document_title: Origins of rock and roll

question_text: first rock and roll song to hit 1 on the charts

text: Origins of rock and roll

text: The term "rock and roll"[edit]

text: The alliterative phrase rocking and rolling was originally used by mariners at least as early as the 17th century, to describe the combined rocking (fore and aft) and rolling (side to side) motion of a ship on the ocean.[2] Examples include an 1821 reference, "... prevent her from rocking and rolling ...",[3] and an 1835 reference to a ship "... rocking and rolling on both beam-ends".[4] As the term referred to movement forwards, backwards and from side to side, it acquired sexual connotations from early on; the sea shanty "Johnny Bowker" (or "Boker"), probably from the early nineteenth century, contains the lines "Oh do, my Johnny Bowker/ Come rock and roll me over".[5][6]

text: The hymn "Rocked in the Cradle of the Deep", with words written in the 1830s by Emma Willard and tune by Joseph Philip Knight,[7][8] was recorded several times around the start of the twentieth century, by the Original Bison City Quartet before 1894,[9] the Standard Quartette in 1895,[10] John W. Myers at about the same time,[11] and Gus Reed in 1908.[12] By that time, the specific phrase "rocking and rolling" was also used by African Americans in spirituals with a religious connotation.[2] The earliest known recording of the phrase in use was on a 1904 Victor phonograph record, "The Camp Meeting Jubilee" by the Haydn Quartet,[13] with the words "We've been rockin' an' rolling in your arms/ Rockin' and rolling in your arms/ Rockin' and rolling in your arms/ In the arms of Moses." Another version was issued on the Little Wonder record label in 1916. "Rocking" was also used to describe the spiritual rapture felt by worshippers at certain religious events, and to refer to the rhythm often found in the accompanying music.[2]

text: At the same time, the terminology was used in secular contexts, for example to describe the motion of railroad trains. It has been suggested that it was also used by men building railroads, who would sing to keep the pace, swinging their hammers down to drill a hole into the rock, and the men who held the steel spikes would "rock" the spike back and forth to clear rock or "roll", twisting it to improve the "bite" of the drill.[14] "Rocking" and "rolling" were also used, both separately and together, in a sexual context; writers for hundreds of years had used the phrases "They had a roll in the hay" or "I rolled her in the clover".[15]

text: By the early twentieth century the words were increasingly used together in secular black slang with a double meaning, ostensibly referring to dancing and partying, but often with the subtextual meaning of sex.[16][17]

text: In 1922, blues singer Trixie Smith recorded "My Man Rocks Me (With One Steady Roll)," first featuring the two words in a secular context.[18] Although it was played with a backbeat and was one of the first "around the clock" lyrics, this slow minor-key blues was by no means "rock and roll" in the later sense.[19] However, the terms "rocking", and "rocking and rolling", were increasingly used through the 1920s and 1930s, especially but not exclusively by black secular musicians, to refer to either dancing or sex, or both. In 1927, blues singer Blind Blake used the couplet "Now we gonna do the old country rock / First thing we do, swing your partners" in "West Coast Blues", which in turn formed the basis of "Old Country Rock" by William Moore the following year.[20] Also in 1927, traditional country musician Uncle Dave Macon, with his group the Fruit Jar Drinkers, recorded "Sail Away Ladies" with a refrain of "Don't she rock, daddy-o", and "Rock About My Saro Jane".[21] Duke Ellington recorded "Rockin' In Rhythm" in 1928, and Robinson's Knights Of Rest recorded "Rocking and Rolling" in 1930.[2]

text: In 1932, the phrase "rock and roll" was heard in the Hal Roach film Asleep in the Feet.[citation needed] In 1934, the Boswell Sisters had a pop hit with "Rock and Roll" from the film Transatlantic Merry-Go-Round,[22][23] where the term was used to describe the motion of a ship at sea.[24] In 1935, Henry "Red" Allen recorded "Get Rhythm in Your Feet and Music in Your Soul" which included the lyric, "If Satan starts to hound you, commence to rock and roll / Get rhythm in your feet ..." The lyrics were written by the prolific composer J. Russel Robinson with Bill Livingston. Allen's recording was a "race" record on the Vocalion label, but the tune was quickly covered by white musicians, notably Benny Goodman with singer Helen Ward.[citation needed]

text: Other notable recordings using the words, both released in 1938, were "Rock It For Me" by Chick Webb, a swing number with Ella Fitzgerald on vocals featuring the lyrics "... Won't you satisfy my soul, With the rock and roll?"; and "Rock Me" by Sister Rosetta Tharpe, a gospel song originally written by Thomas Dorsey as "Hide Me In Thy Bosom". Tharpe performed the song in the style of a city blues, with secular lyrics, ecstatic vocals and electric guitar.[25] She changed Dorsey's "singing" to "swinging," and the way she rolled the "R" in "rock me" led to the phrase being taken as a double entendre, interpretable as religious or sexual.[26]

text: The following year, Western swing musician Buddy Jones recorded "Rockin' Rollin' Mama", which drew on the term's original meaning – "Waves on the ocean, waves in the sea/ But that gal of mine rolls just right for me/ Rockin' rollin' mama, I love the way you rock and roll". In August 1939, Irene Castle devised a new dance called "The Castle Rock and Roll", described as "an easy swing step", which she performed at the Dancing Masters of America convention at the Hotel Astor.[27] The Marx Brothers' 1941 film The Big Store featured actress Virginia O'Brien singing a song starting out as a traditional lullaby which soon changes into a rocking boogie-woogie with lines like "Rock, rock, rock it, baby ..."'. Although the song was only a short comedy number, it contains references which, by then, would have been understood by a wide general audience.

