document_title: Quit India Movement

question_text: who hoisted congress flag at gowalia tank maidan in mumbai during quit india movement 1942

text: Quit India Movement

text: World War II and Indian involvement[edit]

text: In 1939, Indian nationalists were angry that British Governor-General of India, Lord Linlithgow, had without consultation with them brought India into the war. The Muslim League supported the war, but Congress was divided.

text: At the outbreak of war, the Congress Party had passed a resolution during the Wardha meeting of the working-committee in September 1939, conditionally supporting the fight against fascism,[4] but were rebuffed when they asked for independence in return. Gandhi had not supported this initiative, as he could not reconcile an endorsement for war (he was a committed believer in non-violent resistance, used in the Indian Independence Movement and proposed even against Adolf Hitler, Benito Mussolini, and Hideki Tojo). However, at the height of the Battle of Britain, Gandhi had stated his support for the fight against racism and of the British war effort, stating he did not seek to raise an independent India from the ashes of Britain. However, opinions remained divided.

text: After the onset of the war, only a group led by Subhas Chandra Bose took any decisive action. Bose organised the Indian Legion in Germany and reorganised the Indian National Army with Japanese assistance, and, soliciting help from the Axis Powers, conducted a guerrilla war against the British authorities.

text: Cripps' Mission[edit]

text: Stafford Cripps, on the March 1942, faced with an increasingly dissatisfied sub-continent only reluctantly participating in the war and deterioration in the war situation in Europe and with growing dissatisfaction among Indian troops—especially in Africa—and among the civilian population in the sub-continent, the British government sent a delegation to India under Stafford Cripps, the Leader of the House of Commons, in what came to be known as the Cripps mission. The purpose of the mission was to negotiate with the Indian National Congress a deal to obtain total co-operation during the war, in return for progressive devolution and distribution of power from the crown and the Viceroy to an elected Indian legislature. The talks failed, as they did not address the key demand of a timetable of self-government and of definition of the powers to be relinquished, essentially making an offer of limited dominion-status that was wholly unacceptable to the Indian movement.[5]

text: Factors contributing to the movement's launch[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. (August 2013) (Learn how and when to remove this template message)

text: In 1939, with the outbreak of war between Germany and Britain, India was announced to be a party to the war for being a constituent component of the British Empire. Following this declaration, the Congress Working Committee at its meeting on 10 October 1939, passed a resolution condemning the aggressive activities of the Germans. At the same time the resolution also stated that India could not associate herself with war unless it was consulted first. Responding to this declaration, the Viceroy issued a statement on 17 October wherein he claimed that Britain is waging a war driven by the motif to strengthen peace in the world. He also stated that after the war, the government would initiate modifications in the Act of 1935, in accordance to the desires of the Indians.

text: Gandhi's reaction to this statement was; "the old policy of divide and rule is to continue. The Congress has asked for bread and it has got stone." According to the instructions issued by High Command, the Congress ministers were directed to resign immediately. Congress ministers from eight provinces resigned following the instructions. The resignation of the ministers was an occasion of great joy and rejoicing for leader of the Muslim League, Mohammad Ali Jinnah. He called the day of 22 December 1939 'The Day of Deliverance'. Gandhi urged Jinnah against the celebration of this day, however, it was futile. At the Muslim League Lahore Session held in March 1940, Jinnah declared in his presidential address that the Muslims of the country wanted a separate homeland, Pakistan.

text: In the meanwhile, crucial political events took place in England. Chamberlain was succeeded by Churchill as the Prime Minister and the Conservatives, who assumed power in England, did not have a sympathetic stance towards the claims made by the Congress. In order to pacify the Indians in the circumstance of worsening war situation, the Conservatives were forced to concede some of the demands made by the Indians. On 8 August, the Viceroy issued a statement that has come to be referred as the "August Offer". However, the Congress rejected the offer followed by the Muslim League.

text: In the context of widespread dissatisfaction that prevailed over the rejection of the demands made by the Congress, Gandhi at the meeting of the Congress Working Committee in Wardha revealed his plan to launch Individual Civil Disobedience. Once again, the weapon of satyagraha found popular acceptance as the best means to wage a crusade against the British. It was widely used as a mark of protest against the unwavering stance assumed by the British. Vinoba Bhave, a follower of Gandhi, was selected by him to initiate the movement. Anti war speeches ricocheted in all corners of the country, with the satyagrahis earnestly appealing to the people of the nation not to support the Government in its war endeavors. The consequence of this satyagrahi campaign was the arrest of almost fourteen thousand satyagrahis. On 3 December 1941, the Viceroy ordered the acquittal of all the satyagrahis. In Europe the war situation became more critical with the Japanese attack on Pearl Harbor and the Congress realised the necessity for appraising their program. Subsequently, the movement was withdrawn.

text: The Cripps' Mission and its failure also played an important role in Gandhi's call for The Quit India Movement. In order to end the deadlock, the British government on 22 March 1942, sent Sir Stafford Cripps to talk terms with the Indian political parties and secure their support in Britain's war efforts. A Draft Declaration of the British Government was presented, which included terms like establishment of Dominion, establishment of a Constituent Assembly and right of the Provinces to make separate constitutions. These would be, however, granted after the cessation of the Second World War. According to the Congress this Declaration only offered India a promise that was to be fulfilled in the future. Commenting on this Gandhi said; "It is a post dated cheque on a crashing bank." Other factors that contributed were the threat of Japanese invasion of India and realisation of the national leaders of the incapacity of the British to defend India.

text: Resolution for immediate independence[edit]

text: The Congress Working Committee meeting at Wardha (14 July 1942) passed a resolution demanding complete independence from the British government. The draft proposed massive civil disobedience if the British did not accede to the demands.

text: However, it proved to be controversial within the party. A prominent Congress national leader Chakravarti Rajgopalachari quit the Congress over this decision, and so did some local and regional level organisers. Jawaharlal Nehru and Maulana Azad were apprehensive and critical of the call, but backed it and stuck with Gandhi's leadership until the end. Sardar Vallabhbhai Patel, Rajendra Prasad and Anugrah Narayan Sinha openly and enthusiastically supported such a disobedience movement, as did many veteran Gandhians and socialists like Asoka Mehta and Jayaprakash Narayan.

text: Allama Mashriqi (head of the Khaksar Tehrik) was called by Jawaharlal Nehru to join the Quit India Movement. Mashriqi was apprehensive of its outcome and did not agree with the Congress Working Committee's resolution. On 28 July 1942, Allama Mashriqi sent the following telegram to Maulana Abul Kalam Azad, Khan Abdul Ghaffar Khan, Mahatma Gandhi, C. Rajagopalachari, Jawaharlal Nehru, Rajendra Prasad and Pattabhi Sitaramayya. He also sent a copy to Bulusu Sambamurti (former Speaker of the Madras Assembly). The telegram was published in the press, and it stated:

text: I am in receipt of Pandit Jawaharlal Nehru's letter of 8 July. My honest opinion is that Civil Disobedience Movement is a little pre-mature. The Congress should first concede openheartedly and with handshake to Muslim League the theoretical Pakistan, and thereafter all parties unitedly make demand of Quit India. If the British refuse, start total disobedience.[6]

text: The resolution said:

text: The committee, therefore, resolves to sanction for the vindication of India's inalienable right to freedom and independence, the starting of a mass struggle on non-violent lines on the widest possible scale, so that the country might utilise all the non-violent strength it has gathered during the last 22 years of peaceful struggle...they [the people] must remember that non-violence is the basis of the movement.

text: Opposition to the Quit India Movement[edit]

text: Several political groups active during the Indian Independence Movement were opposed to the Quit India Movement. These included the Muslim League, the Hindu Mahasabha, the Rashtriya Swayamsevak Sangh, the Communist Party of India and the princely states as below:

text: Muslim League[edit]

text: The Muslim League opposed the Quit India Movement as it was of the view that if the British left India in its current state, Muslims as a minority would be oppressed by the Hindu majority. Muhammad Ali Jinnah's opposition to Gandhi's call led to large numbers of Muslims cooperating with the British, and enlisting in the army.[7] The Muslim League gained large numbers of new members. Congress members heeding Gandhi's call resigned from provincial legislatures, enabling the Muslim League, in alliance with the Hindu Mahasabha, to take control in Sindh, Bengal and Northwest Frontier.[8][9]

text: Hindu Mahasabha[edit]

text: Hindu nationalist parties like the Hindu Mahasabha openly opposed the call for the Quit India Movement and boycotted it officially.[10] Vinayak Damodar Savarkar, the president of the Hindu Mahasabha at that time, even went to the extent of writing a letter titled "Stick to your Posts", in which he instructed Hindu Sabhaites who happened to be "members of municipalities, local bodies, legislatures or those serving in the army...to stick to their posts" across the country, and not to join the Quit India Movement at any cost.[10]

text: Following the Hindu Mahasabha's official decision to boycott the Quit India movement,[10]Syama Prasad Mukherjee, leader of the Hindu Mahasabha in Bengal, (which was a part of the ruling coalition in Bengal led by Krishak Praja Party of Fazlul Haq), wrote a letter to the British Government as to how they should respond, if the Congress gave a call to the British rulers to Quit India. In this letter, dated July 26, 1942 he wrote:

text: “Let me now refer to the situation that may be created in the province as a result of any widespread movement launched by the Congress. Anybody, who during the war, plans to stir up mass feeling, resulting internal disturbances or insecurity, must be resisted by any Government that may function for the time being” [11][12]

text: Mookerjee in this letter reiterated that the Fazlul Haq led Bengal Government, along with its alliance partner Hindu Mahasabha would make every possible effort to defeat the Quit India Movement in the province of Bengal and made a concrete proposal as regards this:

text: “The question is how to combat this movement (Quit India) in Bengal? The administration of the province should be carried on in such a manner that in spite of the best efforts of the Congress, this movement will fail to take root in the province. It should be possible for us, especially responsible Ministers, to be able to tell the public that the freedom for which the Congress has started the movement, already belongs to the representatives of the people. In some spheres it might be limited during the emergency. Indian have to trust the British, not for the sake for Britain, not for any advantage that the British might gain, but for the maintenance of the defense and freedom of the province itself. You, as Governor, will function as the constitutional head of the province and will be guided entirely on the advice of your Minister.[12]

text: Even the Indian historian R.C. Majumdar noted this fact and states:

text: "Shyam Prasad ended the letter with a discussion of the mass movement organised by the Congress. He expressed the apprehension that the movement would create internal disorder and will endanger internal security during the war by exciting popular feeling and he opined that any government in power has to suppress it, but that according to him could not be done only by persecution.... In that letter he mentioned item wise the steps to be taken for dealing with the situation .... " [13]

text: Communist Party of India[edit]

text: The Communist Party of India was banned at that time by the British government. In order to get the ban lifted, as well as to assist the Soviet Union in its war against Nazi Germany, it supported the British war effort, despite support for Quit India by many industrial workers. In response the British lifted the ban on the party.[14]

text: Princely States[edit]

text: The movement had less support in the princely states, as the princes were strongly opposed and funded the opposition.[15]

text: The Indian nationalists had very little international support. They knew that the United States strongly supported Indian independence, in principle, and believed the U.S. was an ally. However, after Churchill threatened to resign if pushed too hard, the U.S. quietly supported him while bombarding Indians with propaganda designed to strengthen public support of the war effort. The poorly run American operation annoyed both the British and the Indians.[16]

text: No support to the Quit India Movement[edit]

text: Rashtriya Swayamsevak Sangh[edit]

text: Rashtriya Swayamsevak Sangh (RSS) kept aloof from the Congress-led anti-British Indian independence movement since its founding by K.B. Hedgewar in 1925. In 1942, the RSS, under M.S. Golwalkar refused to join in the Quit India Movement. The Bombay government appreciated the RSS position by noting that,

