document_title: National Museum of African American History and Culture

question_text: when did they start building the african american museum

question_tokens: when did they start building the african american museum

text: National Museum of African American History and Culture

text: History[edit]

text: Early efforts[edit]

text: The concept of a national museum dedicated to African-American history and culture can be traced back to the second decade of the 20th century. In 1915, African-American veterans of the Union Army met at the Nineteenth Street Baptist Church in Washington, D.C.,[4] for a reunion and parade. Frustrated with the racial discrimination they still faced, the veterans formed a committee to build a memorial to various African-American achievements. Their efforts paid off in 1929, when President Herbert Hoover appointed Mary Church Terrell, Mary McLeod Bethune, and 10 others to a commission charged with building a "National Memorial Building" showcasing African-American achievements in the arts and sciences. But Congress did not back the project, and private fundraising also failed. Although proposals for an African-American history and culture museum would be floated in Congress for the next 40 years, none gained more than minimal support.[5]

text: Proposals for a museum began circulating again in Congress in the early 1970s. In 1981, Congress approved a federal charter for a National Afro-American Museum in Wilberforce, Ohio. The museum, built and funded with private money, opened in 1987. In the early 1980s, Tom Mack (the African-American chairman of Tourmobile, a tourist bus company) founded the National Council of Education and Economic Development (NCEED). Mack's intention was to use the non-profit group to advance his ideas about economic development, education, and the arts in the black community. Emboldened by Congress's action in 1981, Mack began using the NCEED to press for a stand-alone African-American museum in D.C. in 1985.[6] Mack did not collaborate with other black-led cultural foundations that were working to improve the representation of African Americans by Smithsonian and other federal institutions.[7] Mack contacted Representative Mickey Leland about his idea for a national museum focusing on African Americans, and won his support for federal legislation in 1985. Leland sponsored a non-binding resolution (H.R. 666) advocating an African-American museum on the National Mall, which passed the House of Representatives in 1986. The congressional attention motivated the Smithsonian to improve its presentation of African-American history. In 1987, the National Museum of American History sponsored a major exhibit, "Field to Factory," which focused on the black diaspora out of the Deep South in the 1950s.[8]

text: "Field to Factory" encouraged Mack to continue pursuing a museum. In 1987 and 1988, NCEED began lining up support among black members of Congress for legislation that would establish an independent African-American national history museum in Washington, D.C. But NCEED ran into opposition from the African American Museum Association (AAMA), an umbrella group that represented small local African-American art, cultural, and history museums across the United States.[9] John Kinard, president of the AAMA and co-founder of the Anacostia Community Museum (which became part of the Smithsonian in 1967), opposed NCEED's effort. Kinard argued that a national museum would consume donor dollars and out-bid local museums for artifacts and trained staff.  Kinard and the AAMA instead advocated that Congress establish a $50 million fund to create a national foundation to support local black history museums as a means of mitigating these problems.[10] Others, pointing to the Smithsonian's long history of discrimination against black employees,[a] questioned whether the white-dominated Smithsonian could properly administer an African-American history museum.[11][12][13][b] Lastly, many local African-American museums worried that they would be forced to become adjuncts of the proposed Smithsonian museum. These institutions had fought for decades for political, financial, and academic independence from white-dominated, sometimes racist local governments. Now they feared losing that hard-won independence.[10]

text: In 1988, Rep. John R. Lewis and Rep. Leland introduced legislation for a stand-alone African-American history museum within the Smithsonian Institution. But the bill faced significant opposition in Congress due to its cost. Supporters of the African-American museum tried to salvage the proposal by suggesting that the Native Indian museum (then moving through Congress) and African-American museum share the same space. But the compromise did not work and the bill died.[14]

text: Lewis and Leland introduced another bill in 1989.[15] Once more, cost considerations killed the bill. The Smithsonian Institution, however, was moving toward support for a museum. In 1988, an ad hoc group of African-American scholars—most from within the Smithsonian, but some from other museums as well—began debating what an African-American history museum might look like.[16] While the group discussed the issue informally, Smithsonian Secretary Robert McCormick Adams, Jr.[c] publicly suggested in October 1989 that "just a wing" of the National Museum of American History should be devoted to black culture, a pronouncement that generated extensive controversy.[18] The discussions by the ad hoc group prompted the Smithsonian to take a more formal approach to the idea of an African-American heritage museum. In December 1989 the Smithsonian hired nationally respected museum administrator Claudine Brown[d] to conduct a formal study of the museum issue.[19]

text: Brown's group reported six months later that the Smithsonian should form a high-level advisory board to conduct a more thorough study of the issue. The Brown study was blunt in its discussion of the divisions within the African-American community about the advisability of a stand-alone national museum of African-American culture and history, but also forceful in its advocacy of a national museum of national prominence and national visibility with a broad mandate to document the vast sweep of the African-American experience in the United States. The study was also highly critical of the Smithsonian's ability to adequately represent African-American culture and history within an existing institution, and its willingness to appoint African-American staff to high-ranking positions within the museum.[20]

text: The Smithsonian formed a 22-member advisory board, chaired by Mary Schmidt Campbell,[e] in May 1990.[21] The creation of the advisory board was an important step for the Smithsonian. There were many on the Smithsonian's Board of Regents who believed that "African-American culture and history" was indefinable and that not enough artifacts and art of national significance could be found to build a museum.[20] On May 6, 1991, after a year of study, the advisory board issued a report in favor of a national museum, and the Smithsonian Board of Regents voted unanimously to support the idea. However, the proposal the regents adopted only called not for a stand-alone institution but a "museum" housed in the East Hall of the existing Arts and Industries Building. The regents also agreed to keep the Anacostia Community Museum a separate facility; to give the new museum its own governing board, independent of existing museums; and to support the proposal for a grant-making program to help local African-American museums build their collections and train their staff.[22] The regents also approved a "collections identification project" to identify donors who might be willing to donate, sell, or loan their items to the proposed new Smithsonian museum.[23]

text: 1990s efforts[edit]

text: The Smithsonian Board of Regents agreed in September 1991 to draft museum legislation,[23] and submitted their bill to Congress in February 1992.[24] The bill was criticized by Tom Mack and others for putting the museum in a building that was too small and old to properly house the intended collection,[25] and despite winning approval in both House and Senate committees the bill died once more. In 1994, Senator Jesse Helms refused to allow the legislation to come to the Senate floor (voicing both fiscal and philosophical concerns) despite bipartisan support.[26]

text: In 1995, citing funding issues, the Smithsonian abandoned its support for a new museum and instead proposed a new Center for African American History and Culture within organization.[27] The Smithsonian's new Secretary, Ira Michael Heyman, openly questioned the need for "ethnic" museums on the National Mall.[28] Many, including Mary Campbell Schmidt, saw this as a step backward, a characterization Smithsonian officials strongly disputed.[27] To demonstrate its support for African-American history preservation, the Smithsonian held a fundraiser in March 1998 for the new center which raised $100,000.[29][f]

text: Heymann left the Smithsonian in January 1999.[30] In the meantime, other cities moved forward with major new African-American museums. The city of Detroit opened a $38.4 million, 120,000-square-foot (11,000 m2) Museum of African-American History in 1997,[13] and the city of Cincinnati was raising funds for a $90 million, 157,000-square-foot (14,600 m2) National Underground Railroad Freedom Center (which broke ground in 2002).[31] In 2000, a private group—upset with congressional delays—proposed constructing a $40 million, 400,000-square-foot (37,000 m2) museum on Poplar Point, a site on the Anacostia River across from the Washington Navy Yard.[32]

text: Passage of federal legislation[edit]

text: In 2001, Lewis and Representative J. C. Watts re-introduced legislation for a museum in the House of Representatives.[33] Under the leadership of its new Secretary, Lawrence M. Small, the Smithsonian Board of Regents reversed course yet again  in June 2001 and agreed to support a stand-alone National Museum of African American History and Culture.[34] The Smithsonian asked Congress to establish a federally funded study commission. Congress swiftly agreed, and on December 29, President George W. Bush signed legislation establishing a 23-member commission to study the need for a museum, how to raise the funds to build and support it, and where it should be located. At the signing ceremony, the president expressed his opinion that the museum should be located on the National Mall.[35]

text: The study commission's work took nearly two years, not the anticipated nine months. In November 2002, in anticipation of a positive outcome, the insurance company AFLAC donated $1 million to help build the museum.[36] On April 3, 2003, the study commission released its final report. As expected, the commission said a museum was needed, and recommended an extremely high-level site: A plot of land adjacent to the Capitol Reflecting Pool, bounded by Pennsylvania and Constitution Avenues NW and 1st and 3rd Streets NW. The commission ruled out establishing the museum within the Arts & Industries Building, concluding renovations to the structure would be too costly. It considered a site just west of the National Museum of American History and a site on the southwest Washington waterfront, but rejected both.[37] The commission considered whether the museum should have an independent board of trustees (similar to that of the United States Holocaust Memorial Museum) or a board answerable both to the Smithsonian and independent trustees (similar to that of the National Gallery of Art), but rejected these approaches in favor of a board appointed by and answerable only to the Smithsonian Board of Regents.[38] The commission proposed a 350,000 square-foot museum that would cost $360 million to build. Half the construction funds would come from private money, half from the federal government. Legislation to implement the commission's report was sponsored in the Senate by Sam Brownback and in the house by John R. Lewis.[37]

text: As Congress considered the legislation, the museum's location became the major sticking point. Various members of the public, Congress, and advocacy groups felt the Capitol Hill site was too prominent and made the National Mall look crowded.  Alternative proposed sites included the Liberty Loan Federal Building at 401 14th Street SW and Benjamin Banneker Park at the southern end of L'Enfant Promenade. This controversy threatened to kill the legislation. To save the bill, backers of the museum said in mid-November 2003 that they would abandon their push for the Capitol Hill site.[39] The compromise saved the legislation: The House passed the "National Museum of African American History and Culture Act" (Pub.L. 108–184) on November 19, and the Senate followed suit two days later.[40] The legislation appropriated $17 million for museum planning and a site selection process, and $15 million for educational programs.[41] The educational programs included grants to African-American museums to help them improve their operations and collections; grants to African-American museums for internships and fellowships; scholarships for individuals pursuing careers African-American studies; grants to promote the study of modern-day slavery throughout the world; and grants to help African-American museums build their endowments. The legislation established a committee to select a site, and required it to report its recommendation within 12 months. The site selection committee was limited to studying four sites: The site just west of the National Museum of American History, the Liberty Loan Federal Building site, Banneker Park, and the Arts and Industries Building.[40]

