document_title: Mughal-e-Azam

question_text: who played the male lead role in the movie 'mughal-e-azam'

question_tokens: who played the male lead role in the movie ' mughal-e-azam '

text: Mughal-e-Azam

text: Plot[edit]

text:
External image

 Images of Mughal-e-Azam and plot details

text: Emperor Akbar (Prithviraj Kapoor), who does not have a male heir, undertakes a pilgrimage to a shrine to pray that his wife Jodhabai (Durga Khote) give birth to a son. Later, a maid brings the emperor news of his son's birth. Overjoyed at his prayers being answered, Akbar gives the maid his ring, and promises to grant her anything she desires.

text: The son, Prince Salim, grows up to be spoiled, flippant, and self-indulgent. His father sends him off to war, to teach him courage and discipline. Fourteen years later, Salim returns as a distinguished soldier (Dilip Kumar) and falls in love with court dancer Nadira, whom the emperor has renamed Anarkali (Madhubala), meaning pomegranate blossom. The relationship is discovered by the jealous Bahar (Nigar Sultana), a dancer of a higher rank, who wants the prince to love her so that she may one day become queen. Unsuccessful in winning Salim's love, she exposes his forbidden relationship with Anarkali. Salim pleads to marry Anarkali, but his father refuses, and imprisons her. Despite her treatment, Anarkali refuses to reject Salim, as Akbar demands.

text: Salim rebels and amasses an army to confront Akbar and rescue Anarkali. Defeated in battle, Salim is sentenced to death by his father, but is told that the sentence will be revoked if Anarkali, now in hiding, is handed over to die in his place. Anarkali gives herself up to save the prince's life, and is condemned to death by being entombed alive. Before her sentence is carried out, she begs to have a few hours with Salim as his make-believe wife. Her request is granted, as she has agreed to drug Salim so that he cannot interfere with her entombment. As Anarkali is being walled up, Akbar is reminded that he still owes her mother a favour, as it was she who brought him news of Salim's birth. Anarkali's mother pleads for her daughter's life. The emperor has a change of heart, but although he wants to release Anarkali he cannot, because of his duty to his country. He therefore arranges for her secret escape into exile with her mother, but demands that the pair are to live in obscurity, and that Salim is never to know that Anarkali is still alive.

text: Cast[edit]

text:
Prithviraj Kapoor as Emperor Akbar
Dilip Kumar as Salim
Madhubala as Nadira (Anarkali)
Durga Khote as Jodhabai, Salim's mother
Nigar Sultana as Bahar, a court dancer
Ajit as Durjan Singh
Murad as Raja Man Singh
M. Kumar as Sangtarash, the royal sculptor
Sheila Dalaya as Suraiyya, Anarkali's sister
Jillo Bai as Anarkali's mother

text: Production[edit]

text: Development[edit]

text: The Urdu dramatist Imtiaz Ali Taj wrote a play about the love story of Salim and Anarkali in 1922,[1][2] based more on a 16th-century legend than on fact.[3] A stage version was soon produced, and screen versions followed.[4] Ardeshir Irani made a silent film, Anarkali, in 1928, and remade it with sound in 1935.[4] In the early 1940s, the tale of Anarkali inspired producer Shiraz Ali Hakeem and young director K. Asif (Karimuddin Asif) to make another film adaptation which they would title Mughal-e-Azam.[5] They recruited four Urdu writers to develop the screenplay and dialogue: Aman (Zeenat Aman's father, also known as Amanullah Khan), Wajahat Mirza, Kamaal Amrohi, and Ehsan Rizvi.[5] It is not known how the writers collaborated or shared out their work, but in 2010 The Times of India said that their "mastery over Urdu's poetic idiom and expression is present in every line, giving the film, with its rich plots and intricate characters, the overtones of a Shakespearean drama."[6] As the script neared completion, Asif cast Chandra Mohan, D.K. Sapru, and Nargis for the roles of Akbar, Salim, and Anarkali, respectively.[7][8] Shooting started in 1946 in Bombay Talkies studio.[9]

text: The project faced multiple hurdles, which forced its temporary abandonment. The political tensions and communal rioting surrounding India's 1947 partition and independence stalled production. Shortly after partition, Shiraz Ali migrated to Pakistan, leaving Asif without a financier.[9][8] The actor Chandra Mohan suffered a heart attack and died in 1949.[10] Shiraz Ali had previously suggested that business tycoon Shapoorji Pallonji could finance the film. Although Pallonji knew nothing about film production, in 1950 he agreed to produce the film because of his interest in the history of Akbar.[11][12] Production was then restarted with a new cast.[11]

text: Believing that the film had been cancelled, Kamal Amrohi, one of the scriptwriters who was also a director, planned to make a film on the same subject himself. When confronted by Asif, he agreed to shelve the project.[13] Another unrelated film production based on the same stage play was Nandlal Jaswantlal's Anarkali, starring Bina Rai and Pradeep Kumar, which became the highest grossing Bollywood film of 1953.[14]

text: Casting[edit]

text: Asif had initially rejected Dilip Kumar for the part of Prince Salim.[7] Kumar was reluctant to act in a period film, but accepted the role upon the insistence of the film's producer.[15] According to Kumar, "Asif trusted me enough to leave the delineation of Salim completely to me."[16] Kumar faced difficulty while filming in Rajasthan owing to the heat and the body armour he wore.[16] The part of Anarkali had first been offered to Suraiya[17] but later went to Madhubala, who had been longing for a significant role.[18] Madhubala suffered from congenital heart disease,[19] which was one of the reasons why at times she fainted on set; she also endured skin abrasions while filming the prison sequences, but was determined to finish the film.[20]

text: To become the character of Emperor Akbar, Prithviraj Kapoor was reported to have "relied completely on the script and director".[8] Prior to make-up, Kapoor would declare, "Prithviraj Kapoor ab jaa rahaa hai" ("Prithviraj Kapoor is now going"); after make-up, he would announce, "Akbar ab aa rahaa hai" ("Akbar is now coming"). Kapoor faced difficulty with his heavy costumes, and suffered blisters on his feet after walking barefoot in the desert for a sequence.[8] Lance Dane, a photographer who was on set during the filming, recalled that Kapoor struggled to remember his lines in some scenes; he mentioned one scene in particular that Kapoor required 19 takes to get right.[21] At the time of filming, Kapoor who was on a diet, was told by Asif to regain the lost weight for his portrayal of Akbar.[21] Zakir Hussain, who later became a tabla maestro, had initially been considered for the part of the young Prince Salim, but it became the debut role of Jalal Agha, who later performed on the song "Mehbooba Mehbooba" from Sholay (1975).[1]

text: Design[edit]

text: The production design of the film, led by art director M. K. Syed, was extravagant, and some sets took six weeks to erect. The film, mostly shot in studio sets designed to represent the interior of a Mughal palace, featured opulent furnishings and water features such as fountains and pools,[22] generating the feel of a Hollywood historical epic of the period. The song "Pyar Kiya To Darna Kya" was filmed in Mohan Studios on a set built as a replica of the Sheesh Mahal in the Lahore Fort. The set was noted for its size, measuring 150 feet (46 m) in length, 80 feet (24 m) in breadth and 35 feet (11 m) in height.[8] A much-discussed aspect was the presence of numerous small mirrors made of Belgian glass, which were crafted and designed by workers from Firozabad.[23] The set took two years to build and cost more than ₹1.5 million (valued at about US$314,000 in 1960),[a][24] more than the budget of an entire Bollywood film at the time. The film's financiers feared bankruptcy as a result of the high cost of production.[15]

text: Artisans from across India were recruited to craft the props. The costumes were designed by Makhanlal and Company,[25] and Delhi-based tailors skilled in zardozi embroidery stitched the Mughal costume.[25] The footwear was ordered from Agra, the jewellery was made by goldsmiths in Hyderabad, the crowns were designed in Kolhapur, and blacksmiths from Rajasthan manufactured the armoury (which included shields, swords, spears, daggers, and armour). The zardozi on costumes were also stitched by designers from Surat.[15][25][26] A statue of Lord Krishna, to which Jodhabai prayed, was made of gold. In the scenes involving an imprisoned Anarkali, real chains were placed on Madhubala.[8] The battle sequence between Akbar and Salim reportedly featured 2,000 camels, 400 horses, and 8,000 troops, mainly from the Indian Army's Jaipur cavalry, 56th Regiment.[27] Dilip Kumar has spoken of the intense heat during filming of the sequence in the desert of Rajasthan, wearing full armour.[16]

text: Principal photography[edit]

text: Principal photography for Mughal-e-Azam began in the early 1950s.[15] Each sequence was reportedly filmed three times,[28] as the film was being produced in Hindi/Urdu, Tamil, and English. The film was eventually dubbed in Tamil and released in 1961 as Akbar,[29][30] but that version's commercial failure resulted in the abandonment of the planned English dubbing, for which British actors were considered.[15] Asif was accompanied by an extensive crew, which included his assistant directors S. T. Zaidi, Khalid Akhtar, Surinder Kapoor (assisting primarily for the English version),[8] and five others.[31] Additional crew members included cinematographer R. D. Mathur, choreographer Lachhu Maharaj,[32] production manager Aslam Noori, cameraman M. D. Ayub, editor Dharamavir, makeup artists P. G. Joshi and Abdul Hamid, and sound director Akram Shaikh.[31]

text: Some film sequences were shot with up to 14 cameras, significantly more than the norm at that time.[8] There were many difficulties with the film's lighting; cinematographer Mathur reportedly took eight hours to light a single shot. In total, 500 days of shooting were needed, compared to a normal schedule of 60 to 125 shooting days at the time.[8] Owing to the very large size of the Sheesh Mahal set, the lighting was provided by the headlights of 500 trucks and about 100 reflectors.[33] The presence of the mirrors on the set caused problems, as they sparkled under the lights. Foreign consultants, including British director David Lean, told Asif to forget the idea since they felt that it was impossible to film the scene under the intense glare. Asif confined himself to the set with the lighting crew,[34] and subsequently overcame the problem by covering all the mirrors with a thin layer of wax, thereby subduing their reflectivity.[8] Mathur also used strategically placed strips of cloth to implement "bounce lighting", which reduced the glare.[29]

text:
Such was the all-round commitment that nobody saw the delay as tiresome. We were experienced enough to know that a film involving such overwhelming craftsmanship, minute detailing, massive gathering of artistes and unit hands, strenuous schedules with large units of artistes and trained animals, day and night shoots cannot be a simple affair.[16]