text: According to the Oxford English Dictionary, an early use of the word "rock" in describing a style of music was in a review in Metronome magazine on July 21, 1938, which stated that "Harry James' "Lullaby in Rhythm" really rocks."[28] In 1939, a review of "Ciribiribin" and "Yodelin' Jive" by the Andrews Sisters with Bing Crosby, in the journal The Musician, stated that the songs "... rock and roll with unleashed enthusiasm tempered to strict four-four time".[29]

text: By the early 1940s, the term "rock and roll" was also being used in record reviews by Billboard journalist and columnist Maurie Orodenker. In the May 30, 1942, issue, for instance, he described Sister Rosetta Tharpe's vocals, on a re-recording of "Rock Me" with Lucky Millinder's band, as "rock-and-roll spiritual singing",[30] and on October 3, 1942, he described Count Basie's "It's Sand, Man!" as "an instrumental screamer.. [which].. displays its rock and roll capacities when tackling the righteous rhythms."[31] In the April 25, 1945 edition, Orodenker described Erskine Hawkins' version of "Caldonia" as "right rhythmic rock and roll music", a phrase precisely repeated in his 1946 review of "Sugar Lump" by Joe Liggins.[32][33]

text: A double, ironic, meaning came to popular awareness in 1947 in blues artist Roy Brown's song "Good Rocking Tonight", covered in 1948 by Wynonie Harris in a wilder version, in which "rocking" was ostensibly about dancing but was in fact a thinly-veiled allusion to sex. Such double-entendres were well established in blues music but were new to the radio airwaves. After the success of "Good Rocking Tonight" many other R&B artists used similar titles through the late 1940s. At least two different songs with the title "Rock and Roll" were recorded in the late 1940s: by Paul Bascomb in 1947, and Wild Bill Moore in 1948.[34] In May 1948, Savoy Records advertised "Robbie-Dobey Boogie" by Brownie McGhee with the tagline "It jumps, it's made, it rocks, it rolls."[35] Another record where the phrase was repeated throughout the song was "Rock and Roll Blues", recorded in 1949 by Erline "Rock and Roll" Harris.[36]

text: These songs were generally classed as "race music" or, from the late 1940s, "rhythm and blues", and were barely known by mainstream white audiences.[37] However, in 1951, Cleveland, Ohio disc jockey Alan Freed began broadcasting rhythm, blues, and country music for a multi-racial audience. Freed, familiar with the music of earlier decades, used the phrase rock and roll to describe the music he aired over station WJW (850 AM); its use is also credited to Freed's sponsor, record store owner Leo Mintz, who encouraged Freed to play the music on the radio.[1][38] Originally Freed used the name "Moondog" for himself and any concerts or promotions he put on, because he used as his regular theme music a piece called "Moondog Symphony" by the street musician Louis "Moondog" Hardin. Hardin subsequently sued Freed on grounds that he was stealing his name and, since Freed was no longer allowed to use the term Moondog, he needed a new catchphrase. After a night of heavy drinking he and his friends came up with the name The Rock and Roll Party since he was already using the phrase Rock and Roll Session to describe the music he was playing.[citation needed] As his show became extremely popular, the term caught on and became widely used to describe the style of music.

text: Development of the musical style[edit]

text: Rock and roll music emerged from the wide variety of musical genres that existed in the United States in the first half of the twentieth century, among different ethnic and social groups. Each genre developed over time through changing fashion and innovation, and each one exchanged ideas and stylistic elements with all the others. The greatest contribution came from the musical traditions of America's black population, with an ancient heritage of oral storytelling through music of African origin, usually with strong rhythmic elements, with frequent use of "blue notes" and often using a "call and response" vocal pattern. African music was modified through the experience of slavery, and through contact with white musical styles such as the folk ballad, and instruments, such as the Spanish guitar. New styles of music emerged among black Americans in the early twentieth century, in the form of blues, ragtime, jazz, and gospel music.[16][39] According to the writer Robert Palmer:

text: "Rock 'n' roll was an inevitable outgrowth of the social and musical interactions between blacks and whites in the South and Southwest. Its roots are a complex tangle. Bedrock black church music influenced blues, rural blues influenced white folk song and the black popular music of the Northern ghettos, blues and black pop influenced jazz, and so on. But the single most important process was the influence of black music on white."[40]

text: By the 1930s, African American musicians, such as Cab Calloway, Fletcher Henderson and Duke Ellington, were developing swing music, essentially jazz played for dancing, and in some areas such as New York City processes of social integration were taking place. According to Palmer, by the mid-1930s, elements of rock and roll could be found in every type of American folk and blues music. Some jazz bands, such as Count Basie's, increasingly played rhythmic music that was heavily based on blues riffs. In Chicago, blues performers formed into small groups, such as the Harlem Hamfats, and explored the use of amplification. In the Midwest, jump bands developed instrumental blues based on riffs, with saxophone solos and shouted vocals. In Nashville and elsewhere, country music played by white musicians such as Jimmie Rodgers incorporated blues styles, and in some cases was recorded with (uncredited) black musicians. In Texas and Oklahoma, Western swing bands, such as Bob Wills, combined elements of big band, blues and country music into a new style of dance music. As musicians from different areas and cultures heard each other's music, so styles merged and innovations spread.[40] Increasingly, processes of active cross-fertilisation took place between the music played and heard by white people and that predominantly played and heard by black people. These processes of exchange and mixing were fuelled by the spread of radio, 78 rpm and later records and jukeboxes, and the expansion of the commercial popular music business. The music also benefited from the development of new amplification and electronic recording techniques from the 1930s onwards, including the invention of the electric guitar, first recorded as a virtuoso instrument by Charlie Christian.[16]