text: Siting and design competition[edit]

text: On February 8, 2005, with the site selection committee still deliberating, President Bush again endorsed placing the museum on the National Mall.[42]

text: The site selection committee did not issue its recommendation until January 31, 2006—a full 13 months late. It recommended the site west of the National Museum of American History. The area was part of the Washington Monument grounds, but had been set aside for a museum or other building in the L'Enfant Plan of 1791 and the McMillan Plan of 1902. The United States Department of State originally planned to build its headquarters there in the early 20th century, and the National World War II Memorial Advisory Board had considered the parcel in 1995.[43] On March 15, 2005, the Smithsonian named Dr. Lonnie G. Bunch III to be the Director of the National African American Museum of History and Culture.[44]

text: The National Museum of African American History and Culture Council (the museum's board of trustees) sponsored a competition in 2008 to design a 350,000-square-foot (33,000 m2) building with three stories below-ground and five stories above-ground. The building was limited to the 5-acre (20,000 m2) site chosen by the site selection committee, had to be LEED Gold certified, and had to meet stringent federal security standards. The cost of construction was limited to $500 million ($568,315,301 in 2017 dollars).[45] The competition criteria specified that the winning design had to respect the history and views of the Washington Monument as well as demonstrate an understanding of the African-American experience. The winning design was required to reflect optimism, spirituality, and joy, but also acknowledge and incorporate "the dark corners" of the African-American experience. The museum design was required to function as a museum, but also be able to host cultural events of various kinds.[46] Hundreds of architects and firms were invited to participate in the design competition.  Six firms were chosen as finalists:[47][48]

text:
Devrouax+Purnell and Pei Cobb Freed & Partners
Diller Scofidio + Renfro, with KlingStubbins
Freelon Adjaye Bond/SmithGroup
Foster and Partners/URS Corporation
Moody Nolan, with Antoine Predock
Moshe Safdie and Associates, with Sulton Campbell Britt & Associates

text: The design submitted by the Freelon Group/Adjaye Associates/Davis Brody Bond won the design competition.[49] The above-ground floors featured an inverted step pyramid surrounded by a bronze architectural scrim, which reflected a crown used in Yoruban culture.[50]

text: Under federal law, the National Capital Planning Commission, the United States Commission of Fine Arts, and the D.C. Historic Preservation Commission all have review and approval rights over construction in the metropolitan D.C. area. As the design went through these agencies for approval, it was slightly revised. The building was moved toward the southern boundary of its plot of land, to give a better view of the Washington Monument from Constitution Avenue. The size of the upper floors were shrunk by 17 percent. Although three upper floors were permitted (instead of just two), the ceiling height of each floor was lowered so that the overall height of the building was lowered. The large, box-like first floor was largely eliminated. Added to the entrance on Constitution Avenue were a pond, garden, and bridge, so that visitors would have to "cross over the water" like slaves did when they came to America.[51]

text: The Smithsonian estimated in February 2012 that museum would to open in 2015.[52]  Until then, the museum would occupy a gallery on the second floor of the National Museum of American History.[53]

text: On June 10, 2013, media magnate Oprah Winfrey donated $12 million to the NMAAHC.  This was in addition to the $1 million she donated to the museum in 2007. The Smithsonian said it would name the NMAAHC's 350-seat theater after her.[54] The GM Foundation announced a $1 million to the museum on January 22, 2014, to fund construction of the building and design and install permanent exhibits.[55]

text: Building design changes[edit]

text: The design of the architectural scrim which surrounds the building was changed in September 2012.  The proposed building itself was a box-like structure. The three-part corona of the building's design was created by a structure only minimally attached to the building. The exterior of this structure, whose frames lean outward to create the corona, consisted of a thin screen or "scrim" perforated by geometrical patterns based on historic iron grilles found in African-American communities in Charleston, South Carolina, and New Orleans, Louisiana.[56] The original design proposed that the scrim be made of bronze, which would have made the museum the only one on the National Mall whose exterior was not made of limestone or marble. Cost issues forced the architects to change this to bronze-painted aluminum in September 2012. The change was approved by the Commission of Fine Arts, but the commissioners criticized the change for lacking the warm, reflective qualities of bronze.[57] Noted architect Witold Rybczynski also criticized the change: "The appeal of bronze is its warm golden sheen and the rich patina that it acquires over time, but uniformly painted surfaces lack these attributes, and over time they don't age, they merely flake. ... At the time of this writing, the African American museum risks compromising its original intention.  In architecture, beauty sometimes really is only skin-deep."[57]

text: The Smithsonian then radically changed the landscaping of the under-construction museum in summer 2013. The original design for the museum planned a wetland with flowing creek, bridges, and native plants in this area. But cost considerations led the agency to completely eliminate it. At first, the Smithsonian proposed a low hedge. It brought this design to the Commission of Fine Arts in April 2013, which rejected it.  The Commission expressed "great concern about the possible loss of the symbolic meaning that had been skillfully woven into the design of both the landscape and the building". In July, the Smithsonian replaced the hedge with a low dull black granite wall.  The Commission of Fine Arts approved that redesign, and the Smithsonian brought it to the National Capital Planning Commission.  As of August 2013, the NCPC was anticipated to approve it.[58]

text: Debate over the corona's finish continued into 2014 before being resolved. The Commission of Fine Arts repeatedly urged the architects to use bronze for the scrim, as it created a "shimmering, lustrous effect under many lighting conditions" and "conveyed dignity, permanence and beauty".[59] Duranar paint was the first substitute proposed by the architects, but the commission members rejected it, noting that it had a "putty-like appearance under overcast conditions" and visually fell "far short of the beautiful poetic intention promised by the concept design".[59] A second finish, the sprayable metal LuminOre, was rejected by the commission because it was difficult to produce in the high quality needed, and was prone to flaking and discoloration.[59] Electroless plating and anodized aluminum were rejected because they lacked durability. A physical vapor deposition process involving a nickel-chrome plating was dismissed for not achieving the right color, luster, or warmth. In early 2014, tests were made with polyvinyl difluoride (PVDF). This coating was approved by the Commission of Fine Arts on February 20, 2014,[59] and by the National Capital Planning Commission in April 2014.[60]

text: Construction of the museum building[edit]

text: The museum's groundbreaking ceremony took place on February 22, 2012.[61][62] President Barack Obama and museum director Bunch were among the speakers at the ceremony.[61] Actress Phylicia Rashād was the Master of Ceremonies for the event, which also featured poetry and music performed by Denyce Graves, Thomas Hampson, and the Heritage Signature Chorale.[61]

text: Clark Construction Group, Smoot Construction, and H.J. Russell & Company won the contract to build the museum. The architectural firm of McKissack & McKissack (which was the first African American-owned architectural firm in the United States) provided project management services on behalf of the Smithsonian, and acted as liaison between the Smithsonian and public utilities and D.C. government agencies.[63]

text: The NAAMHC became the deepest museum on the National Mall. Excavators dug 80 feet (24 m) below grade to lay the foundations, although the building itself will be only 70 feet (21 m) deep. The museum is located at a low point on the Mall, and groundwater puts 27.78 pounds per square inch (191.5 kPa) on the walls. To compensate, 85 US gallons (320 L) per minute of water were pumped out every day during construction of the foundation and below-grade walls, and a slurry of cement and sand injected into forms to stabilize the site. Lasers continually monitored the walls during construction for any signs of bulging or movement.[63]

text: The first concrete for the foundations was poured in November 2012.[64] As the lower levels were completed, cranes installed a segregated railroad passenger car and a guard tower from the Louisiana State Penitentiary on November 17, 2013. These items were so large that they could not be dismantled and installed at a later date. Instead, the museum had to be built around them.[64] By late December 2013, construction was just weeks from finishing the five basement levels, and above-ground work was scheduled to begin in late January 2014. At that time, the Smithsonian estimated the museum would be finished in November 2015.[63]

text:
The structural steel elements of the museum were detailed by Prodraft, Inc., according to the specifications made by the structural engineering firm of Robert Silman Associates. The steel was fabricated by SteelFab, Inc. While the below-grade floors were made of reinforced concrete, with columns supporting each floor above, the above-grade floors were primarily exhibit space and needed to be kept column-free. To support the upper floors, four massive walls, consisting of steel frames and cast-in-place concrete infill, were constructed. Design and fabrication of the steel members of the above-ground structure required extreme precision, as the steel elements penetrated one another at more than 500 places and some beams had several hundred bolt-holes in them. All structural steel elements also had to work almost perfectly with the rebar and rebar couplers so that elements would not run into one another and yet maintain structural integrity. A system of girders around the fifth above-ground floor supported the corona. Some of these girders were so complex they required more than 180 parts. The 200-foot (61 m) long porch that covers the main entrance was built of long plate girders and box columns (also made of plate). A 16-inch (41 cm) long steel camber beam at the midpoint helps support the porch roof.[65] An elliptical monumental staircase runs continually between the above-ground floors. This staircase has no intermediate supports, and weighs in at more than 80,000 pounds (36,000 kg).[66][67] SteelFab fabricated more than 4,050 short tons (3,670 t) of structural steel for the museum in conjunction with AIW, Inc. who fabricated the architecturally exposed,  and ornamental steel and bronze metal work.[68] SteelFab received an award from the Washington Building Congress for its work.[65] ArchDaily has reported that the museum was named the winner for the architecture category and the overall winner for the Beazley Design of the Year award for 2017. According to the award criteria set by the Design Museum in London, the NMAAHC is "further solidified as promoting or delivering change, enabling access, extending design practice, or capturing the spirit of the year." Ozwald Boateng OBE, a jury member, made a statement expressing his thoughts on the NMAAHC: "We couldn't look any further than the Smithsonian for the overall award. It is a project of beautiful design, massive cultural impact, delivers an emotional experience, and has a scale deserve of this major award.
[69]

