document_title: Don't Cry for Me Argentina

question_text: what is the song don't cry for me argentina from

question_tokens: what is the song do n 't cry for me argentina from

text: Don't Cry for Me Argentina

text: Background and development[edit]

text: "Don't Cry for Me Argentina" was written by Andrew Lloyd Webber and Tim Rice while they were developing Evita for Broadway in 1976. Both were extremely intrigued by the stories surrounding the life of Eva Perón while researching about her during the mid-1970s.[1] Evita was initially produced as an album, before being adapted for the stage, following a formula that Lloyd Webber and Rice had employed during the production of Jesus Christ Superstar, their previous musical. The duo had written the songs for a female singer with good vocals.[2]

text: Rice and Webber's research showed that Eva had not in reality delivered any major oration on the day of her husband Juan Perón's inauguration ceremony, but not long after becoming Argentina's new First Lady she started making highly emotional speeches, the intensity of which they wanted to capture with "Don't Cry for Me Argentina". The song was composed to appear at the opening and near the end of the show, initially as the spirit of the dead Eva exhorting the people of Argentina not to mourn her, and finally during Eva's speech from the balcony of Casa Rosada.[3] Its melody is similar to the opening song of the musical, "Oh What a Circus", and puts emphasis on Eva's funeral. As "Oh What a Circus" ended with the character Che's sarcastic questioning of the mourning behind Eva's death, "Don't Cry for Me Argentina" started with only few lines being sung, while the rest of the song was reserved for the finale.[3]

text: After the song was composed, Lloyd Webber and Rice were struggling to find a suitable musical actress for the songs and the titular role, since the only one they knew, Yvonne Elliman, had moved to the United States. One day they were watching the British musical television show, Rock Follies, where they noticed actress and singer Julie Covington, who played an aspiring rock musician. Covington had played in London musicals like Godspell, and her acting abilities in Rock Follies convinced Rice and Lloyd Webber to sign her for Evita.[4]

text: Covington was extremely intrigued by their proposal, considering Eva Perón to be a non-commercial idea for a musical. Nevertheless, she thought that the songs were great compositions and signed on for recording them. Lloyd Webber and Rice immediately started recording and the first demos were those of "Don't Cry for Me Argentina", "I'd Be Surprisingly Good for You" and "Buenos Aires", with just piano as an accompaniment. They moved on to sign a deal with MCA Records, to release an album based on the songs, however with extremely poor royalty rates since the record company executives did not expect the album to be a success. In the meantime, singers for all the other roles of the musical were also signed, and the cast moved to Olympic Studios in 1975 to start recording.[4]

text: Recording and composition[edit]

text: Personnel working on the Evita album included recording engineer David Hamilton-Smith, Simon Philips on drums, Mo Foster on bass, Joe Moretti and Ray Russell on guitars and Anne Odell on keyboards. David Snell played the harp while Anthony Bowles conducted the London Philharmonic Orchestra, while another choir called the London Boy Singles was directed by Alan Doggett. Members of The Grease Band, including bassist Alan Spenner and rhythm guitarist Neil Hubbard also played on the album. It took a total of 3–4 months to finish the recording.[4]

text:
"Don't Cry for Me Argentina" (1976)

A 30 second sample of Covington's recording of the song, which illustrates the pizzicato strings, and the flowing tempo introducing the opening lyrics.
Problems playing this file? See media help.

text: The intensity which Rice looked for in the track was not immediately achieved during recording, because it is a sentimental ballad and because of its lyrics.[3] As the delivery date of the recording approached, they got more tense since most of the album was put together. Only this song was left as they could not decide on the final title, and Rice tried out names which did not make sense within the political and dramatic atmosphere of the story. They had initially tried out various lyrics as the main hook and title of the song including "It's Only Your Lover Returning" and "All Through My Crazy and Wild Days" amid fears that mentioning Argentina would reduce the commercial appeal.[5] Rice recalled, "What a crass decision! It was probably the only time (honest) that I had made the mistake of caring more about a lyric's potential outside the show than its importance within it, and as a result both song and show suffered."[3] Covington had already recorded the phrase "Don't Cry for Me Argentina" for using it in the beginning of the show. Shortly before the album was finally mixed, Lloyd Webber suggested to Rice that the line also worked as the title of Eva's speech. As soon as Covington recorded with the new name, the song fit "perfectly" in the mood of the sequence and was included in the album.[3]

text: The title of the song comes from an epitaph on a plaque at Eva Perón's grave in the La Recoleta Cemetery in Buenos Aires. The plaque was presented by the city's taxi drivers' union and roughly translates as: "Don't cry for me Argentina, I remain quite near to you."[6] Roger Ebert of the Chicago Sun-Times wrote "For years I have wondered, during 'Don't Cry for Me, Argentina,' why we were not to cry. Now I understand: We need not cry because (a) Evita got everything out of life she dreamed of, and (b) Argentina should cry for itself. Even poor Juan Peron  [sic] should shed a tear or two; he is relegated...to the status of a 'walker,' a presentable man who adorns the arm of a rich and powerful woman as a human fashion accessory."[7] The song's lyrics are a "string of meaningless platitudes" according to Rice, who felt that it worked as an emotionally intense but empty speech by a "megalomaniac woman" trying to win the favor of the Argentines. It features the lyrics "And as for fortune, and as for fame / I never invited them in / Though it seemed to the world they were all I desired / They are illusions".[3]

text: Webber's orchestral accompaniment added a different level to the track, with its composition consisting of pizzicato strings, and its flowing tempo introducing Covington's opening vocals. The song jumps from being light to heavy and extravagant, with one section of it being hummed by choral voices. As the final lyrics goes, "But all you have to do is look at me to know / That every word is true" is sung, the London Philharmonic Orchestra comes into play with a huge climax and ends.[3] According to the sheet music published by Music Sales Group, the song starts with a sequence of G/D–A7/D–D–Bm/D, changes to E–E/D–A/C♯–E7–A–D, with the chorus featuring a chord progression of A–Bm–Dmaj7–Gmaj7–G–F♯m7.[8] The song is composed in the key of C major with Covington's vocals spanning from the nodes of E3 to G♯5.[9]

text: Release and reception[edit]

text:
"Evita was always intended to be a stage show. And 'Don't Cry for Me Argentina' was very specifically written to be a key moment in the theatre, but the fact it became a hit was incidental. I couldn't really understand how it became such a big hit. It was 6 minutes long, it had a minute instrumental by the London Symphony Orchestra and Julie Covington refused to promote it. It even went to number one in the disco chart, which I just couldn't understand. I asked a friend of mine who was a DJ, why was it so popular—he said, 'Because DJs are playing it to clear the dance floor'."[10]

—Rice talking about the song's success to the Official Charts Company

tag: div

text: Following the completion of the recording of the album, the Evita team switched on to full promotion of the release, with photographer Tony Snowdon shooting the promotional pictures.[11] The single version of "Don't Cry for Me Argentina" was released in the United Kingdom on 12 November 1976,[12] accompanied by national and trade advertising, full-colour posters, display sleeves as well as radio interviews. Another song from the musical, "Rainbow High", was listed as its B-side. MCA marketing manager Stuart Watson explained to Billboard that their chief goal was to "get an explanation of the story of Eva Perón over to the public".[13] The song received critical appreciation, with The Sunday Times calling it a "masterpiece". However, Rice and Lloyd Webber felt that they needed more promotion to reach the general audience who would buy the record. They had initially decided for a number of television show appearances and performances, but Covington was uninterested in the project altogether and refused to promote it further. Her reasons included wanting to perform the song with the same studio orchestra and accompaniments, and she was also against a single release from the album.[14]

text: The song was never performed live on British music show, Top of the Pops, since Covington refused and whenever it was featured on the show, a montage of images of the real Eva was shown in the backdrops. However, during the week it was number one, she appeared in the audience.[15] Rice and Lloyd Webber then targeted BBC Radio 1, which was in its infancy, but still popular among the general crowd. They had a fairly tight selection of songs they aired on their channels, and Radio 1 completely refused to add "Don't Cry for Me Argentina" in their playlists. Rice and Lloyd Webber panicked and were almost on the verge of releasing another track from Evita called "Another Suitcase in Another Hall", recorded by Barbara Dickson, as the second single. But Radio 1 finally relented and started playing the song due to positive response from audiences.[14]

text: "Don't Cry for Me Argentina" debuted at number 37 on the UK Singles Chart on the week ending 25 December 1976. It started climbing up the chart but for 3 weeks it was kept from reaching the top spot by David Soul's "Don't Give Up on Us". On the week ending 12 February 1977, the song reached the top of the charts.[16] It was first certified silver in January 1977, and then certified gold a month later by the British Phonographic Industry (BPI), selling almost one million physical copies in the United Kingdom.[17][18] Together with digital sales since it has sold about 1.01 million copies according to the Official Charts Company.[19] The single also reached the top of the charts in Australia, Belgium, Ireland, New Zealand and Netherlands; in the latter country it sold around 100,000 copies.[20][21] Seeing the success of the single, Rice and Lloyd Webber proceeded with promoting the song in the United States. However, the personnel at MCA Records' US office were not able to come to terms regarding how to promote the adult contemporary oriented track; it was ultimately never sent to Top 40/CHR radio, and did not appear on any US charts.[11]

text: Aftermath and impact[edit]

text: When the cast of the London musical version of Evita was being decided, Rice and Lloyd Webber naturally approached Covington to play the titular role. However she chose not to reprise the role. Producer Hal Prince wanted to cast a relatively unknown actress to play Eva, and thus Elaine Paige was signed for the part.[22][23] In 1977, Rice and Lloyd Webber received the Ivor Novello award in the category of Best Song Musically and Lyrically.[24] During the 1982 Falklands War between the United Kingdom and Argentina, the song was sometimes played sarcastically by British regimental bands as they deployed to the Falklands. They changed the lyrics, singing it as "You don't frighten me Argentina / The truth is we will defeat you / We'll sink your carrier, with our Sea Harrier / And with our Sea Kings subs'll be sinking".[25] At the same time the Covington recording was banned from play on the BBC.[5] The song was also banned in the Philippines during the dictatorship (1972–86) of President Ferdinand Marcos. The life of former First Lady Imelda Marcos, Marcos' wife, is similar to that of Evita Peron. The presentation of the musical Evita was repressed.[26] In the United States, the song is also closely linked with Patti LuPone, who performed the role of Eva in the original Broadway production of the show.[27]

text: Track listing and formats[edit]

text: 7" single[28]

text:
"Don't Cry for Me Argentina" – 5:24
"Rainbow High" – 2:31

tag: ol

text: 7" Double hit single[29]

text:
"Don't Cry for Me Argentina" – 5:23
"I Don't Know How to Love Him" (Performed by Yvonne Elliman) – 3:55

text: 7" Old Gold single[30]

text:
"Don't Cry for Me Argentina" – 5:24
"Another Suitcase in Another Hall" (Performed by Barbara Dickson) – 3:00

text: Credits and personnel[edit]

text:
Julie Covington – vocals
Andrew Lloyd Webber – songwriter, record producer
Tim Rice – songwriter, record producer
David Land – record producer
David Hamilton-Smith – recording engineer
Simon Philips – drums
Mo Foster – bass
Joe Moretti – guitars
Ray Russell – guitars
Anne Odell – keyboards
David Snell – harp
London Philharmonic Orchestra – choir

text: Credits adapted from the 7" single liner notes.[28]

text: Charts and certifications[edit]

text:
Weekly charts

Chart (1977)