- Dilip Kumar, on the duration of filming

tag: div

text: A number of problems and production delays were encountered during filming, to the extent that at one point Asif considered abandoning the project.[35] Kumar defended the long duration of filming, invoking the massive logistics of the film and explaining that the entire cast and crew were "acutely conscious of the hard work [they] would have to put in, as well as the responsibility [they] would have to shoulder."[16]

text: The production also suffered from financial problems, and Asif exceeded the budget on a number of occasions.[17] The final budget of the film is a subject of debate. Some sources state that Mughal-e-Azam cost ₹10.5 million to produce (about US$2 million at the time),[15][36] while others claim that it cost ₹15 million, about $3 million.[8][19][37][38] This made Mughal-e-Azam the most expensive Indian film of the period. A number of estimates put the film's inflation-adjusted budget at ₹500 million to ₹2 billion. The budget situation strained the relationship between Asif and Pallonji, while the production also faced troubled relationships among other crew members; differences crept up between Asif and Kumar when the former married the latter's sister.[17] Another source of trouble was the romantic relationship and ultimate break-up of Kumar and Madhubala, who had been dating for nine years.[39]

text: Post-production[edit]

text: Sohrab Modi's Jhansi Ki Rani (1953) was the first Indian film to be shot in colour,[40][41] and by 1957, colour production had become increasingly common. Asif filmed one reel of Mughal-e-Azam, including the song "Pyar Kiya To Darna Kya", in Technicolor. Impressed by the result, he filmed three more reels in Technicolor, near the story's climax. After seeing them, he sought a complete re-shoot in Technicolor, angering impatient distributors who were unwilling to accept further delays. Asif subsequently released Mughal-e-Azam partially coloured, although he still hoped to see the full film in colour.[42]

text: By the end of filming, more than a million feet of negative had been used, necessitating significant editing.[8] A number of songs were edited out owing to the running time, which in the end was 197 minutes.[43] Almost half of the songs recorded for the film were left out of the final version.[34]

text: Themes[edit]

text: Mughal-e-Azam is a family history highlighting the differences between father and son, duty to the public over family, and the trials and tribulations of women, particularly of courtesans. According to Rachel Dwyer, author of the book Filming the Gods: Religion and Indian Cinema, the film highlights religious tolerance between Hindus and Muslims. Examples include the scenes of Hindu Queen Jodahabai's presence in the court of the Muslim Akbar, the singing of a Hindu devotional song by Anarkali, and Akbar's participation in the Janmashtami celebrations, during which Akbar is shown pulling a string to rock a swing with an idol of Krishna on it.[44] Film critic Mukul Kesavan has remarked that he was unable to recall a single other film about Hindu-Muslim love in which the woman (Jodhabai) is Hindu.[45] Scholars Bhaskar and Allen described the film as a tableau vivant of "Islamicate culture",[46] evidenced in its ornate sets, musical sequences such as the qawwali scene, and chaste Urdu dialogues.[46] Throughout the film there is a distinct depiction of Muslims as the ruling class who not only dressed differently but also spoke in complex Persianised dialogue. They are made to appear "distinct and separate from the mainstream."[47]

text: Film scholar Stephen Teo posits that Mughal-e-Azam is a "national allegory",[48] a stylistic way of appropriating history and heritage to emphasise the national identity.[49] He believes the arrogance of Bahar represents the power of the state and that Anarkali's emotion, which is highly personal, represents the private individual.[48] Teo states that the theme of romantic love defeating social class difference and power hierarchy, as well as the grandeur of the filming, contribute to the film's attractiveness.[46] Author Ashis Nandy has commented on the poetic quality of the dialogue, saying that "the characters of Mughal-e-Azam do not just speak – they refine communication, they distil it, they crystallize it into many faceted glittering gems, they make poetry of ordinary language."[50] Gowri Ramnarayan of The Hindu has also emphasised the power of the dialogues in the film in that they "create not only the ambiance of this period drama, but also etch character and situation. Every syllable breathes power and emotion."[51]

text: Philip Lutgendorf, a scholar at the University of Iowa, has stated that while the theme of the conflict between passionate individual love and family duty may be very common in Hindi film making, with endless cinematic permutations, K. Asif's "excessive elaboration of the theme remains in a class by itself."[52] Further, Emperor Akbar struggles between his personal desires and his duties to the nation.[52] Ashis Nandy noted that apart from the conflict between Akbar and his son, there is also an "unwritten alliance" between Akbar and Bahar that compounds the problems of Anarkali. He also thought it highlighted the "idea of justice and the notion of unconditional love" to uphold tradition.[53] The song "Pyar Kiya To Darna Kya" sung by Anarkali was an indication of her defiance of societal norms.[54] A major difference from the original story is that while the earlier Anarakali films based on Imtiaz Ali Taj's story ended as tragedies, K. Asif created a relatively happy ending in that Akbar gives amnesty to Anarkali by allowing her to escape through a secret route of tunnels below a false bottom of her prison wall, although his son is made to suffer in believing her to have perished.[55]

text: Historical inaccuracies[edit]

text: The film is based on a legend, but it is given credence by at least two texts that assert Anarkali's existence during the historical period of the greatest monarch of the Mughal Empire, Emperor Akbar (1556–1605). One of the books states that in 1615 a marble tomb was built on Anarkali's grave in Lahore by Salim, when he had become Emperor Jehangir.[56] On the tomb is a Persian inscription that reads: "Ta Kiyamat shukr geom kardgate khwesh ra, Aah garman bez benaam roo-e yare khwesh ra", meaning in English: "Ah! could I behold the face of my love once more, I would give thanks to my God until the day of resurrection." The author of the stage play on which the film is based, Imtiaz Ali Taj, believed that the legend had no historical base,[57] but historians have suggested that Anarkali may have been a painter, a dancer, or a courtesan, or one of Akbar's wives and the mother of Salim's half-brother Prince Daniyal.[42][58] While an earlier film version of the story, Anarkali (1952), contained a disclaimer stating that the story had no foundation in history, Mughal-e-Azam made no such claim.[56]

text: Mughal-e-Azam takes numerous liberties with historical fact. Historian Alex von Tunzelmann says that although the real Salim was a heavy consumer of alcohol and opium from the age of 18, he was not necessarily a mischievous boy, as depicted in the film. When the film's Salim returns from his time in the military, he is depicted as a gentle and romantic hero, in contrast to the real Salim, who was documented as a brutal drunk who would often beat people to death. The real Salim did lead a rebellion against his father, tried to replace him as emperor, and had Akbar's friend Abu al-Fazl murdered in 1602, but the film ascribes these actions to his desire to marry Anarkali, which is historically inaccurate.[42][58] Further, there were also discrepancies in sets, costumes, and music of the film. The Sheesh Mahal, actually the royal bath of the queen, was depicted in the film as a dancing hall, and much larger. Music and dancing styles from the 19th century were depicted, although the story takes place in the 16th century. For example, thumri, a semi-classical music form developed in the 19th century, is adopted in a dance sequence in Kathak style, which is a 16th-century dance form.[58]

text: Music[edit]

text:
Mughal-e-Azam

Soundtrack album by Naushad

Released
1960

Genre
Film soundtrack

Length
49:02

Label
EMI Records

Producer
Naushad

Naushad chronology

Kohinoor
(1960)Kohinoor1960
Mughal-e-Azam
(1960)
Ganga Jamuna
(1961)Ganga Jamuna1961

text: The soundtrack was composed by music director Naushad, and the lyrics were written by Shakeel Badayuni. After conceiving the idea of the film, Asif visited Naushad and handed him a briefcase containing money, telling him to make "memorable music" for Mughal-e-Azam. Offended by the explicit notion of money as a means of gaining quality, Naushad threw the notes out of the window, to the surprise of his wife. She subsequently made peace between the two men, and Asif apologised. With this, Naushad accepted the offer to direct the film's soundtrack.[59]

text: As with most of Naushad's soundtracks, the songs of Mughal-e-Azam were heavily inspired by Indian classical music and folk music, particularly ragas such as Darbari, Durga, used in the composition of "Pyar Kiya To Darna Kya",[60] and Kedar, used in "Bekas Pe Karam Keejeye".[61] He also made extensive use of symphony orchestras and choruses to add grandeur to the music.[62] The soundtrack contained a total of 12 songs, which were rendered by playback singers and classical music artists. These songs account for nearly one third of the film's running time.[63]

text: Background[edit]

text: A total of 20 songs were composed for the film, at an average cost of ₹3,000 (valued at about US$629 in 1960)[a] per song, though many were left out of the final cut owing to the film's length.[34] Both Asif and Naushad approached Hindustani classical vocalist Bade Ghulam Ali Khan inviting him to participate in the film's soundtrack, but he refused, explaining that he disliked working in films. Asif, adamant about the presence of Khan, asked him to name his fee. Khan quoted a fee of ₹25,000 per song, at a time when Lata Mangeshkar and Mohammed Rafi (the best paid playback singers of the time) charged ₹300–400 per song, thinking that Asif would send him away. Instead, Asif agreed, and even gave Khan a 50 per cent advance.[64] Surprised and left with no excuse to turn down the offer, he finally accepted.[65] Khan sang two songs, "Prem Jogan Ban Ke" and "Shubh Din Aayo"; both were included in the final version of the film and demonstrated the artist's vocal virtuosity.[26][66]

text: The composition of "Pyar Kiya To Darna Kya" was especially time-consuming – on the day of the song's scheduled recording, Naushad rejected two sets of lyrics by Badayuni. Subsequently, a "brainstorming session" was held on Naushad's terrace, beginning in early evening and lasting until next day.[1][8] Late in the night, Naushad remembered a folk song from eastern Uttar Pradesh with the lyrics "Prem kiya, kya chori kari hai..." ("I have loved, does it mean that I have stolen?"). The song was converted into a ghazal and subsequently recorded.[34] At that time, since there was no technology to provide for the reverberation of sound heard in the song, Naushad had Mangeshkar sing the song in a studio bathroom.[59] Some sources state that a chorus of a hundred singers supported singer Mohammed Rafi for the song "Ae Mohabbat Zindabad",[8] though other sources place the number at a thousand.[17]

text: The song "Mohe Panghat Pe" was objected to by veteran director Vijay Bhatt. Although he was not directly involved with the project, he thought that it would "ruin the film", since it showed the Mughal emperor celebrating the Hindu festival Janmashtami.[67] Though Naushad argued that the presence of Jodhabai made the situation logical, he met with the film's screenwriters and subsequently added dialogue that explained the sequence.[34]

text: When the film was colourised for re-release, the soundtrack was also reworked, with original composer Naushad receiving help from Uttam Singh. The score remained the same, but the sound was touched up and converted to Dolby Digital.[68] The orchestral part was re-recorded with live musicians, but the original solo vocals were retained.[8] The cost was reported to be between ₹2.6 million (US$41,000) and ₹6.5 million (US$100,000).[8][68]

text: Critical response[edit]

text: The soundtrack of Mughal-e-Azam received universal acclaim from critics in India. It is often cited as one of the best soundtracks in Bollywood history,[69][70] and was one of the best-selling Bollywood albums of the 1960s.[71] Shahid Khan, writing for Planet Bollywood, gave the soundtrack ten out of ten stars and called the music the "soul of the film".[66] In 2004, Subhash K. Jha reviewed the re-mastered release of the soundtrack, praising the technical quality of the re-release and the original vocals of Lata Mangeshkar.[72] In 2013, Baldev S Chauhan of Sun Post called the songs "some of the greatest songs of Hindi cinema."[73]

text: Track listing[edit]

text: All lyrics written by Shakeel Badayuni; all music composed by Naushad.