text: Topping out of the museum occurred in October 2014.[64] That same month, the Smithsonian announced that the National Museum of African American History and Culture had received $162 million in donations toward the $250 million cost of constructing its building. To bolster the fundraising, the Smithsonian said it would contribute a portion of its $1.5 billion capital campaign to help complete the structure.[70]

text: The entire steel superstructure and all above-ground concrete pouring was complete in January 2015. Glass for the windows and curtain walls began to be placed that same month, with glass enclosure of the building complete on April 14, 2015. That same day, the first of the structure's 3,600 bronze-colored panels for the building's corona were installed.[64]

text: A worker was severely injured at the construction site on June 3, 2015, when scaffolding on the roof collapsed on top of him.[71] 35-year-old Ivan Smyntyna was rushed to a local hospital, where he later died.[72]

text: The 350,000 square feet (33,000 m2) building has a total of 10 stories (five above and five below ground).[63]

text: Opening[edit]

text: In January 2016, the Smithsonian set an opening day of September 24, 2016, for the museum's opening.[73] President Barack Obama would dedicate the museum,[74] which would be followed by a week of special events. The museum would open for extended hours during that week to accommodate crowds and visitors.[75]

text: NMAAHC officials said that construction scaffolding around the exterior of the building should come down in April 2016, at which time some of the more dust-and-humidity resistant artifacts and displays could be installed. Installation of more delicate items would wait until the building's environmental controls had stabilized the interior humidity and removed most of the dust from the air. The museum identified 3,000 items in its collections which would form 11 initial exhibits. More than 130 video and audio installations would be installed as part of these exhibits.[73]

text:
In January 2016, the museum announced the receipt of a $10 million gift from David Rubenstein, CEO of The Carlyle Group and a Smithsonian regent,[76] as well as a $1 million donation from Wells Fargo.
[77] As of January 30, 2016, the museum still needed to raise $40 million toward its $270 million construction goal.[73]

text: Two unique documents, both signed by President Abraham Lincoln, would be loaned to the museum for its opening. These are commemorative copies of the 13th Amendment and the Emancipation Proclamation, of which only a limited number were printed. Few of these have survived.[78] David Rubenstein purchased both items in 2012.[79]

text: In late March 2016, Microsoft announced a $1 million donation to the museum.[80] On March 27, the museum drew criticism for agreeing to include a small number of items from the career of actor Bill Cosby in a planned exhibit about African Americans in the entertainment industry. Women who have accused Cosby of sexual assault objected to the display.[81]  In response to the resulting controversy, the museum added the following sentence to its description of Cosby's career: "In recent years, revelations about alleged sexual misconduct have cast a shadow over Cosby's entertainment career and severely damaged his reputation."[82]

text: Google donated $1 million to the museum in early September 2016. The technology firm had previously worked with the NMAAHC to create a 3D interactive exhibit which allows visitors to see artifacts in a close-up, 360-degree view using their mobile phone. The 3D exhibit was created by designers and engineers from the Black Googler Network.[83]

text: On September 23, 2016, The Washington Post reported that Robert F. Smith, the founder, chairman, and CEO of Vista Equity Partners, had given $20 million to the NMAAHC. The gift was second-largest in the museum's history, exceeded only by the $21 million donated by Oprah Winfrey.[84]

text: On September 24, 2016, President Barack Obama formally opened the new museum along with four generations of the Bonner family, from 99-year-old Ruth Bonner, who is the daughter of  Elijah B. Odom of Mississippi, an escaped slave who lived through the years of Reconstruction and segregation, down to Ruth's great-granddaughter Christine. Together with the Obamas, Ruth and her family rang the Freedom Bell to officially open the museum.[85][86] The bell comes from the first Baptist church organized by and for African Americans, founded in 1776 in Williamsburg, Virginia,[87] despite laws at the time making it unlawful for blacks to congregate or preach.[3][85][88] viewer?vid=1&sid=ef04202d-7c57-47f1-a451-746800df0cc1%40sessionmgr102</ref> More than 600,000 people visited the museum in its first three months. The Smithsonian required all visitors to have a ticket to access the museum.  At first the organization used timed-entry ticketing (which had to be obtained ahead of time) combined with a limited number of same-day tickets released every morning. But patron traffic proved so heavy that the NMAAHC began offering many fewer same-day tickets, and changed their release from early morning to early afternoon. As of mid-December 2016, timed-release tickets were sold out through the end of March 2017.[89][g]

text: After six months, 1.2 million people had visited the NMAAHC, making it one of the four most-visited Smithsonian museums. Patrons spend an average of six hours at the museum; twice as long as had been estimated before the museum's opening.[94]

text: The museum's popularity led to some problems. Visitors stood in line in the museum foyer to take an elevator down to the underground level. The exhibits start with the Middle Passage and slavery where the hallway is intentionally designed to be cramped and somewhat claustrophobic. The large number of visitors who stop to read the exhibit's signs caused dangerous overcrowding. Museum officials began to limit the number of people who could take the elevator (and thus enter the exhibit) to mitigate this problem. This has led to still longer lines in the foyer.[94]

text: Museum director Lonnie Bunch said that the museum will reassess the use of timed-entry passes in October 2017.[94]

text: Smithsonian officials announced that the museum had 3 million visitors in its first full year of operation. An average of 8,000 people a day attended the museum, double the number anticipated.[95] The museum has become an "essential stop" for tourists, and patrons are diverse and international (not just African American and domestic). The heavy attendance is causing significant strain and wear and tear on the museum.[96]

text: Collection and exhibits[edit]

text: Web presence[edit]

text: In 2007, the NMAAHC became the first major museum to open on the Web before completing a physical structure. The web site included the museum's first exhibit, mounted in New York City.[97] The site was also designed to encourage collaboration between scholars and the public. The main feature of the web-based initiative was the Memory Book application, which allowed individuals to contribute to the web site pictures, a story, or an audio application to spotlight unique experiences in African-American culture.[98]

text: Pre-opening exhibits[edit]

text: In January 2012, the National Museum of African American History and Culture and the National Museum of American History partnered with the Thomas Jefferson Foundation (which owns Jefferson's home, Monticello) to create a major new exhibit, "Slavery at Jefferson's Monticello: Paradox of Liberty." The exhibition opened on January 12, 2012, at the National Museum of American History, and closed on October 14, 2012.[99][100] The exhibit received nationwide attention, garnering articles from sources such as the Associated Press, Huffington Post, National Public Radio, the New York Times, United Press International, USA Today, and the Washington Post.[99][101][102][103] The 3,000-square-foot (280 m2) exhibit was created by Rex Ellis (an associate director of the NMAAHC) and Elizabeth Chew (a curator at Monticello). It was accompanied by a companion book, 'Those Who Labor for My Happiness': Slavery at Thomas Jefferson's Monticello, by Lucia Stanton.[102] NMAAHC director Lonnie Bunch III said that the exhibit explored one way in which slavery might be presented at the National Museum of African American History and Culture when it opens in 2015.[102]

text: "Slavery at Jefferson's Monticello" also received attention for the striking statue of Jefferson that graced the exhibit entrance. The Smithsonian used a Minolta 3D scanner to create a digital image of a life-size bronze statue of Jefferson which is located at Monticello. RedEye on Demand (a subsidiary of Stratasys) used a fused deposition modeling printer, which laid down tiny layers of molten plastic to slowly build the statue. The statue was "printed" in four sections, which were then put together, detailed, and painted.[104] Smithsonian officials were so pleased with the process that they began laying plans use it to laser image and 3D print a vast number of items in their collection, which they could then share inexpensively with the rest of the world.[103]

text: Other pre-opening exhibitions include Ain't Nothing Like the Real Thing: The Apollo Theater and American Entertainment (2010), For All the World to See: Visual Culture and the Struggle for Civil Rights (2010), The Scurlock Studio and Black Washington: Picturing The Promise (2009), and Let Your Motto Be Resistance: African American Portraits (2007).

text: Notable items in the collection[edit]

text: The Smithsonian Institution listed the number of items in the museum collection in 2012 as either more than 18,000 pieces[105] or more than 25,000 pieces.[106] CBS News reported in May 2015 that the collection size had grown to 33,000 objects.[107]  About 3,500 items are on display to the public.[108]

text: Items obtained by the museum initially were received, conserved, and stored at the Smithsonian Museum Support Center in Suitland, Maryland. Dozens of permanent curatorial staff and temporary contractors accessed the items, repaired them, and conserved them in a temperature- and humidity-controlled environment. Renée Anderson, the NMAAHC's head of collections, oversaw the effort. After artifacts were selected for display, graphics and labels for each item were manufactured. Display cases for each item were also purchased, and exhibiting mounts or specially designed cases handcrafted for particularly fragile, important, or unusually sized objects. Museum officials said all artifacts and displays will be moved into the new museum in the summer of 2016, along with the museum's 175 full-time employees.[73]

text: In November 2016, NBA player LeBron James donated $2.5 million to support the museum's exhibit on the accomplishments of boxer Muhammad Ali.[109]

text: As of September 2016, notable items in the collection included:

text: Pre-20th century[edit]