Peakposition

Australia (Kent Music Report)[20]

1

Austria (Ö3 Austria Top 40)[31]

14

Belgium (Ultratop 50 Flanders)[32]

1

Germany (Official German Charts)[33]

4

Ireland (IRMA)[34]

1

Netherlands (Dutch Top 40)[35]

1

Netherlands (Single Top 100)[36]

1

New Zealand (Recorded Music NZ)[37]

1

Norway (VG-lista)[38]

10

Sweden (Sverigetopplistan)[39]

2

Switzerland (Schweizer Hitparade)[40]

3

UK Singles (Official Charts Company)[16]

1

Year-end charts

Chart (1977)

Position

Australia (Kent Music Report)[20]

1

Belgium (Ultratop 50 Flanders)[41]

13

Netherlands (Single Top 100)[42]

21

New Zealand (Recorded Music NZ)[43]

4

Switzerland (Schweizer Hitparade)[44]

4

UK Singles (Official Charts Company)[45]

3

Certifications

Region

Certification
Certified units/Sales

Netherlands

100,000[21]

United Kingdom (BPI)[17]

Gold

1,010,000[19]

^shipments figures based on certification alone

text: Cover versions[edit]

text: Since its release, "Don't Cry for Me Argentina" has been covered by numerous artists. One of the earliest covers of the song was by The Carpenters in 1977, who recorded the track for their album, Passage. It was coupled with another song from Evita, "On the Balcony of the Casa Rosada".[46] The same year, Olivia Newton-John released the song as a single from her tenth studio album, Making a Good Thing Better.[47] In 1978, Shirley Bassey recorded a slower version of the track for her album, The Magic Is You; she re-recorded it in 1993 on her album Sings the Songs of Andrew Lloyd Webber. Simon Gage from the Daily Express praised the rendition, saying that Bassey "more than covers the ground" with it.[48] Singer Tom Jones' interpretation of the song on his 1979 album, Rescue Me, received negative reviews, with biographer Lucy Ellis describing it as "the most ludicrous massacre on the LP".[49] American disco group Festival released a version in 1979, a single off of an entire LP of disco covers of songs from Evita. Paloma San Basilio performed the song when she played the titular role on the Spanish adaptation of the musical in 1980.[50] Nacha Guevara, who also starred in the musical in 1986, has performed the song live several times.[51]

text: Marti Webb covered the song on her album Won't Change Places (1981) and also included it in 1995 on the album, Music and Songs from Evita. AllMusic's Joe Francis complimented the recording.[52] Singer Sinéad O'Connor recorded "Don't Cry for Me Argentina" on her album Am I Not Your Girl (1992). Her version received mixed response, with Joy Press from Spin who described the rendition as  "a melodramatic, sweeping 'Je ne regrette rien'—style apologia. O’Connor had a calling. Obsessed with purity and truth, she pitched herself somewhere between Christ and the Virgin Mary, as an asexual visionary whose suffering was Inextricably Intertwined with the pain of Ireland and of the world."[53] Released as a CD maxi single, the song reached number 31 in Belgium Flanders and number 44 in Netherlands.[54] An easy listening cover version of the song by The Mike Flowers Pops reached number 30 in the UK singles charts in 1996.[55] A punk rock version was recorded by alternative band Me First and the Gimme Gimmes in 1999 for their second studio album, Are a Drag. Angus Cargill, author of Hang the DJ: An alternative book of music lists was shocked by the complete revamp of the song as punk rock, saying that "there's a dark appeal in here, like the thought of taking a cattle prod to your grandma's".[56]

text: It is covered by Webber's younger brother and cello player Julian on the 2001 album, Lloyd Webber Plays Lloyd Webber.[57] Another version was recorded in 2010 by TV series Glee's actors Lea Michele and Chris Colfer, as the characters Rachel Berry and Kurt Hummel respectively. It was sung as a duet with each singer taking a different stanza and performing before a different audience in a split-scene.[58] Their solo versions were also in Glee: The Music, The Complete Season Two and reached number 67 in the United Kingdom and number 97 in US.[59][60] Multinational quartet Il Divo recorded it on their 2011 album, Wicked Game, and performed it live on tours. The group's voice was considered suitable for musical numbers like "Don't Cry for Me Argentina", by Ben Walsh from The Independent.[61] Nicole Scherzinger performed the song live at the Andrew Lloyd Webber: 40 Musical Years tribute show. Louis Virtel from The Backlot complimented her vocals, saying that the performance "has to be seen to be believed, as Scherzinger’s crystal-clear vocal soars like a glittery javelin".[62]

text: Madonna version[edit]

text:
"Don't Cry for Me Argentina"
Single by Madonnafrom the album EvitaReleased
4 February 1997Format
12"CD singleRecorded
1995; Larrabee North and CTS StudiosGenre
Orchestral popLength
5:34Label
Warner Bros.Songwriter(s)
Andrew Lloyd WebberTim RiceProducer(s)
Nigel WrightAlan ParkerAndrew Lloyd WebberDavid CaddickMadonna singles chronology

"You Must Love Me" (1996)

"Don't Cry for Me Argentina" (1997)

"Another Suitcase in Another Hall" (1997)

"You Must Love Me"(1996)

"Don't Cry for Me Argentina"(1997)

"Another Suitcase in Another Hall"(1997)

text: Background[edit]

text: In 1996, Madonna starred in the film Evita, playing the titular role. For a long time, Madonna had desired to play Eva and even wrote a letter to director Alan Parker, explaining how she would be perfect for the part.[63] After securing the role, she underwent vocal training with coach Joan Lader since Evita required the actors to sing their own parts. Lader noted that the singer "had to use her voice in a way she's never used it before. Evita is real musical theater — its operatic, in a sense. Madonna developed an upper register that she didn't know she had."[64][65] From the moment she was signed in the film, Madonna had expressed interest in recording a dance version of "Don't Cry for Me Argentina". According to her publicist Liz Rosenberg, "since [Madonna] didn't write the music and lyrics, she wanted her signature on that song... I think on her mind, the best way to do it was go in the studio and work up a remix".[66]

text: For this, in August 1996, while still mixing the film's soundtrack, Madonna hired remixers Pablo Flores and Javier Garza. According to Flores, the singer wanted something that "would be dance but faithful to the movie and to Argentina with a latin feel". Madonna herself said she wanted the remix to have a "Latin flavor and elements of Tango music". The mix was completed in two weeks at Miami and Los Angeles. Madonna had to re-record the vocals of the track in English and Spanish, while an Argentinean bandoneon was added to the song's intro.[66] Named the "Miami Mix", it was sent to radio stations and DJs on late December 1996 and was officially released as the soundtrack's second single on 4 February 1997. Barney Kilpatrick, VP of promotion for Warner Bros. Records, said that "the only reason this mix is being done was to accommodate Top 40 radio [...] since we have a two-disc soundtrack, we're interested in selling albums, not singles". Warner Bros wanted to create buzz for the film with the song, not the single remix. There were also talks of releasing an Evita EP, containing remixes of "Buenos Aires", "Don't Cry for Me Argentina" and "Another Suitcase in Another Hall", but it never materialized.[66]

text: Recording and composition[edit]

text:
"Don't Cry for Me Argentina" (Miami Mix)

A 30 second sample from the "Miami Mix" of Madonna's version of the song. Unlike the original, it features elements of tango and Latin music.
Problems playing this file? See media help.

text: Recording sessions for the film's songs and soundtrack began in September 1995, and took place at the CTS Studios in London with Madonna accompanied by co-actors Antonio Banderas and Jonathan Pryce. However, trouble arose as Madonna was not completely comfortable with laying down a "guide vocal" simultaneously with an 84 piece orchestra inside the studio. She was used to singing over a pre-recorded track and not have musicians listen to her. Also, unlike her previous soundtrack releases, she had little to no control over the project; "I'm used to writing my own songs and I go into a studio, choose the musicians and say what sounds good or doesn't [...] To work on 46 songs with everyone involved and not have a big say was a big adjustment", she recalled.[67] An emergency meeting was held between Parker, Lloyd Webber and Madonna where it was decided that the singer would record her part in a more contemporary studio while the orchestration would take place somewhere else. She also had alternate days off from the recording.[68]

text: According to the singer, she was very nervous during the first day of recording. She allegedly found herself "petrified" when it came to doing the song; "I had to sing 'Don't Cry For Me Argentina' in front of Andrew Lloyd Webber [...] I was a complete mess and was sobbing afterward. I thought I had done a terrible job", she recalled.[69] The final version recorded had many similarities to the original version by Covington, although it had a much faster pace and was created as an orchestral pop to cater to the contemporary music scene.[70] According to the sheet music published by Musicnotes.com, Madonna's version of the song is set in common time, with a slow groove tempo of 90 beats per minute. Madonna's vocals on the song span from G3 to C5.[71] The song follows a basic sequence of C–F♭–C when Madonna sings "It won't be easy, you'll think it strange", and changes to G7–C on the second verse.[71]

text: Critical reception[edit]

text: Upon release, the song generally received positive feedback. J. Randy Taraborrelli, author of Madonna: An Intimate Biography, wrote that "As Evita Perón [...] she is supple and strong, and doesn't sound at all out of place".[72] Author Lucy O'Brien wrote in the book, Madonna: Like an Icon, that although Madonna's vocals lacked emotional complexity in the tune, she nevertheless created a "compelling" version, "right up to its grand orchestral finale".[73] Sal Cinquemani from Slant Magazine commented: "Easily one of Madonna's greatest vocal performances to date, the singer's dramatic interpretation of Evita's unofficial theme song was both loyal and bizarrely autobiographical".[74] Writing for the Los Angeles Times, David Gritten opined that "show-stoppers like 'Don't Cry for Me Argentina', which need to be belted out, sound comfortable for her".[75] George Hatza from The Reading Eagle, said that "[Madonna] sings 'Don't Cry For Me Argentina' in a beautiful, soaring, goosebump-inducing contralto".[76] J. D. Considine, from The Baltimore Sun, said it was one of the "big songs" from the soundtrack.[77] In her review of Evita, Janet Maslin from The New York Times commented that the track was "tinglingly sung".[78] Peter Travers from Rolling Stone, wrote: "Madonna, to her credit, puts on quite a show. She sings. She tangos [...] She even belts out 'Don't Cry for Me Argentina' to prove she's just folks".[79] Peter Keough, from the Boston Phoenix, praised Madonna's "stunning delivery" of the track. He wrote: "[Madonna] sings a softly lush soprano that captures Evita's quiet vulnerability. Her full-lipped, precise notes stride across the song's grandiose orchestrations. Webber's songs allow her all the room she needs to be many things; she succeeds at them all".[80] A very positive review came from the  Hartford Courant's Greg Morago, who called the song "a calculated, theatrical triumph of shameless pandering and steely determination that parallels the pop diva's own rise to the top. Madonna makes this song her own; she was born to play the chignon-coiffed, diamond-studded Santa Evita".[81]