text:
No.
Title
Singer(s)
Length

1.
"Mohe Panghat Pe"
Lata Mangeshkar and chorus
4:02

2.
"Pyar Kiya To Darna Kya"
Lata Mangeshkar and chorus
6:21

3.
"Mohabbat Ki Jhooti"
Lata Mangeshkar
2:40

4.
"Humen Kash Tumse Mohabbat"
Lata Mangeshkar
3:08

5.
"Bekas Pe Karam Keejeye"
Lata Mangeshkar
3:52

6.
"Teri Mehfil Mein"
Lata Mangeshkar, Shamshad Begum and chorus
5:05

7.
"Ye Dil Ki Lagi"
Lata Mangeshkar
3:50

8.
"Ae Ishq Yeh Sab Duniyawale"
Lata Mangeshkar
4:17

9.
"Khuda Nigehbaan"
Lata Mangeshkar
2:52

10.
"Ae Mohabbat Zindabad"
Mohammed Rafi and chorus
5:03

11.
"Prem Jogan Ban Ke"
Bade Ghulam Ali Khan
5:03

12.
"Shubh Din Aayo Raj Dulara"
Bade Ghulam Ali Khan
2:49

Total length:
49:02

text: Release[edit]

text:
"Asif's logic was very clear – he had made a film which everyone associated with it would be proud of for generations. And he was proved right."[74]

K.K. Rai of Stardust, on Asif's quoted distributor prices.

text: At the time of the release of Mughal-e-Azam, a typical Bollywood film would garner a distribution fee of ₹300,000–400,000 (about US$63,000–84,000 in 1960)[a] per territory. Asif insisted that he would sell his film to the distributors at no less than ₹700,000 per territory. Subsequently, the film was actually sold at a price of ₹1.7 million (US$356,000)[a] per territory, surprising Asif and the producers. Thus, it set the record for the highest distribution fee received by any Bollywood film at that time.[74]

text: The premiere of Mughal-e-Azam was held at the then-new[19] 1,100-capacity[75] Maratha Mandir cinema in Mumbai.[76] Mirroring the nature of the film, the cinema's foyer had been decorated to resemble a Mughal palace, and a 40-foot (12 m) cut-out of Prithviraj Kapoor was erected outside it.[77] The Sheesh Mahal set was transported from the studio to the cinema, where ticket holders could go inside and experience its grandeur.[78] Invitations to the premiere were sent as "royal invites" shaped like scrolls, which were written in Urdu and made to look like the Akbarnama, the official chronicle of the reign of Akbar.[79] The premiere was held amidst great fanfare, with large crowds and an extensive media presence, in addition to hosting much of the film industry,[8] although Dilip Kumar did not attend the event owing to his dispute with Asif. The film's reels arrived at the premiere cinema atop a decorated elephant, accompanied by the music of bugles[16] and shehnai.[19]

text: Reception[edit]

text: Box office[edit]

text: The day before bookings for the film opened, a reported crowd of 100,000 gathered outside the Maratha Mandir to buy tickets.[8] The tickets, the most expensive for a Bollywood film at that time, were dockets containing text, photographs and trivia about the film, and are now considered collector's items.[80] They sold for ₹100 (valued at about US$21 in 1960),[a] compared to the usual price of ₹1.5 (US$0.31).[a][81] Bookings experienced major chaos, to the extent that police intervention was required. It was reported that people would wait in queues for four to five days, and would be supplied food from home through their family members.[65] Subsequently, the Maratha Mandir closed bookings for three weeks.[8]

text: Mughal-e-Azam was released on 5 August 1960 in 150 cinemas across the country, establishing a record for the widest release for a Bollywood film.[15] It became a major commercial success, earning ₹4 million (US$839,000)[a] in the first week,[82][83] eventually earning a net revenue of ₹55 million (US$11,530,000),[a] and generating a profit of ₹30 million for the producers. Mughal-e-Azam also experienced a long theatrical run, screening to full capacity at the Maratha Mandir for three years.[77] The film thus became the highest-grossing Bollywood film of all time[15] by surpassing Mother India (1957), and retained this record until Sholay (1975) surpassed its net revenue.[19]

text: According to Zia Us Salam of The Hindu, Mughal-e-Azam was the highest-grossing Bollywood film of all time if adjusted for inflation.[17] According to the online box office website Box Office India, the film's adjusted net revenue would amount to ₹1327 million, ranking it as an "All-Time Blockbuster".[84]

text: Critical reception[edit]

text: Mughal-e-Azam received almost universal acclaim from Indian critics; every aspect of the film was praised.[85] A review from the 1960s in Filmfare called it a "history-making film ... the work of a team of creative artists drawn from different spheres of the art world". It was also described as "a tribute to imagination, hard work and lavishness of its maker, Mr. Asif. For its grandeur, its beauty, and then performances of the artists it should be a landmark in Indian films."[86]

text: Since 2000, reviewers have described the film as a "classic", "benchmark", or "milestone" in the history of Indian cinema.[1][16] In 2011, Anupama Chopra called it "the best Hindi film ever made" and "the apotheosis of the Hindi film form", noting specifically the performances, father-son drama and song sequences.[87] Dinesh Raheja of Rediff called the film a must-see classic, saying "a work of art is the only phrase to describe this historical whose grand palaces-and-fountains look has an epic sweep and whose heart-wrenching core of romance has the tenderness of a feather's touch."[1] Sujata Gupta of Planet Bollywood gave the film nine out of ten stars, calling it a "must see" that "has captured interest of people over generations".[88]

text: K. K. Rai, in his review for Stardust stated, "it can be said that the grandeur and vintage character of Mughal-e-Azam cannot be repeated, and it will remembered as one of the most significant films made in this country."[74] Ziya Us Salam of The Hindu described Mughal-e-Azam as a film people will want to watch over and over again.[17] Raja Sen of Rediff compared the film to Spartacus (1960) and said, "Mughal-e-Azam is awesomely, stunningly overwhelming, a magnificent spectacle entirely free of CGI and nonlinear gimmickry, a gargantuan feat of ... of ... well, of Mughal proportions!"[89] Laura Bushell of the BBC rated the film four out of five stars, considering it to be a "benchmark film for both Indian cinema and cinema grandeur in general", and remarking that Mughal-E-Azam was an epic film in every way.[90] Naman Ramachandran, reviewing the film for the British Film Institute, noted the depiction of religious tolerance and said the film had a tender heart.[91]

text: Nasreen Munni Kabir, author of The Immortal Dialogue of K. Asif's Mughal-e-Azam, compared the film to the Koh-i-Noor diamond for its enduring worth to Indian cinema.[16] Outlook, in 2008, and Hindustan Times, in 2011, both declared that the scene in which Salim brushes Anarkali with an ostrich feather was the most erotic and sensuous scene in the history of Indian cinema.[18][92]

text: Accolades[edit]

text: At the 1961 National Film Awards, Mughal-e-Azam won the National Film Award for Best Feature Film in Hindi.[93] In the 1961 Filmfare Awards, Mughal-e-Azam was nominated in seven categories: Best Film, Best Director (Asif), Best Actress (Madhubala),[18] Best Playback Singer (Mangeshkar), Best Music (Naushad),[94] Best Cinematography (Mathur), and Best Dialogue (Aman, Wajahat Mirza, Kamaal Amrohi, and Ehsan Rizvi), winning the awards for Best Film, Best Cinematography, and Best Dialogue.[95][96]

text: Colourisation[edit]

text: Mughal-e-Azam was the first black-and-white Hindi film to be digitally coloured and the first to be given a theatrical re-release.[97] The Sterling Investment Corporation, the negative rights owner [98] and an arm of the Shapoorji Pallonji Group, undertook restoration and colourisation of Mughal-e-Azam and assigned Deepesh Salgia as Project Designer and Director.[99] They initially approached Hollywood executives for help, but found the sales quotations, ranging from $12–15 million, too high.[97] In 2002, Umar Siddiqui, managing director of the Indian Academy of Arts and Animation (IAAA), proposed to enhance it digitally at a fraction of the cost.[97] To convince the Shapoorji Pallonji Group, one of India's wealthiest companies,[38] of the commercial viability of the project, the IAAA colourised a four-minute clip and showed it to them. They approved and gave the project the go-ahead. Shapoorji Mistry, grandson of producer Shapoorji Pallonji Mistry, thought it a fitting tribute to complete his grandfather's unfinished dream of colourising the entire film.[68]

text: The first step towards colourisation was the restoration of the original negatives, which were in poor condition owing to extensive printing of the negative during the original theatrical release.[68] Costly and labour-intensive restoration was essential before colourisation could be carried out. The negative was cleaned of fungal growth, damaged portions were restored, and missing parts of frames were re-instated.[100] After cleaning, each of the 300,000 frames of the negative was scanned into a 10 megabytes-sized file and then was digitally restored.[8] The entire restoration work was undertaken by Acris Lab, Chennai.[101] The dialogues in the original soundtrack were also in a bad state of preservation, which necessitated having the sound cleaned at Chace Studio in the United States. The background score and the entire musical track was recreated by Naushad and Uttam Singh.[40] For the songs, the original voices of the singers like Bade Ghulam Ali Khan, Mohammed Rafi and Lata Mangeshkar were extracted from the original mixed track and the same were recreated with re-recorded score in 6.1 surround sound.[102]

text: The process of colourisation was preceded by extensive research. The art departments visited museums and studied the literature for background on the typical colours of clothing worn at that time. Siddiqui studied the technology used for the colourisation of black-and-white Hollywood classics. The team also approached a number of experts for guidance and suggestions, including Dilip Kumar, production designer Nitin Chandrakant Desai, and a historian from the Jawaharlal Nehru University in Delhi.[68] To undertake the colourisation, Siddiqui brought together a team of around 100 individuals, including computer engineers and software professionals, and organised a number of art departments. The entire project was co-ordinated by Deepesh Salgia, who partnered with companies including Iris Interactive and Rajtaru Studios to execute the colourisation.[8] The task was controlled and supervised by the producers, who received daily updates and progress reports.[68]

text: The colourisation team spent 18 months developing software for colouring the frames, called "Effects Plus", which was designed to accept only those colours whose hue would match the shade of grey present in the original film. This ensured that the colours added were as close to the real colour as possible;[100] the authenticity of the colouring was later verified when a costume used in the film was retrieved from a warehouse, and its colours were found to closely match those in the film. Every shot was finally hand-corrected to perfect the look.[103] The actual colourisation process took a further 10 months to complete.[100] Siddiqui said that it had "been a painstaking process with men working round the clock to complete the project."[104] The exact cost of the colourisation is disputed, with a wide variety of estimates ranging from ₹20 million (US$310,000)[104] to ₹50 million,[38][105] or ₹100 million.[68]