text: In 1938, promoter and record producer John H. Hammond staged the first "From Spirituals to Swing" concert in New York City, to highlight black musical styles. It featured pianist Pete Johnson and singer Big Joe Turner, whose recording of "Roll 'Em Pete" helped spark a craze across American society for "boogie woogie" music, mostly played by black musicians. In both musical and social terms, this helped pave the way for rock and roll music. Economic changes also made the earlier big bands unwieldy; Louis Jordan left Chick Webb's orchestra the same year to form his own small group, the Tympany Five. Mixing of genres continued through the shared experiences of the Second World War, and afterwards a new style of music emerged, featuring "honking" saxophone solos, increasing use of the electric guitar, and strongly accented boogie rhythms. This "jump blues" encompassed both novelty records, such as those by Jordan, and more heavily rhythmic recordings such as those by Lionel Hampton. Increasingly, the term "rocking" was used in the records themselves, and by the late 1940s was frequently used to describe the music of performers such as Wynonie Harris whose records reached the top of the newly christened "rhythm and blues" charts.[16][40]

text: In 1947, blues singer Roy Brown recorded "Good Rocking Tonight", a song that parodied church music by appropriating its references, including the word "rocking" and the gospel call "Have you heard the news?", relating them to very worldly lyrics about dancing, drinking and sex. The song became much more successful the following year when recorded by Wynonie Harris, whose version changed the steady blues rhythm to an uptempo gospel beat, and it was re-recorded by Elvis Presley in 1954 as his second single. A craze began in the rhythm and blues market for songs about "rocking", including "We're Gonna Rock" by Wild Bill Moore, the first commercially successful "honking" sax record, with the words "We're gonna rock, we're gonna roll" as a background chant. One of the most popular was "Rock the Joint", first recorded by Jimmy Preston in May 1949, and a R&B top 10 hit that year. Preston's version is often considered a prototype rock and roll song, and it was covered in 1952 by Bill Haley and the Saddlemen. Marshall Lytle, Haley's bass player, claimed that this was one of the songs that inspired Alan Freed to coin the phrase "rock and roll" to refer to the music he played.[2]

text: Freed first started playing the music in 1951, and by 1953 the phrase "rock and roll" was becoming used much more widely to market the music beyond its initial black audience. The practitioners of the music were young black artists, appealing to the post-war community's need for excitement, dancing and increasing social freedoms, but the music also became very attractive to white teenagers. As well as "rocking" rhythm and blues songs, such as the massively successful and influential "Rocket 88" recorded by Ike Turner and his band but credited to singer Jackie Brenston, the term was used to encompass other forms of black music. In particular, vocal harmony group recordings in the style that later became known as "doo-wop", such as "Gee" by the Crows, and "Earth Angel" by the Penguins, became huge commercial successes, often for the new small independent record companies becoming established. These included Modern, Imperial, Specialty, Atlantic, King and Chess.

text: The adoption of rock and roll by white people was hindered by racist attitudes. As Billy Burnette said about his father Dorsey Burnette and uncle Johnny Burnette:

text: They'd buy their clothes on Beale Street, at Lansky Brothers, where all the black people shopped. Right outside Memphis, there was a voodoo village, all black-real mystic kind of people... A lot of real old line southern people called my dad and my uncle white nigger. Nobody was doing rock-and-roll in those days except people they called white trash. When my dad and my uncle started doin' it, they were just about the first.[41]

text: Although some of the rhythm and blues musicians who had been successful in earlier years – such as Joe Turner, Ruth Brown, and Fats Domino who had his first R&B hit in 1950 – were able to make the transition into new markets, much of the initial breakthrough into the wider pop music market came from white musicians, such as Haley, Presley, Carl Perkins and Jerry Lee Lewis, re-recording earlier rhythm and blues hits, often making use of technological improvements in recording and innovations such as double tracking, developed by the large mainstream record companies, as well as the invention of the 45-rpm record and the rapid growth of its use in jukeboxes. At the same time, younger black musicians such as Little Richard, Chuck Berry and Bo Diddley took advantage of the gradual breakdown of ethnic barriers in America to become equally popular and help launch the rock and roll era. By the time of Haley's first hits in 1953, and those of Berry, Little Richard and then Presley the next year, rock and roll was firmly established.[2][16] The Pentecostal church has also been identified as a crucial component in the development of rock and roll. The modern Pentecostal movement parallels rock and roll in many ways. Further, the unhinged, wild energy of the church is evidenced in the most important of early rock performers that were also raised in Pentecostal churches, including Sister Rosetta Tharpe, Elvis Presley, Little Richard, and Jerry Lee Lewis.[42]

text: Key recordings[edit]