text:
Several items from the São José Paquete Africa, a sunken slave ship excavated off the coast of South Africa in 2015. The wreck is owned by Iziko Museums of South Africa, and items will be on long-term loan to the NMAAHC.[110] (Finding a sunken slave ship, raising it, and displaying it at the museum has long been a dream of museum director Lonnie Bunch.)[50]
Items owned by Harriet Tubman, including eating utensils, a hymnal, and a linen and silk shawl given to her by Queen Victoria of the United Kingdom. Related items include a photographic portrait of Tubman (one of only a few known to exist), and three postcards with images of Tubman's 1913 funeral.[111] Ashley's Sack is among the 37,000 objects at the  Smithsonian related to African American community, family, the visual and performing arts, religion, civil rights, slavery, and segregation.
Ashley's Sack, a mid-1800s hand-embroidered feedsack gifted from a slave mother, Rose, to her nine-year-old daughter, Ashley, when Ashley was sold away.[112]
A badge from 1850, worn by an African American in Charleston, South Carolina, indicating the wearer was a slave.[113]
Feet and wrist manacles from the American Deep South used prior to 1860.[113]
Garments worn by African-American slaves.[114]
An 1874 home from Poolesville, Maryland. The dwelling was constructed by the Jones family, who were freed slaves. The Joneses later founded an all-black community nearby.[113]
A Bible owned by Nat Turner, who led a slave rebellion in Virginia in 1831.[115][108]
A letter by Toussaint L'Ouverture, leader of the Haitian Revolution slave revolt in 1791.[113]
A money box used by Richard Allen, founder of the African Methodist Episcopal Church[116]
Historic items from black Catholic communities, including the St. Augustine Church and Sisters of the Holy Family in New Orleans[116]

text: 20th and 21st centuries[edit]

text:
A railroad car from Chattanooga, Tennessee, used by African-American passengers during the Jim Crow era. Pete Claussen and Gulf & Ohio Railways (the company he founded in 1985) donated more than $222,000 to restore the car, which was built by the Pullman Company in 1922.[117]
The desk of Robert Sengstacke Abbott, editor-in-chief of the Chicago Defender, an African American newspaper founded in 1905.[105]
A segregated drinking fountain from the Jim Crow era with the sign "colored" (indicating it was for use by blacks only).[113]
Dresses and other garments by fashion designer Ann Lowe. Lowe designed clothing for the Du Pont family, Roosevelt family, and the Rockefeller family. She also designed items for wealthy etiquette expert and socialite Emily Post and her family, and created Jacqueline Bouvier's wedding dress for her 1953 marriage to John F. Kennedy.[114]
A recreation of part of "Mae's Millinery Shop," the hat shop begun by Mae Reeves in 1942, one of the first businesses in Philadelphia owned by an African-American woman.[118]
The Purple Heart and footlocker owned by James L. McCullin, a member of the Tuskegee Airmen.[105]
A PT-13D Stearman biplane trainer aircraft operated by the United States Army Air Forces and used in 1944 for training members of the Tuskegee Airmen.[119]
A sign from a bus in Nashville, Tennessee, from the Jim Crow era which indicates which seating is for blacks only.[113]
A guard tower and cell from the Louisiana State Penitentiary (Angola) known for much of the 20th century as a cruel, violence-prone, squalid prison where African American inmates were treated worse than slaves. NMAAHC curator Paul Gardullo said the items document how attitudes about slavery were carried over into the post-slavery prison system in the Deep South. Museum Director Lonnie Bunch acknowledged scholars' worries that the items were controversial, but said the museum's mission is to tell stories through the African-American experience. The 20-foot (6.1 m) high guard tower will be part of an exhibit on segregation, while the 6 by 9 feet (1.8 by 2.7 m) prison cell will be in a separate exhibit on places. Both items are from Camp A, the oldest section of the prison. The cell was constructed atop slave quarters.[120]
Allan Rohan Crite's painting Stations of the Cross (1947)[116]
David Driskell's Behold Thy Son (1956)[116][121]
The glass-topped casket originally used to display and bury the body of 14-year-old Emmett Till, the victim of racially motivated torture and murder in Mississippi. Till's death served as a catalyst for the Civil Rights Movement.[122][123]
The dress which Rosa Parks was sewing the day she refused to give up her seat to a white man on a bus in Montgomery, Alabama, on December 1, 1955. Parks' action sparked the Montgomery Bus Boycott, and her action was one of the first incidents of civil disobedience in the Civil Rights Movement.[114]
A Selmer trumpet owned by jazz musician Louis Armstrong.[113]
Muhammad Ali's boxing gloves.[123] Boxing headgear worn by Cassius Clay (later to be known as Muhammad Ali).[105]
A dress owned by actress and singer Pearl Bailey.[114]
A cape and jumpsuit owned by American soul singer James Brown.[113]
The Moog synthesizer and MPC beat machine used by hip-hop producer J Dilla.[124]
A chef's jacket worn by Leah Chase, the New Orleans-based chef known as the Queen of Creole Cuisine.[125]
The "Mothership", a 1,200-pound (540 kg) aluminum and acrylic glass prop created by funk music singer George Clinton and used during performances of his bands Parliament and Funkadelic. Clinton's original "Mothership" was scrapped in 1983; this replica was crafted by Clinton in the mid-1990s and used for about five years.[126]
A collection of costumes designed by director and costume designer Geoffrey Holder for his 1976 musical, The Wiz (an adaptation of the L. Frank Baum novel, The Wonderful Wizard of Oz).[114] The costumes won the Tony Award for Best Costume Design, the play won the Tony Award for Best Musical, and Holder won the Tony Award for Best Direction of a Musical.
A cherry red Cadillac convertible owned by rock and roll singer Chuck Berry.[105]
An amplifier, speakers, and turntables used by Tony Crush a.k.a. DJ Tony Tone of the Cold Crush Brothers.[105]
Several paintings and pieces of terracotta sculpture from the Barnett-Aden Collection, donated by BET founder Robert L. Johnson.[127][h]
Gymnastic equipment used by artistic gymnastics champion Gabby Douglas at the 2012 Summer Olympics. Douglas was the first African American, and first non-Caucasian of any nationality, to win the women's artistic individual all-around gold medal. She was also the first American gymnast ever to win both the team and individual all-around gold at the same Olympics.[134]
The handcuffs used by police in Cambridge, Massachusetts, to arrest African-American Harvard University professor Henry Louis Gates Jr., in 2009.[120]
Hip Hop Smithsonian, a collection of photographs of hip hop artists collected by Bill Adler.
President Barack Obama's 2008 presidential campaign office from Falls Church, Virginia.[135]

text: Restaurant[edit]

text: Sweet Home Café is a 400-seat,[136] luncheon-only restaurant located inside the National Museum of African American History and Culture.[125] Jerome Grant is the executive chef, and the restaurant is managed by Restaurant Associates in association with Thompson Hospitality.[136][125] Joanne Hyppolite, NMAAHC curator for cultural expressions, oversees the restaurant as well as the museum's exhibits on foodways and cuisine.[137] The cafeteria opened on September 24, 2016.[136] It was named a 2017 semifinalist by the James Beard Award for Best New Restaurant.[138]

text: The restaurant features four food stations, where main and side dishes, desserts, and beverages important to the African American experience or developed by African Americans may be purchased.[125] These include the Agricultural South station,[125][137] the Creole Coast station,[125][137] the North States,[136][137] and the Western Range.[136][137] Each station offers several vegetarian entrees in addition to meat dishes.[136]

text: When designing the museum, the Smithsonian utilized its experience with Mitsitam Café at the National Museum of the American Indian.[137] That cafeteria had been established to familiarize museum-goers with the rich food heritage of indigenous peoples of the Americas. Mitsitam Café not only proved popular and won culinary awards,[139] but made a substantial amount of profit. The idea of regional food stations came from Dr. Jessica B. Harris, a food scholar who researched the food of African Americans from the colonial era to the present and presented her research to the museum's scholarly committee in 2013.[125] Albert Lukas, a supervising chef at Sweet Home Café, traveled the United States for two years to find recipes and interview home cooks and professional chefs.[125] A committee of chefs, curators, and historians spent another two years working out the restaurant's concept, visual design, and menu[137] (the latter of which was designed by executive chef Grant).[136] The final menu was designed not only to showcase the kinds of food African Americans of different regions ate at different times in American history, but also to demonstrate the impact African Americans had on both home cooking and haute cuisine.[139]

text: Chef Carla Hall, co-host of the television show The Chew, was named a "culinary ambassador" for the restaurant.[137] She engages in public outreach for the restaurant and museum.[136]

text: Reception[edit]

text: In a review for The New York Times, art critic Holland Cotter wrote, "The extremely complex narrative, with uplift and tragedy seemingly on a fixed collision course, spreads over five floors of galleries", and that it "holds some of the oldest and most disturbing material." Cotter added that "It's great that the museum mixes everything together: It means you can't just select a comfortable version of history." He concluded, "[I] hope, actually — that the museum will never be finished, or consider itself so; that its take on African-American history, which is American history, stays fluid, critical and richly confused: real, in other words."[140]

text: The Wall Street Journal's critic at large, Edward Rothstein, suggested that "even a full day's visit is insufficient for a careful survey. That alone is an imposing achievement". Rothstein wrote that the "museum is illuminating, disturbing, moving—and flawed". He wrote that we "see the evolution of African-American newspapers, businesses, churches and other institutions. Galleries devoted to music and sports make it plain how much African-American history and culture is simply American history and culture." He also wrote that there is a "reluctance, too, to cast doubt on one perspective or another, or to give a nuanced assessment of conflicts. The actual doctrines of Elijah Muhammad, a leader of the Nation of Islam and mentor to Malcolm X, are unmentioned. And, more troubling, the Black Panthers are characterized as if they were defensively armed social workers, a PC view of radicalism that recurs in other contexts.".[141] Museum reviewer Diana Muir, while criticizing the Museum for repeatedly misleading visitors by failing to put facts in "comparative perspective" a deficiency that " misleads curators into making sweeping claims like the assertion in the introductory room that before 1400 "slavery was a temporary status," nevertheless concluded that "Taken as a whole, however, the NMAAHC shows that it is possible to do an identity museum well, to build a museum on a foundation of rigorous scholarship that can inform, excite, and even inspire."[142]

text: The perceived lack of material on Justice Clarence Thomas drew criticism[143] and prompted the introduction of a resolution by six GOP senators which argued that Thomas should have a "prominent place" in the museum.[144] In a response to a question posed to the Smithsonian by the politically conservative news and commentary website CNSNews.com which asked why Thomas was not included in the museum, a spokeswomen for the consortium said that while Thomas was an example of an African-American with a "compelling personal stories," the museum "cannot tell every story in our inaugural exhibitions."[144]