text: Re-releases[edit]

text: The film's colour version was released theatrically on 12 November 2004, in 150[8] prints across India, 65 of which were in Maharashtra. The new release premiered at the Eros Cinema in Mumbai. Dilip Kumar, who had not attended the original premiere, was in attendance.[106] The colour version was edited to a running time of 177 minutes,[100][107] as compared to the original version's 197 minutes.[43] The new release also included a digital reworked soundtrack, produced with the assistance of Naushad, the original composer.[108] The release on the festive Diwali weekend came with three other major releases: Veer-Zaara, Aitraaz, and Naach. It became the 19th highest grossing Bollywood film of the year, behind Aitraaz and Veer-Zaara (the top grosser), but ahead of Naach.[109]

text: Mughal-e-Azam became the first full-length feature film colourised for a theatrical re-release; although some Hollywood films had been colourised earlier, they were only available for home media. It was subsequently selected for seven international film festivals.[8] Upon release, the film drew crowds to the cinemas,[16] with an overall occupancy of 90 per cent.[104] Subsequently, it completed a 25-week run.[110] While some critics complained that the colours were "psychedelic" or "unnatural", others hailed the effort as a technological achievement.[104] Film critic Kevin Thomas of the Los Angeles Times remarked that while colourising was not a good idea for most black-and-white classics, it was perfect in this particular instance. He compared it to films by Cecil B. DeMille and to Gone With the Wind (1939) for its larger-than-life storytelling.[37] The Guardian said that although the new version was an improvement, "the fake colours tend to look flat and brash, detracting from cinematographer RD Mathur's elegantly composed shots."[42] The BBC's Jaspreet Pandohar, observing that the film was "restored in appealing candy-colours and high quality sound", considered it a "cross between Gone With the Wind and Ben-Hur".[111] Other critics have said that they prefer the black and white version.[92][112]

text: In 2006, Mughal-e-Azam became only the fourth Indian film certified for showing in Pakistan since the 1965 ban on Indian cinema, and was released with a premiere in Lahore.[113] It was distributed by Nadeem Mandviwala Entertainment, at the request of Asif's son, Akbar Asif.[114] A 3D version of the film was reported to have been planned in 2009, but was never released.[17]

text: Legacy[edit]

text: Mughal-e-Azam is one of only two films directed by Asif; one of his unfinished projects was released posthumously as a tribute.[15] Over time the title has become part of Bollywood vernacular, used to describe a project that is taking too long to complete.[80] Art director Omung Kumar, who has designed sets for major Indian films such as Black (2005) and Saawariya (2007), said that he and others in his field look to Mughal-e-Azam as a source of inspiration for art direction.[115] It has also been used as a model for the perfect love story, requiring directors to ensure lovers overcome obstacles.[80] Following her success in the film, Madhubala could have gone on to land further major roles, but she was advised not to overwork owing to her heart condition, and had to withdraw from some productions that were already underway.[1][116]

text: The Guardian in 2013 cited Mughal-e-Azam as a "landmark of cinema" despite its historical inaccuracies,[42] and the BBC stated in 2005 that it is "widely considered one of Bollywood's most iconic films".[111] Imtiaz Ali of The Times of India in 2010 called it the "most proto-typical, high involvement, expensive, passionate piece of work that Hindi cinema has ever produced", one that "set the standard for everything that will ever come after it".[80] It continues to be regarded by critics as the Indian equivalent of Gone with the Wind.[117] Filmmaker Subhash Ghai was quoted in 2010 as saying that a film like this could never be repeated: "Mughal-e-Azam is an all-time classic and has been the ultimate love story in Hindi cinema at all levels. So it will always remain alive for generations to come."[115] To commemorate the film's anniversary, Asif's friend the actor and producer Shah Rukh Khan had his company Red Chillies Entertainment produce a documentary video titled Mughal-E-Azam – A Tribute by a son to his father. Hosted by Khan, it includes interviews with Asif's family and Bollywood stars.[118] Artist M. F. Husain created a series of paintings for the video, in which he re-imagined some memorable scenes.[119] Interested in preserving the film for future generations, Khan noted that his father was originally cast in the film but did not complete it. When asked if Mughal-e-Azam should be remade, he retorted: "It is the mother of all films; mothers cannot be remade".[120][121] No sequels have been made, but Maan Gaye Mughal-e-Azam (2008) paid tribute with its title and by including in its plot part of the original stage play; it received very poor ratings from critics.[122]

text: Mughal-e-Azam ranks on the lists of top Indian films, including the 2002 British Film Institute poll of Top 10 Indian Films,[123] and Anupama Chopra's 2009 list The Best Bollywood Films.[124] It is also included in CNN-IBN's 2013 list of the "100 greatest Indian films of all time".[125] Rotten Tomatoes has sampled 10 reviewers and judged 90% of them to be positive, with an average rating of 7.9 out of 10.[126] It is second on Box Office India's list of Biggest Blockbusters Ever in Hindi Cinema,[127] and was named the greatest Bollywood film of all time by a poll celebrating 100 years of Indian cinema by British Asian weekly newspaper Eastern Eye in July 2013.[128] It belongs to a small collection of films including Kismet (1943), Mother India (1957), Sholay (1975), and Hum Aapke Hain Koun..! (1994), that are watched repeatedly throughout India and are viewed as definitive Hindi films of cultural significance.[129] Books and documentaries made about the film include Shakil Warsi's Mughal-E-Azam – An Epic of Eternal Love, published by Rupa in 2009.[130] The name Mughal-e-Azam has been adopted by businesses, including a restaurant in Goregaon.[131]

text: Footnotes[edit]

text: ^ Jump up to: a b c d e f g h The exchange rate in 1960 was 4.77 Indian rupees (₹) per 1 US dollar (US$).(Statistical Abstract of the United States 1961, p. 937)


document_title: Home Town (TV series)

question_text: where is the home town show on hgtv filmed

root

text: Home Town (TV series)

text:
Home Town

Starring
Ben Napier
Erin Napier

No. of seasons
1

No. of episodes
11

Release

Original network
HGTV

Original release
March 21, 2017 (2017-03-21) – present

External links

Website

tag: table

text: Home Town is an American television series starring husband and wife team Ben and Erin Napier that premiered on March 21, 2017 on HGTV. The married couple restores Southern homes in Laurel, Mississippi.[1]

tag: p


document_title: 24K Magic World Tour

question_text: who's opening for bruno mars in montreal

question_tokens: who 's opening for bruno mars in montreal

text: 24K Magic World Tour

text: Background[edit]

text: On November 15, 2016, Bruno Mars announced an 86-date world tour across Europe and North America. Mars previously gave fans a sampling of his energetic live show when he served as musical guest on Saturday Night Live, where he performed his single "24K Magic" alongside the new album's "Chunky." Mars' October was also packed with promotional performances and concerts, including an October 7, 2016 gig at the Mohegan Sun Arena and a stop at the 2016 MTV Europe Music Awards. More than one million tickets for the tour were sold in a single day.[2]

text: The European leg kicked off in Antwerp, while the North American leg will kick off in Las Vegas,[3]

text: The singer has been working with Phil Tayag of the hip-hop dance crew Jabbawockeez.[4] The concert tour is produced by Live Nation.[5][6] In May 2017, Bruno Mars made history by becoming the first artist since Beyoncé to sell out four concerts at Spark Arena in one day.[7]

text: Critical reception[edit]

text: Matilda Egere-Cooper rated the London concert five stars out of five.[8][9][10][11][12][13]

text: Commercial performance[edit]

text: The tour in Europe had a profit of $52.7 million.

text: Set list[edit]

text: This set list is representative of the show in Madrid, in Spain. It does not represent all concerts for the duration of the tour.[14][15]

text:
"Finesse"
"24K Magic"
"Treasure"
"Perm"
"Calling All My Lovelies"
"Chunky"
"That's What I Like"
"Straight Up & Down"
"Versace on the Floor"
"Marry You"
"Runaway Baby"
"When I Was Your Man"
"Grenade"
"Locked Out of Heaven"
"Just the Way You Are"
"Uptown Funk"
"Too Good to Say Goodbye"

tag: ol

text: Tour dates[edit]

text:
List of concerts, showing date, city, country, venue, opening act, tickets sold, amount of available tickets and gross revenue

Date
City
Country
Venue
Opening act
Attendance
Revenue

Europe[2][16]

March 28, 2017
Antwerp
Belgium
Sportpaleis
Anderson .Paak
42,710 / 43,512
$3,156,750

March 29, 2017

March 31, 2017
Lille
France
Stade Pierre-Mauroy
28,262 / 28,262
$1,690,680

April 3, 2017
Madrid
Spain
WiZink Center
15,565 / 15,565
$1,229,943

April 4, 2017
Lisbon
Portugal
MEO Arena
19,524 / 19,524
$1,113,187

April 7, 2017
Barcelona
Spain
Palau Sant Jordi
17,909 / 17,909
$1,448,830

April 8, 2017
Montpellier
France
Park&Suites Arena
13,192 / 13,192
$875,999

April 10, 2017
Cologne
Germany
Lanxess Arena
15,916 / 15,916
$1,016,492

April 12, 2017
Glasgow
Scotland
SSE Hydro
24,640 / 24,920
$1,978,040

April 13, 2017

April 15, 2017
Liverpool
England
Echo Arena
10,921 / 10,921
$915,179

April 18, 2017
London
The O2 Arena
71,135 / 71,135
$6,376,770

April 19, 2017

April 21, 2017

April 22, 2017

April 24, 2017
Birmingham
Barclaycard Arena Birmingham
29,598 / 29,598
$2,479,958

