel Awards
1997
Motion Picture Feature Films: Sound Editing

Won

Animated Motion Picture Feature Films: Music Editing

Won

Golden Raspberry Awards
March 23, 1997
Worst Written Film Grossing Over $100 Million
Tab Murphy (story), Irene Mecchi, Bob Tzudiker, Noni White, and Jonathan Roberts
Nominated

Satellite Awards
January 15, 1997
Best Motion Picture - Animated or Mixed Media
Don Hahn
Won

Young Artist Awards
1997
Best Family Feature – Animation or Special Effects

Nominated

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

text:
2006: AFI's Greatest Movie Musicals – Nominated[86]
2008: AFI's 10 Top 10:

Nominated Animation Film[87]

text: Adaptations

text: Stage musical

text: The film was adapted into a darker, more Gothic musical production, re-written and directed by James Lapine and produced by Walt Disney Theatrical, in Berlin, Germany. The musical Der Glöckner von Notre Dame (translated in English as The Bellringer of Notre Dame) was very successful and played from 1999 to 2002, before closing. A cast recording was also recorded in German. An English-language revival of the musical premiered in San Diego on October 28, 2014.[88]

text: Sequels and spin-offs

text: In June 1998, production on a sequel titled The Hunchback of Notre Dame Deux: The Secret of the Bells was announced, and slated for release in fall 1999.[89] However, the sequel was delayed from its planned fall release in order to accommodate the recording of "I'm Gonna Love You" by Jennifer Love Hewitt.[90] The sequel reunited its original voice cast, with Hewitt, Haley Joel Osment and Michael McKean voicing new characters.[90] In 2002, the direct-to-video sequel, The Hunchback of Notre Dame II, was released on VHS and DVD. The plot focuses once again on Quasimodo as he continues to ring the bells now with the help of Zephyr, Esmeralda and Phoebus's son. He also meets and falls in love with a new girl named Madellaine who has come to Paris with her evil circus master, Sarousch. Disney thought that it was appropriate to make the sequel more fun and child-friendly due to the dark and grim themes of the original film.

text: Quasimodo, Esmeralda, Victor, Hugo, Laverne and Frollo all made guest appearances on the Disney Channel TV series House of Mouse. Frollo could also be seen amongst a crowd of Disney Villains in Mickey's House of Villains.

text: Video games

text: In 1996, to tie in with the original theatrical release, The Hunchback of Notre Dame: Topsy Turvy Games was released by Disney Interactive for the PC and the Nintendo Game Boy, which is a collection of mini games based around the Festival of Fools that includes a variation of Balloon Fight.

text: A world based on the movie, "La Cité des Cloches" (The City of Bells), made its debut appearance in the Kingdom Hearts series in Kingdom Hearts 3D: Dream Drop Distance. It was the first new Disney world confirmed for the game. All of the main characters except Clopin and the Archdeacon (although Quasimodo mentions him in the English version) appear, and Jason Alexander and Charles Kimbrough were the only actors to reprise their roles from the movie.

text: Other media

text: Disney has converted its adaptation of The Hunchback of Notre Dame into other media. For example, Disney Comic Hits #11, published by Marvel Comics, features two stories based upon the film. From 1997 to 2002 Disney-MGM Studios hosted a live-action stage show based on the film and Disneyland built a new theater-in-the-round and re-themed Big Thunder Ranch as Esmeralda's Cottage, Festival of Foods outdoor restaurant and Festival of Fools extravaganza, which is now multipurpose space accommodating private events and corporate picnics. Disney closed the Festival in 2016 to make room for the upcoming Star Wars Land expansion.


document_title: To hell in a handbasket

question_text: where did the phrase go to hell in a handbasket come from

text: To hell in a handbasket

text: "Going to hell in a handbasket", "going to hell in a handcart", "going to hell in a handbag", "go to hell in a bucket",[1] "sending something to hell in a handbasket" and "something being like hell in a handbasket" are variations on an American allegorical locution of unclear origin, which describes a situation headed for disaster inescapably or precipitately.