text: The Huffington Post's Matthew Jacobs placed it at number 26 of his list "The Definitive Ranking Of Madonna Singles". Calling it one of Madonna's most important songs, Jacobs considered the track a "stand-in for the transition from Sexy Madonna to Adult Madonna".[82] Similarly, Spin's Annie Zaleski wrote that the "nuanced but proud" rendition of the song "marked the start of Madonna’s Serious Phase, one where she balanced youthful coquettishness with a more mature, introspective outlook".[83] AllMusic's Jose F. Promis praised the "Miami Mix" version of the song; "['Don't Cry For Me Argentina'] was transformed into a passionate, flowing dance number", highlighting Madonna's "truly impassioned performance which infuriated musical purists but delighted her fans and public alike".[84] In 2017, Billboard ranked the "Miami Mix" as the 95th greatest pop song of 1997; Andrew Unterberger wrote that "Pablo Flores and Javier Garza's Miami Mix is just as responsible for the song's chart success as Madonna's Celine Dion vocal ambitions, taking the song from the balcony to the dance floor and giving it back to the people".[85] In his review of Madonna's second greatest hits album, GHV2 (2001), Stephen Thomas Erlewine from AllMusic gave a more critical reception, as he felt the track was out of place among other Madonna songs; "the very presence of 'Don't Cry for Me Argentina' [...] simply does not feel comfortable next to the rest of the savvy, modern music".[86] A negative review came from NME's Alex Needham, who wrote; "by 1996 Madonna was fast turning into the pop equivalent of Sunset Boulevard's Norma Desmond, croaking, 'I'm still big! It's just the Top 40 that got small!", and that "'Don't Cry For Me Argentina' stank then, stinks now".[87] Robert Christgau called it a "dismal track" and criticized its mixing.[88]

text: Chart performance[edit]

text: In the United States, the popularity of the "Miami Mix" version of the song enabled it to become the song with the most radio adds, and jumped to number 18 on the Hot 100 Airplay chart. Demand for the song continued to increase forcing Warner Bros. to release the CD single, and the song becoming eligible to chart.[66] It debuted on the Billboard Hot 100 at number 17 the week of 22 February 1997.[89] The single ultimately peaked at number 8 the week of 1 March 1997.[90] "Don't Cry for Me Argentina" reached number 1 on the European Hot 100 Singles, the week of 8 February 1997.[91] The track also ranked within the top 20 of Billboard's Adult Contemporary and Adult Top 40 charts while the "Miami Mix" reached the top of the Billboard Hot Dance Club Songs chart.[92][93][94] It ranked at number 87 on the year end chart for 1997.[95] In Canada, the song debuted on the RPM Top Singles chart at number 34, the week of 10 March 1997.[96] It ultimately reached a peak of number 11, the week of 7 April 1997.[97] In the United Kingdom, the song reached number 3 on the week of 28 December 1996, and was present on the top 100 for a total of 13 weeks.[98] It was certified gold by the British Phonographic Industry (BPI) on 1 January 1997 for shipments of 400,000 copies.[99][100] In Italy, it reached the second position of the FIMI Singles Chart.[101] On the year-end Italian charts, it was ranked at number 21.[102] In Australia, "Don't Cry for Me Argentina" peaked at number 9 on the ARIA Singles Chart, staying on this position for one week and a total of 13 weeks on the chart.[103] On the year-end ARIA charts, the song ranked at number 56.[104] In France, it topped the SNEP Singles Chart for one month.[105] In Ireland, the song peaked at number 8, the week of 19 December 1996.[106] The single also proved to be a commercial success in other countries such as Belgium, Germany, Spain and the Netherlands, where it managed to have top 5 placement.[103][107]

text: Promotion and live performances[edit]

text: No official video was shot for the song. Instead, the scene from the movie, where Eva performs the song at the balcony of the Casa Rosada, was used.[108] In 1993, 2 years before being cast in Evita, Madonna performed an impromptu version of the song during her first visit to Argentina, as part of her Girlie Show World Tour.[109] Eight years later, on her 2001 Drowned World Tour, an instrumental version of the song was used as an interlude, featuring several dancers doing a Tango number.[110] The performance on 26 August 2001, at The Palace of Auburn Hills, outside of Madonna's hometown of Detroit was recorded and released in the live video album, Drowned World Tour 2001.[111] On the Buenos Aires stop of her Sticky & Sweet Tour, in December 2008, after performing "You Must Love Me", Madonna also performed "Don't Cry for Me Argentina" as scenes from Evita played on the backdrop screens.[112] The performances of both songs in the city were recorded in the live CD-DVD titled, Sticky & Sweet Tour (2010).[113] The singer once again performed the song in Argentina during The MDNA Tour, in 2012. For the performance, she had the word "Eva" painted across her back.[114] Madonna also did a "passionate rendition" of "Don't Cry for Me Argentina" during the Miami stop of her Rebel Heart Tour on 23 January 2016, accompanied by acoustic guitar.[115]

text: Track listings[edit]

text:
UK CD single[116]
"Don't Cry for Me Argentina" (performed by Madonna) – 5:31
"Santa Evita" (performed by Orchestra/John Mauceri) – 2:30
"Latin Chant" (performed by Orchestra/John Mauceri) – 2:11
UK "The Dance Mixes" CD single / AU CD single / DE 12" single[117][118][119]
"Don't Cry for Me Argentina" (Miami Mix Edit) – 4:31
"Don't Cry for Me Argentina" (Miami Spanglish Mix Edit) – 4:29
"Don't Cry for Me Argentina" (Miami Mix) – 6:51
"Don't Cry for Me Argentina" (album version) – 5:31

US 12" / CD Maxi-single (1997)[120][121]
"Don't Cry for Me Argentina" (Miami Mix Alternative Ending) – 7:59
"Don't Cry for Me Argentina" (Miami Spanglish Mix) – 6:57
"Don't Cry for Me Argentina" (Miami Mix Edit) – 4:29
"Don't Cry for Me Argentina" (Miami Dub Mix) – 6:23
"Don't Cry for Me Argentina" (Miami Mix Instrumental Version) – 6:55
"Don't Cry for Me Argentina" (Miami Spanglish Mix Edit) – 4:28

text: Charts and certifications[edit]

text:
Weekly charts

Chart (1997)

Peakposition

Australia (ARIA)[103]

9

Austria (Ö3 Austria Top 40)[122]

3

Belgium (Ultratop 50 Flanders)[123]

5

Belgium (Ultratop 50 Wallonia)[124]

2

Canada Top Singles (RPM)[97]

14

Canada Adult Contemporary (RPM)[125]

3

Czech Republic (IFPI)[126]

1

Denmark (IFPI Denmark)[127]

6

Eurochart Hot 100 (Music & Media)[91]

1

Finland (Suomen virallinen lista)[128]

8

France (SNEP)[105]

1

Germany (Official German Charts)[129]

3

Hungary Singles (Mahasz)[130]

1

Iceland (Íslenski Listinn Topp 40)[131]

2

Ireland (IRMA)[106]

9

Italy (FIMI)[101]

2

Netherlands (Dutch Top 40)[132]

3

Netherlands (Single Top 100)[133]

4

New Zealand (Recorded Music NZ)[134]

6

Norway (VG-lista)[135]

9

Scotland (Official Charts Company)[136]

3

Spain (PROMUSICAE)[107]

1

Sweden (Sverigetopplistan)[137]

9

Switzerland (Schweizer Hitparade)[138]

4

UK Singles (Official Charts Company)[98]

3

US Billboard Hot 100[90]

8

US Adult Contemporary (Billboard)[92]

21

US Adult Top 40 (Billboard)[93]

14

US Dance Club Songs (Billboard)[94]

1

US Mainstream Top 40 (Billboard)[139]

7

US Rhythmic (Billboard)[140]

11

Year-end charts

Chart (1997)

Position

Australia (ARIA)[104]

56

Belgium (Ultratop 50 Flanders)[141]

36

Belgium (Ultratop 50 Wallonia)[142]

18

Canada Top Singles (RPM)[143]

92

Canada Adult Contemporary (RPM)[144]

34

France (SNEP)[145]

14

Germany (Official German Charts)[146]

22

Italy (FIMI)[102]

21

Netherlands (Dutch Top 40)[147]

46

Netherlands (Single Top 100)[148]

80

Sweden (Sverigetopplistan)[149]

54

Switzerland (Schweizer Hitparade)[150]

22

US Billboard Hot 100[95]

87

US Hot Dance Club Songs (Billboard)[95]

10

Certifications

Region

Certification
Certified units/Sales

Australia (ARIA)[151]

Gold

35,000^

France (SNEP)[152]

Gold

250,000*

Germany (BVMI)[153]

Gold

250,000^

Switzerland (IFPI Switzerland)[154]

Gold

25,000^

United Kingdom (BPI)[99]