text: "the Sangh has scrupulously kept itself within the law, and in particular, has refrained from taking part in the disturbances that broke out in August 1942".".[17][18][19][20]

text: The British Government also asserted that at Sangh meetings organized during the times of anti-British movements started and fought by the Indian National Congress,

text: "speakers urged the Sangh members to keep aloof from the congress movement and these instructions were generally observed".[21]

text: The RSS head (sarsanghchalak) during that time, M.S. Golwalkar later stated that the RSS did not support the Quit India Movement. Such a non-committal attitude during the Indian freedom movement also led to the Sangh being viewed with distrust and anger, both by the general Indian public, as well as certain members of the organization itself. In Golwalkar’s own words,

text: “In 1942 also, there was a strong sentiment in the hearts of many. At that time too, the routine work of the Sangh continued. Sangh decided not to do anything directly. ‘Sangh is the organization of inactive people, their talks have no substance’ was the opinion uttered not only by outsiders but also our own swayamsevaks””[22][23][24]

text: The British Government stated that the RSS was not at all supporting any civil disobedience against them, and as such their other political activities could be overlooked.[25]The Home Department was thereby of the opinion that the RSS did not constitute a menace to law and order in British India.[26][27]The Bombay government reported that the RSS had not, in any way, infringed upon government orders and had always shown a willingness to comply with the law. The same Bombay Government report further noted that in December 1940, orders had been issued to the provincial RSS leaders to desist from any activities that the British Government considered objectionable, and the RSS, in turn, had assured the British authorities that "it had no intentions of offending against the orders of the Government". [28][29]

text: Local violence[edit]

text: According to John F. Riddick, from 9 August 1942 to 21 September 1942, the Quit India movement:

text: At the national level the lack of leadership meant the ability to galvanise rebellion was limited. The movement had a local impact in some areas. especially at Satara in Maharashtra, Talcher in Odisha, and Midnapore.[31] In Tamluk and Contai subdivisions of Midnapore, the local populace were successful in establishing parallel governments, which continued to function, until Gandhi personally requested the leaders to disband in 1944.[31] A minor uprising took place in Ballia, now the easternmost district of Uttar Pradesh. People overthrew the district administration, broke open the jail, released the arrested Congress leaders and established their own independent rule. It took weeks before the British could reestablish their writ in the district. Of special importance in Saurashtra (in western Gujarat) was the role of the region's 'baharvatiya' tradition (i.e. going outside the law) which abetted the sabotage activities of the movement there.[32] In rural west Bengal, the Quit India Movement was fueled by peasants' resentment against the new war taxes and the forced rice exports. There was open resistance to the point of rebellion in 1942 until the great famine of 1943 suspended the movement.[33]

text: Suppression of the movement[edit]

text: One of the important achievements of the movement was to keep the Congress party united through all the trials and tribulations that followed. The British, already alarmed by the advance of the Japanese army to the India-Burma border, responded by imprisoning Gandhi. All the members of the Party's Working Committee (national leadership) were imprisoned as well. Due to the arrest of major leaders, a young and till then relatively unknown Aruna Asaf Ali presided over the AICC session on 9 August and hoisted the flag; later the Congress party was banned. These actions only created sympathy for the cause among the population. Despite lack of direct leadership, large protests and demonstrations were held all over the country. Workers remained absent en masse and strikes were called. Not all demonstrations were peaceful, at some places bombs exploded, government buildings were set on fire, electricity was cut and transport and communication lines were severed.[citation needed]

text: The British swiftly responded with mass detentions. Over 100,000 arrests were made, mass fines were levied and demonstrators were subjected to public flogging.[34] Hundreds of civilians were killed in violence many shot by the police army. Many national leaders went underground and continued their struggle by broadcasting messages over clandestine radio stations, distributing pamphlets and establishing parallel governments. The British sense of crisis was strong enough that a battleship was specifically set aside to take Gandhi and the Congress leaders out of India, possibly to South Africa or Yemen but ultimately did not take that step out of fear of intensifying the revolt.[35]

text: The Congress leadership was cut off from the rest of the world for over three years. Gandhi's wife Kasturbai Gandhi and his personal secretary Mahadev Desai died in months and Gandhi's health was failing, despite this Gandhi went on a 21-day fast and maintained his resolve to continuous resistance. Although the British released Gandhi on account of his health in 1944, Gandhi kept up the resistance, demanding the release of the Congress leadership.

text: By early 1944, India was mostly peaceful again, while the Congress leadership was still incarcerated. A sense that the movement had failed depressed many nationalists, while Jinnah and the Muslim League, as well as Congress opponents like the Rashtriya Swayamsevak Sangh and the Hindu Mahasabha sought to gain political mileage, criticizing Gandhi and the Congress Party.


document_title: Maleficent (film)

question_text: who is the actress that plays aurora in maleficent

root

text: Maleficent (film)

text: Plot[edit]

text: Maleficent is a powerful fairy living in the Moors, a magical forest realm bordering a human kingdom. As a young girl, she meets and falls in love with a human peasant boy named Stefan, whose love for Maleficent is overshadowed by his ambition. As they become older, the two grow apart, and Maleficent becomes protector of the Moors. When King Henry tries to conquer the Moors, Maleficent mortally wounds him and forces him to retreat. As he lies dying, he declares that whoever kills Maleficent will be named his successor and marry his daughter, Princess Leila. Stefan visits Maleficent in the Moors. He drugs her, but cannot bring himself to kill her. Instead, he cuts off her wings with iron, which is lethal to fairies, and presents them to the king. Devastated by Stefan's betrayal, Maleficent turns the Moors into a dark kingdom. She finds a raven named Diaval to act as her wings, spy and confidant. She transforms him into different forms as needed, including human.

tag: p

text: After some time, Diaval informs Maleficent that Stefan, now king, is hosting a christening for his newborn daughter, Aurora. Bent on revenge, Maleficent arrives uninvited and curses the infant princess: on her sixteenth birthday, she will prick her finger on the spindle of a spinning wheel and fall into a deep sleep from which she will never awaken. When Stefan begs for mercy, Maleficent mocks him and offers an antidote: the curse can be only broken by true love's kiss. Fearing for his daughter's safety, Stefan sends Aurora to live with three pixies—Knotgrass, Thistlewit, and Flittle—until the day after her sixteenth birthday, while he destroys all the spinning wheels in the kingdom and hides their remnants in the castle dungeon. He sends his armies to find and kill Maleficent, but she surrounds the Moors with an impenetrable wall of thorns. King Stefan slips into madness and paranoia, trying to prevent the curse, even neglecting to see his wife on her deathbed.

text: Despite her initial dislike for Aurora, Maleficent begins to care for her when the bumbling and neglectful pixies fail to do so. After a brief meeting with the young Aurora, Maleficent watches over her from afar. When Aurora is fifteen, she encounters Maleficent. Knowing that she is being watched over, she calls Maleficent her "fairy godmother." Maleficent tries desperately to undo the curse but is unsuccessful, as the curse proves to be unbreakable by any means other than true love's kiss. In the forest, Aurora meets Prince Philip, and the two are attracted to each other. On the day before Aurora's sixteenth birthday, Aurora tells Maleficent that she would like to live with her in the Moors. When Aurora returns to the cottage, the pixies inadvertently tell Aurora of her past. Having learned of Maleficent's true identity, Aurora runs to her father's castle.

text: After a brief reunion with his daughter, Stefan locks her away in a room for her own safety while setting up a plan to kill Maleficent. However, the power of the curse draws Aurora to the dungeon, where a spinning wheel magically reassembles itself. She pricks her finger and falls into a deep sleep, fulfilling the curse. Maleficent, intent on saving Aurora, abducts Phillip and infiltrates Stefan's castle, but Phillip's kiss fails to awaken Aurora. At her bedside, Maleficent apologizes to Aurora and kisses her forehead. Aurora awakens, as Maleficent's motherly feelings towards her count as true love. However, as Maleficent and Aurora attempt to leave, they are ambushed by Stefan and his guards, with an iron net dropping on her. Maleficent transforms Diaval into a dragon, and he battles Stefan's guards, but he is eventually caught as well. Stefan taunts Maleficent, who is dizzy and sick from the iron, his former love for her fully gone, but before he can deliver a killing blow, Aurora finds her wings and releases them. They fly to Maleficent and reattach themselves. Maleficent carries Stefan to the top of the castle's highest tower and beats him easily and quickly in battle, but cannot bring herself to kill him. Stefan attacks her as she turns away, however, and both plummet from the tower. Maleficent breaks away and sends Stefan to his death.

text: In the end, Maleficent returns the Moors to its former glory, and Aurora is crowned queen to unify the two kingdoms.

text: Cast[edit]

text:
Angelina Jolie as Maleficent

Isobelle Molloy as Young Maleficent
Ella Purnell as Teen Maleficent

Sharlto Copley as Stefan[6]

Michael Higgins as Young Stefan
Jackson Bews as Teen Stefan

Elle Fanning as Aurora

Vivienne Jolie-Pitt as Little Aurora
Eleanor Worthington Cox as Pre-teen Aurora
Janet McTeer as Elderly Aurora/Narrator

Sam Riley as Diaval[6]
Imelda Staunton as Knotgrass[6]
Juno Temple as Thistlewit[7]
Lesley Manville as Flittle[6]
Brenton Thwaites as Prince Philip[8]
Kenneth Cranham as King Henry[6][9]
Hannah New as Princess Leila

tag: ul

text: Production[edit]

text: Angelina Jolie had long been attached to the project since March 2010, when Tim Burton, who had tentatively planned to direct, chose not to pursue it.[10][11] Jolie's desire to play this role stemmed from her love of the character when she was a little girl.[12] Linda Woolverton was commissioned to write the script for the film.[13] On January 6, 2012, Disney announced that Robert Stromberg, the production designer of Alice in Wonderland and Oz the Great and Powerful, would direct the film.[14] Joe Roth, Don Hahn, and Richard D. Zanuck were hired as producers, although Zanuck died later that year.[15] Roth said the film would not have been made if Jolie had not agreed to take the title role: "She seemed like the only person who could play the part. There was no point in making the movie if it wasn't her."[16]

text: In March 2012, Elle Fanning was reported to be in talks for the role of Princess Aurora, the Sleeping Beauty.[17][18] Her casting was officially announced in May 2012, along with Sharlto Copley as the male lead, King Stefan, Princess Aurora's father, then described as the half-human, half-fairy son of a human king, along with Imelda Staunton; Miranda Richardson as Queen Ulla, then described as a fairy queen who is Maleficent's aunt with a dislike of her niece; Kenneth Cranham as a king; Sam Riley as Diaval, a raven who changes into human form and is Maleficent's right hand; and Lesley Manville.[6]

text: Director Stromberg highlighted the "wonderful" contrast between the two lead actresses, Elle Fanning and Angelina Jolie, calling the character of Aurora the "beacon of light" that he was looking forward to blending with the darkness of Maleficent.[19]

text: Writing[edit]

text:
"I was really moved by the script from first reading. It was like uncovering a great mystery. We all know the story of Sleeping Beauty and we all know Maleficent and what happened at the christening because we've all grown up with that. But what we've never known is, what happened before?"