April 25, 2017

April 27, 2017
Nottingham
Motorpoint Arena Nottingham
9,979 / 9,979
$868,980

April 29, 2017
Dublin
Republic of Ireland
3Arena
25,464 / 25,464
$1,824,465

April 30, 2017

May 2, 2017
Manchester
England
Manchester Arena
33,110 / 33,604
$2,561,210

May 3, 2017

May 5, 2017
Leeds
First Direct Arena
11,636 / 11,636
$957,285

May 6, 2017
Sheffield
Sheffield Arena
13,541 / 13,541
$1,166,841

May 9, 2017
Amsterdam
Netherlands
Ziggo Dome
34,320 / 34,320
$2,568,374

May 10, 2017

May 12, 2017
Zürich
Switzerland
Hallenstadion
13,888 / 13,888
$1,356,400

May 14, 2017
Munich
Germany
Olympiahalle
13,005 / 13,005
$1,065,795

May 17, 2017
Hamburg
Barclaycard Arena Hamburg
13,570 / 13,930
$914,401

May 18, 2017
Copenhagen
Denmark
Royal Arena
15,771 / 15,771
$1,361,962

May 20, 2017
Stockholm
Sweden
Ericsson Globe
14,688 / 14,688
$939,321

May 22, 2017
Helsinki
Finland
Hartwall Arena
12,980 / 12,980
$1,005,869

May 24, 2017
Oslo
Norway
Telenor Arena
22,356 / 22,356
$1,693,662

May 26, 2017
Berlin
Germany
Mercedes-Benz Arena
14,066 / 14,066
$1,041,406

May 27, 2017
Kraków
Poland
Tauron Arena Kraków
18,528 / 18,528
$1,137,510

May 30, 2017
Budapest
Hungary
Budapest Sports Arena
13,871 / 13,871
$791,265

June 1, 2017
Frankfurt
Germany
Festhalle
11,841 / 11,841
$1,012,542

June 3, 2017
Vienna
Austria
Wiener Stadthalle
13,827 / 13,827
$1,022,548

June 5, 2017
Paris
France
AccorHotels Arena
33,608 / 33,608
$2,900,545

June 6, 2017

June 8, 2017
Lyon
Halle Tony Garnier
16,235 / 16,235
$1,015,647

June 12, 2017
Bologna
Italy
Unipol Arena
14,246 / 14,246
$850,732

June 14, 2017
Geneva
Switzerland
Geneva Arena
7,343 / 7,343
$1,291,296

June 15, 2017
Milan
Italy
Mediolanum Forum
11,172 / 11,172
$792,759

North America[1][17][18]

July 15, 2017
Las Vegas
United States
T-Mobile Arena
Jabbawockeez
16,556 / 16,556
$1,947,649

July 18, 2017
Sacramento
Golden 1 Center
15,170 / 15,170
$1,586,433

July 20, 2017
San Jose
SAP Center
Camila Cabello
28,444 / 28,444
$3,673,031

July 21, 2017

July 23, 2017
Portland
Moda Center
15,417 / 15,417
$1,655,665

July 24, 2017
Tacoma
Tacoma Dome
19,454 / 19,454
$1,746,589

July 26, 2017
Vancouver
Canada
Rogers Arena
31,005 / 31,005
$3,430,130

July 27, 2017

July 30, 2017
Edmonton
Rogers Place
29,301 / 29,301
$2,957,232

July 31, 2017

August 2, 2017
Winnipeg
Bell MTS Place
12,712 / 12,712
$1,395,447

August 4, 2017
Fargo
United States
Fargodome
18,489 / 18,489
$1,850,542

August 5, 2017
Saint Paul
Xcel Energy Center
16,350 / 16,350
$1,905,256

August 7, 2017
Lincoln
Pinnacle Bank Arena
14,105 / 14,105
$1,517,410

August 9, 2017
Kansas City
Sprint Center
15,154 / 15,154
$1,660,106

August 12, 2017
Auburn Hills
The Palace of Auburn Hills
16,013 / 16,013
$1,936,194

August 13, 2017
Indianapolis
Bankers Life Fieldhouse
15,112 / 15,112
$1,635,885

August 15, 2017
Cleveland
Quicken Loans Arena
17,103 / 17,103
$1,827,568

August 16, 2017
Chicago
United Center
47,942 / 47,942
$6,347,950

August 18, 2017

August 19, 2017

August 22, 2017
Pittsburgh
PPG Paints Arena
15,776 / 15,766
$1,761,947

August 24, 2017
Quebec City
Canada
Videotron Centre
N/A
15,099 / 15,099
$1,177,600

August 26, 2017
Toronto
Air Canada Centre
33,488 / 33,488
$3,896,146

August 27, 2017

August 29, 2017
Montreal
Bell Centre
34,000 / 34,000
$3,480,770

August 30, 2017

September 2, 2017
Las Vegas
United States
The Park Theater
10,505 / 10,505
$2,153,264

September 3, 2017

September 14, 2017
Charlotte
Spectrum Center
Dua Lipa
15,931 / 15,931
$1,766,253

September 16, 2017[a]
Atlanta
Piedmont Park
N/A
N/A
N/A

September 17, 2017
Memphis
FedExForum
Dua Lipa
14,815 / 14,815
$1,597,428

September 19, 2017
Louisville
KFC Yum! Center
18,176 / 18,176
$1,911,793

September 20, 2017
Columbus
Schottenstein Center
15,288 / 15,288
$1,718,528

September 22, 2017
New York City
Madison Square Garden
31,318 / 31,318
$4,120,197

September 23, 2017

September 26, 2017
Newark
Prudential Center
14,625 / 14,625
$1,820,526

September 27, 2017
Buffalo
KeyBank Center
15,984 / 15,984
$1,684,265

September 29, 2017
Washington, D.C.
Capital One Arena
31,847 / 31,847
$4,180,239

September 30, 2017

October 4, 2017
Brooklyn
Barclays Center
Jorja Smith
15,370 / 15,370
$1,898,099

October 5, 2017
Uniondale
Nassau Veterans Memorial Coliseum
13,052 / 13,052
$1,626,154

October 7, 2017
Boston
TD Garden
28,839 / 28,839
$3,695,807

October 8, 2017

October 10, 2017
Philadelphia
Wells Fargo Center
16,555 / 16,555
$2,086,312

October 12, 2017
Raleigh
PNC Arena
—
—

October 14, 2017
Orlando
Amway Center
—
—

October 15, 2017
Sunrise
BB&T Center
—
—

October 18, 2017
Miami
American Airlines Arena
—
—

October 19, 2017
Tampa
Amalie Arena
—
—

October 21, 2017
New Orleans
Smoothie King Center
—
—

October 22, 2017
North Little Rock
Verizon Arena
—
—

October 24, 2017
Houston
Toyota Center
—
—

October 25, 2017
San Antonio
AT&T Center
—
—

October 27, 2017
Dallas
American Airlines Center
—
—

October 30, 2017
Denver
Pepsi Center
—
—

November 2, 2017
Fresno
Save Mart Center
—
—

November 3, 2017
Oakland
Oracle Arena
—
—

November 5, 2017
Phoenix
Talking Stick Resort Arena
—
—

November 7, 2017
Inglewood
The Forum
—
—

November 8, 2017

November 10, 2017

November 11, 2017

Latin America[6][19][20]

November 18, 2017
Rio de Janeiro
Brazil
Praça da Apoteose
DNCE
—
—

November 19, 2017

November 22, 2017
São Paulo
Estádio do Morumbi
—
—

November 23, 2017

November 25, 2017
La Plata
Argentina
Estadio Ciudad de La Plata
—
—

November 28, 2017
Santiago
Chile
Estadio Nacional de Chile
—
—

November 30, 2017
Lima
Peru
Estadio Nacional de Lima
—
—

December 2, 2017
Quito
Ecuador
Estadio Olímpico Atahualpa
—
—

December 5, 2017
Bogotá
Colombia
Estadio El Campín
—
—

December 7, 2017
San José
Costa Rica
Estadio Nacional de Costa Rica
—
—

North America[21][22]

December 20, 2017
National Harbor
United States
The Theater at MGM National Harbor
N/A
—
—

December 21, 2017

December 30, 2017
Las Vegas
The Park Theater
—
—

December 31, 2017

January 31, 2018
Monterrey
Mexico
Estadio Universitario
Bebe Rexha
Nick Jonas
—
—

February 2, 2018
Mexico City
Foro Sol
—
—

February 3, 2018

February 5, 2018
Guadalajara
Estadio Chivas
—
—

February 14, 2018
Las Vegas
United States
The Park Theater
N/A
—
—

February 16, 2018

February 17, 2018

February 19, 2018

Oceania[23][7]

February 27, 2018
Auckland
New Zealand
Spark Arena
Dua Lipa
—
—

February 28, 2018

March 2, 2018

March 3, 2018

March 7, 2018
Melbourne
Australia
Rod Laver Arena
—
—

March 8, 2018

March 10, 2018

March 11, 2018

March 14, 2018
Brisbane
Brisbane Entertainment Centre
—
—

March 15, 2018

March 17, 2018
Sydney
Qudos Bank Arena
—
—

March 18, 2018

March 20, 2018

March 23, 2018

March 24, 2018

March 26, 2018
Adelaide
Adelaide Entertainment Centre
—
—

March 28, 2018
Perth
Perth Arena
—
—

March 29, 2018

Asia[24][25][26][27]

April 11, 2018
Saitama
Japan
Saitama Super Arena
N/A
—
—

April 12, 2018

April 14, 2018

April 15, 2018

April 17, 2018
Taipei
Taiwan
Nangang Exhibition Center
—
—

April 28, 2018
Macau
CotaiArena
—
—

April 30, 2018
Bangkok
Thailand
IMPACT Arena
—
—

May 3, 2018
Manila
Philippines
Mall of Asia Arena
—
—

May 4, 2018

May 6, 2018
Singapore
Singapore Indoor Stadium
—
—

May 7, 2018

May 9, 2018
Kuala Lumpur
Malaysia
Axiata Arena
—
—

May 12, 2018
Hong Kong
AsiaWorld-Expo Arena
—
—

May 13, 2018

Europe

June 16, 2018[b]
Werchter
Belgium
Werchter Boutique
N/A
—
—

June 24, 2018[c]
Lisbon
Portugal
Parque da Bela Vista
—
—

July 7, 2018[d]
Gdynia
Poland
Gdynia-Kosakowo Airport
—
—

July 14, 2018[e]
London
England
Hyde Park
Khalid
—
—

Total
1,347,412 / 1,349,348 (99.8%)
$130,071,058

text: Notes[edit]

text:
Jump up ^ The show on September 16, 2017, in Atlanta at Piedmont Park is part of Music Midtown.
Jump up ^ The concert on June 16, 2018 at Werchter Boutique in Werchter is part of the Park Werchter festival.
Jump up ^ The concert on June 24, 2018 at Parque da Bela Vista in Lisbon is part of the Rock in Rio festival.
Jump up ^ The concert on July 7, 2018 at Gdynia-Kosakowo Airport in Gdynia is part of the Open'er Festival.
Jump up ^ The concert on July 14, 2018 at Hyde Park in London is part of the British Summer Time festival.


document_title: Gifford Pinchot State Park

question_text: where is gifford pinchot state park in pennsylvania

text: Gifford Pinchot State Park

text:
Gifford Pinchot State Park

Pennsylvania State Park

A trail in Gifford Pinchot State Park

Named for: Gifford Pinchot

Country

United States

State

Pennsylvania

County

York

City

Lewisberry

Location

[1]

 - elevation

492 ft (150.0 m)

 - coordinates

40°04′18″N 76°53′16″W / 40.07167°N 76.88778°W / 40.07167; -76.88778Coordinates: 40°04′18″N 76°53′16″W / 40.07167°N 76.88778°W / 40.07167; -76.88778