text: Los Angeles Times architecture critic Christopher Hawthorne wrote that the museum is the "most impressive and ambitious public building to go up in Washington in a generation" and that despite "some flaws and unfortunate signs of cost-cutting, the design succeeds almost precisely to the degree that it is enigmatic and even fickle, spanning huge gulfs in the national character without being naive enough to try to close them. The building embraces memory and aspiration, protest and reconciliation, pride and shame."[145]

text: In The Plain Dealer, Susan Glaser wrote that the museum "is really two museums in one: Its historical exhibits encompasses about 60 percent of the gallery space, while cultural exhibits take up the other 40 percent." She wrote that the museum is "filled with difficult truths", such as a "statue of Thomas Jefferson, author of the words 'All Men Are Created Equal,' who is depicted in front of a brick wall – and on every brick, the name of one of his 609 slaves, including at least six who were his own children." But she wrote that "[i]t was the coffin of Emmett Till that finally got to me." She describes 14-year-old Till, who was lynched for allegedly whistling at a white woman: "Though his body was severely disfigured, his mother insisted on an open casket at his funeral, hoping to show the world the effects of racial injustice. It helped ignite the civil rights movement."[146]

text: Because of its lengthy name and the unpronounceable acronym NMAAHC derived from it,[145] a few journalists, following the trend established on social media, used the nickname "the Blacksonian" for the museum, based on its content and its relationship to the Smithsonian.[147][148]

text: The Washington Post architectural critic Philip Kennicott assessed the museum as its one-year anniversary, concluding that the NMAAHC has "changed the center of gravity on the Mall" and created "energy along 14th Street and Constitution Avenue NW that feels new, and welcome". Generally effusive in his praise, Kennicott found the museum to have an "allusive and mediated" feel, as opposed to the traditional "magisterial and transparent" aesthetic of most museums. He singled out the way the cornona cast shadows in the interior, the dramatic way the corona framed nearby monuments and memorials, and the museum's art gallery. Kennicott was unhappy with "the jumble of elevations throughout the history galleries". The problem particularly affected the Contemplative Court (where corrosion was also affecting the ceiling less than a year later). Museum designers correctly concluded that the cramped entrance to the underground galleries would create a powerful and negative emotional reaction, he said, but the side-effect has been to create a "fundamental flaw" in the museum by creating a terrific bottleneck in visitor traffic.[96]  A 2018 exhibition review in the Chicago Tribune noted the museum is practically — and unexpectedly to the museum's planners — "one of the toughest tickets to get in American culture" and posited that this was "proof that the nation wanted desperately to grapple with some of the thorniest questions about the people it brought here by force".[149]


document_title: 81st Academy Awards

question_text: which actor won the oscar for best actor in 2009

root

text: 81st Academy Awards

text: Winners and nominees[edit]

text: The nominees for the 81st Academy Awards were announced on January 22, 2009, at 5:38 a.m. PST (13:38 UTC) at the Samuel Goldwyn Theater in Beverly Hills, California, by Sid Ganis, president of the Academy, and the actor Forest Whitaker.[12] The Curious Case of Benjamin Button received the most nominations with thirteen (the ninth film to garner that many nominations); Slumdog Millionaire came in second with ten.[12][13]

tag: p

text: The winners were announced during the awards ceremony on February 22, 2009.[14] Slumdog Millionaire was the eleventh film to win Best Picture without any acting nominations.[15] Sean Penn became the ninth person to win Best Lead Actor twice.[16] Best Supporting Actor winner Heath Ledger became the second performer to win a posthumous acting Oscar. The first actor to receive this distinction was Peter Finch who posthumously won Best Actor for Network two months after his death in January 1977.[17] With its six nominations, Best Animated Feature Film winner WALL-E tied with 1991's Beauty and the Beast as the most nominated animated film in Academy Awards history.[13]

text: Awards[edit]

text: Winners are listed first, highlighted in boldface.[18]

text:
Best Picture

Slumdog Millionaire – Christian Colson

The Curious Case of Benjamin Button  – Kathleen Kennedy, Frank Marshall, and Ceán Chaffin
Frost/Nixon – Ron Howard, Brian Grazer, and Eric Fellner
Milk – Bruce Cohen and Dan Jinks
The Reader – Anthony Minghella, Sydney Pollack, Donna Gigliotti, and Redmond Morris

Best Director

Danny Boyle – Slumdog Millionaire

David Fincher – The Curious Case of Benjamin Button
Ron Howard – Frost/Nixon
Gus Van Sant – Milk
Stephen Daldry – The Reader

Best Actor

Sean Penn – Milk as Harvey Milk

Richard Jenkins – The Visitor as Walter Vale
Frank Langella – Frost/Nixon as Richard Nixon
Brad Pitt – The Curious Case of Benjamin Button as Benjamin Button
Mickey Rourke – The Wrestler as Randy "The Ram" Robinson

Best Actress

Kate Winslet – The Reader as Hanna Schmitz

Anne Hathaway – Rachel Getting Married as Kym Buchman
Angelina Jolie – Changeling as Christine Collins
Melissa Leo – Frozen River as Ray Eddy
Meryl Streep – Doubt as Sister Aloysius Beauvier

Best Supporting Actor

Heath Ledger – The Dark Knight as The Joker (posthumous award[A])

Josh Brolin – Milk as Dan White
Robert Downey Jr. – Tropic Thunder as Kirk Lazarus
Philip Seymour Hoffman – Doubt as Father Brendan Flynn
Michael Shannon – Revolutionary Road as John Givings, Jr.

Best Supporting Actress

Penélope Cruz – Vicky Cristina Barcelona as María Elena

Amy Adams – Doubt as Sister James
Viola Davis – Doubt as Mrs. Miller
Taraji P. Henson – The Curious Case of Benjamin Button as Queenie
Marisa Tomei – The Wrestler as Cassidy/Pam

Best Original Screenplay

Milk – Dustin Lance Black

Frozen River – Courtney Hunt
Happy-Go-Lucky – Mike Leigh
In Bruges – Martin McDonagh
WALL-E – Andrew Stanton (story and screenplay), Jim Reardon (screenplay) and Pete Docter (story)

Best Adapted Screenplay

Slumdog Millionaire – Simon Beaufoy from Q & A by Vikas Swarup

The Curious Case of Benjamin Button – Eric Roth (story and screenplay) and Robin Swicord (story) from The Curious Case of Benjamin Button by F. Scott Fitzgerald
Doubt – John Patrick Shanley from Doubt by John Patrick Shanley
Frost/Nixon – Peter Morgan from Frost/Nixon by Peter Morgan
The Reader – David Hare from Der Vorleser by Bernhard Schlink

Best Animated Feature

WALL-E – Andrew Stanton

Bolt – Chris Williams and Byron Howard
Kung Fu Panda – Mark Osborne and John Wayne Stevenson

Best Foreign Language Film

Departures (Japan) in Japanese – Yojiro Takita

The Baader Meinhof Complex (Germany) in German – Uli Edel
The Class (France) in French – Laurent Cantet
Revanche (Austria) in German – Götz Spielmann
Waltz with Bashir (Israel) in Hebrew – Ari Folman

Best Documentary Feature

Man on Wire – James Marsh and Simon Chinn

The Betrayal – Nerakhoon – Ellen Kuras and Thavisouk Phrasavath
Encounters at the End of the World – Werner Herzog and Henry Kaiser
The Garden – Scott Hamilton Kennedy
Trouble the Water – Carl Deal and Tia Lessin

Best Documentary Short Subject

Smile Pinki – Megan Mylan

The Conscience of Nhem En – Steven Okazaki
The Final Inch – Irene Taylor Brodsky and Tom Grant
The Witness: From the Balcony of Room 306 – Adam Pertovsky

Best Live Action Short Film

Toyland (Spielzeugland) — Jochen Alexander Freydank

On the Line (Auf der Strecke) — Reto Caffi
Manon on the Asphalt — Elizabeth Marre and Olivier Pont
New Boy (Ireland) — Steph Green and Tamara Anghie
The Pig (Grisen) — Tivi Magnusson and Dorte Høgh

Best Animated Short Film

La Maison en Petits Cubes – Kunio Katō

Lavatory – Lovestory – Konstantin Bronzit
Oktapodi – Emud Mokhberi and Thierry Marchand
Presto – Doug Sweetland
This Way Up – Alan Smith and Adam Foulkes

Best Original Score

Slumdog Millionaire – A. R. Rahman

The Curious Case of Benjamin Button – Alexandre Desplat
Defiance – James Newton Howard
Milk – Danny Elfman
WALL-E – Thomas Newman

Best Original Song

"Jai Ho" from Slumdog Millionaire – Music by A. R. Rahman; Lyrics by Gulzar

"Down to Earth" from WALL-E – Music by Peter Gabriel and Thomas Newman; Lyrics by Peter Gabriel
"O Saya" from Slumdog Millionaire – Music and Lyrics by A. R. Rahman and M.I.A.