text: I. Windslow Ayer's 1865 polemic[2] alleges, "Judge Morris of the Circuit Court of Illinois at an August meeting of Order of the Sons of Liberty said: "Thousands of our best men were prisoners in Camp Douglas, and if once at liberty would 'send abolitionists to hell in a hand basket.'"[3]

text: In popular culture[edit]

text: The phrase also appeared in the title of several published works and other media:

text:
"To Hell in a Handbasket" is the name of humorist H. Allen Smith's 1962 autobiography.
Hell in a Handbasket was the title of a 1988 Star Trek comic book.
Hell in a Handbasket is the title of a 2006 book (ISBN 1585424587) by American cartoonist Tom Tomorrow, who authors the cartoon strip This Modern World.
"Hell in a handbasket" was the name of an undescribed con requiring a trained cat referenced in the 2004 film, Ocean's Twelve.
Hell in a Handbasket is a song from Voltaire's Ooky Spooky album.
Hell in a Handbasket is the title of a 2011 Meat Loaf album
A number of fictional characters have used a name that puns on the phrase, including:

Helena Handbasket is the name of a character in the TV show Friends. It is the stage name for Chandler's crossdressing dad.
Helena Handbasket is also a fictional nymph in the 2011 video game Rayman Origins.
Helena Handbasket is also the pseudonym of the author of Twilight's Last Gleaming: The Decline and Fall of the United States.

2015 video game Fallout 4 in the prequel it includes a "Vault Tec Representative" (Vault Tec is a fictional company in the Fallout franchise) and refers to the phrase "Heck in a handbasket"


document_title: Poop deck

question_text: where does the name poop deck come from

question_tokens: where does the name poop deck come from

text: Poop deck

text: In naval architecture, a poop deck is a deck that forms the roof of a cabin built in the rear, or  "aft", part of the superstructure of a ship.[1]

text: The name originates from the French word for stern, la poupe, from Latin puppis. Thus the poop deck is technically a stern deck, which in sailing ships was usually elevated as the roof of the stern or "after" cabin, also known as the "poop cabin". On sailing ships, the helmsman will steer the craft from the quarter deck, immediately in front of the poop deck.  At the stern, the poop deck provides an elevated position ideal for observation.[2]

text: On modern, motorized warships, the ship functions which were once carried out on the poop deck have been moved to the bridge, usually located on the superstructure in the center of ships, or the starboard side island of aircraft carriers.[citation needed]


document_title: Mughal artillery

question_text: who introduced cannons and guns in india warfare

text: Mughal artillery

text: History[edit]

text: Artillery was not widely employed in Central Asia prior to the 16th century, despite Chinese mortars having been known to the Mongols hundreds of years earlier. Even some limited use of cannon at Hisar by the Timurid Sultan Husayn Mirza in 1496 did not lead to a substantial role military role for artillery in India,[3] nor did the presence of Portuguese ship's cannon at the 1509 Battle of Diu.[4] However, following the decisive Ottoman victory over the Safavid Empire at the 1514 Battle of Chaldiran, Babur incorporated artillery and Ottoman artillery tactics into his military.[3] Although authorities disagree about how many cannons he brought to India,[5] Babur's artillery played a "key role" in the establishment of the Mughal Empire.[6] In 1526, the First Battle of Panipat saw the introduction of massed artillery tactics to Indian warfare.[5] Under the guidance of Ottoman gun master[3] Ustad Ali Quli, Babur deployed cannons behind a screening row of carts. Enemy commander Ibrahim Lodi was provoked into a frontal attack against Babur's position, allowing him to make ideal use of his firepower.[7][8] This tactic also panicked Lodi's elephant cavalry, beginning the end of elephant warfare as a dominant offensive strategy in India.[5] These new weapons and tactics were even more important[7] against the more formidable army faced in the Battle of Khanwa the following year.[5]

text: Artillery remained an important part of the Mughal military, in both field deployment and incorporation into defensive forts. However, transportation of the extremely heavy guns remained problematic,[7] even as weapon technology improved during the reign of Akbar.[9]