—Angelina Jolie[20]

tag: div

text: Linda Woolverton's screenplay went through at least 15 versions as the film progressed in the production.[21] Director Robert Stromberg said: "I met many times with Linda Woolverton, the writer. We did lots of roundtable discussions and sort of cut out the fat as much as we could and sort of purified the storyline as much as we could".[22] In some earlier versions of the story, Stefan was the half-human, half-fairy bastard son of King Henry. The version of the screenplay which went into shooting originally included two characters called Queen Ulla and King Kinloch, the fairy queen and the fairy king of the Moors, and the aunt and uncle of Maleficent.[6] Miranda Richardson and Peter Capaldi were cast and shot the Queen Ulla and King Kinloch scenes, but their roles were cut in the editing process together with more than 15 minutes of the first act of the film. Stromberg said: "We spent a bit more time originally in the fairy world before we got into the human side of things ... we wanted to get it [the film] under two hours. So we cut about fifteen minutes out of the first act, and then that had to be seamed together with some pretty basic reshoots."[23]

text: Stromberg later claimed in an interview that he employed an "age-old" emotional storytelling for the film and called it "the biggest thrill" against all technology advances.[19] "And the way we play with that is we have somebody who's perhaps in love but betrayed and doesn't believe that true love exists. So the moral to it is we can all feel dark ourselves but not to lose hope because there is light in places where we might not be expecting", he explained.[19]

text: Filming[edit]

text: Principal photography began on June 13, 2012.[24] Some filming took place in the Buckinghamshire countryside.[25]

text: Re-shoots[edit]

text: John Lee Hancock assisted Stromberg with re-shoots for the film. Hancock, who had just finished overseeing the final post-production stages of Saving Mr. Banks, was approached by producer Joe Roth, with whom he had worked on Snow White and the Huntsman. Roth said: "He's not directing. He wrote pages, and I hired a first-time director, and it's good to have him on set." Roth was asked why a "film of this magnitude was entrusted to a novice director", and he noted that Stromberg won Academy Awards for production design on Avatar and Alice in Wonderland. Roth said: "The movie is gorgeous to look at, and the last 75 minutes are really entertaining. The issue was the opening, which was re-shot over eight days."[26]

text: Visual effects[edit]

text: As a previous production designer, Stromberg sought to balance the use of practical and computer-generated effects. For example, while Maleficent's horns and facial prosthetics were created by makeup artist Rick Baker, Digital Domain took facial capture of Imelda Staunton, Lesley Manville, and Juno Temple for the three pixies to be generated with high authenticity with the help of special rigging by Disney Research in Zurich.[19] For the visuals, Stromberg wanted to make it "a bit more grounded" and "not too surreal" because it could be distracting from the simplicity of the story.[19] He also regretted not employing bigger sets and allowing actors to work in a more tangible environment, on "real sets with real lights".[19]

text: Music[edit]

text: James Newton Howard was hired to score the film in October 2012.[27] On January 23, 2014, it was announced that recording artist Lana Del Rey would be covering the song "Once Upon a Dream", from the 1959 film Sleeping Beauty as the title song for Maleficent. The song "Once Upon a Dream" is based on the Grand Waltz from ballet "Sleeping Beauty" written by Russian composer Tchaikovsky.[28][29]

text: Del Rey was handpicked by Angelina Jolie to perform the song.[30] The single was released on January 26 and was made available for free for a limited time through Google Play.[31][32]

text:
Maleficent (Original Motion Picture Soundtrack)

Film score by James Newton Howard

Released
May 27, 2014

Studio
Abbey Road Studios

Genre
Orchestral

Length
1:11:46

Label
Walt Disney

tag: table

text: Track listing[edit]

text: All music composed by James Newton Howard (Tracks 1–22).

text:
Maleficent (Original Motion Picture Soundtrack)

No.
Title
Writer(s)
Performer(s)
Length

1.
"Maleficent Suite"

6:38

2.
"Welcome to the Moors"

1:05

3.
"Maleficent Flies"

4:39

4.
"Battle of the Moors"

4:58

5.
"Three Peasant Women"

1:04

6.
"Go Away"

2:26

7.
"Aurora and the Fawn"

2:28

8.
"The Christening"

5:30

9.
"Prince Philip"

2:29

10.
"The Spindle's Power"

4:35

11.
"You Could Live Here Now"

2:26

12.
"Path of Destruction"

1:47

13.
"Aurora in Faerieland"

4:41

14.
"The Wall Defends Itself"

1:06

15.
"The Curse Won't Reverse"

1:21

16.
"Are You Maleficent?"

2:10

17.
"The Army Dances"

1:28

18.
"Phillip's Kiss"

2:20

19.
"The Iron Gauntlet"

1:35

20.
"True Love's Kiss"

2:33

21.
"Maleficent Is Captured"

7:42

22.
"The Queen of Faerieland"

3:25

23.
"Once Upon a Dream"
Jack Lawrence, Sammy Fain
Lana Del Rey
3:20

Total length:
1:11:46

text: Release[edit]

text: The film was originally slated for a March 2014 release, before it was changed to July 2, 2014. On September 18, 2013, the film's release date was bumped up from July 2, 2014 to May 30, due to Pixar's The Good Dinosaur having production problems and delays.[33] In the United Kingdom, the film was released on May 28.[34]

text: Marketing[edit]

text: On August 10, 2013, as part of the live action motion picture panel of the 2013 Disney D23 Expo in the Anaheim Convention Center at Anaheim, California, Disney unveiled its first look of Maleficent by revealing the new logo of the film's title and one-minute clip from the film. Angelina Jolie made a surprise visit to the expo and talked with the attendees about her fascination with Disney's Sleeping Beauty as a child, her working experience with the filmmakers on the film, and her love of Disney. She also remarked on how she scared little girls when she was in costume, makeup, and acting during shooting; this led to the decision of hiring her own daughter, Vivienne Jolie-Pitt, for the role of the young Princess Aurora, since she would not be scared of her own mother during principal photography.[35]

text: Walt Disney Pictures released the teaser poster for Maleficent on November 12, 2013, featuring Jolie in costume and makeup, akin to the character's depiction in the original film.[36][37] The first trailer was released the following day, on November 13. The first teaser trailer was attached to Thor: The Dark World, The Hunger Games: Catching Fire, Frozen, and Vampire Academy: Blood Sisters.[38] Two more trailers were released in January 2014, revealing Maleficent's appearance. A third trailer featured Lana Del Rey singing "Once Upon a Dream".[39] The final trailer was released on March 18, 2014.[40]

text: Starting April 18, 2014, Disney's Hollywood Studios and Disney California Adventure previewed the film inside the ABC Sound Studio and It's Tough to Be a Bug! theaters, respectively.[41] Disney Infinity 2.0 featured Maleficent as a playable figure utilizing the look from the movie.

text: Novel[edit]

text: A tie-in novel was published alongside the movie's release in 2014, written by Elizabeth Rudnick. The novel elaborates on the movie, utilizing a brief prologue detailing Maleficent's birth, early childhood and parentage. The movie never fully elaborates on how the intense hatred amongst men and fairfolk during King Henry's reign came to be, a void the novel fills. The novel also features some different versions of key moments in the film, for example, Stefan angrily smothers King Henry on his deathbed after he declares that he's still unfit to rule even after having brought Maleficent's severed wings to him. Later, Stefan forges a Royal Proclamation declaring himself as the late monarch's chosen successor. Maleficent's encounter with the infant Princess Aurora in the forest also differs from the one in the film, since Aurora does feel afraid of Maleficent after she frightens her away. Some of these ideas had originally been filmed but were either cut or altered during post-production while others may have been dramatic license on the part of the author.[citation needed]

text: Home media[edit]

text: Maleficent was released by Walt Disney Studios Home Entertainment on Blu-ray Disc, DVD, and digital download on November 4, 2014.[42] The film topped the home video sales chart in its first week of release.[43] As of February 2015, Maleficent has made over $74 million in total home video sales.[44]

text: Reception[edit]

text: Box office[edit]

text: Maleficent earned a gross of $241.4 million in the USA & Canada, and $517.1 million in other countries, for a worldwide total of $758.5 million against a budget of $180 million.[3] Calculating in all expenses, Deadline.com estimated that the film made a profit of $190.77 million.[45] Worldwide, in its opening weekend, the film earned $175.5 million,[46][47] $9 million of which was from IMAX locations.[48] It is also the biggest debut among films starring Angelina Jolie,[48] and the actress' highest-grossing film of all time worldwide,[49][50] as well as the fourth-highest-grossing 2014 film (behind Transformers: Age of Extinction, The Hobbit: The Battle of the Five Armies, and Guardians of the Galaxy), and the 15th Disney-distributed film to surpass the $700 million mark at the worldwide box office.[51] The film is also one of four Walt Disney Studios releases in 2014 to gross over $500 million; the other titles being Guardians of the Galaxy, Captain America: The Winter Soldier, and Big Hero 6.[52]

text: In North America, Maleficent earned $4.2 million in Thursday night showings, surpassing the midnight or late-night grosses of previous live-action fantasy films, Alice in Wonderland, Oz the Great and Powerful[53][54] and Snow White and the Huntsman. By the end of its opening day (including late-night Thursday earnings), the film earned $24.3 million, similar to Oz, but ahead of Snow White and the Huntsman and behind Alice.[55] Maleficent finished its debut weekend at first place with $69.4 million[46] ($6.7 million of which was earned from IMAX locations and 35% of which was earned from 3D showings),[56][57] which exceeded Disney's expectations of a $60 million opening[58] and making it the largest opening-weekend performance for a live-action film starring Jolie (a record previously held by her 2008 film Wanted),[56] as well as the third-highest opening weekend for a solo female star (behind the first two films in The Hunger Games series).[59] Disney reported that 46% of ticket buyers in Thursday previews were male,[53] while weekend reports said family audiences accounted for 45% of the film's total audience, and couples and teens accounted for 38% and 18% respectively.[56][58] Female audiences and moviegoers over 25 years old held respective proportions of 60% and 51%.[56] Dave Hollis, head of Walt Disney Studios Motion Pictures, attributed this success to "some momentum and great word-of-mouth."[58] During its first week, the film earned a total of $93.8 million, ahead of Snow White yet behind Oz and Alice.[60] In its second weekend, Maleficent dropped by 50.6% to $34.3 million, finishing in second place.[46] It experienced a smaller second-weekend drop than Snow White,[61][62] yet still bigger than Oz and Alice.[63] In North America, Maleficent is the eighth-highest-grossing 2014 film.[64]

text: Maleficent opened outside North America on the same weekend as North America, earning $20.1 million from 35 territories in its first two days (May 28–29, 2014).[65] During its opening weekend, the film topped the box office with $106.1 million from 47 territories.[47] Its largest opening weekends were in China ($22.2 million),[66] Mexico ($14.0 million) and Russia and the CIS ($13.0 million).[48] On the second weekend of release, Maleficent fell to $61.7 million, earning from 52 markets.[67][68] It was in first place at the box office outside North America on three weekends, its first, third ($39.2 million)[69][70] and fourth ($47.9 million).[71]

text: Maleficent is the fourth-highest-grossing 2014 film,[72] and Angelina Jolie's highest-grossing live-action film.[49] In total earnings, the film's top markets after North America are Japan ($57.6 million), China ($47.7 million), Mexico ($46.2 million), Russia ($37.7 million), Brazil ($33.2 million), the United Kingdom ($31.7 million), Venezuela ($24.5 million) and Italy ($19.1 million).[73] It was also the most watched film at the Maltese box office in 2014, enjoying an eighteen-week run.[74]

text: Commercial analysis[edit]

text: Dave Lewis, writing for HitFix, predicted that although Disney fairy tales and Angelina Jolie's performance might attract audiences, Maleficent would not gross even as much as Oz the Great and Powerful, explaining that the film was released on the same time frame with competitive releases like X-Men: Days of Future Past, Godzilla and A Million Ways to Die in the West,[75] even though it outperformed those films later on. Boxoffice wrote that Maleficent had a successful marketing campaign, featured Jolie in the title role, and its "female-driven" themes and plot aimed at women. However, the site also noted that the film would have to compete with other summer releases, and the character of Maleficent may not attract young children.[76] Todd Cunningham of The Wrap shared the same opinion, writing that "[the film's] connecting with parents and that Jolie's considerable star power is having a big impact."[77][78] Wells Fargo's Marci Ryvicker predicted that Maleficent might be "too dark and scary to be profitable" and was likely to force Disney "into a write-down", as reported by The New York Times; while RBC Capital Markets' David Bank commented that "It's definitely in the 'not a sure thing' bucket."[79][80][81] Wall St. Cheat Sheet explained that the film approached to a more "grown-up" and "sinister" aspect of the classic, and targeted for an older audience like young adults. "It's just too scary for younger children," the site wrote.[82] ScreenRant added that the PG rating of the film would "fill a void in the marketplace, which is currently without a traditional "family friendly" option."[83] Box Office Mojo primarily compared the film with 2012's Snow White and the Huntsman (another film that also focused on a fairy tale villain), predicting that Maleficent "has a good chance" of matching Snow White's gross in North America box office.[84] The film however, ended up grossing double the amount projected.