text:
"My Man Rocks Me (With One Steady Roll)" by Trixie Smith was issued in 1922, the first record to refer to "rocking" and "rolling" in a secular context.[19]
Papa Charlie Jackson recorded "Shake That Thing" in 1925.[citation needed]
"That Black Snake Moan", a country blues first recorded in 1926 by Blind Lemon Jefferson, contains the lines "That's all right mama / That's all right for you / Mama, that's all right / Most any old way you do", later famously used by Arthur Crudup and then Elvis Presley.[43]
"Sail Away Ladies" and "Rock About My Saro Jane" were recorded by Uncle Dave Macon and his Fruit Jar Drinkers on May 7, 1927.[21] "Sail Away Ladies" is a traditional square dance tune, with, in Macon's version, a vocal refrain of "Don't she rock, daddy-o", which in other versions became "Don't you rock me, daddy-o".[44] "Don't You Rock Me, Daddy-o" later became a hit in the UK in 1957 for both the Vipers Skiffle Group and Lonnie Donegan. Macon is thought to have learned the song "Rock About My Saro Jane" from black stevedores at Nashville in the 1880s, although Alan Lomax believed that the song dated from the mid-nineteenth century.[45]
"Jim Jackson's Kansas City Blues" by Jim Jackson. recorded on October 10, 1927, was a best selling blues, suggested as one of the first million-seller records.[46][47] Its melody line was later re-used and developed by Charlie Patton in "Going To Move To Alabama" (1929) and Hank Williams ("Move It On Over") (1947) before emerging in "Rock Around the Clock", (1954) and its lyrical content presaged Leiber and Stoller's "Kansas City". It contains the line "It takes a rocking chair to rock, a rubber ball to roll," which had previously been used in 1924 by Ma Rainey in "Jealous Hearted Blues",[48] and which Bill Haley would later incorporate into his 1952 recording, "Sundown Boogie."
"It's Tight Like That" by Tampa Red with pianist Georgia Tom (Thomas A. Dorsey), recorded on October 24, 1928, was a highly successful early hokum record, which combined bawdy rural humour with sophisticated musical technique. With his Chicago Five, Tampa Red later went on to pioneer the Chicago small group "Bluebird" sound, while Dorsey became "the father of gospel music".
"Pine Top's Boogie Woogie" by Clarence "Pinetop" Smith, recorded on December 29, 1928, was one of the first hit "boogie woogie" recordings, and the first to include classic rock and roll references to "the girl with the red dress on" being told to "not move a peg" until she could "shake that thing" and "mess around". Smith's tune itself derives from Jimmy Blythe's 1925 recording, "Jimmy's Blues",[47] and earlier records had been made in a similar style by Meade "Lux" Lewis and others. A hit "pop" version of Smith's record was released by Tommy Dorsey in 1938, as "Boogie Woogie".[49]
"Crazy About My Baby" by Blind Roosevelt Graves and brother Aaron, recorded in 1929, was a rhythmic country blues with small group accompaniment. Researcher Gayle Dean Wardlow has stated that this "could be considered the first rock 'n' roll recording".[50][51] The brothers also recorded rhythmic gospel music. The Graves brothers, with an additional piano player, were later recorded as the Mississippi Jook Band, whose 1936 recordings including "Skippy Whippy", "Barbecue Bust" and "Hittin' The Bottle Stomp" were highly rhythmic instrumental recordings which, according to writer Robert Palmer, "..featured fully formed rock and roll guitar riffs and a stomping rock and roll beat".[40][52]

tag: ul

text:
"Standing on the Corner (Blue Yodel No. 9)" by Jimmie Rodgers, recorded on July 16, 1930, was one of a series of recordings made by the biggest early star of country music in the late 1920s and early 1930s, based on blues songs he had heard on his travels. "Blue Yodel No. 9" was recorded with an uncredited Louis Armstrong (cornet) and Lil Armstrong (piano), foreshadowing later collaborations between black and white musicians but which at the time were almost unprecedented.[53]
"Tiger Rag" by the Washboard Rhythm Kings (later known as the Georgia Washboard Stompers), recorded in 1932, was a virtually out of control performance, with a rocking washboard and unusually high energy.[54] It opens with a repeated one-note guitar lick that would transform into a chord in the hands of Robert Johnson, T-Bone Walker and others. This is just one of many recordings by spasm bands, jug bands, and skiffle groups that have the same wild, informal feel that early rock and roll had. After the original recording by the Original Dixieland Jass Band in 1917, "Tiger Rag" had become not only a jazz standard, but was also widely covered in dance band and march orchestrations.
"Good Lord (Run Old Jeremiah)" by Austin Coleman with Joe Washington Brown, from 1934, was a frenzied and raucous ring shout recorded by John and Alan Lomax in a church in Jennings, Louisiana, with the singer declaiming "I'm going to rock, you gonna rock ... I sit there and rock, I sit there and rock, yeah yeah yeah."'[2][55] Music historian Robert Palmer wrote that "the rhythmic singing, the hard-driving beat, the bluesy melody, and the improvised, stream-of-consciousness words ... all anticipate key aspects of rock 'n roll as it would emerge some 20 years later."[40]
"Oh! Red" by the Harlem Hamfats, recorded on April 18, 1936, was a hit record made by a small group of jazz and blues musicians assembled by J. Mayo Williams for the specific purpose of making commercially successful dance records. Viewed at the time (and subsequently by jazz fans) as a novelty group, the format became very influential, and the group's recordings included many with sex and drugs references.[56]
"I Believe I'll Dust My Broom" (recorded on November 23, 1936), "Crossroad Blues" (recorded on November 27, 1936), and other recordings by Robert Johnson, while not particularly successful at the time, directly influenced the development of Chicago blues and, when reissued in the 1960s, also strongly influenced later rock musicians.
"Rock It For Me" was recorded by Ella Fitzgerald with Chick Webb and his Orchestra in 1937. Its lyrics mentioned a kind of music called "rock and roll": "Every night/You'll see all the nifties/Plenty tight/Swingin' down the fifties/Now they're all through with symphony/Ho ho ho, rock it for me!/Now it's true that once upon a time/The opera was the thing/But today the rage is rhythm and rhyme/So won't you satisfy my soul/With the rock and roll?"
"One O'Clock Jump" by Count Basie, arranged by Eddie Durham and recorded on July 7, 1937, was based on a 12-bar blues that builds in rhythmic intensity and features, like many of Basie's other records, the rhythm section of Jo Jones (drums), Walter Page (bass), and Freddie Green (rhythm guitar) that "all but invented the notion of swing through their innovations".[57] "Sing, Sing, Sing" by Benny Goodman, also from 1937, written by Louis Prima, featured repeated drum breaks by Gene Krupa, whose musical nature and high showmanship presaged rock and roll drumming.
"Rock Me" by Sister Rosetta Tharpe, recorded on October 31, 1938, was important not only for its lyrical content, but for its style. Many later rock and roll stars, including Elvis Presley, Jerry Lee Lewis, and Little Richard, cited Tharpe's singing, electric guitar playing, and energetic performance style as an influence.[58] Tharpe performed the song with pianist Albert Ammons at the From Spirituals to Swing concert presented by John Hammond in Carnegie Hall on December 23, 1938. She also re-recorded the song with Lucky Millinder's band in 1942, when columnist Maurie Orodenker described her vocals as "rock-and-roll spiritual singing".[30]
"Ida Red" by Bob Wills and the Texas Playboys, recorded in 1938 by a Western swing band, featuring electric guitar by Eldon Shamblin. The tune was recycled again some years later by Chuck Berry in "Maybellene".[59]
"Roll 'Em Pete" by Pete Johnson and Joe Turner, recorded on December 30, 1938, was an up-tempo, non-swung boogie woogie with a hand-clapping backbeat and a collation of blues verses[35][47]
"Rocking the Blues" by the Port of Harlem Jazz Men, a group comprising Frank Newton, J. C. Higginbotham, Albert Ammons, Teddy Bunn, John Williams and Sidney Catlett, was an upbeat instrumental issued in 1939 as Blue Note no. 3.[60][61]