Area

2,338 acres (946 ha)

IUCN category

III - Natural Monument

Location of Gifford Pinchot State Park in Pennsylvania

Website: Gifford Pinchot State Park

text: Gifford Pinchot State Park is a 2,338-acre (946 ha) Pennsylvania state park in northern York County, Pennsylvania, in the United States. The park is undeveloped and is the site of farm fields and wooded hillsides. The 340-acre (140 ha) Pinchot Lake is an important recreation site featuring prime bass fishing. There are several trails that pass through the park, including the Mason-Dixon Trail. Environmental education programs are provided at the park.[2] A campground featuring a playground, a volleyball court, and horseshoe pits is located at Gifford Pinchot State Park.[3]


document_title: Vice President of Nigeria

question_text: who is the first vice president of nigeria

text: Vice President of Nigeria

text: Eligibility[edit]

text: A person shall be eligible for the office of Vice President if he or she is a citizen of Nigeria by birth, at least 40 years of age, is a member of a political party and is sponsored by that political party.

text: Oath of office[edit]

text: The Constitution of Nigeria specifies an oath of office for the Vice President of the federation. The oath is administered by the Chief Justice of the Supreme Court of Nigeria or the person for the time being appointed to exercise the functions of that office. It is the same oath recited by Deputy State Governors, Ministers, Commissioners and Special Advisers to the President:

text:
“
I, do solemnly swear/affirm that I will be faithful and bear true allegiance to the Federal Republic of Nigeria; that as Vice-President of the Federal Republic of Nigeria, I will discharge my duties to the best of my ability, faithfully and in accordance with the Constitution of the Federal Republic of Nigeria and the law, and always in the interest of the sovereignty, integrity, solidarity, well-being and prosperity of the Federal Republic of Nigeria; that I will strive to preserve the Fundamental Objectives and Directive Principles of State Policy contained in the Constitution of the Federal Republic of Nigeria; that I will not allow my personal interest to influence my official conduct or my official decisions, that I will to the best of my ability preserve, protect and defend the Constitution of the Federal Republic of Nigeria; that I will abide by the Code of Conduct contained in the Fifth Schedule to the Constitution of the Federal Republic of Nigeria; that in all circumstances, I will do right to all manner of people, according to law, without fear or favour, affection or ill-will; that I will not directly or indirectly communicate or reveal to any person any matter which shall be brought under my consideration or shall become known to me as Vice-President of the Federal Republic of Nigeria. So help me God.
”

text: Functions of the Vice President of Nigeria[edit]

text: The executive functions of the Nigerian vice president includes participation in all cabinet meetings and, by statute, membership in the National Security Council, the National Defence Council, Federal Executive Council, and the Chairman of National Economic Council. Although the vice president may take an active role in establishing policy in the Executive Branch by serving on such committees and councils, the relative power of the Nigerian vice president's office depends upon the duties delegated by the president.

text: List of Vice Presidents[edit]

text:
Name
Head of State/President
Inaugurated
Left Office
Political Party
Notes

Babafemi Ogundipe(1924-1971)
JTU Aguiyi-Ironsi
16 January 1966
29 July 1966
Military
Deposed in a Coup

Joseph Edet Akinwale Wey(1918-1991)
Yakubu Gowon
29 July 1966
29 July 1975
Military
Deposed in a Coup

Olusegun Obasanjo(1937-)
Murtala Muhammed
29 July 1975
13 February 1976
Military
Became Head of State after the assassination of Murtala

Shehu Musa Yar'Adua(1943-1997)
Olusegun Obasanjo
13 February 1976
30 September 1979
Military
Handed over to Civilian Government

Alex Ifeanyichukwu Ekwueme(1932-2017)
Shehu Shagari
1 October 1979
31 December 1983
National Party of Nigeria
Deposed in a Coup

Tunde Idiagbon(1943-1999)
Muhammadu Buhari
31 December 1983
27 August 1985
Military
Deposed in a Coup

Ebitu Ukiwe(1940-)
Ibrahim Babangida
27 August 1985
October 1986
Military
Resigned

Augustus Aikhomu(1939-2011)
Ibrahim Babangida
October 1986
27 August 1993
Military
Handed over to interim Government

Oladipo Diya(1944-)
Sani Abacha
17 November 1993
21 December 1997
Military
Deposed and arrested for attempted Coup

Michael Akhigbe(1946-2013)
Abdulsalami Abubakar
9 June 1998
29 May 1999
Military
Handed over to Civilian Government

Atiku Abubakar(1946-)
Olusegun Obasanjo
29 May 1999
29 May 2007
Peoples Democratic Party
Stepped down after expiration of term

Goodluck Ebele Jonathan(1957-)
Umaru Musa Yaradua
29 May 2007
5 May 2010
Peoples Democratic Party
Became President after the death of Yaradua

Namadi Sambo(1954-)
Goodluck Ebele Jonathan
19 May 2010
29 May 2015
Peoples Democratic Party
Stepped down after expiration of term

Yemi Osinbajo(1957-)
Muhammadu Buhari
29 May 2015
–
All Progressives Congress
Incumbent

text: *Chief of Staff, Supreme HQ; Chief of General Staff, Deputy Military Head of State, and de facto Vice President


document_title: Bob's Burgers

question_text: where do the belchers live in bob's burgers

question_tokens: where do the belchers live in bob 's burgers

text: Bob's Burgers

text: Plot[edit]

text: The show centers on the Belcher family—Bob, Linda, and their children Tina, Gene, and Louise; who run a burger restaurant on Ocean Avenue in an unnamed seaside community (informally known as "Seymour's Bay" among the show's writing staff).[12] While series creator Loren Bouchard has said that the show's location was an indeterminate Northeastern United States shore town (calling the setting a "semi-Springfield)",[13] some critics, particularly after the episode "It Snakes a Village", have deduced that the unidentified setting appears to actually be southern New Jersey.[14] A bus driver in the episode "Eat, Spray, Linda" references a stop at Wildwood Wharf, which may refer to Wildwood, New Jersey, a city on the southeastern coast of the state.

text: Bob's Burgers is located in a green two-story building which features an apartment on the second floor where the Belcher family lives. The restaurant is sandwiched between two other commercial buildings, one of which houses "It's Your Funeral Home and Crematorium", whose owner Mort is a regular at the restaurant. One of the show's running gags involves the other building, which is generally vacant during episodes but has been home to such businesses as "Uncle Marty's Breast Pumps", "Extra Moist Yoga", "That's A-Door-A-Bell Doorbells", and "Tire-Rhea".

text: Success is not easy, as Bob must compete with several other eateries for business. His biggest rival is Jimmy Pesto, who owns an Italian restaurant called “Jimmy Pesto’s Pizzeria”, which is located directly across the street. It attracts many more customers than Bob's Burgers, creating tension between the two owners. Jimmy particularly enjoys humiliating Bob, an example being in the episode “Burgerboss”, when he got a higher score on an arcade machine than Bob, who had rented the game, and taunted him by putting "BOB SUX" as his initials. The hatred between Bob and Jimmy is full of humor. Although they dislike each other, Bob's daughter, Tina, shows obsessive interest toward Pesto's eldest son, Jimmy Junior. However, it is often unclear how Jimmy Jr. feels toward Tina, although he always tries to get her back when she expresses interest in other boys. He approves of her erotic friend fiction, starring himself, in "Bad Tina", but tends to forget they are dating because he is always occupied with activities, such as spending time with best friend and wrestling buddy, Zeke, and dancing by himself.[clarification needed]

text: Bob's restaurant also has seen its fair share of bad luck. For example, in the show's opening, the property falls victim to a fire, an infestation of vermin, and a broken front window caused by a car knocking down a utility pole. In spite of all this, Bob does have a small but loyal group of regular customers, including the aforementioned Mort, and Teddy, a local handyman.

text: Characters[edit]

text: Belcher family[edit]

text: The Belcher family runs a hamburger restaurant. Bob (H. Jon Benjamin) is the restaurant's owner and husband to the fun-loving and happy-go-lucky Linda (John Roberts). Their three children are Tina (Dan Mintz), the oldest, Gene (Eugene Mirman), the only boy, and Louise (Kristen Schaal), the youngest. All three children help at the restaurant to some extent. Louise is somewhat of a precocious menace and an instigator of many of the debacles that face the Belcher family. Tina is awkward, but full of heart, and muddles her way through her pubescent experiences, such as leg waxing and strong fixations on neighborhood boys. Gene is the more cheery and carefree type and aspires to be a great musician.

text: Recurring characters[edit]

text: There are various recurring characters in the series including Jimmy Pesto, Sr. (Jay Johnston), Bob's primary business rival who owns an Italian-themed restaurant across the street, and his sons Jimmy Jr. (Benjamin), Tina's love interest, and hyperactive and childish twins Andy (Laura Silverman) and Ollie (Sarah Silverman), who are friends of Louise. They get along well, despite the enmity between their fathers. Other friends, and frenemies, of the Belcher kids include Zeke (Bobby Tisdale), Tammy (Jenny Slate), and Regular-Sized Rudy (Brian Huskey). Mr. Frond (David Herman) is the guidance counselor at their school.

text: Other recurring characters include customers Teddy (Larry Murphy) and Mort (Andy Kindler), as well as Linda's eccentric sister Gayle (Megan Mullally), and the Belchers' sometimes-meddling landlord, Calvin Fischoeder (Kevin Kline) and his brother Felix (Zach Galifianakis). Bob is frequently antagonized by health inspector Hugo (Sam Seder), Linda's ex-fiancé who holds a grudge against Bob and constantly schemes to get the restaurant shut down, though his plans are often revealed to the Belchers by his easy-going assistant, Ron (Ron Lynch).

text: Episodes[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
13
January 9, 2011 (2011-01-09)
May 22, 2011 (2011-05-22)

2
9
March 11, 2012 (2012-03-11)
May 20, 2012 (2012-05-20)

3
23
September 30, 2012 (2012-09-30)
May 12, 2013 (2013-05-12)

4
22
September 29, 2013 (2013-09-29)
May 18, 2014 (2014-05-18)

5
21
October 5, 2014 (2014-10-05)
May 17, 2015 (2015-05-17)

6
19
September 27, 2015 (2015-09-27)
May 22, 2016 (2016-05-22)

7
22
September 25, 2016 (2016-09-25)
June 11, 2017 (2017-06-11)