Best Sound Editing

The Dark Knight – Richard King

Iron Man – Frank Eulner and Christopher Boyes
Slumdog Millionaire – Glenn Freemantle and Tom Sayers
WALL-E – Ben Burtt and Matthew Wood
Wanted – Wylie Stateman

Best Sound Mixing

Slumdog Millionaire – Resul Pookutty, Richard Pryke, Ian Tapp

The Curious Case of Benjamin Button – David Parker, Michael Semanick, Ren Klyce and Mark Weingarten
The Dark Knight – Lora Hirschberg, Gary Rizzo and Ed Novick
WALL-E – Tom Myers, Michael Semanick and Ben Burtt
Wanted – Chris Jenkins, Frank A. Montaño and Petr Forejt

Best Art Direction

The Curious Case of Benjamin Button – Donald Graham Burt and Victor J. Zolfo

Changeling – James J. Murakami and Gary Fettis
The Dark Knight – Nathan Crowley and Peter Lando
The Duchess – Michael Carlin and Rebecca Alleway
Revolutionary Road – Kristi Zea and Debra Schutt

Best Cinematography

Slumdog Millionaire – Anthony Dod Mantle

Changeling – Tom Stern
The Curious Case of Benjamin Button – Claudio Miranda
The Dark Knight – Wally Pfister
The Reader – Chris Menges and Roger Deakins

Best Makeup

The Curious Case of Benjamin Button – Greg Cannom

The Dark Knight – John Caglione Jr. and Conor O'Sullivan
Hellboy II: The Golden Army – Mike Elizalde, Thom Floutz

Best Costume Design

The Duchess – Michael O'Connor

Australia – Catherine Martin
The Curious Case of Benjamin Button – Jacqueline West
Milk – Danny Glicker
Revolutionary Road – Albert Wolsky

Best Film Editing

Slumdog Millionaire – Chris Dickens

The Curious Case of Benjamin Button – Kirk Baxter and Angus Wall
The Dark Knight – Lee Smith
Frost/Nixon – Mike Hill and Daniel P. Hanley
Milk – Elliot Graham

Best Visual Effects

The Curious Case of Benjamin Button – Eric Barba, Steve Preeg, Burt Dalton and Craig Barron

The Dark Knight – Nick Davis, Chris Corbould, Tim Webber and Paul Franklin
Iron Man – John Nelson, Ben Snow, Dan Sudick and Shane Mahan

tag: table

text: Jean Hersholt Humanitarian Award[edit]

text: Jerry Lewis[19]

tag: ul

text: Films with multiple nominations and awards[edit]

text:
The following 15 films received multiple nominations.

Nominations
Film

13

The Curious Case of Benjamin Button

10

Slumdog Millionaire

8
The Dark Knight

Milk

6

WALL-E

5
Doubt

Frost/Nixon

The Reader

3
Changeling

Revolutionary Road

2
The Duchess

Frozen River

Iron Man

Wanted

The Wrestler

The following four films received multiple awards:

Awards
Film

8

Slumdog Millionaire

3

The Curious Case of Benjamin Button

2
The Dark Knight

Milk

text: Presenters and performers[edit]

text: The following individuals presented awards or performed musical numbers.[20][21][22]

text: Presenters[edit]

text:
Name(s)
Role

Tuttle, GinaGina Tuttle
Announcer for the 81st annual Academy Awards

Goldberg, WhoopiWhoopi Goldberg
Goldie Hawn
Anjelica Huston
Eva Marie Saint
Tilda Swinton
Presenters of the award Best Supporting Actress

Fey, TinaTina Fey
Steve Martin
Presenters of the awards for Best Original Screenplay and Best Adapted Screenplay

Aniston, JenniferJennifer Aniston
Jack Black
Introducers of the Animation 2008 montage
Presenters of the awards for Best Animated Short Film and Best Animated Feature

Craig, DanielDaniel Craig
Sarah Jessica Parker
Presenters of the awards for Best Art Direction, Best Costume Design, and Best Makeup

Pattinson, RobertRobert Pattinson
Amanda Seyfried
Introducers of the Romance 2008 montage

Portman, NatalieNatalie Portman
Ben Stiller
Presenters of the awards for Best Cinematography

Biel, JessicaJessica Biel
Presenter of the segment of the Academy Awards for Technical Achievement and Gordon E. Sawyer Award

Franco, JamesJames Franco
Seth Rogen
Janusz Kamiński
Presenters of the awards for Best Live Action Short Film

Arkin, AlanAlan Arkin
Cuba Gooding Jr.
Joel Grey
Kevin Kline
Christopher Walken
Presenters of the award for Best Supporting Actor

Maher, BillBill Maher
Presenter of the awards for Best Documentary Feature and Best Documentary Short

Smith, WillWill Smith
Presenter of the awards for Best Sound Editing, Best Sound Mixing, Best Film Editing, and Best Visual Effects

Murphy, EddieEddie Murphy
Presenter of the Jean Hersholt Humanitarian Award

Efron, ZacZac Efron
Alicia Keys
Presenters of the awards for Best Original Score and Best Original Song
Introducers of the special song and dance number performing the Best Original Song nominees

Pinto, FreidaFreida Pinto
Liam Neeson
Presenters of the award for Best Foreign Language Film

Latifah, QueenQueen Latifah
Presenter of the In Memoriam tribute

Witherspoon, ReeseReese Witherspoon
Presenter of the award for Best Director

Berry, HalleHalle Berry
Marion Cotillard
Nicole Kidman
Sophia Loren
Shirley MacLaine
Presenters of the award for Best Actress

Brody, AdrienAdrien Brody
Michael Douglas
Robert De Niro
Anthony Hopkins
Ben Kingsley
Presenters of the award for Best Actor

Spielberg, StevenSteven Spielberg
Presenter of the Best Picture segment and the award for Best Picture

text: Performers[edit]

text:
Name(s)
Role
Performed

Giacchino, MichaelMichael Giacchino
Musical Arranger
Orchestral

Jackman, HughHugh Jackman
Anne Hathaway
Performers
Opening Number

Jackman, HughHugh Jackman
Beyoncé Knowles
Zac Efron
Vanessa Hudgens
Amanda Seyfried
Dominic Cooper
Spirit of Troy
Performers

"Top Hat, White Tie and Tails" from Top Hat
"Singin' in the Rain" from Singin' in the Rain
"Big Spender" from Sweet Charity
"Maria" from West Side Story
"You're The One That I Want" from Grease
"Maria" from The Sound of Music
"All That Jazz" from Chicago
"Lady Marmalade" from Moulin Rouge!
"One Night Only" from Dreamgirls
"You Can't Stop The Beat" from Hairspray
"I Don't Know How To Love Him" from Jesus Christ Superstar
"At Last" from Orchestra Wives
"Last Chance" from High School Musical 3: Senior Year
"Mamma Mia" from Mamma Mia!
"Don't Cry For Me Argentina" from Evita
"Over the Rainbow" from The Wizard of Oz
"Somewhere" from West Side Story

Rahman, A. R.A. R. Rahman
Performer
"O Saya" from Slumdog Millionaire

Legend, JohnJohn Legend
Soweto Gospel Choir
Performers
"Down to Earth" from WALL-E

Rahman, A. R.A. R. Rahman
Mahalaxmi Iyer
Performers
"Jai Ho" from Slumdog Millionaire

Latifah, QueenQueen Latifah
Performer
"I'll Be Seeing You" during the annual In Memoriam tribute

text: Ceremony information[edit]

text: Due to the declining viewership of the recent Academy Awards ceremonies, AMPAS had contracted an entirely new production team in an attempt to revive interest surrounding both the awards and festivities. In September 2008, the Academy selected producers Bill Condon and Laurence Mark to co-produce the telecast.[23] Nearly three months later, actor Hugh Jackman, who had previously emceed three consecutive Tony Awards ceremonies between 2003 and 2005, was chosen as host of the 2009 gala.[24] Jackman expressed his anticipation of the awards in the few days preceding, and had commented that he was thrilled with preparations for the ceremony.[25][26]

text: Notable changes were introduced in the production of the telecast. In an attempt to build suspense and curiosity leading up to the awards, Condon and Mark announced that they would not reveal any of the presenters or performers who would participate in the Oscarcast.[27] Another unique feature of the ceremony was that the orchestra performed onstage instead of being relegated to a pit.[28] In a break from previous presentations, five previous Oscar-winning performers presented each of the acting categories as opposed to only one or two.[29] In addition, the Academy announced that for the first time since Oscar began broadcasting on television, film studios would be able to televise advertisements promoting their upcoming films.[30] Furthermore, a montage of upcoming 2009 films was shown over the ceremony's closing credits.[31]

text: Several other people participated in the production of the ceremony. Chris Harrison hosted "Road to the Oscars", a weekly behind-the-scenes video blog on the Oscar ceremony website.[32] David Rockwell designed a new set and stage design for the ceremony.[33] Film historian and author Robert Osborne greeted guests entering the festivities at the Hollywood and Highland Center.[34] Film director Judd Apatow filmed a comedy montage which featured Seth Rogen and James Franco reprising their roles from Pineapple Express.[35] Director Baz Luhrmann produced a song and dance number saluting movie musicals.[36]

text: Peter Gabriel, who was originally scheduled to perform his nominated song "Down to Earth" from WALL-E during the live broadcast, declined to perform after learning that he would be allowed to sing only 65 seconds of the song during the ceremony's Best Original Song nominee performances.[37] Gabriel still attended the ceremony but singer John Legend, backed by the Soweto Gospel Choir, performed the song in place of Gabriel.[38]

text: Box office performance of nominated films[edit]

text: Continuing a trend in recent years, the field of major nominees favored independent, low-budget films over blockbusters.[39][40] However, one of the nominees for Best Picture had grossed over $100 million before the nominations were announced (compared with none from the previous year).[41] The combined gross of the five Best Picture nominees when the Oscars were announced was $188 million with an average gross of $37.7 million per film.[42]

text: The Curious Case of Benjamin Button was the highest earner among the Best Picture nominees with $104.4 million in domestic box office receipts.[41] The film was followed by Slumdog Millionaire ($44.7 million), Milk ($20.7 million), Frost/Nixon ($8.8 million), and finally The Reader ($8.3 million).[42] Among the rest of the top 50 releases of 2008 in U.S. box office before the nominations, 33 nominations went to nine films on the list. Only The Dark Knight (1st), WALL-E (5th), Kung Fu Panda (6th), Bolt (19th), Tropic Thunder (20th), and The Curious Case of Benjamin Button (21st) were nominated for directing, acting, screenwriting, Best Picture or Animated Feature.[43] The other top-50 box office hits that earned nominations were Iron Man (2nd), Wanted (16th), and Hellboy II: The Golden Army (41st).[43]

text: Faked winners leak[edit]