text: Variety wrote that the film's opening weekend outperforming initial box-office projections was later attributed by analysts in part to Disney's successful marketing to the "potent demographic" (female audiences) much like the studio accomplished with Frozen, in which both films feature a strong female lead.[85] Disney argued that a lack of family-friendly options in the marketplace would "bode well for Maleficent's [box office] performance" in its two first weeks of release.[85]

text: The cost of the film was offset by a rebate from the UK in the amount of £23,535,108 ($37 million in 2012, the period in which it was shot).[86]

text: Critical response[edit]

text: Maleficent received mixed reviews from critics. The film holds a 51% approval rating on the review aggregator website Rotten Tomatoes, based on 211 reviews, with an average score of 5.7/10. The site's consensus reads, "Angelina Jolie's magnetic performance outshines Maleficent's dazzling special effects; unfortunately, the movie around them fails to justify all that impressive effort."[87] On Metacritic, the film has a rating of 56 out of 100, based on 44 critics, indicating "mixed or average reviews."[88] Audiences polled by CinemaScore gave the film an "A" grade on a scale of A+ to F.[89][90] Angelina Jolie's performance in the film has been repeatedly singled out for praise by critics.

text: The New York Times stated, with two shorn wings and an astonishing maternal kiss, "Maleficent" demolishes stereotypes that were only tweaked in "Frozen".[91] Kate Taylor of The Globe and Mail was very positive about the film, writing that "[it] surprises not for its baroque visions of a colourful woodland enlivened by joyous fairies and a forbidding castle peopled by unhappy humans, but rather for the thematic richness of its story gloriously personified by Angelina Jolie in the title role." While criticizing the overuse of CGI and 3D effects, she particularly praised the positive message of the film and Jolie's performance. She concluded her review with "Long live the feminist revisionist backstory."[92] On the contrary, Keith Staskiewicz, writing for the Entertainment Weekly, awarded the film a "B-" and wrote that "there's a lot of levitating cliffs and odd flora. But despite their bleeding-edge digital design, the backgrounds have all the depth of the old matte-painted backgrounds of the analog days," which made the film "[feel] classical in nature." He further commented that "The characters are boiled down to their essentials, the humor is timelessly broad."[93] Michael Philips of the Chicago Tribune gave the film two and a half stars, commenting that the recent "formula" that "a new angle on a well-known fairy tale appears in the light" "works" with Maleficent. He also said that the film "is all about second thoughts", as Maleficent "spends much of the film as Aurora's conflicted fairy godmother." Phillips particularly praised Jolie and Elle Fanning's acting, Rick Baker's makeup (for Jolie's "angular, serrated look"), but criticized James Newton Howard's "sloshy, pushy" musical score.[94] Robbie Collin of The Daily Telegraph wrote, "This Disney reimagining of Sleeping Beauty lacks true enchantment, but Angelina Jolie saves the day."[95] Betsy Sharkey of the Los Angeles Times gave the film a positive review, writing "This is Jolie's film because of the Maleficent she makes. Everyone else, even Aurora, fades in her presence."[96] J.C. Maçek III of PopMatters wrote, "Even at its silliest, Maleficent is a well-acted film, with Sharlto Copley turning in a memorable performance and Elle Fanning proving to be an inspired choice for Aurora/Sleeping Beauty. Jolie manages to steal her own show in most every scene. Jolie is excellent as the hopeful fairy, enjoying the world she flies through. She is also brilliant as the Dark Lady, who could be a perfect counterpart to any Darth Vader, as she malevolently takes her revenge on those who have wronged her."[97]

text: Ann Hornaday of The Washington Post awarded the film three-and-a-half out of four stars, commenting that "Still, for all its limitations, "Maleficent" manages to be improbably entertaining to watch, due solely to its title character."[98] Writing for Roger Ebert's website, Matt Zoller Seitz awarded Maleficent three out of four stars, praising the themes of the film and the acting of Jolie. Seitz also called the scene in which Maleficent discovers the loss of her wings "the most traumatizing image I've seen in a Hollywood fairy tale since the Christ-like sacrifice of Aslan in 2005's The Chronicles of Narnia: The Lion, the Witch and the Wardrobe."[99] The review in The Globe and Mail further explained that "in the simple context of a fairy tale, Jolie does make both the terrifying horned creature and her gradual awakening heartfelt," extolling the "emotional richness" behind her physical acts.[92] Richard Roeper of the Chicago Sun-Times felt more negatively, assigning it a D. Although Roeper praised the visuals, he criticized the acting and writing, stating that "the story itself might well put you into the same type of coma that befalls the heroine."[100] However, some such as Stella Morabito of The Federalist, criticized the film for its negative portrayal of men. According to Morabito, "Maleficent lacks a single complex male character". Morabito also criticized the film for portraying Maleficent as a hero.[101]

text: Mary Costa, who voiced Aurora in the 1959 animated motion picture, called the film, "a very good movie". She added that “the concept and perspective are totally different than the original film’s, which makes it new and interesting." As for Jolie's performance, she said "No one could have played the part of Maleficent better," concluding that "she was absolutely magnificent!”[102]

text: Accolades[edit]

text:
List of awards and nominations

Award / Film Festival
Category
Recipient(s)
Result

87th Academy Awards[103]
Best Costume Design
Anna B. Sheppard
Nominated

Broadcast Film Critics Association[104]
Best Costume Design
Anna B. Sheppard

Best Hair & Makeup

Heartland Film Festival[105]
Truly Moving Picture Award
Robert Stromberg
Won

Hollywood Film Awards[106]
Hollywood Production Design
Dylan Cole and Gary Freeman

Hollywood Music in Media Awards
Original Score - SI-FI/Fantasy Film
James Newton Howard
Nominated

Nickelodeon Mexico Kids' Choice Awards[107]
Favorite movie

People's Choice Awards
Favorite Movie

Won

Favorite Family Movie

Favorite Movie Actress
Angelina Jolie
Nominated

Favorite Action Movie Actress

Phoenix Film Critics Society[108]
Best Live Action Family Film

Best Costume Design
Anna B. Sheppard

Satellite Awards
Best Costume Design
Anna B. Sheppard

Best Art Direction & Production Design
Dylan Cole, Frank Walsh, Gary Freeman

Teen Choice Awards
Choice Movie: Action

Choice Movie Actress: Action
Angelina Jolie

Elle Fanning

45th Annual British Academy Children's Awards[109]
BAFTA Kid's Vote - Film in 2014

Children's Feature Film

Saturn Award[110]
Best Fantasy Film

Best Actress
Angelina Jolie

Best Performance by a Younger Actor
Elle Fanning

Best Costume
Anna B. Sheppard

Kids' Choice Award
Favorite Movie

Favorite Actress
Angelina Jolie

Favorite Villain
Angelina Jolie
Won

Favorite Actress
Elle Fanning
Nominated

Visual Effects Society Awards (VES Awards)[111]
Outstanding Visual Effects in a Visual Effects-Driven Photoreal/Live Action Feature Motion Picture
Carey Villegas, Barrie Hemsley, Adam Valdez, Kelly Port, Michael Dawson

Outstanding Performance of an Animated Character in a Photoreal/Live Action Feature Motion Picture
Darren Hendler, Matthias Wittmann, Jeremy Buttell, Elliot Rosenstein

Hollywood Post Alliance Awards (HPA Awards)[112]
Outstanding Visual Effects – Feature Film
Carey Villegas, Adam Valdez, Seth Maury, Kevin Hahn, David Seager // MPC

text: Themes[edit]

text: Multiple reviewers and commentators have opined that an early scene in the movie, in which Stefan drugs Maleficent and removes her wings from her unconscious body, is a metaphor for rape. Hayley Krischner of The Huffington Post interpreted the scene as an important reference to rape culture: "This is the horrific side of rape culture. We're so enmeshed in it that it's impossible to ignore a metaphoric rape that occurs in a Disney movie". She went on to praise the film for giving a positive and hopeful message to rape victims, ultimately allowing "the woman to recover. It gives her agency. It gives her power. It allows her to reclaim the story".[113] Monika Bartyzel of The Week noted the scene's implications in her review: "In its first act, Maleficent offers a dark, surprisingly adult exploration of rape and female mutilation". However, Bartyzel went on to opine that the film portrayed Maleficent's actions as "a rape revenge fantasy" and criticized the film for not following through on its early subtext, ultimately calling it less feminist and reductive compared to its 1959 counterpart: "In Maleficent, Aurora is the product of a cold and loveless marriage and a vengeful, unhinged rapist. Her safety relies on a trio of clueless and dangerously careless fairies, and her Godmother is the woman who cursed her — and who had, in turn, been violated by her own father".[114] Angelina Jolie addressed the issue during an interview with BBC Radio 4 on the Woman's Hour programme and claimed that the subtext was intentional: "The question was asked: 'What could make a woman become so dark and lose all sense of her maternity, her womanhood, and her softness?' [...] We were very conscious, the writer and I, that [the scene] was a metaphor for rape". She further explained that the answer to the question "What could bring her back?" was still "an extreme Disney, fun version [of the story]", but "at the core it is abuse, and how the abused then have a choice of abusing others or overcoming and remaining loving, open people".[115][116]

text: Jordan Shapiro of Forbes argued that the film's main subtext was the detrimental effects of ultimatums between capitalist and socialist societies. He pointed out that the Moors represented a socialist, nature-oriented, democratic society while the human kingdom was one of capitalism, industry and absolute monarchy. Shapiro further commented that the character of Stefan, his theft of the Moors' riches (the jewel) and his mutilation of Maleficent's wings for the sake of his ambition were references to the American Dream. He conceived the wing-tearing scene as "a social commentary that any hierarchical rise to power inherently happens through the exploitation of others", explaining that it was the reason why "without her wings, Maleficent also becomes an oppressive ruler of the Moors. Everything she represents, believes and stands for has been grounded", and "like most victims of oppression", "she takes it out on those who are smaller and weaker". He concluded that through the merge of the two kingdoms at the end of the film, it sought to weave together capitalism and socialism and let go oppositions: "It is time to leave the kingdom of familiar partisan oppositions: let's replace either/or with neither/nor or both/and".[117]

text: Sequel[edit]

text: On June 3, 2014, Angelina Jolie hinted about the possibility of a sequel.[118] On June 15, 2015, Disney announced the sequel with Linda Woolverton returning to write the screenplay and Joe Roth to produce the film.[119] On April 26, 2016, it was confirmed that Jolie would reprise her role as Maleficent.[120] On August 30, 2017, Disney hired screenwriter Jez Butterworth to re-write the initial script by Woolverton.[121] On October 3, 2017, it was reported that Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales) is in talks on directing the sequel.[122] In January 2018, it was reported that the sequel would start filming in April 2018.[123]


document_title: List of Better Call Saul episodes

question_text: how many episodes in better call saul season 2

text: List of Better Call Saul episodes

text: Series overview[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
10
February 8, 2015 (2015-02-08)
April 6, 2015 (2015-04-06)

2
10
February 15, 2016 (2016-02-15)
April 18, 2016 (2016-04-18)