8
21
October 1, 2017 (2017-10-01)
May 20, 2018 (2018-05-20)

text: Production[edit]

text: Creator Loren Bouchard said Bob's Burgers came about because Fox's animation brand centers mostly on family, but he also wanted to dabble in workplace comedy.[15] The show has generally been viewed as a spiritual successor to King of the Hill, which carried less emphasis on shock comedy and focused more on character-driven humor; Bob's Burgers executive producer Jim Dauterive worked on King of the Hill for nearly its entire run.[16]

text: Proof of concept[edit]

text: Before the show was aired, the team created a proof of concept so Fox Broadcasting Company knew what to expect if they bought the show. Jay Howell had his art featured in a test animation based on Bob forgetting about his and Linda's wedding anniversary. This proof of concept eventually turned into the pilot episode. It had the same synopsis as the official pilot (aired in 2011) but had both cosmetic and substantial differences. These included:

text:
Cruder animation
Character models having longer noses
Bob wears a white tank top/singlet (in the series he wears a white T-shirt)
The eldest child is male, and called Daniel. In the broadcast pilot, Tina's dialogue is almost the same as Daniel's and the voice characterization by Dan Mintz is the same, despite being changed to a female character.
The intro had slower animation due to budget
Extra dialogue and plot elements were added to the pilot: a scene where the community reacts badly to the restaurant's health safety alert and Bob confronts Hugo about it, and a denouement wrapping up plot elements.
This extra material expanded the running time from thirteen and a half minutes to twenty-one and a half minutes.

tag: ul

text: The original pilot can be seen on the DVD release of the first season, released on April 17, 2012.[17]

text: Development[edit]

text: Bob's Burgers first appeared on the development slate at Fox on August 6, 2009.[18] On December 1, 2009, Fox ordered 13 episodes for the first season.[19] On May 17, 2010, Fox placed the series on the primetime slate for the 2010–11 television season.[20] A special preview aired on Thanksgiving on November 25, 2010.[21]

text: Executive producers[edit]

text: Creator Loren Bouchard serves as the executive producer, alongside developer Jim Dauterive. They have served as executive producers since the first season. Dan Fybel and Rich Rinaldi were promoted to executive producers during season 6.

text: Writing[edit]

text: The team of writers includes Loren Bouchard, Jim Dauterive, Scott Jacobson, Lizzie Molyneux, Wendy Molyneux, Holly Schlesinger, Nora Smith, Steven Davis, Kelvin Yu, Dan Fybel, Rich Rinaldi, Jon Schroeder, and Greg Thompson. Past writers on the show include Kit Boss, Aron Abrams, and Mike Benner. H. Jon Benjamin, Rachel Hastings, Justin Hook, Dan Mintz, and Mike Olsen have also written or co-written episodes. After the writing has been completed, the voice actors read the script as written, but later are allowed to improvise lines. The editors and writer decide what improvised lines make the final cut.

text: Voice cast[edit]

text: Bob's Burgers has five main cast members: H. Jon Benjamin as Bob Belcher, John Roberts as Linda Belcher, Dan Mintz as Tina Belcher, Eugene Mirman as Gene Belcher, and Kristen Schaal as Louise Belcher.[22]

text: Hallmarks[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2012) (Learn how and when to remove this template message)

text: Opening sequence[edit]

text: The components of a hamburger fall into place on a white screen, and Bob's hands appear underneath to hold it. The other family members appear around him one at a time, beginning with Linda and ending with Louise. Linda puts her arm around Bob, Tina stands there expressionless, Gene plays a sound effect on his keyboard, and Louise poses for the camera. The restaurant then materializes behind them and the neighboring businesses slide into place, with a funeral parlor at screen left, and the street slides into view in front. A "Grand Opening" banner is placed over the door, followed by a series of mishaps. First, the restaurant catches on fire. Then, vermin come running toward the restaurant as an exterminator pulls up in a van. Lastly, a car crashes into the utility pole next to the funeral home, which causes the pole to fall through the front window of the restaurant. A new banner is hung up after each event: "Grand Re-Opening," "Grand Re-Re-Opening," and finally "Grand Re-Re-Re-Opening." The camera then zooms in on the cheese on the burger Bob is holding, and the view fades in to the start of the episode.

text: As with other Fox animated series such as Futurama, The Simpsons, and American Dad!, the show employs the "changing element" running gag in its opening credits. The gag present on Bob's Burgers involves the store located to the right of the restaurant, which has a new, humorously named client in every episode (such as "Betty's Machetes" in "Purple Rain-Union"). Additionally, beginning with Season 2, the pest control van in the sequence has the name of a different company on each episode; the van read "Rat's all Folks! Exterminators" on all episodes of Season 1. On certain episodes, an element is changed for a special night (a flash frame saying "HAPPY HALLOWEEN" was shown during the title sequence of "Fort Night").

text: In an article written by the writers of the show ranking the best 10 musical numbers of the first three seasons, it is explained by show creator and theme composer Loren Bouchard that the ukulele track heard in the theme is an edited version of the first recording he did as well as the first take in 2008. Bouchard explains that if the EQ is taken off the original track, there is noise audible from the nightclub below the apartment he was living in when he recorded the theme.[23]

text: Credits sequence[edit]

text: The credits sequence of Bob's Burgers often features the Belcher family at work. The scene is the kitchen of Bob's Burgers drawn with a black outline over a white background and the characters in full color, with the credits off to the right hand side. The sequence consists of Bob cooking a burger and Louise and Tina doing prep. Bob places the burger on the plate for Louise to give to Linda, who takes it from the window, and a few seconds later Gene walks through the kitchen wearing his burger costume.

text: Although the kitchen scene is still the main closing sequence the show uses, beginning in season two the producers began to use different elements from the show in the credits. Some examples:

text:
In "Ear-sy Rider", the kids ride their bikes down a highway.
In "Full Bars", Bob and Linda fool around in the kitchen in their Halloween costumes.
In "An Indecent Thanksgiving Proposal", Linda performs a song she came up with for Thanksgiving, and annoys Bob with it while he is trying to work.
In "Broadcast Wagstaff School News", Gene, who was given a makeover to resemble Bob, stands next to Bob at the grill. They shoot each other disapproving looks.
In "O.T.: The Outside Toilet", the family works while Gene hugs the titular toilet.
In "Mother Daughter Laser Razor", Linda and Louise play Lazer Tag and Gene walks through wearing no pants.
In "The Belchies", "Topsy", and "It Snakes a Village", as well as some other episodes, an extended musical ending revisiting a song or sequence from earlier closes the show.

text: Other times, the scene will play out as usual, but with something from the episode going on in the background, etc. For instance:

text:
In "Moody Foodie", deli owner Reggie dances around like Michael Madsen in Reservoir Dogs.
In "Bad Tina" and "Seaplane!", Tina performs actions she imagined herself doing during the course of the episode.
In "Burgerboss", the entire scene is animated to look like a video game.
In "Nude Beach", several customers are nudists from the aforementioned beach.
In "The Equestranauts", Bob works while wearing his Equestranaut costume and Tina plays with one of her Equestranaut toys. The theme song to the fictional TV series that gave the episode its title is played, with everyone except Bob singing along.
In "Best Burger", everybody except Bob has chocolate covering their faces, implying that they all went to the "hot fudge car wash" at the food festival where most of the episode took place.
In "A River Runs Through Bob", Tina performs the Thundergirls anthem and Bob is attacked by squirrels, revisiting elements from earlier in the episode.
In "Dawn of the Peck", Bob sings and dances to Donna Summer's "Love Is in Control" while he works.

text: Daily special[edit]

text: Every episode features one or more "Today's Special" burgers on a chalk board on the wall behind the counter. The name of the special is usually a play on words that indicates what comes on the burger (ex.: "It's Fun to Eat at the rYe M C A Burger": Comes with Rye, Mustard, Cheese, and Avocado). Other "Special" burgers are also mentioned by the family without being written on their chalkboard. The joke is often that the play on words is overly complex or obscure.

text: Home media[edit]

text: The first season through the current season of the show are available on the iTunes Store for download & Hulu. The first 8 seasons are available from Amazon Video. The first 7 seasons are available from Netflix Canada.

text: DVD releases[edit]

text:
Region
Set title
Episode count
Time length
Release date
Notes

1
Bob's Burgers: The Complete 1st Season[24]
13
286 minutes
April 17, 2012

1
Bob's Burgers: The Complete 2nd Season[25]
9
198 minutes
May 7, 2013
Manufactured on demand (MOD) on DVD-R

1
Bob's Burgers: The Complete 3rd Season[26]
23
506 minutes
May 13, 2014
Manufactured on demand (MOD) on DVD-R

1
Bob's Burgers: The Complete 4th Season[27]
22
484 minutes
May 12, 2015
Manufactured on demand (MOD) on DVD-R

1
Bob's Burgers: The Complete 5th Season[28]
21
484 minutes
July 20, 2016
Manufactured on demand (MOD) on DVD-R

text: Reception and achievements[edit]

text: Bob's Burgers initially received mixed reviews for season 1, with a Metacritic score of 54 out of 100.[29] However, by season 2, the ratings had reached a score of 78 out of 100, proving a rise in popularity with praises about its "daffy comedic momentum" and how it is "new and fresh."[30] Rotten Tomatoes gave the first season a 58% from the collective critic feedback, admitting while it has potential, it needs to find its "rhythm." [31] The Washington Post described the show as "pointlessly vulgar and derivatively dull", while Reuters stated that "It's unwise – and unnecessary – to launch an animated sitcom on Fox that appears intent to ape the vulgarity quotient of Family Guy."[1][32] USA Today stated that "Bob's Burgers isn't very tasty" describing the comedy as just "lop[ing] along, stumbling from one tasteless moment to the next"[33] The New York Times described the show as having "a lackadaisical vibe; its humor, no matter how anarchic, slides by in a deadpan monotone."[34]

text: However, as the first season progressed and concluded and the second began, critics began giving the series praise. Rowan Kaiser of The A.V. Club has recalled, "...the show was amusing, yes, and there was certainly potential, but it took half a dozen episodes before it really began to meet that potential."[35] Season 2 has a Metacritic score of 78 out 100.[36] The first season is considered by many fans as very rough in comparison to the quality in later seasons.

text: Entertainment Weekly gave the show an A- grade in its review, remarking that "a comedy this well done is very rare indeed".[37] Ain't It Cool News called Bob's Burgers "perhaps the funniest half-hour currently airing on broadcast TV."[38] In its review, CNN called the show "wickedly funny" and said there are "too many highlights to list here".[39] Speaking about the show during its second season, The A.V. Club reviewer Rowan Kaiser said: "After an uneven start, Bob's Burgers is becoming one of television's best comedies!"[40] Since the debut of season two of the series, the show's positive reception has increased.[41]

text: The A.V. Club voted Bob's Burgers as the 10th best TV show of 2012,[42] the 3rd best show of 2013,[43] the 20th best show of 2014,[44] and the 35th best show of 2015.[45]

text: Awards and nominations[edit]

text:
Year
Award
Category
Recipients and nominees
Result
Ref.