Gold

400,000^

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


document_title: Income in the United Kingdom

question_text: what is the average household income in the uk 2017

root

text: Income in the United Kingdom

text: Data sources[edit]

text: There are a number of different sources of data on income which results in different estimates of income due to different sample sizes, population types (e.g. whether the population sample includes the self-employed, pensioners, individuals not liable to tax), definitions of income (e.g. gross earnings vs original income vs gross income vs net income vs post tax income).[6]

tag: p

text: The Survey of Personal Incomes (SPI) is a dataset from HM Revenue and Customs (HMRC) based on individuals who could be liable to tax. HMRC does not hold information on individuals whose income is below the personal allowance (£8,105 in 2012/13).[7] Furthermore, SPI does not include income from non taxable benefits such as housing benefits or job seekers allowance.[2][6]

text: The Annual Survey of Hours and Earnings (ASHE) is a dataset from an annual survey of approximately 50,000 businesses by the Office for National Statistics (ONS) and covers annual earnings, public and private sector pay differential and the gender pay gap. ASHE does not cover individuals who are self-employed.[6][8]

text: The Households Below Average Income (HBAI) dataset is based on the Family Resources Survey (FRS) from the Department for Work and Pensions (DWP). It includes information on equalised household disposable income and can be used to represent the distribution of household income and income inequality (Gini coefficient).[4][6]

text: Other data sources include Average Weekly Earnings, Labour Force Survey, Index of Labour Cost per Hour, Unit Labour Costs, Effects of Taxes and Benefits on Household Income / Living Costs and Food Survey, European Union Statistics on Income and Living Conditions, Pensioners Income Series, Wealth and Assets Survey, National Accounts Estimates of Gross Disposable Household Income, and Small Area Income Estimates.[6]

text: Taxable income[edit]

text: The most recent SPI report (2012/13) gave annual median income as £21,000 before tax and £18,700 after tax.[2] The 2013/14 HBAI report gave median household income (2 adults) as £23,556.[4] The provisional results from the April 2014 ASHE report gives median gross annual earnings of £22,044 for all employees and £27,195 for full-time employees.[8]

text: According to the OECD the average household net-adjusted disposable income per capita is $27,029 a year (in USD, ranked 14/36 OECD countries), the average household net financial wealth per capita is estimated at $60,778 (in USD, ranked 8/36), and the average net-adjusted disposable income of the top 20% of the population is an estimated $57,010 a year, whereas the bottom 20% live on an estimated $10,195 a year giving a ratio of 5.6 (in USD, ranked 25/36).[9]

text: The 2013/14 HBAI reported that 15% of people had a relative low income (below 60% of median threshold) before housing costs.[4]

text: Data from HMRC 2012-13; incomes are before tax for individuals. The personal allowance or income tax threshold was £8,105 (people with incomes below this level did not pay income tax).[7]

text: Income by location[edit]

text: Income can vary considerably by location. For example, the locations (local administrative unit) with the highest incomes were the City of London, Kensington and Chelsea, and Westminster with median annual incomes of £58,300, £37,800 and £35,200 respectively. The locations with the lowest incomes were Hyndburn, Torbay, and West Somerset with median annual incomes of £17,000, £16,900 and £16,000 respectively.

text: Income by age and gender[edit]

text: Data from the Survey of Personal Incomes 2012/13.

text: Income by occupation[edit]

text: The tables below shows the ten highest and ten lowest paid occupations in the UK respectively, as at April 2014.[10]

text:
Occupation
Median full-time gross weekly pay (£)

Aircraft pilots and flight engineers
1,746.6

Air traffic controllers
1,549.4

Chief executives and senior officials
1,533.3

Marketing and sales directors
1,298.7

Advertising and public relations directors
1,289.5

Information technology and telecommunications directors
1,226.7

Legal professionals (not included elsewhere)
1,217.3

Medical practitioners
1,167.1

Brokers
1,149.9

Financial managers and directors
1,143.0

tag: table

text:
Occupation
Median full-time gross weekly pay (£)

Cleaners and domestics
285.5

Nursery nurses and assistants
285.2

Other elementary services occupations (not included elsewhere)
279.9

Retail cashiers and check-out operators
278.7

Leisure and theme park attendants
272.7

Kitchen and catering assistants
268.4

Hairdressers and barbers
267.8

Launderers, dry cleaners and pressers
259.3

Waiters and waitresses
257.6

Bar staff
253.6

text: Post tax household income[edit]

text: Data from the Households Below Average Income (HBAI) report from the Department of Work and Pensions 2013/14:

text: Data from HMRC – Percentile points of the income distribution as estimated from the Survey of Personal Incomes, note this only includes individuals who pay some income tax:

text: Wealth[edit]

text: This section needs to be updated. Please update this article to reflect recent events or newly available information. (October 2015)

text: The net worth information is based on data from HMRC for 2004–2005[11] and includes marketable assets including house equity, cash, shares, bonds and investment trusts. These values do not include personal possessions.

text:
Percentile point
Wealth to qualify
Percentage of total wealth owned
by people at and above this level

Top 1%
£688,228
21% of total UK wealth

2%
£460,179
28% of total UK wealth

5%
£270,164
40% of total UK wealth

10%
£176,221
53% of total UK wealth

25%
£76,098
72% of total UK wealth

50%
£35,807
93% of total UK wealth

text: High income[edit]

text: The Institute for Fiscal Studies issued a report on the UK's highest earners in January 2008. There are 42 million adults in the UK of whom 29 million are income tax payers. (The remainder are pensioners, students, homemakers, the unemployed, those earning under the personal allowance, and other unwaged.) A summary of key findings is shown in the table below:

text:
All taxpayers
Top 10% to 1% (adults)
Top 1% to 0.1% (adults)
Top 0.1% (adults)

Number
29.5 million
4.21 million
421,000
42,000

Entry level for group
£5,093
£35,345
£99,727
£351,137

Mean value for group
£24,769
£49,960
£155,832
£780,043

Average income tax paid
£4,415
£10,550
£49,477
£274,482

Percentage of national personal income
100%
27.6%
8.6%
4.2%

text: The top 0.1% are 90% male and 50% of these people are in the 45 to 54 year age group. 31% of these people live in London and 21% in South East England. 33% of these people are company directors (as reported to HMRC). 30% work in finance and 38% in general business (includes law). The very richest rely on earnings (salary and bonuses) for 58% of income. Income from self-employment (such as partnerships in law or accountancy firms) accounts for 23% of income and about 18% from investment income (interest and share dividends).

text: Sources of income[edit]

text: The Family Resources Survey is a document produced by the Department for Work and Pensions. This details income amongst a representative sample of the British population. This report tabulates sources of income as a percentage of total income.[12]

text:
Region
Employment (salaries & wages)
Self employed
Investment income
Working tax credit
State pensions
Occupational pensions
Disability benefits
Other social security benefits
Other income sources

UK
64%
11%
2%
1%
6%
7%
2%
5%
2%

Northern Ireland
60%
11%
1%
2%
7%
5%
4%
7%
3%

Scotland
66%
7%
2%
2%
7%
7%
3%
5%
2%

Wales
60%
8%
2%
2%
8%
8%
4%
6%
1%

England
64%
11%
2%
1%
6%
7%
2%
5%
2%

North East England
64%
5%
2%
2%
8%
6%
4%
7%
2%

North West England
59%
13%
2%
2%
7%
7%
3%
6%
2%

Yorkshire
64%
7%
2%
2%
7%
7%
2%
5%
3%

East Midlands
65%
9%
2%
1%
7%
6%
2%
5%
3%

West Midlands
62%
8%
3%
2%
8%
6%
2%
5%
3%

Eastern England
56%
22%
2%
1%
5%
7%
1%
3%
2%

London
71%
10%
2%
1%
4%
4%
1%
5%
3%

South East
66%
9%
4%
1%
7%
8%
1%
4%
2%

South West England
60%
9%
4%
1%
7%
10%
2%
4%
2%

text: Other social security benefits include: Housing Benefit, Income Support and Jobseeker's Allowance


document_title: Highest temperature recorded on Earth

question_text: where was the hottest temperature ever recorded on earth

text: Highest temperature recorded on Earth

text: The standard measuring conditions for temperature are in the air, 1.5 meters above the ground, and shielded from direct sunlight.[1] According to the World Meteorological Organization (WMO), the highest confirmed temperature on Earth recorded according to these measures was 56.7 °C (134.1 °F) in Furnace Creek Ranch, California, located in the Death Valley desert in the United States, on July 10, 1913.[2][3]

text: From 1922 until 2012, the WMO record for the highest official temperature on Earth was 57.8 °C (136.0 °F), registered on 13 September 1922 in ‘Aziziya, Libya. In January 2012, the WMO decertified the 1922 record, citing persuasive evidence that it was a faulty reading recorded in error by an inexperienced observer. [2] Christopher C. Burt, the weather historian writing for Weather Underground who shepherded the Libya reading's 2012 disqualification, believes that the 1913 Death Valley reading is also "a myth", and is at least four or five degrees Fahrenheit too high,[4] as do other weather historians Dr. Arnold Court and William Taylor Reid.[5] If the 1913 record were to be decertified, the current highest recorded temperature on Earth would be 54.0 °C (129.2 °F), recorded both in Death Valley on 20 June 2013, and in Mitribah, Kuwait on 21 July 2016.[6]

text: At 41.80 °C (107.24 °F), July 2017 in Furnace Creek, Death Valley, was the hottest single month (average monthly temperature) ever reliably measured anywhere on Earth since records began in 1911.[7]

text: Temperatures measured directly on the ground may exceed air temperatures by 30 to 50 °C.[8] A ground temperature of 84 °C (183.2 °F) has been recorded in Port Sudan, Sudan.[9] A ground temperature of 93.9 °C (201 °F) was recorded also in Furnace Creek Ranch on 15 July 1972; this may be the highest natural ground surface temperature ever recorded.[10] The theoretical maximum possible ground surface temperature has been estimated to be between 90 and 100 °C for dry, darkish soils of low thermal conductivity.[11]

text: Temperature measurements via satellite also tend to capture occurrence of higher records but are considered less reliable than ground-positioned thermometers. There is a satellite record of 66.8 °C (152.2 °F) measured in the Flaming Mountains of China in 2008.[12] Other satellite measurements of ground temperature taken between 2003 and 2009, taken with the MODIS infrared spectroradiometer on the Aqua satellite, found a maximum temperature of 70.7 °C (159.3 °F), which was recorded in 2005 in the Lut Desert, Iran. The Lut Desert was also found to have the highest maximum temperature in 5 of the 7 years measured (2004, 2005, 2006, 2007 and 2009). These measurements reflect averages over a large region and so are lower than the maximum point surface temperature.[8]


document_title: Rock & Chips

question_text: who plays del boy in rock and chips

question_tokens: who plays del boy in rock and chips

text: Rock & Chips

text: Plot[edit]

text: The story starts in February 1960, by setting up the characters. Joan Trotter (Kellie Bright) is in an unhappy marriage with the work-shy Reg (Shaun Dingwall), whose father Ted (Phil Daniels) has just moved in. Her 15-year-old son Derek, often shortened to Del Boy, (James Buckley) and his friends Boycie, Trigger, Jumbo Mills and new-in-town Denzil (Stephen Lloyd, Lewis Osborne, Lee Long and Ashley Gerlach) are still in school, following an increase in the school leaving age. Joan works at the local cinema with Trigger's aunt Reenie Turpin (Emma Cooke) and Raymond (Billy Seymour) for cinema manager Ernie Rayner (Robert Daws), and at the Town Hall as "a part-time filing clerk who sometimes makes the tea". Convicted thief Freddie Robdal (Nicholas Lyndhurst) has just been released from Dartmoor Prison and returned to Peckham with explosives expert Gerald "Jelly" Kelly (Paul Putner).

text: At the Town Hall, Joan asks Mr Johnson (Colin Prockter) about applying for a flat in the new high-rise estate; she is told she is unlikely to get a tenancy, as preference will be given to those with young children. At the Nag's Head, Freddie and Reg meet, and Reg invites him to his house to continue drinking. After meeting Joan and buying her a drink, Freddie realises that she is a Trotter, a family he has a dislike for. After they return to the Trotters' house, Freddie shows his affection for Joan.