3
10
April 10, 2017 (2017-04-10)
June 19, 2017 (2017-06-19)

text: Episodes[edit]

text: Season 1 (2015)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

1
1
"Uno"
Vince Gilligan
Vince Gilligan & Peter Gould
February 8, 2015 (2015-02-08)
6.88[3]

2
2
"Mijo"
Michelle MacLaren
Peter Gould
February 9, 2015 (2015-02-09)
3.42[4]

3
3
"Nacho"
Terry McDonough
Thomas Schnauz
February 16, 2015 (2015-02-16)
3.23[5]

4
4
"Hero"
Colin Bucksey
Gennifer Hutchison
February 23, 2015 (2015-02-23)
2.87[6]

5
5
"Alpine Shepherd Boy"
Nicole Kassell
Bradley Paul
March 2, 2015 (2015-03-02)
2.71[7]

6
6
"Five-O"
Adam Bernstein
Gordon Smith
March 9, 2015 (2015-03-09)
2.57[8]

7
7
"Bingo"
Larysa Kondracki
Gennifer Hutchison
March 16, 2015 (2015-03-16)
2.67[9]

8
8
"RICO"
Colin Bucksey
Gordon Smith
March 23, 2015 (2015-03-23)
2.87[10]

9
9
"Pimento"
Thomas Schnauz
Thomas Schnauz
March 30, 2015 (2015-03-30)
2.38[11]

10
10
"Marco"
Peter Gould
Peter Gould
April 6, 2015 (2015-04-06)
2.53[12]

text: Season 2 (2016)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

11
1
"Switch"
Thomas Schnauz
Thomas Schnauz
February 15, 2016 (2016-02-15)
2.57[13]

12
2
"Cobbler"
Terry McDonough
Gennifer Hutchison
February 22, 2016 (2016-02-22)
2.23[14]

13
3
"Amarillo"
Scott Winant
Jonathan Glatzer
February 29, 2016 (2016-02-29)
2.20[15]

14
4
"Gloves Off"
Adam Bernstein
Gordon Smith
March 7, 2016 (2016-03-07)
2.20[16]

15
5
"Rebecca"
John Shiban
Ann Cherkis
March 14, 2016 (2016-03-14)
1.99[17]

16
6
"Bali Ha'i"
Michael Slovis
Gennifer Hutchison
March 21, 2016 (2016-03-21)
2.11[18]

17
7
"Inflatable"
Colin Bucksey
Gordon Smith
March 28, 2016 (2016-03-28)
2.03[19]

18
8
"Fifi"
Larysa Kondracki
Thomas Schnauz
April 4, 2016 (2016-04-04)
1.93[20]

19
9
"Nailed"
Peter Gould
Peter Gould
April 11, 2016 (2016-04-11)
2.06[21]

20
10
"Klick"
Vince Gilligan
Heather Marion & Vince Gilligan
April 18, 2016 (2016-04-18)
2.26[22]

text: Season 3 (2017)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

21
1
"Mabel"
Vince Gilligan
Vince Gilligan & Peter Gould
April 10, 2017 (2017-04-10)
1.81[23]

22
2
"Witness"
Vince Gilligan
Thomas Schnauz
April 17, 2017 (2017-04-17)
1.46[24]

23
3
"Sunk Costs"
John Shiban
Gennifer Hutchison
April 24, 2017 (2017-04-24)
1.52[25]

24
4
"Sabrosito"
Thomas Schnauz
Jonathan Glatzer
May 1, 2017 (2017-05-01)
1.56[26]

25
5
"Chicanery"
Daniel Sackheim
Gordon Smith
May 8, 2017 (2017-05-08)
1.76[27]

26
6
"Off Brand"
Keith Gordon
Ann Cherkis
May 15, 2017 (2017-05-15)
1.72[28]

27
7
"Expenses"
Thomas Schnauz
Thomas Schnauz
May 22, 2017 (2017-05-22)
1.65[29]

28
8
"Slip"
Adam Bernstein
Heather Marion
June 5, 2017 (2017-06-05)
1.63[30]

29
9
"Fall"
Minkie Spiro
Gordon Smith
June 12, 2017 (2017-06-12)
1.47[31]

30
10
"Lantern"
Peter Gould
Gennifer Hutchison
June 19, 2017 (2017-06-19)
1.85[32]

text: Ratings[edit]

text:
Season
Ep. 1
Ep. 2
Ep. 3
Ep. 4
Ep. 5
Ep. 6
Ep. 7
Ep. 8
Ep. 9
Ep. 10

1
6.88
3.42
3.23
2.87
2.71
2.57
2.67
2.87
2.38
2.53

2
2.57
2.23
2.20
2.20
1.99
2.11
2.03
1.93
2.06
2.26

3
1.81
1.46
1.52
1.56
1.76
1.72
1.65
1.63
1.47
1.85


document_title: List of Washington Capitals seasons

question_text: when was the last time the capitals made it to the finals

text: List of Washington Capitals seasons

text: Table key[edit]

text:
Key of colors and symbols

Color/symbol
Explanation

Stanley Cup champions

Conference champions

Division champions

Led league in points

text:
Key of terms and abbreviations

Term or abbreviation
Definition

Finish
Final position in division standings

GA
Goals against (goals scored by the Capitals' opponents)

GF
Goals for (goals scored by the Capitals)

GP
Number of games played

L
Number of losses

OT
Number of losses in overtime (since the 1999–2000 season)

Pts
Number of points

T
Number of ties

W
Number of wins

—
Does not apply

text: Year by year[edit]

text:
Year by year listing of all seasons played by the Washington Capitals

NHL season
Capitals season
Conference
Division
Regular season[4][5]
Postseason

Finish
GP
W
L
T
OT
Pts
GF
GA
GP
W
L
GF
GA
Result

1974–75
1974–75
Wales
Norris
5th
80
8
67
5
—
21
181
446
—
—
—
—
—
Did not qualify

1975–76
1975–76
Wales
Norris
5th
80
11
59
10
—
32
224
394
—
—
—
—
—
Did not qualify

1976–77
1976–77
Wales
Norris
4th
80
24
42
14
—
62
221
307
—
—
—
—
—
Did not qualify

1977–78
1977–78
Wales
Norris
5th
80
17
49
14
—
48
195
321
—
—
—
—
—
Did not qualify

1978–79
1978–79
Wales
Norris
4th
80
24
41
15
—
63
273
338
—
—
—
—
—
Did not qualify

1979–80
1979–80
Wales
Patrick
5th
80
27
40
13
—
67
261
293
—
—
—
—
—
Did not qualify

1980–81
1980–81
Wales
Patrick
5th
80
26
36
18
—
70
286
317
—
—
—
—
—
Did not qualify

1981–82
1981–82
Wales
Patrick
5th
80
26
41
13
—
65
319
338
—
—
—
—
—
Did not qualify

1982–83
1982–83
Wales
Patrick
3rd
80
39
25
16
—
94
306
283
4
1
3
11
19
Lost Division Semifinals to New York Islanders, 1–3[6]

1983–84
1983–84
Wales
Patrick
2nd
80
48
27
5
—
101
308
226
8
4
4
28
25
Won Division Semifinals vs. Philadelphia Flyers, 3–0
Lost Division Finals to New York Islanders, 1–4[7]

1984–85
1984–85
Wales
Patrick
2nd
80
46
25
9
—
101
322
240
5
2
3
12
14
Lost Division Semifinals to New York Islanders, 2–3[8]

1985–86
1985–86
Wales
Patrick
2nd
80
50
23
7
—
107
315
272
9
5
4
36
24
Won Division Semifinals vs. New York Islanders, 3–0
Lost Division Finals to New York Rangers, 2–4[9]

1986–87
1986–87
Wales
Patrick
2nd
80
38
32
10
—
86
285
278
7
3
4
19
19
Lost Division Semifinals to New York Islanders, 3–4[10]

1987–88
1987–88
Wales
Patrick
2nd
80
38
33
9
—
85
281
249
14
7
7
54
50
Won Division Semifinals vs. Philadelphia Flyers, 4–3
Lost Division Finals to New Jersey Devils, 3–4[11]

1988–89
1988–89
Wales
Patrick
1st
80
41
29
10
—
92
305
259
6
2
4
18
25
Lost Division Semifinals to Philadelphia Flyers, 2–4[12]

1989–90
1989–90
Wales
Patrick
3rd
80
36
38
6
—
78
284
275
15
8
7
49
48
Won Division Semifinals vs. New Jersey Devils, 4–2
Won Division Finals vs. New York Rangers, 4–1
Lost Conference Finals to Boston Bruins, 0–4[13]

1990–91
1990–91
Wales
Patrick
3rd
80
37
36
7
—
81
258
258
11
5
6
29
35
Won Division Semifinals vs. New York Rangers, 4–2
Lost Division Finals to Pittsburgh Penguins, 1–4[14]

1991–92
1991–92
Wales
Patrick
2nd
80
45
27
8
—
98
330
275
7
3
4
27
25
Lost Division Semifinals to Pittsburgh Penguins, 3–4[15]

1992–93
1992–93[a]
Wales
Patrick
2nd
84
43
34
7
—
93
325
286
6
4
2
15
23
Lost Division Semifinals to New York Islanders, 2–4[16]

1993–94
1993–94
Eastern[b]
Atlantic
3rd
84
39
35
10
—
88
277
263
11
5
6
32
32
Won Conference Quarterfinals vs. Pittsburgh Penguins, 4–2
Lost Conference Semifinals to New York Rangers, 1–4[17]

1994–95
1994–95[c]
Eastern
Atlantic
2nd
48
22
18
8
—
52
136
120
7
3
4
10
17
Lost Conference Quarterfinals to Pittsburgh Penguins, 3–4[18]

1995–96
1995–96
Eastern
Atlantic
4th
82
39
32
11
—
89
234
204
6
2
4
17
21
Lost Conference Quarterfinals to Pittsburgh Penguins, 2–4[19]

1996–97
1996–97
Eastern
Atlantic
5th
82
33
40
9
—
75
214
231
—
—
—
—
—
Did not qualify

1997–98
1997–98
Eastern
Atlantic
3rd
82
40
30
12
—
92
219
202
21
12
9
53
44
Won Conference Quarterfinals vs. Boston Bruins, 4–2
Won Conference Semifinals vs. Ottawa Senators, 4–1
Won Conference Finals vs. Buffalo Sabres, 4–2
Lost Stanley Cup Finals to Detroit Red Wings, 0–4[20]

1998–99
1998–99
Eastern
Southeast[g]
3rd
82
31
45
6
—
68
200
218
—
—
—
—
—
Did not qualify

1999–2000
1999–2000
Eastern
Southeast
1st
82
44
24
12
2[d]
102
227
194
5
1
4
6
15
Lost Conference Quarterfinals to Pittsburgh Penguins, 1–4[21]

2000–01
2000–01
Eastern
Southeast
1st
82
41
27
10
4
96
233
211
6
2
4
10
14
Lost Conference Quarterfinals to Pittsburgh Penguins, 2–4[22]

2001–02
2001–02
Eastern
Southeast
2nd
82
36
33
11
2
85
228
240
—
—
—
—
—
Did not qualify

2002–03
2002–03
Eastern
Southeast
2nd
82
39
29
8
6
92
224
220
6
2
4
15
14
Lost Conference Quarterfinals to Tampa Bay Lightning, 2–4[23]

2003–04
2003–04
Eastern
Southeast
5th
82
23
46
10
3
59
186
253
—
—
—
—
—
Did not qualify

2004–05[e]
2004–05
Eastern
Southeast
Season cancelled due to 2004–05 NHL lockout

2005–06
2005–06
Eastern
Southeast
5th
82
29
41
—[f]
12
70
237
306
—
—
—
—
—
Did not qualify