2011
Teen Choice Award
Choice TV: Animated Show
Bob's Burgers
Nominated
[46]

2012
Critics' Choice Television Award
Best Animated Series
Bob's Burgers
Nominated
[47]

Teen Choice Award
Choice TV: Animated Show
Bob's Burgers
Nominated
[48]

Primetime Emmy Award
Outstanding Animated Program
For "Burgerboss"
Nominated
[49]

2013
Artios Award
Outstanding Achievement in Casting – Television Animation (Children and Adult)
Julie Ashton
Nominated
[50]

Annie Award
Best General Audience Animated TV/Broadcast Production
For "Ear-sy Rider"
Nominated
[51]

Teen Choice Award
Choice TV: Animated Show
Bob's Burgers
Nominated
[52]

Primetime Emmy Award
Outstanding Animated Program
For "O.T.: The Outside Toilet"
Nominated
[53]

2014
Annie Award
Best General Audience Animated TV/Broadcast Production
Bob's Burgers
Nominated
[54]

Critics' Choice Television Award
Best Animated Series
Bob's Burgers
Nominated
[55]

Primetime Emmy Award
Outstanding Animated Program
For "Mazel-Tina"
Won
[56]

2015
People's Choice Award
Favorite Animated TV Show
Bob's Burgers
Nominated
[57]

Artios Award
Outstanding Achievement in Casting – Television Animation (Children and Adult)
Julie Ashton
Nominated
[58]

Annie Award
Best General Audience Animated TV/Broadcast Production
Bob's Burgers
Nominated
[59]

Outstanding Achievement, Directing in an Animated TV/Broadcast Production
Jennifer Coyle & Bernard Derriman
Nominated

Writers Guild of America Award
Best Television Writing in Animation
Greg Thompson for "Bob and Deliver"
Nominated
[60]

Nora Smith for "Work Hard or Die Trying, Girl"
Nominated

Critics' Choice Television Award
Best Animated Series
Bob's Burgers
Nominated
[61]

Primetime Emmy Award
Outstanding Animated Program
For "Can't Buy Me Math"
Nominated
[62]

Outstanding Character Voice-Over Performance
John Roberts for "Eat, Spray, Linda"
Nominated

Environmental Media Award
Television Episodic Comedy
For "Late Afternoon in the Garden of Bob and Louise"
Nominated
[63]

2016
People's Choice Award
Favorite Animated TV Show
Bob's Burgers
Nominated
[64]

Critics' Choice Television Award
Best Animated Series
Nominated
[65]

Nominated
[66]

Artios Award
Outstanding Achievement in Casting – Television Animation (Adult)
Julie Ashton
Won
[67]

Annie Awards
Best General Audience TV/Broadcast Production
For "Can't Buy Me Math"
Nominated
[68]

Outstanding Achievement, Voice Acting in an Animated TV/Broadcast Production
Kristen Schaal for "Hawk & Chick"
Won

Outstanding Achievement, Writing in an Animated TV/Broadcast Production
Steven Davis & Kelvin Yu for "The Hauntening"
Won

Writers Guild of America Award
Best Television Writing in Animation
Lizzie Molyneux & Wendy Molyneux for "Gayle Makin' Bob Sled"
Nominated
[69]

Dan Fybel for "Housetrap"
Won

Primetime Emmy Award
Outstanding Animated Program
"The Horse Rider-er"
Nominated
[70]

2017
People's Choice Award
Favorite Animated TV Show
Bob's Burgers
Nominated
[71]

Annie Award
Best General Audience Animated TV/Broadcast Production
Bob's Burgers for "Glued, Where's My Bob?"
Won
[72]

Outstanding Achievement, Music in an Animated TV/Broadcast Production
Loren Bouchard and John Dylan Keith for "Glued, Where's My Bob?"
Nominated

Outstanding Achievement, Writing in an Animated TV/Broadcast Production
Lizzie Molyneux and Wendy Molyneux for "The Hormone-iums"
Won

Teen Choice Award
Choice Animated TV Show
Bob's Burgers
Nominated
[73]

Primetime Emmy Awards
Outstanding Animated Program
"Bob Actually"
Won
[74]

Outstanding Character Voice-Over Performance
Kevin Kline for "The Last Gingerbread House on the Left"
Nominated

2018
Critics' Choice Television Awards
Best Animated Series
Bob's Burgers
Nominated
[75]

Writers Guild of America Awards
Best Television Writing in Animation
Lizzie Molyneux & Wendy Molyneux for "Brunchsquatch"
Pending
[76]

Annie Awards
Outstanding Achievement for Editorial in an Animated Television / Broadcast Production
Mark Seymour, Chuck Smith, Eric Davidson for "Bob Actually"
Pending
[77]

text: Ratings[edit]

text: After airing, the show became the highest-rated series premiere of the season and also finished 9th in the ratings for the week it aired.[78][79] Despite this, the ratings went on a slide with ratings expert Bill Gorman of TV by the Numbers calling it a "toss up" for renewal before the series was renewed for a second season[80] which premiered on March 11, 2012.

text:
Season
Timeslot (ET)
Episodes
First aired
Last aired
TV season
Rank
Avg. viewers
(millions)

Date
Viewers
(millions)
Date
Viewers
(millions)

1
Sunday 8:30 pm
13
January 9, 2011 (2011-01-09)
9.38[81]
May 22, 2011 (2011-05-22)
4.31[82]
2010–11
117
5.07[83]

2
9
March 11, 2012 (2012-03-11)
4.04[84]
May 20, 2012 (2012-05-20)
3.57[85]
2011–12
142
4.18[86]

3
Sunday 8:30 pm (1–14, 18–23)
Sunday 9:30 pm (15–17)
23
September 30, 2012 (2012-09-30)
5.46[87]
May 12, 2013 (2013-05-12)
3.38[88]
2012–13
107
4.45[89]

4
Sunday 8:30 pm (1–11)
Sunday 7:00 pm (12–22)
22
September 29, 2013 (2013-09-29)
4.48[90]
May 18, 2014 (2014-05-18)
1.95[91]
2013–14
96
4.93[92]

5
Sunday 7:30 pm (1–2, 13–18)
Sunday 9:30 pm (3–12, 19–21)
21
October 5, 2014 (2014-10-05)
3.14[93]
May 17, 2015 (2015-05-17)
2.44[94]
2014–15
147
3.18[95]

6
Sunday 7:30 pm (1–10)
Sunday 8:30 pm (11–19)
19
September 27, 2015 (2015-09-27)
2.51[96]
May 22, 2016 (2016-05-22)
2.04[97]
2015–16
144
2.90[98]

7
Sunday 7:30 pm
22
September 25, 2016 (2016-09-25)
2.60[99]
June 11, 2017
1.52[100]
2016–17
138
2.78[101]

8
21
October 1, 2017 (2017-10-01)
2.93[102]
May 20, 2018 (2018-05-20)
1.62[103]
2017–18
155
2.80[104]

text: Syndication[edit]

text: Adult Swim acquired the rights to air Bob's Burgers in 2013. Episodes air six nights a week, with a 1:30 am airing on Sunday and 8:30 pm airings Monday through Friday. An additional episode airs every Monday through Thursday at 9:00 pm. Adult Swim currently has rights to all five seasons of Bob's Burgers and recently began airing the season five episodes on Mondays.[105]

text: 20th Television began distributing Bob's Burgers to local stations in 2015. The syndication package began airing on its affiliates on the weekend of September 19–20, 2015, and two episodes air each weekend.[citation needed]

text: The series also premiered on September 26, 2016 on TBS and airs Mondays afternoons (along with Family Guy, American Dad!, and The Cleveland Show) and on Friday nights.[106]

text: Impact and Legacy[edit]

text: On January 6, 2011, some Fatburger locations were re-branded as Bob's Burgers for the day as a promotion.[107] It also offered limited-time offers, such as a free burger giveaway, and a special, "The Thanks a Brunch Burger", on the menu until February 2011.[107] There were also "Bob's Burgers" coupons offered for a free medium Fatburger special.[107][108] Across the US, four locations were re-branded as Bob's Burgers: in California, New Jersey, Nevada, and Illinois.[107][108] At least one restaurant location in California continues to use the Bob's Burgers appellation into 2016.

text: In the Family Guy episode "Space Cadet", the principal shows Peter and Lois a picture of Bob Belcher as a sign that Chris is doing poorly in his Advanced Art class. Peter mutters "I'm very embarrassed", and the principal replies "Yeah, well, someone should be." In "Boopa-dee Bappa-dee", Louise is one of many characters Stewie is turned into by Peter using a remote control. Bob's Burgers is also mentioned on "He's Bla-ack!", as one of the reasons why The Cleveland Show did not succeed.

text: The season 4 premiere episode of Archer features a crossover where the Belcher family is shown, but Bob is revealed to be Sterling Archer (also voiced by H. Jon Benjamin) in a fugue state. Archer has taken the place of Bob Belcher, with Bob inexplicably missing. The menu board touts the "Thomas Elphinstone Hambledurger, with Manning Coleslaw", a play on amnesiac secret agent Tommy Hambledon, a character in a series of novels by Manning Coles.

text: "Homerland", the season 25 premiere episode of The Simpsons, features a couch gag in which the Belcher family (skinned yellow according to the standard character coloring of the series) attend a 25th anniversary party in the Simpson family living room with the main characters of their fellow Animation Domination series. Bob made another cameo in the episode "The Girl Code", where a picture of him is shown, and explaining that the restaurant was boycotted by short people due to an offensive Burger of the Day.

text: Bob makes a cameo appearance in the hour-long The Simpsons-Family Guy crossover "The Simpsons Guy".[109] He appears on the same airplane as Homer and Peter in a cutaway about them being a greater team than the Air Force. Peter remarks to Homer that they have to carry Bob, and then Peter points to Cleveland's plane and says "We let that other guy try and look what happened." Cleveland, repeatedly saying "no", crashes in flames. This is a reference to the poor ratings of Bob's Burgers and the cancellation of The Cleveland Show.[110]

text: In Aqua Teen Hunger Force, a character previously known as Dr. Eugene Mirman (obviously played by himself) was renamed "Dr. Gene Belcher" in the episode "Hospice". The character's name was revealed on Aqua Teen Hunger Force's creator Dave Willis' Twitter account two hours before the episode. The character had been introduced in 2006, which was five years before Bob's Burgers aired.[111]

text: Seattle rock band Sleater-Kinney collaborated with Bob's Burgers and its crew for their 2015 single "A New Wave", from the album No Cities to Love. The resultant music video featured the band, animated in the cartoon's style, performing for the Belcher children in Tina's bedroom.[112][113][114]

text: In 2016, The Bob's Burgers Burger Book, edited by series creator Bouchard, was released. There are 75 burger recipes pulled from the fan-based blog "The Bob's Burger Experiment" based on the Specials of the Day that appear on the chalkboard menu in the show.[115]

text: Film adaptation[edit]

text: On October 4, 2017, Fox announced that a Bob's Burgers movie was in the works to be released on July 17, 2020.[11] Creator Bouchard has said the movie will "scratch every itch the fans of the show have ever had," while being appealing to new audiences.[116]