text:
"New Early in the Morning" and "Jivin' the Blues", both recorded on May 17, 1940 by "Sonny Boy" Williamson, the first of the two musicians who used that name, are examples of the very influential and popular rhythmic small group Chicago blues recordings on Lester Melrose's Bluebird label, and among the first on which drums (by Fred Williams) were prominently recorded.[62]
"Down the Road a Piece" by the Will Bradley Orchestra, a smooth rocking boogie number, was recorded in August 1940 with drummer "Eight Beat Mack" Ray McKinley sharing the vocals with the song's writer, Don Raye. The song would later become a rock and roll standard. The "eight beats" in McKinley's nickname and the popular phrase "eight to the bar" in many songs indicate the newness of the shift from the four beats per bar of jazz to boogie woogie's eight beats per bar, which became, and remains, characteristic of rock and roll. Bradley also recorded the first version of Raye's "Beat Me Daddy, Eight to the Bar", later recorded with greater commercial success by the Andrews Sisters, whose biggest hit "Boogie Woogie Bugle Boy" also contains numerous proto-rock and roll elements.[63]
"Flying Home" was most famously recorded in 1942 by Lionel Hampton and his Orchestra, with tenor sax solo by Illinois Jacquet, recreated and refined live by Arnett Cobb. This became a model for rock and roll solos ever since: emotional, honking, long, not just an instrumental break but the keystone of the song. The Benny Goodman Sextet had a popular hit in 1939 with a more subdued version of the song, featuring electric guitarist Charlie Christian. The book What Was the First Rock'n'Roll Record by Jim Dawson and Steve Propes discusses 50 contenders as the "first rock and roll record", the earliest being "Blues, Part 2" from the 1944 Jazz at the Philharmonic live album, also featuring Jacquet's saxophone but with an even more "honking" solo.[49]
"Mean Old World" by T-Bone Walker, recorded in 1942, is an early classic by this hugely influential guitarist, often cited as the first song in which he fully found his sound. B.B. King credits Walker as inspiring him to take up the electric guitar,[64] but his influence extended far beyond the blues to jazz and rock and roll.[65] Among other innovations, "Mean Old World" has a two-string guitar lick where Walker bends notes on the G string up to the notes on the B string, which would be used by Chuck Berry in "Johnny B. Goode" and other songs.[66]
"Caldonia", first recorded by Louis Jordan and then by Erskine Hawkins and others, seems to have been the first song to which the phrase "right rhythmic rock and roll music" was applied, by Billboard magazine in 1945. Jordan, by the time of his recording of the song, was an established star, whose novelty performances had been influenced in particular by Cab Calloway. Jordan's 1944 disc, "G.I. Jive", had been the first record by a black performer to top both the pop and R&B charts. Big bands became increasingly less economically viable, and smaller groups such as Jordan's Tympany Five became more popular.[16] Many of his recordings, including "Choo Choo Ch'Boogie" (recorded in January 1946) and "Let the Good Times Roll", were hugely influential in style and content, and popular across both black and white audiences. Their producer Milt Gabler went on to produce Bill Haley's hits, and Jordan's guitarist Carl Hogan, on such songs as "Ain't That Just Like a Woman" (also 1946), was also a direct influence on Chuck Berry's guitar style, and specifically Berry's solo in "Johnny B. Goode".[35]
"Rock Me Mamma" by Arthur "Big Boy" Crudup, recorded on December 15, 1944, was the blues singer's first and biggest R&B chart hit, but in later decades became overshadowed by his – at the time, much less successful – 1946 recording of "That's All Right", later to be covered by Elvis Presley in 1954 as his first single.[67]
"Strange Things Happening Every Day" by Sister Rosetta Tharpe, recorded in 1944 with pianist Sammy Price, was a boogie-woogie flavored gospel song that "crossed over" to become a hit on the "race records" chart, the first gospel recording to do so.[68] It featured Tharpe on an electric guitar and is considered an important precursor to rock and roll.[69]
"The Honeydripper" by Joe Liggins, recorded on April 20, 1945, synthesized boogie-woogie piano, jazz, and the riff from the folk chestnut "Shortnin' Bread", into an exciting dance performance that topped the R&B "race" charts for 18 weeks (a record later shared with Jordan's "Choo Choo Ch'Boogie") and also made the pop charts. The lyrics proclaimed urban arrogance and were sexually suggestive – "He's a solid gold cat, the honeydripper ... he's a killer, a Harlem diller ...".[49]
"Guitar Boogie" by Arthur Smith, originally recorded in 1945 but not a hit until reissued in 1948, was the first boogie woogie played on the electric guitar, and was much imitated by later rock and roll guitarists. The tune was based on "Pinetop's Boogie Woogie" from 1929.[49]
"The House of Blue Lights" by Freddie Slack and Ella Mae Morse, was recorded on February 12, 1946. The song was co-written by Slack with Don Raye, and, like Raye's "Down the Road a Piece", was later recorded by many rock and roll singers. Morse was one of the first white singers to perform what would now be regarded as rhythm and blues music.[49]
"Route 66", was recorded by the Nat Cole Trio on March 15, 1946. Written by Bobby Troup, the song was a big hit for Cole – who by that time had already had 11 top ten hits on the R&B chart, starting with "That Ain't Right" in 1942 – and was later widely covered by rock and roll performers including Chuck Berry.[70]
"Boogie Woogie Baby," "Freight Train Boogie" and "Hillbilly Boogie" by the Delmore Brothers, featuring harmonica player Wayne Raney, were typically up-tempo recordings, heavily influenced by the blues, by this highly influential country music duo, who had first recorded in 1931.[71][72]
"Open the Door, Richard", was a novelty R&B record based on a comedy routine performed by Dusty Fletcher, Pigmeat Markham and others. It was first recorded in September 1946 by Jack McVea, and immediately covered by many other artists including Fletcher himself, Count Basie, The Three Flames, and Louis Jordan, all of whom had hits with it. It was the precursor of many similar novelty R&B-based records, which became a mainstay of early rock and roll in recordings by groups such as the Coasters.[49]
"Move It On Over" by Hank Williams was recorded on April 21, 1947. It was Williams' first hit on the country music charts, reaching # 4. It used a similar melody to Jim Jackson's 1927 "Kansas City Blues" and was itself adapted several years later for "Rock Around The Clock".[49]
"Good Rocking Tonight", in separate versions by Roy Brown (1947) and Wynonie Harris (1948) led to a craze for blues with "rocking" in the title. "Rock and Roll" by Wild Bill Moore was recorded in 1948 and released in 1949. This was a rocking boogie where Moore repeats throughout the song "We're going to rock and roll, we're going to roll and rock" and ends the song with the line, "Look out mamma, going to do the rock and roll." Another version of this song (with songwriting credit to Moore) was recorded in 1949 by Doles Dickens.[73] Also related were "Rock and Roll Blues" by Erline 'Rock and Roll' Harris, a female singer, with the lyrics "I'll turn out the lights, we'll rock and roll all night"; and "Hole in the Wall" by Albennie Jones, co-written and produced by Milt Gabler, with the lyrics "We're gonna rock and roll at the hole in the wall tonight".[49][74]
"Boogie Chillen'" (or "Boogie Chillun") is a blues song written by John Lee Hooker and recorded in 1948. It was Hooker's debut record release and became a No. 1 Billboard R&B chart hit in 1949. The guitar figure from "Boogie Chillen'" has been called "the riff that launched a million songs",[75] inspiring many popular blues and rock songs. It is considered one of the blues recordings most influential on the forthcoming rock 'n' roll.[76]