text: Shortly after the voting polls were closed for the awards, a purported list of winners was posted online. The list, which bore a purported signature from Academy president Sid Ganis, stated that Mickey Rourke won for Best Actor, Kate Winslet won for Best Actress, Amy Adams won for Best Supporting Actress, Heath Ledger won for Best Supporting Actor, and Slumdog Millionaire won for Best Picture.[44] AMPAS spokeswoman Leslie Unger later revealed that the list was "a complete fraud", and that PricewaterhouseCoopers had just begun to count the ballots.[45]

text: Critical reviews[edit]

text: The show received a mixed reception from media publications. Some media outlets received the broadcast more positively. Television critic Robert Bianco of USA Today gave Jackman an average review but extolled producers Condon and Mark saying that the broadcast felt "faster and more intimate without sacrificing Hollywood glamour."[46] Vanity Fair columnist Julian Sancton gave high marks for Jackman's hosting performance stating "After several years of glamour-deflating wisecracks from blasé hosts like Jon Stewart, Ellen DeGeneres, and Steve Martin, the new producers hired an M.C. who was willing to break a sweat."[47] Film critic Roger Ebert lauded Jackman's performance noting that he "would be a charmer as host, and he was." Of the show itself, Ebert added, "It was the best Oscar show I've ever seen, and I've seen plenty."[48]

text: Other media outlets were more critical of the show. Los Angeles Times columnist Mary McNamara was thought Jackman's performance "obliterated all memory" of David Letterman's hosting the ceremony in 1995, which was widely panned.[49]Time television critic James Poniewozik wrote that Jackman was "charming and game and I bet he absolutely killed in the room. But he didn’t really project beyond the room, nor did he much seem to be trying to." He also noted that while there were some entertaining moments, "the broadcast overall had problems of pacing."[50] Maureen Ryan of the Chicago Tribune remarked, "The whole thing was driven by a manic desire to bring some old-school glamor to the proceedings." She added that the long introductions praising the acting nominees slowed down the proceedings.[51]

text: Ratings and reception[edit]

text: The American telecast on ABC drew in an average of 36.94 million people over its length, which was a 13% increase from the record lows of the previous year's ceremony.[52][53] An estimated, 68.48 million total viewers watched all or part of the awards. The show also drew higher Nielsen ratings compared to the previous ceremony, with 20.88% of households watching over a 32.44 share.[54] In addition, the program scored a 12.43 rating over a 30.61 share among the 18–49 demographic, which was a 13 percent increase.[54]

text: In July 2009, the ceremony presentation received ten nominations at the 61st Primetime Emmys.[55] Two months later, the ceremony won four awards including Outstanding Choreography (Rob Ashford), Outstanding Original Music and Lyrics (Hugh Jackman Opening Number: William Ross, John Kimbrough, Dan Harmon, Rob Schrab, Ben Schwartz), Outstanding Short Form Picture Editing, (Best Motion Picture Montage: Kyle Cooper, Hal Honigsberg), and Outstanding Sound Mixing for a Variety Or Music Series Or Special.[56][57]

text: In Memoriam[edit]

text: The annual In Memoriam tribute was presented by actress Queen Latifah. She performed the song "I'll Be Seeing You" during the segment.[58][59]

text:
Cyd Charisse
Bernie Mac
Bud Stone
Ollie Johnston
Van Johnson
J. Paul Huntsman
Michael Crichton
Nina Foch
Pat Hingle
Harold Pinter
Charles H. Joffe
Kon Ichikawa
Charles H. Schneer
Abby Mann
Roy Scheider
David Watkin
Robert Mulligan
Evelyn Keyes
Richard Widmark

Claude Berri
Maila Nurmi
Isaac Hayes
Leonard Rosenman
Ricardo Montalbán
Manny Farber
Robert DoQui
Jules Dassin
Paul Scofield
John Michael Hayes
Warren Cowan
Joseph M. Caracciolo
Stan Winston
Ned Tanen
James Whitmore
Charlton Heston
Anthony Minghella
Sydney Pollack
Paul Newman


document_title: XOXO (album)

question_text: difference between exo xoxo hug and kiss version

text: XOXO (album)

text: Background[edit]

text: The album's lead single, "늑대와 미녀" ("The Wolf and the Beauty"), known in English as simply "Wolf", was composed by Will Simms, Nermin Harambasic from Dsign Music and S.M. Entertainment resident songwriter Kenzie. Kenzie also provided the lyrics for the Korean version of the song while Zhou Weijie penned the lyrics for the Mandarin Chinese version, "狼与美女". Yoo Young-jin provides background vocals. The dance for the song was choreographed by Tony Testa. In several shows such as Arirang's After School Club, the members explain that the dance has 3 elements: the trees and forest, the caves, and the wolf itself. Member Kris revealed that it took them approximately 3 to 4 months to get the choreography down, due to its level of difficulty.[citation needed] A demo version of the song was leaked in February 2013, in response to which producer Ryan Jhun later gave a warning to illegal downloaders on May 29, 2013, "...I will report it to FBI and service department for all links...".[3]

text: Several "developmental" tracks were produced and recorded in 2011 before Exo's official debut into entertainment industry but never made it into the first EP Mama. Some of these tracks were included on the XOXO album, including "Black Pearl" and "My Lady".[citation needed]

text: In July 2013, a re-package version of 'XOXO', renamed 으르렁 (Growl), was developed with three additional tracks. The single from this edition was its title track "Growl" (으르렁).[4] The song was recorded in both Korean and Mandarin Chinese ("咆哮") versions. Composed by Hyuk Shin (Joombas), DK, Jordan Kyle, John Major, and Jarah Gibson, "Growl" is a dance-pop song with contemporary R&B and funk influences. The single was prematurely leaked online on July 27, when a video of the group practicing to the Korean version of the song was uploaded to various video-sharing websites.[5]

text: Release and promotion[edit]

text: May 30, 2013, the Korean and Chinese versions of the music video for "Wolf" were released,[6] and the song's first performance was made on M.net M! Countdown.[7] Both song versions were released digitally on June 3, 2013, and on the same day, two physical formats of the entire album XOXO were also released in South Korea: a "Kiss" edition in Korean and a "Hug" edition in Mandarin.[8] After a performance on SBS Inkigayo on June 3, 2013, Exo visited and thanked 2,000 fans who had been waiting at a nearby park to meet them.[9] The first performance of the Mandarin version of the song was aired on a popular Chinese variety show Happy Camp in mid-June.[10]

text: The album reached over 300,000 collective pre-orders,[1] and peaked at number one on the Billboard World Album Chart a week after release.[11] As of December 2013, the Korean and Chinese versions of the album, as well as their respective repackaged versions, have collectively sold over 1,070,000 copies,[12][13][14] making it the best-selling album of the year in the K-pop industry. With over a million copies sold, XOXO also became Korea's best-selling album in 12 years.[2]

text: Track listing[edit]

text: XOXO (original edition)[edit]

text:
Kiss edition (Korean version)

No.
Title
Lyrics
Music
Translation
Length

1.
"늑대와 미녀 (Wolf)" (Neukdae Wa Minyeo)
Kenzie
Kenzie, Will Simms, Nermin Harambašić
Wolf and the Beauty (Wolf)
3:52

2.
"Baby Don't Cry (인어의 눈물)" (Ineoui Nunmul, sung by: Suho, Baekhyun, Chanyeol, D.O)
Cho Yoon-kyung
Kim Tae-sung, Im Kwang-wook, Andrew Choi, Kalle Engstrom
Baby Don't Cry (A Mermaid's Tears)
3:55

3.
"Black Pearl (검은 진주)"
Seo Ji-eum
DK, 2xxx!, JJ Evans, Hyuk Shin (Joombas), Deanfluenza, TK, Jasmine Kearse, Brittani Marthena White

3:08

4.
"나비소녀 (Don't Go)" (Nabi Sonyeo)
Seo Ji-eum
DK, Hyuk Shin (Joombas), John Major, Jordan Kyle, Jeffrey Patrick Lewis
Butterfly Girl (Don't Go)
3:36

5.
"Let Out the Beast (짐승을 보자)"
Lee Hyun-kyu
Jay J. Kim, Robert Peters, Spencer Yaras, Taeko Carroll, Charles Wiggins, Chris Lightbody, Robert Steinmille

3:27

6.
"3.6.5 (세 여섯 다섯)"
Cho Yoon-kyung, Didrik Thott
Hayden Bell, Christian Fast, Henrik Nordenback

3:07

7.
"Heart Attack (심장 마비)"
Misfit
MGI, GoodWill

3:39

8.
"피터팬 (Peter Pan)" (Piteopaen)
Hong Ji-yu
Kibwe Luke, Ryan S. Jhun, Denzil Remedios

3:56

9.
"Baby (아가)"
Kenzie
Kim Jung-bae, Kenzie

4:00

10.
"My Lady (내 여자)"
Kim Boo-min
Hitchhiker

3:33

11.
"늑대와 미녀 (Wolf)" (Exo-K version)
Kenzie
Kenzie, Will Simms, Nermin Harambašić

3:52

12.
"狼与美女 (Wolf) - Mandarin version" (Láng Yǔ Měinǚ)
Zhou Weijie
Kenzie, Will Simms, Nermin Harambašić
Wolf and the Beauty (Wolf)
3:52

Total length:
43:48

text:
[show]Hug edition (Chinese version)

No.
Title
Lyrics
Music
Translation
Length

1.
"狼与美女 (Wolf)" (traditional Chinese: 狼與美女; pinyin: Láng Yǔ Měinǚ, sung by: EXO)
Zhou Weijie
Kenzie, Will Simms, Nermin Harambašić
Wolf and the Beauty
3:52

2.
"Baby Don't Cry (人鱼的眼泪)" (traditional Chinese: 人魚的眼淚; pinyin: Rényú de Yǎnlèi)
Wang Yajun
Kim Tae-sung, Im Kwang-wook, Andrew Choi, Kalle Engstrom
A Mermaid's Tears
3:55

3.
"Black Pearl (黑珍珠)"
Liu Yuan
DK, 2xxx!, JJ Evans, Hyuk Shin (Joombas), Deanfluenza, TK, Jasmine Kearse, Brittani Marthena White