text: At the cinema, Joan is promoted to part-time assistant manager and Rayner tells her that the safe sometimes contains over £2,000 at weekends. She later tells Freddie, after he goes round to her house to offer Reg some work (Reg was not at home as Freddie told him to meet him at the pub). They talk about art, and he invites her (and Reg) to his house-warming party.

text: In March, Joan has a Marilyn Monroe hairstyle and the safe at the cinema is broken into. Ahead of the party, Freddie gives Reg the use of his car, to return unused decorating materials to Guildford and he takes his father, Reenie and her boyfriend Clayton Cooper (Roger Griffiths) with him. They run out of petrol on the way, leaving Freddie and Joan the only ones at the party. They dance, and Freddie admits that he wanted to be alone with Joan so they could talk about art. They end the night by sleeping together.

text: In June, Reenie accompanies Joan to a pregnancy testing clinic, while the boys are on the Jolly Boys Outing to Margate (providing Freddie and Jelly the opportunity to burgle a jewellers). On their journey home, Reenie tells Joan about Freddie's time in prison and she realises he burgled the cinema. After Freddie tells Kelly he thinks he's in love with Joan, Reg announces her pregnancy in the pub. While Joan is completing a housing request form, Freddie goes to see her and she fails to acknowledge the baby is his.

text: The Trotters' housing application is successful in August, and September sees them view a flat in the new Sir Walter Raleigh House, which they have moved into in October. In November, Joan has her baby, which she calls Rodney (after the "handsome actor" Rod Taylor, and to the surprise of everyone else). The closing scene sees Joan enter the balcony of her flat with Rodney in her arms. After telling him that Del will be very rich one day, Joan sees Freddie on a balcony in a tower opposite; she shows him Rodney and nods her head, to his delight.

text: Throughout, the story tells of Del's strained relationship with his father and his affection for his mother; Reg's affair with the barmaid at the Nag's Head; Del and Jumbo selling goods from the docks out of the back of a van; Del and Boycie's attempt at dating Pam and Glenda (Jodie Mooney and Katie Griffiths); Joan fending off advances from her perverted boss and provides an introduction to Roy Slater (Calum MacNab) and Albie Littlewood (Jonathan Readwin).

text: Cast[edit]

text:
Actor
Character
Duration
Episodes

James Buckley
Del Boy
2010–2011
3

Nicholas Lyndhurst
Freddie "the Frog" Robdal
2010–2011
3

Phil Daniels
Ted Trotter
2010–2011
3

Kellie Bright
Joan Trotter
2010–2011
3

Shaun Dingwall
Reg Trotter
2010–2011
3

Emma Cooke
Reenie Turpin
2010–2011
3

Paul Putner
Gerald 'Jelly' Kelly
2010–2011
3

Lewis Osborne
Trigger
2010–2011
3

Stephen Lloyd
Boycie
2010–2011
3

Ashley Gerlach
Denzil
2010–2011
3

Lee Long
Jumbo Mills
2010–2011
3

Calum MacNab
Roy Slater
2010–2011
2

Alison Pargeter
Val
2010–2011
3

Mel Smith
DI Thomas
2010–2011
2

Paula Wilcox
Violet Trotter
2010–2011
2

Chandeep Uppal
Amita
2010
1

Joan Hodges
Gwen
2010–2011
2

Kacey Ainsworth
Edna
2010
1

Katie Griffiths
Glenda
2010
2

text: Production[edit]

text: Writer John Sullivan had the idea for a prequel to the sitcom Only Fools and Horses in 1997;[1] its commission was announced in 2003[1] and the premise for the series was established in the final Only Fools and Horses episode "Sleepless in Peckham" in 2003, where Rodney discovers a photograph of Freddie Robdal from 1960. His uncanny resemblance to Rodney confirmed that he, and not Reg, was Rodney's biological father. A lot of the groundwork for this had been both laid and explored in the Episode "The Frog's Legacy" the 1987 Christmas Day hour-long special. In the episode Rodney goes to ask about his father to which Albert diplomatically replies 'They're rumours Rodney. That's all. Rumours.' The proposed prequel, was to be titled Once Upon a Time in Peckham, it would see young versions of Del, Boycie, Denzil and Trigger, and Sullivan said "Joanie will be a key character, and during the film will give birth to Rodney."[1] However, the prequel was shelved, and spin-off The Green Green Grass was developed to follow secondary characters, Boycie, Marlene and their son Tyler, as they escape the London Mafia and attempt to live in the Shropshire countryside. It was reported in January 2009 that the prequel was being considered again, following the success of The Green Green Grass.[1] In April 2009, Sullivan told The Mail on Sunday that he had started writing the prequel, and that Lyndhurst was "keen" to play Robdal, a local criminal and Rodney's biological father, although the production had yet to be commissioned.[2]

text: On 3 July 2009, the BBC announced that the prequel had been commissioned as a 90-minute comedy drama, titled Sex, Drugs & Rock 'n' Chips, to be co-produced by the BBC and Sullivan's production company, Shazam Productions.[3][4] Originally scheduled for August,[3] filming began in October 2009 in London,[5][6] lasting 19 days.[7] Nicholas Lyndhurst, who played Rodney in Only Fools and Horses, would play villain and art connoisseur Freddie Robdal in a reprise of his role in the "Sleepless in Peckham" photograph, Kellie Bright (Bad Girls, The Archers) would play the "glamorous" Joan Trotter, her husband Reg would be portrayed by Shaun Dingwall (Soldier Soldier, Doctor Who), and his father by Phil Daniels (Quadrophenia, EastEnders). James Buckley (The Inbetweeners), would play the teenage Derek, Joan and Reg's son, portrayed by David Jason in Only Fools and Horses. Dewi Humphreys (The Green Green Grass) would direct. It was announced in January 2010 that the production would be shown on 24 January on BBC One with the title Rock & Chips.[8]

text: The drama was produced by Gareth Gwenlan, who worked on Only Fools and Horses between 1988 and 2003. Speaking to the Western Mail, he described it as "essentially a love story" between Joan and Freddie, and he said that Lyndhurst "told me he thinks it's the best thing he's ever done". Speaking about the casting of Lyndhurst, he said he "would make a marvellous villain, which is something people will never have seen him do on TV before".[9]

text: Speaking about continuing the story, Gwenlan said that the production was "run on the idea it'll be turned into a series. This one lays the groundwork and John [Sullivan] has enough for about two more series."[9]

text: On 13 September 2010, while promoting the third series of The Inbetweeners on BBC Radio 5 Live, James Buckley confirmed that Rock & Chips would return for two more specials, one for Christmas 2010, and the other for Easter 2011.[10] John Sullivan died on 23 April 2011, five days before the final episode was broadcast.[11]

text: Locations[edit]

text: The 'Nags Head' pub used in the pilot episode is a de-furbished version of the existing 'Pelton Arms' pub in Greenwich, which maintains the 'Only Fools And Horses' look, style and 'feel'. The prefabricated Excalibur Estate in Catford was used as a location in the opening episode.

text: John Sullivan's comments[edit]

text: Sullivan said when the production was announced that it would "give us a bit of an insight into why Del and Rodney turned out they [sic] way they did" in a period "before The Beatles and Mary Quant made London the coolest place on the planet" when "the staple diet was rock salmon and chips and the flicks offer the only hint of glamour".[3] Expanding further on the basis for the prequel, he said:

text: ... the most important person in the flat [in Only Fools and Horses] was never, ever seen; it was the spirit of Del's (and Rodney's) beloved mother Joan who had passed away 17 years before, and throughout the run of the series Del constantly referred to her and past events within the Trotter Family. ... But much of his historical information was at best contradictory, and at worse [sic] outright lies. We were left with a situation where the only person who really knew what had happened was an unreliable witness, so I decided to return to those misty days of 1960 to meet all those characters we'd only ever heard about ...[12]

text: Nicholas Lyndhurst's comments[edit]

text: In an interview in the press pack for the production, Lyndhurst described Freddie Robdal as "a villain – charming, but nasty", and comparing him to Rodney, said that: "They're from two entirely different suitcases as far as I'm concerned. I didn't want to bring into it anything that I'd already done with Rodney and fortunately there wasn't any opportunity to do so. They're like chalk and cheese."[13] Speaking about the 19-day filming schedule and the "not great" budget, he also told Michael Deacon of The Daily Telegraph that:

text: I was very pleased it was made at all. ... There were people who said, 'I don't think we're going to do this', and we had to wait months to get the green light. We thought, 'Well, we haven't got the budget we want, we haven't got the schedule we want, so we're going to have to make it as brilliant as we can.' It was a costume drama and it needed a costume drama budget, and it didn't get that.[7]

text: Episodes[edit]

text:
#
Title
Directed by
Written by
Original airdate
Duration
UK viewers
(million)[14]

1
"Rock and Chips"
Dewi Humphreys
John Sullivan
24 January 2010 (2010-01-24)
90 minutes
8.42

Set in 1960, Joan Trotter is in an unhappy marriage with the work-shy Reg, with whom she has a teenage son, Derek ("Del Boy"). However, the reappearance in Peckham of bank robber, "art connoisseur" and womaniser Freddie Robdal, recently released after a ten-year prison sentence, will bring about changes in Joan's life. Rock & Chips centres on the relationships between the glamorous Joan Trotter, Del's useless father Reg, the safe-cracker Freddie Robdal and the young Del Boy. It also features teenage incarnations of some of the original show's regular characters, including Boycie, Trigger, Denzil, and Jumbo Mills. The Trotter family haven't yet moved into their flat in Walter Raleigh House (later Nelson Mandela House), but there are some recognisable settings such as the mean streets of Peckham and the Nag's Head circa 1960.[15]

2
"Five Gold Rings"
Dewi Humphreys
John Sullivan
29 December 2010 (2010-12-29)
60 minutes
5.83

It's Christmas 1960, and the Trotters are settling into their new flat in Sir Walter Raleigh House, Peckham. Ted and Reg are still drawing the dole, and hard-working Joan is struggling to keep the family afloat by returning to her old job at the cinema, while asking her mother-in-law Violet to look after baby Rodney. A 16-year-old Del has left school and is exploring employment opportunities around the docks – including a nice line in selling 45s straight off the back of a boat from America – and Freddie Robdal has been temporarily detained in Wormwood Scrubs at Her Majesty's pleasure.