2006–07
2006–07
Eastern
Southeast
5th
82
28
40
—
14
70
235
286
—
—
—
—
—
Did not qualify

2007–08
2007–08
Eastern
Southeast
1st
82
43
31
—
8
94
242
231
7
3
4
20
23
Lost Conference Quarterfinals to Philadelphia Flyers, 3–4[24]

2008–09
2008–09
Eastern
Southeast
1st
82
50
24
—
8
108
272
245
14
7
7
41
38
Won Conference Quarterfinals vs. New York Rangers, 4–3
Lost Conference Semifinals to Pittsburgh Penguins, 3–4[25]

2009–10
2009–10
Eastern
Southeast
1st
82
54
15
—
13
121
318
233
7
3
4
22
20
Lost Conference Quarterfinals to Montreal Canadiens, 3–4[26]

2010–11
2010–11
Eastern
Southeast
1st
82
48
23
—
11
107
224
197
9
4
5
23
24
Won Conference Quarterfinals vs. New York Rangers, 4–1
Lost Conference Semifinals to Tampa Bay Lightning, 0–4[27]

2011–12
2011–12
Eastern
Southeast
2nd
82
42
32
—
8
92
222
230
14
7
7
28
30
Won Conference Quarterfinals vs. Boston Bruins, 4-3
Lost Conference Semifinals to New York Rangers, 3–4[28]

2012–13[h]
2012–13
Eastern
Southeast
1st
48
27
18
—
3
57
149
130
7
3
4
13
15
Lost Conference Quarterfinals to New York Rangers, 3–4[29]

2013–14
2013–14
Eastern
Metropolitan[i]
5th
82
38
30
—
14
90
235
240
—
—
—
—
—
Did not qualify

2014–15
2014–15
Eastern
Metropolitan
2nd
82
45
26
—
11
101
242
203
14
7
7
28
28
Won First Round vs. New York Islanders, 4–3
Lost Second Round to New York Rangers, 3–4[30]

2015–16
2015–16
Eastern
Metropolitan
1st
82
56
18
—
8
120
252
193
12
6
6
29
22
Won First Round vs. Philadelphia Flyers, 4–2
Lost Second Round to Pittsburgh Penguins, 2–4[31]

2016–17
2016–17
Eastern
Metropolitan
1st
82
55
19
—
8
118
263
182
13
7
6
36
34
Won First Round vs. Toronto Maple Leafs, 4–2
Lost Second Round to Pittsburgh Penguins, 3–4

2017–18
2017–18
Eastern
Metropolitan
1st
82
49
26
—
7
105
259
239
24
16
8
86
61
Won First Round vs. Columbus Blue Jackets 4–2
Won Second Round vs. Pittsburgh Penguins 4–2
Won Conference Finals vs. Tampa Bay Lightning 4–3
Won Stanley Cup Finals vs. Vegas Golden Knights 4–1

Totals[32][33]
3426
1575
1406
303
142
3595
10750
10861
275
132
143
793
776

text: Notes[edit]

text:
a In 1992, the NHL expanded the season to 84 games, and each team played two games at a neutral site. After the 1995 lockout, the neutral site games were eliminated, and the season was reduced to 82 games.[34]
b The NHL realigned into Eastern and Western conferences prior to the 1993–94 season.[35] Washington was placed in the Atlantic Division of the Eastern Conference.[36]
c The season was shortened to 48 games because of the 1994–95 NHL lockout.[37]
d Beginning with the 1999–00 season, teams received one point for losing a regular season game in overtime.[38]
e The season was canceled because of the 2004–05 NHL lockout.[39]
f Before the 2005–06 season, the NHL instituted a penalty shootout for regular season games that remained tied after a five-minute overtime period, which prevented ties.[40]
g The NHL added 4 expansion teams prior to the 1998–99 season and split the Eastern Conference into three divisions: Northeast, Atlantic, and Southeast. Washington was moved into the new Southeast division.[41]
h The season was shortened to 48 games because of the 2012–13 NHL lockout.[42]
i The NHL realigned prior to the 2013–14 season. Washington was placed in the Metropolitan Division of the Eastern Conference.[43]


document_title: I Will Always Love You

question_text: who did dolly parton sing i will always love you for

text: I Will Always Love You

text: Dolly Parton original version[edit]

text: Background and composition[edit]

text:
"I Will Always Love You"

An 18 second sample of Parton's 1982 recording of "I Will Always Love You".

Problems playing this file? See media help.

text: Country music singer-songwriter Dolly Parton wrote the song in 1973 for her one-time partner and mentor Porter Wagoner, from whom she was separating professionally after a seven-year partnership.[8][9] She recorded it in RCA's Studio B in Nashville on June 13, 1973.[2] "I Will Always Love You" was issued on June 6, 1974, as the second single from Parton's thirteenth solo studio album, Jolene (1974). In 1982, Parton re-recorded the song, when it was included on the soundtrack to the film The Best Little Whorehouse in Texas.[10] In addition to the 1982 re-recording for the soundtrack album, Parton's original 1974 recording of the song also appeared in Martin Scorsese's film Alice Doesn't Live Here Anymore, and the 1996 film It's My Party. The song also won Parton Female Vocalist of the Year at the 1975 CMA Awards.

text: Author Curtis W. Ellison stated that the song "speaks about the breakup of a relationship between a man and a woman that does not descend into unremitting domestic turmoil, but instead envisions parting with respect – because of the initiative of the woman".[1] According to sheet music published at musicnotes.com by Hal Leonard Corporation, the country love track is set in a time signature of common time with a tempo of 66 beats per minute. (Larghetto/Adagio)[11] Although Parton found much success with the song, many people are unaware of its origin; during an interview, Parton's manager Danny Nozel said that "one thing we found out from American Idol is that most people don't know that Dolly Parton wrote [the track]".[12]

text: Reception[edit]

text: During its original release in 1974, "I Will Always Love You" reached number four in Canada on the Canadian RPM Country Tracks chart and peaked at number one on the Billboard Hot Country Songs chart, becoming one of the best selling singles of 1974.[13]

text: When Parton re-recorded the song in 1982 for the soundtrack of the film The Best Little Whorehouse in Texas, the track was issued as a single and once again charted at number one on Hot Country Songs — making her the first artist ever to earn a number one record twice with the same song.[1] After recording a duet with Vince Gill in 1995, "I Will Always Love You" re-entered the Billboard chart and peaked at number 15.[14] Another duet version of the song was released in 2017 with Michael Bolton from his album Songs of Cinema.

text: When the 1974 recording of the song was reaching number one on the country charts, Elvis Presley indicated that he wanted to cover the song. Parton was interested until Presley's manager, Colonel Tom Parker, told her that it was standard procedure for the songwriter to sign over half of the publishing rights to any song Elvis recorded.[15] Parton refused. She recalls:

text: I said, 'I'm really sorry,' and I cried all night. I mean, it was like the worst thing. You know, it's like, Oh, my God … Elvis Presley.' And other people were saying, 'You're nuts. It's Elvis Presley.' ...I said, 'I can't do that. Something in my heart says, 'Don't do that. And I just didn't do it... He would have killed it. But anyway, so he didn't. Then when Whitney [Houston's version] came out, I made enough money to buy Graceland.[16]

text: Critical reception[edit]

text: In Curtis W. Ellison's book Country Music Culture: From Hard Times to Heaven (1995), he stated: "In the early 1990s, when ambiguity in romantic relationships accompanies changing expectations for both men and women, this song demonstrates Dolly Parton's appeal as a songwriter in the pop music market."[1] Ken Knight, author of The Midnight Show: Late Night Cable-TV "Guy-Flicks" of the '80s (2008), commented that Parton is the only singer who can sing "I Will Always Love You" and "make it memorable".[17] Writer Paul Simpson criticized the singer, stating that the track was only written to "soften the blow" of Parton and Wagoner's split.[18]

text: Track listing[edit]

text: 7" vinyl[2]

text:
"I Will Always Love You" – 2:53
"Lonely Comin' Down" – 3:09

tag: ol

text: Credits and personnel[edit]

text:
Dolly Parton – vocals, guitar
Jimmy Colvard – guitar
Chip Young – guitar
Stu Basore – pedal steel guitar
Bobby Dyson – bass
Larrie Londin – drums
Ralph Gallant – drums
Buck Trent – banjo
Bobby Thompson – banjo
Mack Magaha – fiddle
Johnny Gimble – fiddle
Hargus "Pig" Robbins – piano
Dolores Edgin – background vocals
Hershel Winginton – background vocals
Joe Babcock – background vocals
June Page – background vocals

text: Charts[edit]

text:
Weekly Chart (1974)
Peak
position

Canada Country Tracks (RPM) [19]
4

US Hot Country Songs (Billboard)[14]
1

Weekly Chart (1982)

Australia (Kent Music Report)[20]
72

Canada Top Singles (RPM)[19]
8

Canada Adult Contemporary (RPM)[19]
2

Canada Country Tracks (RPM)[19]
1

US Billboard Hot 100[21]
53

US Adult Contemporary (Billboard)[22]
17

US Hot Country Songs (Billboard)[14]
1

Weekly Chart (1995)

Canada Country Tracks (RPM)[19]
22

US Hot Country Songs (Billboard)[14]
15

text: Controversy[edit]

text: After Whitney Houston's recording of the song became a hit in 1992, the tabloid press began reporting on a 'feud' between the two performers, stemming from Dolly Parton allegedly reneging on an agreement that she would not perform the song for a number of months while Houston's version was on the charts, so as not to compete with Houston's recording. However, both Parton and Houston dispelled any rumors speaking glowingly of one another in interviews.[23][24] Houston praised Parton for writing a beautiful song. In return, Parton thanked Houston for bringing her song to a wider audience and increasing the amount of royalties for her song in the process. Dolly Parton also gave a live interview, confirming this.

text: When Houston won the Record of the Year award at the 1994 Grammy Awards for the recording, Parton (along with David Foster) presented her with the award.

text: In a statement to Billboard on the day of Houston's death in February 2012, Parton said:

text: Mine is only one of the millions of hearts broken over the death of Whitney Houston. I will always be grateful and in awe of the wonderful performance she did on my song and I can truly say from the bottom of my heart, 'Whitney, I will always love you. You will be missed.'[25]

text: Whitney Houston cover version[edit]

text:
"I Will Always Love You"

US CD single

Single by Whitney Houston

from the album The Bodyguard: Original Soundtrack Album

B-side

"Jesus Loves Me"
"Do You Hear What I Hear?"