3:08

4.
"蝴蝶少女 (Don't Go)" (Húdié Shàonǚ)
Wang Yajun
DK, Hyuk Shin (Joombas), John Major, Jordan Kyle, Jeffrey Patrick Lewis
Butterfly Girl
3:36

5.
"Let Out the Beast (让出兽)"
T-Crash
Jay J. Kim, Robert Peters, Spencer Yaras, Taeko Carroll, Charles Wiggins, Chris Lightbody, Robert Steinmille

3:27

6.
"3.6.5 (三 六 五)"
Wang Yajun
Hayden Bell, Christian Fast, Henrik Nordenback

3:07

7.
"Heart Attack (心脏病发作)"
Zhou Weijie
MGI, GoodWill

3:39

8.
"彼得潘 (Peter Pan)" (Bǐdépān)
Liu Yuan
Kibwe Luke, Ryan S. Jhun, Denzil Remedios

3:56

9.
"Baby (第一步)" (Dìyī Bù)
Liu Yuan
Kim Jung-bae, Kenzie
The First Step
4:00

10.
"My Lady (我的女士)"
Liu Yuan
Hitchhiker

3:33

11.
"狼与美女 (Wolf)" (Exo-M version)
Zhou Weijie
Kenzie, Will Simms, Nermin Harambašić

3:52

12.
"늑대와 미녀 (Wolf) - Korean version" (Romanization: Neukdae Wa Minyeo, sung by: EXO)
Kenzie
Kenzie, Will Simms, Nermin Harambašić
Wolf and the Beauty
3:52

Total length:
43:48

text: Growl (repackaged edition)[edit]

text:
[show]Kiss edition (Korean version)

No.
Title
Lyrics
Music
Length

1.
"으르렁 (Growl)" (Romanization: Eureureong)
Seo Ji-eum
Hyuk Shin (Joombas), DK, Jordan Kyle, Jason Jonathan, John Major, Jarah Gibson
3:29

2.
"늑대와 미녀 (Wolf)"
Kenzie
Kenzie, Will Simms, Nermin Harambašić
3:52

3.
"XOXO (Kisses & Hugs)"
Misfit, Kai, D.O
Steven Lee, Goldfingerz, Jimmy Richard
3:08

4.
"Lucky (운이 좋은)"
Kim Eana, Chanyeol, Baekhyun
E.One
3:25

5.
"Baby Don't Cry (인어의 눈물)" (sung by: Suho, Baekhyun, Chanyeol, D.O)
Cho Yoon-kyung
Kim Tae-sung, Im Kwang-wook, Andrew Choi, Kalle Engstrom
3:55

6.
"Black Pearl (검은 진주)"
Seo Ji-eum
DK, 2xxx!, JJ Evans, Hyuk Shin (Joombas), Deanfluenza, TK, Jasmine Kearse, Brittani Marthena White
3:08

7.
"나비소녀 (Don't Go)"
Seo Ji-eum
DK, Hyuk Shin (Joombas), John Major, Jordan Kyle, Jeffrey Patrick Lewis
3:36

8.
"Let Out the Beast (짐승을 보자)"
Lee Hyun-kyu
Jay J. Kim, Robert Peters, Spencer Yaras, Taeko Carroll, Charles Wiggins, Chris Lightbody, Robert Steinmille
3:27

9.
"3.6.5 (세 여섯 다섯)"
Cho Yoon-kyung, Didrik Thott
Hayden Bell, Christian Fast, Henrik Nordenback
3:07

10.
"Heart Attack (심장 마비)"
Misfit
MGI, GoodWill
3:39

11.
"피터팬 (Peter Pan)"
Hong Ji-yu
Kibwe Luke, Ryan S. Jhun, Denzil Remedios
3:56

12.
"Baby (아가)"
Kenzie
Kim Jung-bae, Kenzie
4:00

13.
"My Lady (내 여자)"
Kim Boo-min
Hitchhiker
3:33

14.
"으르렁 (Growl)" (Exo-K version)
Seo Ji-eum
Hyuk Shin (Joombas), DK, Jordan Kyle, Jason Jonathan, John Major, Jarah Gibson
3:27

Total length:
49:31

text:
[show]Hug edition (Chinese version)

No.
Title
Lyrics
Music
Length

1.
"咆哮 (Growl)" (pinyin: Páoxiāo)
Wang Yajun
Hyuk Shin (Joombas), DK, Jordan Kyle, Jason Jonathan, John Major, Jarah Gibson
3:27

2.
"狼与美女 (Wolf)" (sung by: EXO)
Zhou Weijie
Kenzie, Will Simms, Nermin Harambašić
3:52

3.
"XOXO (Kisses & Hugs)"
Lin Xinye, Kai, D.O
Steven Lee, Goldfingerz, Jimmy Richard
3:06

4.
"Lucky (幸运)"
Liu Yuan, Chanyeol, Baekhyun
E.One
3:23

5.
"Baby Don't Cry (人鱼的眼泪)"
Wang Yajun
Kim Tae-sung, Im Kwang-wook, Andrew Choi, Kalle Engstrom
3:55

6.
"Black Pearl (黑珍珠)"
Liu Yuan
DK, 2xxx!, JJ Evans, Hyuk Shin (Joombas), Deanfluenza, TK, Jasmine Kearse, Brittani Marthena White
3:08

7.
"蝴蝶少女 (Don't Go)"
Wang Yajun
DK, Hyuk Shin (Joombas), John Major, Jordan Kyle, Jeffrey Patrick Lewis
3:36

8.
"Let Out the Beast (让出兽)"
T-Crash
Jay J. Kim, Robert Peters, Spencer Yaras, Taeko Carroll, Charles Wiggins, Chris Lightbody, Robert Steinmille
3:27

9.
"3.6.5 (三 六 五)"
Wang Yajun
Hayden Bell, Christian Fast, Henrik Nordenback
3:07

10.
"Heart Attack (心脏病发作)"
Wang Yajun
MGI, GoodWill
3:39

11.
"彼得潘 (Peter Pan)"
Liu Yuan
Kibwe Luke, Ryan S. Jhun, Denzil Remedios
3:56

12.
"Baby (第一步)"
Liu Yuan
Kim Jung-bae, Kenzie
4:00

13.
"My Lady (我的女士)"
Liu Yuan
Hitchhiker
3:33

14.
"咆哮 (Growl)" (Exo-M version)
Wang Yajun
Hyuk Shin (Joombas), DK, Jordan Kyle, Jason Jonathan, John Major, Jarah Gibson
3:27

Total length:
49:31

text: Charts[edit]

text: Korean and Chinese versions

text:
Chart
Peak position

XOXO
Kiss edition
XOXO
Hug edition
Growl
Kiss edition
Growl
Hug edition

South Korea Gaon Weekly Albums Chart
1[15]
2[15]
1[16]
2[16]

South Korea Gaon Monthly Albums Chart
1[17]
2[17]
1[18]
2[18]

South Korea Gaon 2013 Yearly Albums Chart
3[19]
6[19]
1[19]
7[19]

South Korea Gaon 2014 Yearly Albums Chart
53
83
15
67

South Korea Gaon 2015 Yearly Albums Chart
—
—
71
—

Japan Oricon Weekly Albums Chart
9
18
—
—

Japan Oricon Monthly Albums Chart
18
36
—
—

text: Combined version

text:
Chart
Peak
position

Billboard Heatseekers Albums Chart[20]
23

Billboard World Albums Chart[21]
1

text: Sales and shipments[edit]

text: Album sales[edit]

text:
XOXO

Chart
Sales

Japan (Oricon)
28,000+ (Hug version)

62,000+ (Kiss version)

South Korea (Gaon)
224,373+ (Hug version)[19]

328,824+ (Kiss version)[19]

Growl (Repackage)

Chart
Sales

South Korea (Gaon)
234,764+ (Hug version)[19]

461,596+ (Kiss version)[19]

text: Release history[edit]

text:
Edition
Date
Region
Format
Label
Catalog

Original
June 3, 2013
Worldwide / South Korea[22][23]
CD, digital download
S.M. Entertainment, KT Music
SMK0242

SMK0243

July 19, 2013
Taiwan[24]
Avex
AVKCD80280/A

AVKCD80280/B

July 27, 2013
Philippines
Universal Records
SMK0242

SMK0243

June 12, 2013
Thailand
S.M. True

Repackage
August 5, 2013
Worldwide / South Korea
S.M. Entertainment, KT Music
SMK0275

SMK0276

September 13, 2013
Taiwan
Avex Taiwan
AVKCD80280/C

AVKCD80280/D

August 16, 2013
Thailand
S.M. True

text: Awards and nominations[edit]

text:
Year
Award
Nominated work
Category
Result

2013
Golden Disk Awards
Growl
Digital Bonsang
Nominated

XOXO
Disk Bonsang
Won

Disk Daesang
Won

MelOn Music Awards
Growl
Song of the Year
Won

Music Video award
Nominated

XOXO
Album of the Year
Nominated

Mnet Asian Music Awards
XOXO
BC - UnionPay Album of the Year[25]
Won

Growl
BC - UnionPay Song of the Year
Nominated

Seoul Music Awards
Record of the Year in Digital Release
Won

KBS Music Festival
Song of the year
Won

World Music Awards
Best World Song
Won

text: Music program awards[edit]

text:
Song
Program
Date

"Wolf"

Music Bank (KBS)

June 14, 2013

Show! Music Core (MBC)

June 15, 2013

Inkigayo (SBS)

June 16, 2013

Show Champion (MBC Music)

June 19, 2013

"Growl"

Music Bank (KBS)

August 16, 2013

August 23, 2013

Inkigayo (SBS)

August 18, 2013

August 25, 2013

September 1, 2013

Show Champion (MBC Music)

August 21, 2013

August 28, 2013

September 4, 2013

M! Countdown (Mnet)

August 22, 2013

August 29, 2013

September 5, 2013

Show! Music Core (MBC)

August 24, 2013

August 31, 2013

September 7, 2013