3
"The Frog and the Pussycat"
Dewi Humphreys
John Sullivan
28 April 2011 (2011-04-28)
60 minutes
3.77[17]

Joan longs for a new life. Del also has new aspirations – to become a movie producer. If only he could find the finance. Maybe his latest squeeze might persuade her father to invest... that would provide the answer to both of their problems![16]

text: Reception[edit]

text: Overnight figures estimated Rock & Chips was seen by 7.4 million viewers with a 28% audience share, winning the slot against ITV's Wild at Heart and the Dancing on Ice results show. It was the second most-watched programme of the day, behind the first Dancing on Ice programme of the evening.[18] Final figures showed it was seen by 8.42 million viewers on BBC One and 279,000 on BBC HD.[19]

text: Sam Wollaston for The Guardian said he was missing the interplay between Rodney and Del Boy from the original, and that the only fun in the drama was "recognising the nods, working out who's who and how it all fits into place. Otherwise, it's pretty lame."[20] The Daily Mirror's Jim Shelley didn't find the storyline "interesting or convincing", finding Lyndhurst's performance as Freddie "laughable" and saying it was "bizarre" that the storyline "virtually abandoned its main character (the young Del Boy) and its best actor (the engaging James Buckley from The Inbetweeners) who played him".[21] In The Independent, Tom Sutcliffe said that "the narrative's focus was blurred and the pacing weirdly off – quite a lot of the time you were well ahead of the drama and hanging around for it to catch up with you".[22] Benji Wilson from The Daily Telegraph also wasn't impressed saying the viewer would have been disappointed if they "tuned in wanting to be entertained, enthused, or anything in between", and that it was an "ocean-going stinker".[23]

text: However, The Scotsman's Paul Whitelaw said that, despite a "disjointed" plot and it being "overstretched at 90 minutes": "It was actually pretty good. Not great, not perfect, but a watchable production from which everyone emerged with their dignity intact." He said that Buckley "delivered a charming performance in what was effectively a supporting role. Wisely choosing to suggest Del's familiar mannerisms without opting for outright impersonation, he carried off a difficult task with modest élan."[24] Writing for The Stage, Harry Venning found the performances "top notch" and praised the script as "first class", saying "the comic moments were of the highest quality and beautifully crafted into the narrative".[25] Andrew Billen from The Times described Bright's portrayal of Joan as "winsome", said Lyndhurst "produced a detailed performance" and that "Rock & Chips was better than the sequel that preceded it."[26] Keith Watson in the Metro also praised the performances of Buckley and Bright, saying "They deserved a show all to themselves." Although he found the period detail "squeaky clean" and "unconvincing", he closed his review by saying: "Somehow it made me care about the Trotters in a way decades of Only Fools and Horses never came close to."[27]

text: Home media[edit]

text: The pilot of Rock & Chips was released on Region 2 DVD on 5 April 2010.[28] The Christmas special "Five Gold Rings" was released on DVD on 28 March 2011. On 2 May 2011 a three-disc DVD set titled "Rock & Chips - The Complete Collection" was released, comprising all three of the episodes.[29]


document_title: S corporation

question_text: maximum number of shareholders in an s corp

text: S corporation

text: Overview[edit]

text: S corporations are ordinary business corporations that elect to pass corporate income, losses, deductions, and credits through to their shareholders for federal tax purposes.[1][2] The term "S corporation" means a "small business corporation" which has made an election under § 1362(a) to be taxed as an S corporation.[3]

text: The S corporation rules are contained in Subchapter S of Chapter 1 of the Internal Revenue Code (sections 1361 through 1379). Congress, acting on the Department of Treasury's suggestion of 1946, created this chapter in 1958 as part of a larger package of miscellaneous tax items.[4] S status combines the legal environment of C corporations with U.S. federal income taxation similar to that of partnerships.[2]

text: As with partnerships, the income, deductions, and tax credits of an S corporation flow through to shareholders annually, regardless of whether distributions are made.[5] Thus, income is taxed at the shareholder level and not at the corporate level. Payments to S shareholders by the corporation are distributed tax-free to the extent that the distributed earnings were previously taxed.

text: S. corporations vs. C. corporations[edit]

text: Like a C corporation, an S corporation is generally a corporation under the law of the state in which the entity is organized.[5] However, with modern incorporation statutes making the establishment of a corporation relatively easy, firms that might traditionally have been run as partnerships or sole proprietorships are often run as corporations with a small number of shareholders in order to take advantage of the beneficial features of the corporate form; this is particularly true of firms established prior to the advent of the modern limited liability company. Therefore, taxation of S corporations resembles that of partnerships.

text: Unlike a C corporation, an S corporation is not eligible for a dividends received deduction.

text: Unlike a C corporation, an S corporation is not subject to the 10 percent of taxable income limitation applicable to charitable contribution deductions.

text: Eligibility[edit]

text: A corporation is "eligible" if it:[2]

text:
Has no more than 75 shareholders,
Has shareholders who are all individuals (exceptions are made for various tax exempt organizations, estates, and trusts)
Has no nonresident aliens as shareholders, and
Has only one class of stock.[6][7]

tag: ul

text: A limited liability company (LLC) is eligible to be taxed as an S corporation under the check-the-box regulations at § 301.7701-2. The LLC first elects to be taxed as a corporation, at which point it becomes a corporation for tax purposes; then it makes the S corporation election under section 1362(a).

text: Shareholder requirements[edit]

text: Shareholders must be U.S. citizens or residents (not nonresident aliens), and must be natural persons, so corporations and partnerships are ineligible shareholders. However, certain trusts, estates, and tax-exempt corporations, notably 501(c)(3) corporations, are permitted to be shareholders.[8] An S corporation may be a shareholder in another, subsidiary S corporation if the first S corporation owns 100% of the stock of the subsidiary corporation, and an election is made to treat the subsidiary corporation as a "qualified subchapter S subsidiary" (QSub). After the election is made, the subsidiary corporation is not treated as a separate corporation for tax purposes, and all "assets, liabilities, and items of income, deduction, and credit" of the QSub are treated belonging to the parent S corporation.[9]

text: Spouses (and their estates) are automatically treated as a single shareholder.[10] Families, defined as individuals descended from a common ancestor, plus spouses and former spouses of either the common ancestor or anyone lineally descended from that person, are considered a single shareholder as long as any family member elects such treatment.[7]

text: Stock requirements[edit]

text: An S corporation may only have one class of stock.[11] A single class of stock means that all outstanding shares of stock confer "identical rights to distribution and liquidation proceeds," i.e. profits and losses are allocated to shareholders proportionately to each one's interest in the business. § 1.1361-1(l)(1). Differences in voting rights are disregarded, which means that an S corporation may have voting and nonvoting stock.[12]

text: If a corporation meets the foregoing requirements and wishes to be taxed under Subchapter S, its shareholders may file Form 2553: "Election by a Small Business Corporation"[13][14] with the Internal Revenue Service (IRS). The Form 2553 must be signed by all of the corporation's shareholders. If a shareholder resides in a community property state, the shareholder's spouse generally must also sign the 2553.

text: The S corporation election must typically be made by the fifteenth day of the third month of the tax year for which the election is intended to be effective, or at any time during the year immediately preceding the tax year.[15] Congress has directed the IRS to show leniency with regard to late S elections. Accordingly, often, the IRS will accept a late S election.

text: If a corporation that has elected to be treated as an S corporation ceases to meet the requirements (for example, if as a result of stock transfers, the number of shareholders exceeds 100 or an ineligible shareholder such as a nonresident alien acquires a share), the corporation will lose its S corporation status and revert to being a regular C corporation.

text: An S corporation's election will also terminate if, for each of three consecutive years, (i) its passive investment income exceeds 25% of gross receipts and (ii) it has accumulated earnings and profits. § 1362(d)(3). An S corporation will only have accumulated earnings and profits if it was a C corporation at some time, or acquired or merged with a C corporation. [1]

text: Taxation[edit]

text: The S election affects the treatment of the corporation for Federal income tax purposes. The election does not change the requirements for that corporation for other Federal taxes such as FICA and Federal unemployment taxes.

text: Distributions[edit]

text: While an S corporation is not taxed on its profits, the owners of an S corporation are taxed on their proportional shares of the S corporation's profits.

text: Actual distributions of funds, as opposed to distributive shares, typically have no effect on shareholder tax liability. The term "pass through" refers not to assets distributed by the corporation to the shareholder, but instead to the portion of the corporation's income, losses, deductions or credits that are reported to the shareholder on Schedule K-1 and are shown by the shareholder on his or her own income tax return. However, a distribution to a shareholder that is in excess of the shareholder's basis in his or her stock is taxed to the shareholder as capital gain.

text: Quarterly estimated taxes must be paid by the individual to avoid tax penalties, even if this income is "phantom income".[citation needed]

text: Example[edit]

text: Widgets Inc, an S-Corp, makes $10,000,000 in net income (before payroll) in 2006 and is owned 51% by Bob and 49% by John. Keeping it simple, Bob and John both draw salaries of $94,200 (which is the Social Security Wage Base for 2006, after which no further Social Security tax is owed).

text: Employee salaries are subject to FICA tax (Social Security & Medicare tax) --currently 15.3 percent--(6.2% Social Security paid by the employee; 6.2% Social Security paid by the employer; 1.45% employee medicare and 1.45% employer medicare). The distribution of the additional profits from the S corporation will be done without any further FICA tax liability.

text: If for some reason, Bob (as the majority owner) were to decide not to distribute the money, both Bob and John would still owe taxes on their pro-rata allocation of business income, even though neither received any cash distribution. To avoid this "phantom income" scenario, S corporations commonly use shareholder agreements that stipulate at least enough distribution must be made for shareholders to pay the taxes on their distributive shares.

text: Conversion from C corporation[edit]

text: S corporations that have previously been C corporations may also, in certain circumstances, pay income taxes on untaxed profits that were generated when the corporation operated as a C corporation. This is very common with uncollected accounts receivable or appreciated real estate.

text: For example, if an S corporation that was formerly a C corporation sells an appreciated asset (such as real estate) and the appreciation occurred during the time the corporation was a C corporation, the S corporation will probably pay C corporation taxes on the appreciation—even though the corporation is now an S corporation. This Built In Gain (BIG) tax rate is 35% on the appreciated property, but is only realized if the BIG property is sold within 10 years (starting from the first day of the first tax year of conversion to S-Corp status.) The American Recovery and Reinvestment Act of 2009 reduced that 10-year recognition period to 7 years (if that 7th year precedes either 2009 or 2010.) The Small Business Jobs Act of 2010 further reduced the recognition period to 5 years.

text: Federal tax[edit]

text: Taxable Income to Shareholders[edit]

text: If a shareholder owns more than 2% of the outstanding stock, amounts paid for group health insurance for that shareholder are included on their W-2 as "wages." The same applies to amounts contributed to Health Savings Accounts (HSA).

text: Filing Form 1120S[edit]

text: Form 1120S generally must be filed by March 15 of the year immediately following the calendar year covered by the return or, if a fiscal year (a year ending on the last day of a month other than December) is used, by the 15th day of the third month immediately following the last day of the fiscal year. The corporation must complete a Schedule K-1 for each person who was a shareholder at any time during the tax year and file it with the IRS along with Form 1120S. The second copy of the Schedule K-1 must be mailed to the shareholder.