text: Later emperors paid less attention to the technical aspects of artillery, allowing the Mughal Empire to gradually fall behind in weapon technology,[10] although the degree to which this decline affected military operations is debated.[9] Under Aurangzeb, the Mughal technology remained superior to that of the breakaway Maratha,[5] but traditional Mughal artillery tactics were difficult to employ against Maratha guerilla raids.[11] In 1652 and 1653, during the Mughal–Safavid War, prince Dara Shikoh was able to move light artillery through the Bolan Pass to assist in the siege of Qandahar.[9] But problems with the accuracy and reliability of the weapons,[10] as well as the inherent defensive strengths of the fort,[12] failed to produce a victory. By the 18th century, the bronze guns of the declining empire were unable to compete with the standardized production of European cast-iron weapons[9] and performed poorly against colonial forces, such as Jean Law de Lauriston's French troops.[13]

text: Weaponry[edit]

text: The Mughal military employed a broad array of gunpowder weapons larger than personal firearms, from rockets and mobile guns to an enormous cannon, over 14 feet long, once described as the "largest piece of ordnance in the world."[14] This array of weapons was divided into heavy and light artillery.[9][14]

text: Heavy artillery[edit]

text: Extremely heavy artillery was an important part of the Mughal military, especially under its early emperors. Babur deployed guns capable of firing cannonballs weighing between 225 and 315 pounds against a 1527 siege, and had previously employed a cannon capable of firing a 540-pound stone ball. Humayun did not field such massive artillery at the Battle of Kanauj in 1540, but still had heavy cannons, capable of firing 46 pound lead balls at a distance of one farsakh.[16] These large weapons were often given heroic names, such as Tiger Mouth (Sher Dahan), Lord Champion (Ghazi Khan), or Conqueror of the Army (Fath-i-Lashkar),[14][17] and inscriptions, sometimes in verse. They were not only weapons, but "real works of art".[16] Their artistry did not make them easier to move, however. Rugged passes and water crossings were insurmountable barriers,[14] and even when they could be moved, it was a slow process requiring sixteen[16] or twenty oxen for relatively moderate cannons such as Humayun's. Muhammad Azam Shah was forced to abandon his heavy artillery en route to the Battle of Jajau.[14] The largest such weapons, such as Muhammad Shah's "Fort Opener", required a team of "four elephants and thousands of oxen" and only rarely reached their siege targets.[18]

text: Other heavy artillery included mortars[9][14] and mines deployed by sappers against fortress walls.[14] Although these weapons had noticeable successes, such as the victory at the Siege of Chittorgarh in 1567, their preparation and deployment came at the cost of substantial Mughal losses.[16]

text: Light artillery[edit]

text: Mughal light artillery, also known as artillery of the stirrup,[9][12] consisted of a variety of smaller weapons. Animal-borne swivel guns saw widespread use in several forms.[10] Elephants carried two pieces of "elephant barrel" (gajnal and hathnal) artillery and two soldiers to fire them. The elephants served only to transport the weapons and their crew, however; they dismounted before firing. "Camel guns" (Shutarnal) and "swivel guns" zamburak, on the other hand, were carried on camel-back and were fired while mounted.[14] Other light guns were mounted on wheeled carts, pulled by oxen[14] or horses.[4]

text: The mobile field artillery has been seen as the central military power of the mughal empire distinguishing the mughal troops from most of their enemies. A status symbol for the emperor, pieces of artillery would always accompany the mughal ruler on his journeys through the empire. The mughal artillery's main use in battle was to counter hostile war elephants which were common in warfare on the Indian subcontinent. But although emperor Akbar personally used to design gun carriages to improve the accuracy of his cannons, the mughal artillery was most effective by scaring the opponent's elephants off the battlefield. The ensuing chaos in the hostile ranks would enable the mughal armies to defeat the enemy's troops.[19]

text: Grenadiers and rocket-bearing soldiers were also considered part of the Mughal light artillery.[14]