Released
November 3, 1992 (1992-11-03)

Format

CD single
cassette single
7" single
12" single

Recorded
Spring 1992

Genre
Pop

Length
4:31

Label
Arista

Songwriter(s)
Dolly Parton

Producer(s)
David Foster

Whitney Houston singles chronology

"We Didn't Know"
(1992)
"I Will Always Love You"
(1992)
"I'm Every Woman"
(1993)

"We Didn't Know"
(1992)
"I Will Always Love You"
(1992)
"I'm Every Woman"
(1993)

Audio sample

file
help

The Bodyguard: Original Soundtrack Album track listing

"I Will Always Love You"
(1)
"I Have Nothing"
(2)

Music video

"I Will Always Love You" on YouTube

text: Background[edit]

text: In 1992, R&B singer Whitney Houston recorded a new arrangement of "I Will Always Love You" for the soundtrack to The Bodyguard, her film debut. She was originally to record Jimmy Ruffin's "What Becomes of the Brokenhearted" as the lead single from The Bodyguard. However, when it was discovered the song was to be used for Fried Green Tomatoes, Houston requested a different song. It was her co-star Kevin Costner who suggested "I Will Always Love You", playing her Linda Ronstadt's 1975 version from her album Prisoner in Disguise.[26][27] Producer David Foster re-arranged the song as an R&B ballad. Her record company did not feel a song with an a cappella introduction would be as successful; however, Houston and Costner insisted on retaining it. When Parton heard that Houston was using Ronstadt's recording as a template, she called Foster to give him the final verse, which was missing from the Ronstadt recording, as she felt it was important to the song. The tenor saxophone solo was played by Kirk Whalum. Whitney Houston's recording is not the only version of the song featured in the movie. In a scene where she dances with Kevin Costner, a version by John Doe can be heard playing on a jukebox.

text: Houston's version appears at No. 9 on NME's Greatest No 1 Singles in History list.[28] In 2004, Houston's version of "I Will Always Love You" finished at #65 on AFI's 100 Years...100 Songs survey of top tunes in American cinema.[29] It was also ranked at number 22 on The Guardian's list of Britain's favorite 100 songs, published in May 2002.[30] In February 2014, the song was placed at number six on Billboard's list of the Top 50 'Love' Songs of All Time.[31]

text: A live performance was included on the 1999 release Divas Live '99, and on the 2014 CD/DVD release of Whitney Houston Live: Her Greatest Performances, a 1994 performance of the song was included as well.[32]

text: Reception[edit]

text: The single spent 14 weeks at the top of the US Billboard Hot 100, which at the time was a record.[33][34] It became Houston's longest run at number one, surpassing her previous record of three weeks with the "Greatest Love of All" in 1986. It is also the longest running number one single from a soundtrack album.

text: It debuted at number 40 on the Billboard Hot 100, and became Houston's tenth number one entry two weeks later. It also dominated other Billboard charts, spending 14 weeks at the top of Billboard Hot 100 Single Sales chart, and 11 weeks at number one on its Hot 100 Airplay chart. The song also remained at number one for five weeks on the Hot Adult Contemporary Tracks, and for 11 weeks on the Hot R&B Singles chart becoming the longest running number one on the R&B charts at the time; it remained in the top 40 for 24 weeks.[35][36][37] It became Arista Records' biggest hit. The song was number one on the Hot 100, Adult Contemporary, and R&B chart simultaneously for a record-equaling five weeks; Ray Charles' "I Can't Stop Loving You" in 1962 achieved the same feat on the same charts.[38]

text: The song stayed at number one in the United States throughout January and February 1993, making it the first time Billboard did not rank a new number one single until March of the new year. Houston's "I Will Always Love You" was also the year-end single of 1993 in the US.[39] Similarly, in the UK, Houston's version was ranked the number one single of 1992, and then made the countdown again in 1993 where it was ranked number nine, marking the first time any artist or group had the same single ranked in the top 10 of the year-end review two years in a row.[40] In Australia, it was the number 17 single of 1992 and the number two song of 1993.[41][42]

text: Houston's single was also an international success, peaking at number one of the singles charts in almost all countries, including the Eurochart Hot 100 Singles, where it spent 13 weeks at the top. The single ruled the summit position for ten weeks in Australia,[43] five weeks in Austria,[44] seven weeks for Belgium,[45] eight weeks in France,[46] six weeks in Germany,[47] eight weeks in Ireland,[48] two weeks in Italy,[49] six weeks in Netherlands,[50] 11 weeks in New Zealand,[51] nine weeks in Norway,[52] one week in Spain, six weeks in Sweden,[53] eight weeks in Switzerland,[54] and ten weeks in the United Kingdom.[55] Houston's 10-week reign in the UK set the record for the longest run at the top by a solo female artist in the history of the British singles chart.[56][57][58] It is the only single to have topped the United States, the United Kingdom, and Australian singles charts for at least ten weeks.[34][43][55]

text: Only a few hours after Houston's death on February 11, 2012, "I Will Always Love You" topped the US iTunes charts. Also, in the week following her death, the single returned to the Billboard Hot 100 after almost 20 years, debuting at number 7, and becoming a posthumous top-ten single for Houston, the first one since 2001. The song eventually peaked at No. 3, two spots shy of becoming the first song to return to the No. 1 position after falling off the chart since "The Twist" by Chubby Checker.[59] It debuted on the Billboard Hot Digital Singles Chart at number 3 on the chart dated February 25, 2012, with over 195,000 copies downloaded.[60] In the United Kingdom, the song charted at number 10 the week of Houston's death.[61]

text: Commercial performance[edit]

text: Houston's single sold approximately 400,000 copies in its second week at the top of the charts, making it the best-selling song in a single week surpassing Bryan Adams' "(Everything I Do) I Do It for You". It broke its own record in the following three weeks, peaking at 632,000 copies in the week ending December 27, 1992. The January 9, 1993 issue of Billboard reported it had broken its own record for most copies sold in a single week for any song in the Nielsen SoundsScan era. This record was broken by Elton John's "Candle in the Wind 1997/Something About the Way You Look Tonight", which sold 3.4 million in the final week of September 1997.[62] "I Will Always Love You" was certified four times Platinum in the US for shipments of over 4 million copies by the Recording Industry Association of America (RIAA) on January 12, 1993, making Houston the first female artist with a single to reach that level in RIAA history.[63][64] According to Nielsen SoundScan, as of 2009, the single had sold 4,591,000 copies, and had become the second best-selling physical single in US alone, only behind Elton John's single in 1997.[65]

text: In the United Kingdom, the single sold over 1,550,000 copies, becoming the tenth best-selling single of the 1990s, and was certified two times Platinum by the British Phonographic Industry (BPI) on January 1, 1993.[66][67][68] It was certified Platinum for shipments of over 500,000 copies by the Bundesverband Musikindustrie (BVMI) in Germany.[69] In Japan, "I Will Always Love You" sold over 810,000 copies, staying for 27 weeks on the chart, and became the best-selling single by a foreign female artist at the time, despite not topping the charts.[70][71]

text: Critical reception[edit]

text: Houston's version was later called her "signature song". Stephen Holden of The New York Times said it was a "magnificent rendition", commenting

text: Houston transforms a plaintive country ballad into a towering pop-gospel assertion of lasting devotion to a departing lover. Her voice breaking and tensing, she treats the song as a series of emotional bursts in a steady climb toward a final full-out declamation. Along the way, her virtuosic gospel embellishments enhance the emotion and never seem merely ornamental.[72]

text: Writing for USA Today on November 17, 1992, James T. Jones IV called it a "tour-de-force", and added "[Houston] gives a 3 1⁄2-star [out of four] performance. Where Dolly Parton's original 'I Will Always Love You' was plaintive and tear- stained, Houston's is gospel-infused and dramatic."[73] Chris Willman of the Los Angeles Times stated: "Houston has the goods to deliver on the tune's haunting beauty and resists overpowering it – until the finale, when the key change and stratospheric notes drain all the heart-rending sadness out of the song and make it sound like just another anthem of survival."[74] Amy Linden of Entertainment Weekly wrote Houston's version "is artistically satisfying and uncharacteristically hip for the MOR songbird."[75] Stewart Mason of AllMusic found Houston's cover "repulsively overwrought... so boomingly bombastic and glutinous with self-approbation that the tenderness of Dolly Parton's song is lost in the mire".[76]

text: Accolades[edit]

text: "I Will Always Love You" won the 1994 Grammy Award for Record of the Year, and Grammy Award for Best Female Pop Vocal Performance, her third award for this category after earlier awards in 1986 and 1988. During the Grammy Award telecast, the Grammy Award for Best Pop Vocal Performance, Female was presented to Houston by composer Dolly Parton and David Foster. The single topped the 1993 Billboard Hot 100 and Hot R&B Singles year-end charts simultaneously, becoming the first single by a female artist and the second overall to achieve that feat behind Prince's "When Doves Cry" in 1984. In addition, it received Favorite Pop/Rock Single and Favorite Soul/R&B Single awards at the 21st American Music Awards, which was the first record by a solo female artist to win both categories, and the third overall in AMA history behind "Endless Love" by Lionel Richie & Diana Ross in 1982 and "Beat It" by Michael Jackson in 1984. "I Will Always Love You" won two Japan Gold Disc Awards in 1993 for International Song of the Year, and a 1994 International Song of the Year Special Award for Japanese sales of over one million units.[77]

text: In 2015, "I Will Always Love You" was named the #1 Song of the Rock Era in the book The Top 500 Songs of the Rock Era: 1955-2015.[78]

text:
Year
Awards ceremony
Award description(s)
Results

1993
The 19th People's Choice Awards
Favorite New Music Video[79]
Won

The 7th Soul Train Music Awards
Best R&B/Soul Single, Female[80]
Won

The 7th Japan Gold Disc Awards
Song of the Year (International)[81]
Won

The 2nd MTV Movie Awards
Best Song from a Movie[82][83]
Won

The 4th Billboard Music Awards
#1 Hot 100 Single (Hot 100 Single of the Year)[84][85]
Won

#1 Hot R&B Single (R&B Single of the Year)[84][85]
Won

Special Award: Single Most Weeks at No. 1 (14 weeks)[84][85]
Won

No. 1 World Single[84][85]
Won

No. 1 Hot 100 Singles Sales[84]
Won

No. 1 Hot R&B Singles Sales[84]
Won

1994
The 21st American Music Awards
Favorite Pop/Rock Single[86]
Won

Favorite Soul/R&B Single[86]
Won

36th Grammy Awards
Record of the Year[87]
Won

Best Pop Vocal Performance, Female[87]
Won

The 8th Soul Train Music Awards
Best R&B Song of the Year[88][89]
Won

The 8th Japan Gold Disc Awards
Special Award[81]
Won

text: Music video[edit]

text: The single's music video, is credited to Alan Smithee (Nick Brandt removed his name due to the way Clive Davis re-edited the video), and produced by Rob Newman. It begins with the performance of the song Houston gives at the end of The Bodyguard. The video then cuts to Houston in a dark blue suit sitting in an empty theater with the spotlight shining on her, singing of her love. The video is inter-cut with scenes from The Bodyguard and gives the viewer the experience of reliving the moments with the singer. At the time of the video's shooting Houston was pregnant with her daughter Bobbi Kristina so is shown only sitting in the theater scenes.[90]

text: Formats and track listings[edit]

text:
'UK / Europe 12" vinyl single[91][92]

A "I Will Always Love You" ― 4:31
B1 "Jesus Loves Me" ― 5:11
B2 "Do You Hear What I Hear?" ― 3:31

UK / Europe / US 7" vinyl single[93][94][95]

A "I Will Always Love You" ― 4:31
B "Jesus Loves Me" ― 5:11

US / Europe Maxi-CD single[96][97]

"I Will Always Love You" ― 4:31
"Jesus Loves Me" ― 5:11
"Do You Hear What I Hear?" ― 3:31

Maxi-CD singles (1999 Remixes)