text: FICA[edit]

text: As is the case for any other corporation, the FICA tax is imposed only with respect to employee wages and not on distributive shares of shareholders. Although FICA tax is not owed on distributive shares, the IRS and equivalent state revenue agencies may recategorize distributions paid to shareholder-employees as wages if shareholder-employees are not paid a reasonable wage for the services they perform in their positions within the company.[16]

text: Reporting compliance[edit]

text: In 2005, the IRS launched a study to assess the reporting compliance of S corporations[17] The study began in late 2005 and examined 5,000 randomly selected S corporation returns from tax years 2003 and 2004. The IRS intends to use the results to measure compliance in recording of income, deductions and credits from S corporations, and to formulate future audit criteria to better target likely non-compliant returns. This is part of a larger IRS effort to improve tax compliance and reduce the estimated $300 billion gap in gross reported figures each year. A large portion of that gap is thought to come from small businesses, and particularly S corporations, which are now the most common corporate entity, numbering over 3 million in 2002, up from about 750,000 in 1985.

text: State tax[edit]

text: States impose tax laws and regulations for corporate income and distributions, some of which may be directed specifically at S Corporations. Some but not all states recognize a state tax law equivalent to an S corporation, so that the S corporation in certain states may be treated the same way for state income tax purposes as it is treated for Federal purposes. A state taxing authority may require that a copy of the Form 1120S return be submitted to the state with the state income tax return.

text: Some states such as New York and New Jersey require a separate state-level S election in order for the corporation to be treated, for state tax purposes, as an S corporation.

text: California[edit]

text: S corporations pay a franchise tax of 1.5% of net income in the state of California (minimum $800). This is one factor to be taken into consideration when choosing between a limited liability company and an S corporation in California. For highly profitable enterprises, the LLC franchise tax fees (minimum $800), which are based on gross revenues, may be lower than the 1.5% net income tax. Conversely, for high-gross-revenue, low-profit-margin businesses, the LLC franchise tax fees may exceed the S corporation net income tax.

text: Delaware[edit]

text: S Corporations operating in the City of Wilmington are not subject to the city's 1.25% net profits tax, however, S corporation employee wages are subject to the city's 1.25% wage tax.

text: New York City[edit]

text: In New York City, S corporations are subject to the full corporate income tax at an 8.85% rate. However, if the S corporation can demonstrate that a portion of its business was done outside the city, that portion will not be subject to the additional tax.

text: Philadelphia[edit]

text: In Philadelphia, S corporations are subject to the city's income tax (6.35%) and gross receipts tax (1.415%), but not the net profits tax (3.8907%). S corporations also benefit from Pennsylvania's flat personal income tax of 3.07% instead of the high corporation tax rate of 9.99%.


document_title: Naomi Grossman

question_text: who played the pinhead in american horror story

text: Naomi Grossman

text: Early life[edit]

text: Grossman was born in Denver, Colorado. In her early life, she performed in community theatre shows. After attending high school in Argentina, she attended and graduated from Northwestern University with a theatre major, as the only university she applied to.[1][2] She was a member of improvisational and sketch comedy troupe The Groundlings in Los Angeles, California, and wanted to ultimately perform on Saturday Night Live. When the group cut ties with her, she began teaching the Spanish language and separating herself from her acting career.[3] Grossman also writes and produces and has cited Lily Tomlin, Tracy Ullman, Gilda Radner and Carol Burnett as inspirations.[1]

text: Career[edit]

text: Grossman began her career in 1990 with minor television roles, along with commercial and theatre appearances.[1]

text: Not knowing what role she was auditioning for, Grossman sent in an audition for American Horror Story: Asylum in mid-2012 and was cast in soon after as Pepper, a microcephalic; the season premiered later that year on October 17.[4] In preparation for the role, she shaved her head bald.[3] In 2014, it was revealed that Grossman would return to the series in its fourth season, American Horror Story: Freak Show, reprising her role as Pepper from the second season, making her the first to play the same role in two different seasons of the show. She spoke of her casting in the fourth season saying that reprising her role was "the last thing from [her] mind" since it had never been done before.[5]

text: Filmography[edit]

text: Film[edit]

text:
Year
Title
Role
Notes

2000
Marisa, Where Art Thou?
Wendy
Short film

2005
Over the Shoulder
Goth Girl
Short film

2007
Bubbles
Mama
Short film

Wacky Spoof Commercials
People's Bank Gal 2
Short film

2008
Yes
Bonnie
Short film

Men at Work
Woman

2009
Represent
Shania
Short film

Table for Three
Actress

The Hollywood Housesitter
Waitress
Short film

My Boyfriend Is a Blimp
Suzy
Short film

Jesus's Secretary
Mary
Short film

Hot Yoga
Amani
Short film

Food Poisoning
Naomi
Short film

Burka Girls Gone Wild
Unknown

2010
Random Chapters in the Life of Some Guy
Wife
Short film

Paradrunken Activity
Katie
Short film

2011
Chubduction
Hilary Q.

Teat the Parents
Girlfriend
Short film

2012
Kev Jumba Dances with the Stars!
Dot

Touch My Junk
Traveler
Short film

2013
Bakersfield, Earth
Unknown
Short film

Rip
Bella Tiavas
Stylized as #RIP

2014
Just Me and All of You
Katrina
Short film

2015
The Ones
Dance Instructor
Post-production

The Chair
Mother
Pre-production

2016
Fear, Inc.
Cat

text: Television[edit]

text:
Year
Title
Role
Notes

1990
Father Dowling Mysteries
Confirmation Kid
Episode: "The Passionate Painter Mystery"

1998
Sabrina, the Teenage Witch
Cheerleader
Episode: "The Pom Pom Incident"

2007
Destination Truth
Herself/Translator
3 episodes

2012
FammGlamm
Gazelda
Episode: "Quality Control"

2012–13
American Horror Story: Asylum
Pepper
7 episodes

2014
American Horror Story: Freak Show
10 episodes

2017
Hell's Kitchen
Herself
Episode: "Leaving It on the Line"


document_title: List of men's footballers with 50 or more international goals

question_text: who has scored the most international goals in soccer

text: As of 11 November 2017, a total of 59 male players have each scored fifty or more goals in official international association football matches. The only male player to score more than a hundred goals is Ali Daei, who scored 109 goals for Iran.

text: List[edit]

text: This list is sorted by the number of goals. Players with the same number of goals scored are sorted by the goals-per-match average. Players who are currently active at international level are indicated in bold type.[1]

text: As of December 22, 2017.

text:
Indicates the FIFA world top scorer.

Indicates the top scorer of the respective confederation.

Indicates the top scorer of the respective nation.

text:
#
Name
Nation
Confederation
International
goals
Caps
Goals
per match
Career span
Notes

1
Ali Daei
 Iran
AFC
109
149
0.73
1993–2006
[2]

2
Ferenc Puskás
 Hungary  Spain
UEFA
84
89
0.94
1945–1956 1961–1962

3
Kunishige Kamamoto
 Japan
AFC
80
84
0.95
1964–1977

4
Godfrey Chitalu
 Zambia
CAF
79
108
0.71
1968–1980
[3]

Cristiano Ronaldo
 Portugal
UEFA
79
147
0.54
2003–
[4]

6
Hussein Saeed
 Iraq
AFC
78
137
0.57
1977–1990

7
Pelé
 Brazil
CONMEBOL
77
91
0.85
1957–1971
[5]

8
Sándor Kocsis
 Hungary
UEFA
75
68
1.10
1948–1956

Bashar Abdullah
 Kuwait
AFC
75
133
0.56
1996–2007

10
Kinnah Phiri
 Malawi
CAF
71
115
0.62
1973–1981

Majed Abdullah
 Saudi Arabia
AFC
71
116
0.61
1977–1994

Kiatisuk Senamuang
 Thailand
AFC
71
134
0.53
1993–2007

Miroslav Klose
 Germany
UEFA
71
137
0.52
2001–2014

14
Stern John
 Trinidad and Tobago
CONCACAF
70
115
0.61
1995–2012

Piyapong Pue-on
 Thailand
AFC
70
100
0.70
1981–1997

16
Hossam Hassan
 Egypt
CAF
70
169
0.41
1985–2006
[6][7]

17
Gerd Müller
 West Germany
UEFA
68
62
1.10
1966–1974

Carlos Ruiz
 Guatemala
CONCACAF
68
132
0.52
1998–2016

Robbie Keane
 Republic of Ireland
UEFA
68
146
0.46
1998–2016[8]
[2][9][10]

20
Didier Drogba
 Ivory Coast
CAF
65
104
0.61
2002–2014
[11]

21
Jasem Al-Huwaidi
 Kuwait
AFC
63
100
0.63
1992–2003

22
Ronaldo
 Brazil
CONMEBOL
62
98
0.63
1994–2011

Zlatan Ibrahimović
 Sweden
UEFA
62
116
0.53
2001–2016

Ahmed Radhi
 Iraq
AFC
62
121
0.51
1982–1997

25
Lionel Messi
 Argentina
CONMEBOL
61
123
0.50
2005–

26
David Villa
 Spain
UEFA
59
98
0.60
2005–

Imre Schlosser
 Hungary
UEFA
59
68
0.87
1906–1927

28
Cha Bum-kun
 South Korea
AFC
58
135
0.42
1972–1986

29
Carlos Pavón
 Honduras
CONCACAF
57
101
0.56
1993–2010

Clint Dempsey
 United States
CONCACAF
57
141
0.40
2004–

Younis Mahmoud
 Iraq
AFC
57
148
0.39
2002–2016

Landon Donovan
 United States
CONCACAF
57
157
0.36
2000–2014

33
Sunil Chhetri
 India
AFC
56
97
0.58
2005–

34
Romário
 Brazil
CONMEBOL
55
70
0.79
1987–2005

Kazuyoshi Miura
 Japan
AFC
55
89
0.62
1990–2000

Jan Koller
 Czech Republic
UEFA
55
91
0.60
1999–2009

Fandi Ahmad
 Singapore
AFC
55
101
0.55
1979–1997

38
Gabriel Batistuta
 Argentina
CONMEBOL
54
77
0.70
1991–2002

Samuel Eto'o
 Cameroon
CAF
54
118
0.46
1997–2014
[12]

40
Neymar
 Brazil
CONMEBOL
53
83
0.65
2010–

Joachim Streich
 East Germany
UEFA
53
98
0.54
1969–1984
[13]