text:
"Rock Awhile" by Goree Carter was recorded in April 1949. It has been cited as a contender for the "first rock and roll record" title and a "much more appropriate candidate" than the more frequently cited "Rocket 88" (1951). Carter's over-driven electric guitar style was similar to that of Chuck Berry from 1955 onwards.[77]
"Rock the Joint", recorded by Jimmy Preston in May 1949, was a prototype rock and roll song which was successful in its own right, and was highly influential in that it was recorded three years later in 1952, by Bill Haley, in the same hard rocking style. Although Haley first recorded in 1946, his early recordings, including "Rovin' Eyes", were essentially in the Western swing style of country music, as was his 1951 cover of "Rocket 88" (see below). "Rock the Joint" became the first of his records in the style that became known as "rockabilly".[49]
"The Fat Man" by Fats Domino, recorded in New Orleans on December 10, 1949, featured Domino on wah-wah mouth trumpet as well as piano and vocals. The insistent backbeat of the rhythm section dominates. The song is based on "Junker's Blues", by pianist Willie Hall. It was the first of Domino's 35 US Top 40 hits and helped establish his career; he also played piano on Lloyd Price's big 1952 hit, "Lawdy, Miss Clawdy".[49]

text: Early 1950s[edit]

text:
"Boogie in the Park" by Joe Hill Louis, recorded in July 1950 and released in August 1950. It featured Louis as a one-man band performing "one of the loudest, most overdriven, and distorted guitar stomps ever recorded" while playing on a rudimentary drum kit at the same time. It was the only record ever released on Sam Phillips' early Phillips label before founding Sun Records.[78] Louis' electric guitar work is also considered a distant ancestor of heavy metal music.[79]
"Hot Rod Race" recorded by Arkie Shibley and His Mountain Dew Boys in late 1950, another early example of "rockabilly", highlighted the role of fast cars in teen culture.[49]
"Sixty Minute Man" by the Dominoes, recorded on December 30, 1950, was the first (and most sexually explicit) big R&B hit to cross over to the pop charts. The group featured the gospel-style lead vocals of Clyde McPhatter (though not on this song), and appeared at many of Alan Freed's early shows. McPhatter later became lead singer of the Drifters, and then a solo star.[49]
"Rocket 88" was recorded on March 5, 1951 by Jackie Brenston and His Delta Cats – actually Ike Turner and the Kings of Rhythm – and covered later in the year by Bill Haley and the Saddlemen. Brenston's version – produced in Memphis by Sam Phillips and leased to Chess Records – was highly influential for its sound and lyrical content, and was a big hit. It reached No. 1 on the Billboard Rhythm and Blues chart on June 9, 1951, and set Phillips on the road to success by helping to finance his company, Sun Records. Haley's version was one of the first white covers of an R&B hit.[49] The song also features an early example of distortion, or fuzz guitar, played by the band's guitarist Willie Kizart.[80]
"How Many More Years" recorded by Howlin' Wolf in May 1951. Robert Palmer has cited it as the first record to feature a distorted power chord, played by Willie Johnson on the electric guitar.[40][81]
"Cry" by Johnnie Ray was recorded on October 16, 1951. Ray's emotional delivery – he was mistaken for a woman, as well as for a black man – set a template for later vocal styles and, more importantly, showed that music could cross racial barriers both ways, by topping the R&B chart as well as the pop chart.[49]
"Rock and Roll Blues" by Anita O'Day recorded on January 22, 1952. One of Anita O'Day's few compositions, she was one of the best jazz singers ever, and recorded this blues single on Mercury Records with her own orchestra.
"Hound Dog", by Willie Mae "Big Mama" Thornton, was recorded on August 13, 1952. A raucous R&B song recorded with Johnny Otis' band (uncredited for contractual reasons), it was written by white teenagers Jerry Leiber and Mike Stoller, covered three years later by Freddie Bell and the Bellboys (Teen Records 101), and then in turn, more famously, by Elvis Presley.[49]
"Love My Baby" and "Mystery Train" were recorded by Junior Parker with his electric blues band, the Blue Flames, in 1953, "contributing a pair of future rockabilly standards" that would later be covered by Hayden Thompson and Elvis Presley, respectively.[82] For Presley's version of "Mystery Train", Scotty Moore also borrowed the guitar riff from Parker's "Love My Baby",[83] played by Pat Hare.[84]
"Gee" by the Crows was recorded on February 10, 1953. This was a big hit in 1954, and is credited by rock n' roll authority, Jay Warner, as being "the first rock n' roll hit by a rock and roll group".[85]
"Crazy Man, Crazy" by Bill Haley and his Comets, recorded in April 1953, was the first of his recordings to make the Billboard pop chart. This was not a cover, but an original composition, and has been described as "the first white rock hit".