"I Will Always Love You" (Hex Hector Radio Edit) ― 4:50
"I Will Always Love You" (Hex Hector 12" Club Mix) ― 9:51
"I Will Always Love You" (Hex Hector Anthem Dub Mix) – 5:44

text: Credits and personnel[edit]

text:
Performed by Whitney Houston
Produced and arranged by David Foster
Vocal arrangement – Whitney Houston
Directed by Rickey Minor
Keyboards – David Foster
Sax solo – Kirk Whalum
Drums – Ricky Lawson
Guitars – Dean Parks, Michael Landau
Bass – Neil Stubenhaus
Synth programmers – Tony Smith, Claude Gaudette
String arrangements – Ronn Huff
Recording engineers – Bill Schnee, Dave Reitzas, Peter J. Yianilos
Mixing engineer – Dave Reitzas

text: Charts[edit]

text:
Weekly chart (1992–93)
Peak
position

Australia (ARIA)[43]
1

Austria (Ö3 Austria Top 40)[44]
1

Belgium (VRT Top 30)[45]
1

Canada (RPM)[98]
1

Europe (European Hot 100)[99]
1

Finland (Suomen virallinen lista)[100]
2

France (SNEP)[46]
1

Germany (Media Control Charts)[47]
1

Ireland (IRMA)[48]
1

Italy (Musica e dischi)[49]
1

Japan (Oricon Charts)[101][102]
5

Netherlands (Dutch Top 40)[50]
1

New Zealand (RIANZ)[51]
1

Norway (VG-lista)[52]
1

Spain (AFYVE)[103]
1

Sweden (Sverigetopplistan)[53]
1

Switzerland (Schweizer Hitparade)[54]
1

UK Singles (Official Charts Company)[104]
1

US Billboard Hot 100[105]
1

US Adult Contemporary (Billboard)[106]
1

US Hot R&B/Hip-Hop Songs (Billboard)[107]
1

US Mainstream Top 40 (Billboard)[108]
1

US Rhythmic (Billboard)[109]
1

Weekly chart (2012)
Peak
position

Australia (ARIA)[110]
8

Austria (Ö3 Austria Top 40)[111]
10

Canada (Canadian Hot 100)[112]
6

Denmark (Tracklisten)[113]
10

Finland (Suomen virallinen lista)[114]
17

France (SNEP)[115]
2

Japan (Japan Hot 100)[112]
5

Ireland (IRMA)[116]
13

Israel (Media Forest)[117]
3

Italy (FIMI)[118]
7

Luxembourg (Billboard)[119]
4

Netherlands (Dutch Top 40)[120]
17

Netherlands (Single Top 100)[121]
5

New Zealand (Recorded Music NZ)[122]
7

Norway (VG-lista)[123]
12

Portugal (Billboard)[124]
2

Russia (Russia Top 10)[125]
3

Scotland (The Official Charts Company)[126]
19

South Korea International Singles (Gaon)[127]
23

Spain (PROMUSICAE)[128]
2

Sweden (Sverigetopplistan)[129]
56

Switzerland (Schweizer Hitparade)[130]
3

UK Singles (Official Charts Company)[131]
10

US Billboard Hot 100[132]
3

Weekly chart (2013)
Peak
position

France (SNEP)[133]
132

Weekly chart (2014)
Peak
position

France (SNEP)[134]
68

Weekly chart (2015)

France (SNEP)[135]
83

Weekly chart (2016)
Position

France (SNEP)[136]
182

Year-end chart (1992)
Position

Australian Singles Chart[41]
17

Canadian Adult Contemporary Tracks[137]
97

Dutch Top 40[138]
61

Italian Singles Chart[139]
7

UK Singles Chart[40]
1

Year-end chart (1993)
Position

Australian Singles Chart[42]
2

Austrian Singles Chart[140]
8

Belgian Singles Chart (Flanders)[141]
16

Canadian Singles Chart[142]
1

Canadian Adult Contemporary Singles[143]
7

Dutch Top 40[144]
13

Dutch Single Top 100[145]
5

Finnish Singles Chart[146]
5

Japanese Singles Chart[147]
31

New Zealand Singles Chart[148]
2

Swiss Singles Chart[149]
7

UK Singles Chart[40]
9

US Billboard Hot 100[150]
1

US Adult Contemporary[151]
18

US Hot Pop Singles[152]
1

US Hot R&B Singles[153]
1

Year-end chart (2012)
Position

Spanish Singles Chart[154]
49

Decade-end chart (1990–1999)
Position

Dutch Top 40[155]
14

UK Singles Chart[40]
10

US Billboard Hot 100[156]
7

All-time chart (2015)
Rank

US Billboard Hot 100[157]
51

text: Billboard Magazine Hot 100 Anniversary Charts[edit]

text:
Year
Title
Category
Position
Source

1998
Billboard 40 Years of the Top 40
The Top 10 Remakes
No. 2
[158]

The Top 10 "Love" Songs
No. 2
[158]

Billboard The Hot 100 of the Hot 100: Top Songs of Four Decades
No. 6
[159]

The Top 10 Soundtrack Songs
No. 1
[160]

Song with the Most Weeks at No. 1 (14 weeks)
No. 2
[160]

2008
Billboard Hot 100 50th Anniversary
The Billboard Hot 100 All-Time Top Songs
No. 68
[161]

The All-Time Top R&B/Hip-Hop Songs
No. 27
[162]

Hot 100 Song of the Year – 1993
No. 1
[163]

2013
Billboard Hot 100 55th Anniversary
The Billboard Hot 100 All-Time Top Songs
No. 49
[164]

The All-Time Top R&B/Hip-Hop Songs
No. 27
[165]

Hot 100 Song of the Year – 1993
No. 1
[166]

text: Certifications[edit]

text:
Region
Certification
Certified units/Sales

Australia (ARIA)[167]
4× Platinum
280,000[168]

Austria (IFPI Austria)[169]
Gold
25,000*

Denmark (IFPI Denmark)[170]
Gold
30,000^

France (SNEP)[171]
Gold
332,000[172]

Germany (BVMI)[173]
Platinum
500,000^

Italy (FIMI)[174]
Platinum
15,000*

Japan

810,080[71]

Japan (RIAJ)[175]
Platinum
250,000^

Netherlands (NVPI)[176]
Platinum
75,000^

New Zealand (RMNZ)[177]
Platinum
10,000*

Mexico (AMPROFON)[178]
Gold
30,000

Sweden (GLF)[179]
Platinum
50,000^

United Kingdom (BPI)[180]
2× Platinum
1,638,000[181]

United States (RIAA)[182]
6× Platinum
5,166,000[183]

Digital

Japan (RIAJ)[175]
Platinum
250,000^

United States (RIAA)[182]
2× Platinum
2,016,000[65]

*sales figures based on certification alone
^shipments figures based on certification alone

text: Tributes[edit]

text: Since Houston's death in 2012, many other artists have performed tributes to the late singer's version of the song.

text: Beyoncé[edit]

text: In 2012, following Whitney Houston's death, American singer Beyoncé performed a tribute to Houston during her revue Revel Presents: Beyoncé Live in Atlantic City, New Jersey at the Revel resort.[184][185] She began the performance of her song "Halo" singing the first verse of "I Will Always Love You" a cappella.[185][186]

text: Later, in 2013, during her The Mrs. Carter Show World Tour, Beyoncé also sang the opening lines of "I Will Always Love You" prior to the performance of "Halo" as the final song of the tour.[187]

text: Jennifer Hudson[edit]

text: Jennifer Hudson performed the song in front of Houston in 2010. On February 12, 2012, Hudson performed the song as a tribute during the 54th Grammy Awards, the day after Houston's death, alongside images of musicians who had died in 2011 and 2012, including Amy Winehouse and Etta James. The song was played at Houston's funeral as her casket was brought out of the church. Parton complimented Hudson on her performance, saying,

text: I was brought to tears again last night, as I'm sure many were, when Jennifer Hudson sang "I Will Always Love You" on the Grammys in memory of Whitney. Like everybody else, I am still in shock. But I know that Whitney will live forever in all the great music that she left behind. I will always have a very special piece of her in the song we shared together and had the good fortune to share with the world. Rest in peace, Whitney. Again, we will always love you.[188][189]

text: Jessica Sanchez[edit]

text: On March 7, 2012, on the eleventh season of American Idol, during the Top 13 week, Jessica Sanchez performed a rendition of the song. She received a standing ovation for her performance. She performed the song again on the season finale, where she would finish as the eventual runner-up.

text: Edyta Górniak[edit]

text: During the festival TOP trends in 2012, Edyta Górniak performed "I Will Always Love You" as a tribute to Whitney Houston on May 26.

text: Will Ferrell[edit]

text: At the 2017 Commencement of the University of Southern California, Will Ferrell sang "I Will Always Love You" to the graduating class. See Washington Post commentary:[190]

text: Other versions[edit]

text:
In 2002, English pop singer Rik Waller took his own version of "I Will Always Love You" into the Top Ten in the UK Singles Chart, peaking at number 6.[191] It was the first single released from his debut studio album From Now... following him taking part in the Pop Idol series.
Melinda Schneider and Beccy Cole included the song on their album Great Women of Country (2014).
"Forever Country", released in September 2016, is a medley of the song along with "Take Me Home, Country Roads" and "On the Road Again".[192]


document_title: Divine grace

question_text: what is the meaning of the grace of god

question_tokens: what is the meaning of the grace of god

text: Divine grace

text: Christianity[edit]

text: Grace in Christianity is the free and unmerited favour of God as manifested in the salvation of sinners and the bestowing of blessings.[3] Common Christian teaching is that grace is unmerited mercy (favor) that God gave to humanity by sending his Son, Jesus Christ, to die on a cross, thus securing man's eternal salvation from sin. Bill Gothard, an American conservative Christian, has suggested "God's grace gives us the desire and the power to do his will."[4]

text: Within Christianity, there are differing concepts of how grace is attained. In particular, Catholics and Reformed Protestants understand the attainment of grace in substantially different ways. It has been described as "the watershed that divides Catholicism from Protestantism, Calvinism from Arminianism, modern liberalism from conservatism".[5] Catholic doctrine teaches that God has imparted Divine Grace upon humanity and uses the vehicle of sacraments, which are carried out in faith,[6] as a primary and effective means to facilitate the reception of his grace.[7] For Catholics, sacraments (carried out in faith) are the incarnational or tangible vehicle through which God's grace becomes personally and existentially received.[8] Reformed Protestants, generally, do not share this sacramental view on the transmittal of grace,[9] but instead favor a less institutionalized mechanism. For example, in the Catholic Church, the primary initiation into a state of grace is granted by God through baptism (in faith)[10] instead of by a simple prayer of faith (sinner's prayer); although, Catholics would not deny the possible efficacy of even a simple prayer for God's grace to flow (Baptism by desire[11][12]).

text: In another example, for Catholics, the sacrament of reconciliation (in faith) is the primary means of transmitting grace after a mortal sin has been committed.[13] Many graces are historically associated to the prayer of the holy Rosary; also, the tradition held by Dominicans reports of the fifteen rosary promises made by the Blessed Virgin Mary to Saint Dominic and Alan de Rupe in favour of Christians who faithfully pray the Rosary.

text: Scriptural usage[edit]

text: In the New Testament, the word translated as grace is the Greek word charis (/ˈkeɪrɪs/; Ancient Greek: χάρις), for which Strong's Concordance gives this definition: "Graciousness (as gratifying), of manner or act (abstract or concrete; literal, figurative or spiritual; especially the divine influence upon the heart, and its reflection in the life; including gratitude)".[14][15] A Greek word that is related to charis is charisma (gracious gift). Both these words originated from another Greek word chairo (to rejoice, be glad, delighted).[16]

text: In the Old Testament, the Hebrew term used is chen[17][18] (חֵן), which is defined in Strong's as "favor, grace or charm; grace is the moral quality of kindness, displaying a favorable disposition".[19] In the King James translation, chen is translated as "grace" 38 times, "favour" 26 times, twice as "gracious",[20] once as "pleasant",[21] and once as "precious".[22]

text: Hinduism[edit]

text: Hindu devotional or bhakti literature available throughout India and Nepal is replete with references to grace (kripa) as the ultimate key required for spiritual self-realization.[23][additional citation needed] Some, such as the ancient sage Vasistha, in his classical work Yoga Vasistha, considered it to be the only way to transcend the bondage of lifetimes of karma.[24] One Hindu philosopher, Madhvacharya, held that grace was not a gift from God, but rather must be earned.[25]

text: Islam[edit]

text: Umar Sulayman al-Ashqar, dean of the Faculty of Islamic Law at Zarqa Private University in Zarqa, Jordan, wrote that "Paradise is something of immense value; a person cannot earn it by virtue of his deeds alone, but by the Grace and Mercy of Allah."[26] This stance is supported by hadith: according to Abu Huraira, prophet Muhammad once said that "None amongst you can get into Paradise by virtue of his deeds alone ... not even I, but that Allah should wrap me in his grace and mercy."[27]