Wayne Rooney
 England
UEFA
53
119
0.44
2003–2017

43
Poul Nielsen
 Denmark
UEFA
52
38
1.37
1910–1925

Ali Ashfaq
 Maldives
AFC
52
78
0.66
2003–

Edin Džeko
 Bosnia and Herzegovina
UEFA
52
89
0.59
2007–

Jon Dahl Tomasson
 Denmark
UEFA
52
112
0.46
1997–2010

Adnan Al Talyani
 United Arab Emirates
AFC
52
161
0.32
1983–1997

48
Lajos Tichy
 Hungary
UEFA
51
72
0.71
1955–1971

Lê Công Vinh
 Vietnam
AFC
51
83
0.61
2004–2016

Robert Lewandowski
 Poland
UEFA
51
91
0.56
2008–

Asamoah Gyan
 Ghana
CAF
51
106
0.48
2003–

Hakan Şükür
 Turkey
UEFA
51
112
0.46
1992–2007

Thierry Henry
 France
UEFA
51
123
0.41
1997–2010

Bader Al-Mutawa
 Kuwait
AFC
51
159
0.32
2003–

55
Karim Bagheri
 Iran
AFC
50
87
0.58
1993–2010

Robin van Persie
 Netherlands
UEFA
50
102
0.49
2005–

Hwang Sun-hong
 South Korea
AFC
50
103
0.49
1988–2002

Tim Cahill
 Australia
AFC
50
104
0.49
2004–

Shinji Okazaki
 Japan
AFC
50
108
0.46
2008–


document_title: List of World War II weapons of the United Kingdom

question_text: what rifle did the british use in ww2

question_tokens: what rifle did the british use in ww2

text: Small arms[edit]

text: Rifles[edit]

text:
De Lisle Carbine - Specialist issue,129 made
Enfield Pattern 14 (P14) - Used as a marksman weapon until the No.IV Mk.I(T) was introduced, also issued in large number to the LDV.
M1917 Enfield - Issued to LDV.
Martini-Enfield - Used as a reserve arm by Commonwealth troops from India, New Zealand, etc.
Lee Enfield No.1 Mk.III* - Lee Enfield rifle in service at the beginning of the war, supplemented and replaced by the No.4 Mk.I by mid-war.
Lee Enfield No.4 Mk.1 + No.4 Mk.I(T) - Lee Enfield rifle that replaced the No.I Mk.III* in larger numbers mid-war.
Lee Enfield No.5 Mk.I "Jungle Carbine" - Introduced in 1944 to replace the longer No.1 Mk.III* for service in the jungle.

text: Submachine guns[edit]

text:
Lanchester submachine gun - British submachine gun, developed from the German MP28, used by the Royal Navy & Royal Air Force.
Sten - simple design low cost British submachine gun in service from late 1941 to the end of the war.
Thompson - American submachine gun used in large numbers until the Sten gun was introduced.
Sterling/Patchett Machine Carbine Mark 1- British submachine gun first produced in 1944 but only trialled and used in small numbers during war.

text: Machine guns[edit]

text:
Bren light machine gun - Light machine gun for infantry use introduced in 1930s and used throughout the whole of the war.
Browning Automatic Rifle (BAR) - Issued to Home Guard
Lewis Gun - In service with some infantry at outbreak of war in small numbers, issued to British Home Guard for the rest of the war.
Vickers "K" machine gun also known as VGO - Fast firing aircraft machine gun, used in specialist roles on Long Range Desert Group and Special Air Service vehicles in North Africa, as well as a short-lived infantry machine gun with the Commandos.
Vickers machine gun - Standard medium machine gun of the British Army since 1912.
Browning M1919 - Mounted on many lend-lease vehicles.
Browning M2 - heavy machine gun, mounted on many lend-lease vehicles.
Besa machine gun - in 7.92 mm BESA and 15 mm BESA forms used as armament on British-built tanks and armoured cars only.
Vickers-Berthier - Light machine gun adopted by Indian Army pre-war and used by Indian Commonwealth troops.
Besal - A machine gun that was a good alternative to the Bren gun as it was lighter, simpler, and cheaper to manufacture. The design was by Henry Faulkner of Birmingham Small Arms who also manufactured the larger Besa machine gun.

text: Handguns[edit]

text:
Enfield No.2 Mk.1 Revolver
Webley Revolver - many marks in .38 and .455 calibres
Browning FN-Inglis "Pistol No.II Mk.I*"
Colt M1911A1
Webley No.I Mk.I - Automatic pistol in .455 inch. Issued to the Royal Navy
Welrod - suppressed pistol
Smith & Wesson Model 10
Colt New Service
Colt Official Police.

text: Grenades[edit]

text:
Grenade, Hand or Rifle, No.36M Mk.I "Mills Bomb"
"Grenade, Rifle No.68 /AT" HEAT (High Explosive Anti-Tank) rifle grenade
No.69 Mk.I Bakelite Concussion Hand Grenade
No.76, Special Incendiary Phosphorus Hand Grenade
No.73 Anti-Tank Hand Grenade "Thermos Grenade"
Grenade, Hand, No.74 ST "Sticky Bomb"
No.75 Anti-Tank Hand Grenade "Hawkins Grenade"/"Hawkins Mine"
No.77 White Phosphorus Hand Grenade
Grenade, Hand, No. 82 "Gammon Bomb".

text: Other[edit]

text:
No.II Mk.II Flamethrower "Lifebuoy"
Lewes bomb - Used by the SAS
Fairbairn-Sykes Fighting Knife
Smatchet
Kukri

text: Infantry anti-tank weapons[edit]

text:
Blacker Bombard - spigot mortar firing round. Issued for home defence only
Rifle, Anti-Tank, .55in, Boys "Boys Anti-Tank Rifle" - Infantry anti-tank weapon (prewar - 1943).
Projector, Infantry, Anti-Tank (PIAT) - Infantry anti-tank weapon (1943 until end of war).

text: Artillery[edit]

text: Anti-tank guns[edit]

text:
Ordnance QF 2-pounder - 40 mm weapon used at start of the war
Ordnance QF 6-pounder - 57 mm weapon that replaced 2-pounder in artillery units
Ordnance QF 17-pounder - 76 mm weapon introduced later in war for artillery units

text: Guns and howitzers[edit]

text:
Ordnance QF 25-pounder Gun-howitzer
BL 5.5-inch Medium Gun
BL 4.5-inch Medium Field Gun
BL 7.2-inch Howitzer Mk.I
BL 8-inch Howitzer - siege gun
BL 60-pounder gun - 5 inch gun from First World War era, replaced by 4.5 inch gun during war
75 mm Pack Howitzer M1 and M8 - US supplied portable howitzer for use in mountainous areas
QF 3.7-inch mountain howitzer
Smith Gun - smoothbore weapon for Home Guard use only

text: Anti-aircraft artillery[edit]

text:
20 mm Oerlikon
20 mm Polsten - lower cost development of Oerlikon
40 mm Bofors
QF 3 inch 20 cwt
QF 3.7 inch AA gun
QF 4.5-inch Mark 1 to Mark V

text: Mortars[edit]

text:
2 Inch Mortar
3 Inch Mortar
Blacker Bombard
Northover projector - Home Guard use.

text: Vehicles[edit]

text: see also List of World War II military vehicles by country, United Kingdom

text: Light tanks[edit]

text:
Light Tank Mk.VI
Light Tank Mk.VII Tetrarch
General Stuart
Locust
Chaffee

text: Medium tanks[edit]

text:
Tank, Medium, Mk.II - Used in small scale in the early battles in North Africa, from then; dug into ground with turret protruding for defence, in North Africa, & Great Britain.
General Grant - Medium Tank M3, purchased from America, to British specification.
General Lee - Medium Tank M3, provided under Lend-Lease from America.
General Sherman - Medium Tank M4, provided under Lend-Lease from America.

Sherman Firefly - Sherman tank, rearmed with a British 17-pdr gun.

text: Cruiser tanks[edit]

text:
Tank, Cruiser, Mk.I (A9)
Tank, Cruiser, Mk.II (A10)
Tank, Cruiser, Mk.III (A13)
Tank, Cruiser, Mk.IV (A13 Mk.II)
Tank, Cruiser, Mk.V, Covenanter (A13 Mk.III) [Did not see service]
Tank, Cruiser, Mk.VI, Crusader (A15)
Tank, Cruiser, Mk.VII, Cavalier (A24) - Regular tank not used in combat, OP and ARV tank used.
Tank, Cruiser Mk.VIII, Centaur (A27L)
Tank, Cruiser, Mk.VIII, Cromwell (A27M)
Tank, Cruiser, Mk.VIII, Challenger (A30) - 17-pdr gun
Tank, Cruiser, Comet I (A34)
Tank, Cruiser, Centurion I (A41) - Entered service too late to see combat service.

text: Infantry tanks[edit]

text:
Tank, Infantry, Mk.I, Matilda I
Tank, Infantry, Mk.II, Matilda II
Tank, Infantry, Mk.III Valentine
Tank, Infantry, Mk.IV, Churchill
Tank, Infantry, Valiant - prototype only.
Infantry Tank Black Prince - prototype only.

text: Other tanks[edit]

text:
"Tank, Heavy Assault, A33 (Excelsior)" - prototype only
Tortoise heavy assault tank - prototype only
Tank, Heavy TOG 1 - prototype only
Tank, Heavy TOG 2 - prototype only

text: Self-propelled guns[edit]

text:
Self Propelled 17-pdr, Valentine, Mk.I, Archer
3in SP. M10 - Gun Motor Carriage M10, provided under Lend-Lease from America.

17pdr SP M10C - M10 rearmed with 17-pdr gun

AEC Mk I Gun Carrier "Deacon"
Carrier, Valentine, 25-pdr gun, Mk.I, Bishop
25-pdr SP, tracked, Sexton
SP 17-pdr, A30 (Avenger) - Order not fulfilled until post-war.
105 mm SP, Priest - 105 mm Howitzer Motor Carriage M7, provided under Lend-Lease from America.
M3(T12) 75 mm Howitzer Motor Carriage - Provided under Lend-Lease from America. In British service designated "75 mm SP, Autocar".
T48 57 mm Gun Motor Carriage - 680 provided by Lend-Lease from America. Many had gun removed to convert them back to Armoured Personnel Carriers.
Multiple Gun Motor Carriage M14 - Provided by Lend-Lease from America. Many had guns removed to convert them back to armoured personnel carriers.

text: Other armoured fighting vehicles[edit]

text:
Universal Carrier
Loyd Carrier
Half-track Car M2 - Provided under Lend-Lease by US.
Half-track Car M3 - Provided under Lend-Lease by US.
Half-track Personnel Carrier M3 - Provided under Lend-Lease by US.
Half-track Personnel Carrier M5 - Provided under Lend-Lease by US.
4-ton amphibian, Terrapin - amphibious personnel carrier

text: Utility vehicles[edit]

text:
Willys Jeep
"Tilly" - utility versions of civilian cars.

text: Aerial bombs[edit]

text: This article is incomplete. Please help to improve it, or discuss the issue on the talk page. (June 2010)

text:
Fire balloons

Operation Outward

"Bouncing bombs"

Upkeep
Highball

text: Gas bombs Smoke bombs

text:
Tallboy bomb
Grand Slam bomb
Blockbuster bombs