"Mess Around" by Ray Charles was recorded in May 1953, one of his earliest hits. The writing credit was claimed by Ahmet Ertegün, with some lyrics riffing off of the 1929 classic, "Pinetop's Boogie Woogie". "I've Got a Woman", recorded in November 1954 and first performed when Charles was on tour with T-Bone Walker, was a bigger hit, and is also widely considered to be the first soul song, combining gospel with R&B;[86][87] its tune was derived from the gospel song "My Jesus Is All the World to Me" by Alex Bradford.[49]
"The Things That I Used to Do" by Guitar Slim was recorded on October 16, 1953. It was an electric blues song that had a major impact on rock & roll and featured distorted overtones on the electric guitar a full decade before Jimi Hendrix.[88] It is listed as one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.[89]
"Work with Me, Annie" by Hank Ballard and the Midnighters, was recorded on January 14, 1954. Despite, or because of, its salacious lyrics, it was immediately successful in the R&B market, topping the R&B chart for seven weeks, and led to several sequels, including Ballard's "Annie Had a Baby" and Etta James' first hit "The Wallflower", also known as "Roll with Me, Henry". Although the records were banned from radio play and led to calls for rock and roll itself to be banned, the lyrics were soon rewritten for a more conservative white audience, and Georgia Gibbs topped the pop charts in 1955 with her version, "Dance with Me, Henry".[49]
"Shake, Rattle and Roll" by Big Joe Turner was recorded on February 15, 1954, and was covered early in July by Bill Haley and his Comets, whilst Turner's version topped the Billboard R&B chart in June. Haley's version, which was substantially different in lyric and arrangement,[90] reached No 7 in the pop chart at the end of August and predated his much wider success with "Rock Around the Clock" by almost a year. Elvis Presley's later 1956 version combined Haley's arrangement with Turner's lyrics, but was not a substantial hit.[49]
"Rock Around the Clock" by Bill Haley and his Comets (recorded on April 12, 1954) was the first number one rock and roll record on the US pop charts. It stayed in the Top 100 for a then-record 38 weeks. The record is often credited with propelling rock into the mainstream, at least the teen mainstream. At first it had lackluster sales but, following the success of two other Haley recordings, "Shake Rattle and Roll" and "Dim, Dim the Lights", was later included in the movie Blackboard Jungle about a raucous high-school, which exposed it to a wider audience and took it to worldwide success in 1955.[91] The song itself had first been recorded in late 1953 by Sonny Dae & His Knights, a novelty group whose recording had become a modest local hit at the time Haley recorded his version.[49]
James Cotton's "Cotton Crop Blues" and Pat Hare's "I'm Gonna Murder My Baby" (both recorded in May 1954), were electric blues records which feature heavily distorted, power chord-driven electric guitar solos by Pat Hare that anticipate elements of heavy metal music.[40] The other side of Cotton's "Cotton Crop Blues" single, "Hold Me in Your Arms," also featured a heavily distorted guitar sound by Hare that resembles the "distorted tones favored by modern rock players."[92]
"That's All Right" by Elvis Presley, was recorded on July 5, 1954. This cover of Arthur Crudup's tune was Presley's first single. Its B-side was a rocking version of Bill Monroe's bluegrass song "Blue Moon of Kentucky", itself recognized by various rock singers as an influence on the music.

text: Views on the first rock and roll record[edit]

text: The identity of the first rock and roll record is one of the most enduring subjects of debate among rock historians.[93] Various recordings dating back to the 1940s and 1950s have been cited as the first rock and roll record.[94] A number of sources have considered the first to be "Rocket 88", which was recorded in 1951 by Ike Turner and his band, but credited to his saxophonist and the song's vocalist Jackie Brenston.[95] According to The Boston Globe's Joan Anderman, most rock historians cite it as the first,[96] while The New Rolling Stone Encyclopedia of Rock & Roll and the website of the Rock and Roll Hall of Fame said that it is "frequently cited" and "widely considered the first", respectively.[95] People in the music industry have also called it the first, among several others.[97] "Rocket 88" is cited for its forceful backbeat and unrefined, distorted electric guitar.[98] By contrast, writer and musician Michael Campbell wrote that, "from our perspective," it was not the first rock and roll record because it had a shuffle beat rather than the rock rhythm originally characteristic in Chuck Berry's and Little Richard's songs, although he added that "Rocket 88" had basic characteristics of rock music such as the emphasis on guitar and distortion.[99] Its characterization as a rock and roll or rhythm and blues song continues to be debated. Nigel Williamson questions whether it was really an R&B song "with an unusually fast, bottom-heavy eight-to-the bar boogie rhythm and a great lyric about cars, booze and women".[100]

text: The music historian Robert Palmer wrote that Goree Carter's earlier 1949 song "Rock Awhile" is a "much more appropriate candidate" than "the more frequently cited" "Rocket 88", primarily because of the presence of loud electric guitar work on the former song.[77] Palmer wrote that "Rocket 88" is credited for its raucous saxophone, boogie-woogie beat, fuzzy amplified guitar, and lyrics that celebrate the automobile.[101] However, he regards "Rock Awhile" to be a more appropriate candidate for the "first rock and roll record" title, because it was recorded two years earlier, and because of Carter's guitar work bearing a striking resemblance to Chuck Berry's later guitar work, while making use of an over-driven amplifier, along with the backing of boogie-based rhythms, and the appropriate title and lyrical subject matter.[77] Roger Wood and John Nova Lomax have also cited "Rock Awhile" as the first rock & roll record.[102][103] Others have taken the view that the first was Roy Brown's "Good Rocking Tonight", or Wynonie Harris' 1948 version; the song received greater exposure when Elvis Presley covered it in 1954.[104] Sister Rosetta Tharpe's 1944 song "Strange Things Happening Every Day" has also been viewed as among the first.[69]

text: Most rock historians have cited Bill Haley's 1953 song "Crazy Man, Crazy" as the first rock and roll record to reach the Billboard charts.[105] Haley's "Rock Around the Clock" released in 1954 was the first rock and roll record to achieve significant commercial success and was joined in 1955 by a number of other records that pioneered the genre.[94] Along with "Rock Around the Clock", several rock critics have also pointed to Presley's "That's All Right" from 1954 as a candidate for the first rock and roll record.[106]

text: The 1992 book What Was the First Rock'n'Roll Record by Jim Dawson and Steve Propes[49] discusses 50 contenders, from Illinois Jacquet's "Blues, Part 2" (1944) to Elvis Presley's "Heartbreak Hotel" (1956), without reaching a definitive conclusion. In their introduction, the authors claim that since the modern definition of rock 'n' roll was set by disc jockey Alan Freed's use of the term in his groundbreaking The Rock and Roll Show on New York's WINS in late 1954, as well as at his Rock and Roll Jubilee Balls at St. Nicholas Arena in January 1955, they chose to judge their candidates according to the music Freed spotlighted: R&B combos, black vocal groups, honking saxophonists, blues belters, and several white artists playing in the authentic R&B style (Bill Haley, Elvis Presley). The artists who appeared at Freed's earliest shows included orchestra leader Buddy Johnson, the Clovers, Fats Domino, Big Joe Turner, the Moonglows, Clyde McPhatter and the Drifters, and the Harptones. That, say Dawson and Propes, was the first music being called rock 'n' roll during that short time when the term caught on all over America. Because the honking tenor saxophone was the driving force at those shows and on many of the records Freed was playing, the authors began their list with a 1944 squealing and squawking live performance by Illinois Jacquet with Jazz at the Philharmonic in Los Angeles in mid-1944. That record, "Blues, Part 2," was released as Stinson 6024 and is still in print as a CD on the Verve label. Several notable jazz greats accompanied Jacquet on "Blues" including Paul Leslie and Slim Nadine (the monikers employed by Les Paul and Nat "King" Cole, respectively, in order to appear at the JATP concert incognito).

text: In 2004, Elvis Presley's "That's All Right Mama" and Bill Haley's "Rock Around the Clock" both celebrated their 50th anniversaries. Rolling Stone felt that Presley's song was the first rock and roll recording.[107] At the time Presley recorded the song, Big Joe Turner's "Shake, Rattle & Roll", later covered by Haley, was already at the top of the Billboard R&B charts.[108] The Guardian felt that while there were rock'n'roll records before Presley's, his recording was the moment when all the strands came together in "perfect embodiment".[109] Presley himself is quoted as saying: "A lot of people seem to think I started this business, but rock 'n' roll was here a long time before I came along."[110]

text: Also formative in the sound of rock and roll were Little Richard and Chuck Berry.[111] From the early 1950s,[112] Little Richard combined gospel with New Orleans R&B, heavy backbeat,[113] pounding piano and wailing vocals.[114] Ray Charles referred to Little Richard as being the artist that started a new kind of music, which was a funky style of rock'n'roll that he was performing onstage for a few years before appearing on record in 1955 as "Tutti Frutti."[115][116][117] Chuck Berry, with "Maybellene" (recorded on May 21, 1955, and which reached # 1 on the R&B chart and # 5 on the US pop chart), "Roll over Beethoven" (1956), "Rock and Roll Music" (1957) and "Johnny B. Goode" (1958), refined and developed the major elements that made rock and roll distinctive, focusing on teen life and introducing guitar intros and lead breaks that would be a major influence on subsequent rock music.[117] Early rock and roll used the twelve-bar blues chord progression and shared with boogie woogie the four beats (usually broken down into eight eighth-notes/quavers) to a bar. Rock and roll however has a greater emphasis on the backbeat than boogie woogie.[118] Bo Diddley's 1955 hit "Bo Diddley", with its B-side "I'm A Man", introduced a new beat and unique guitar style that inspired many artists without either side using the 12-bar pattern – they instead played variations on a single chord each.[119] His more insistent, driving rhythms, hard-edged electric guitar sound, African rhythms, and signature clave beat (a simple, five-accent rhythm), have remained cornerstones of rock and pop.[120][121][122]

text: Others point out that performers like Arthur Crudup and Fats Domino were recording blues songs as early as 1946 that are indistinguishable from later rock and roll, and that these blues songs were based on themes, chord changes, and rhythms dating back decades before that.[95][not in citation given] Wynonie Harris' 1947 cover of Roy Brown's "Good Rocking Tonight" is also a claimant for the title of first rock and roll record, as the popularity of this record led to many answer songs, mostly by black artists, with the same rocking beat, during the late 1940s and early 1950s.[2] Big Joe Turner's 1939 recording "Roll 'Em Pete" is close to 1950s rock and roll.[123] Sister Rosetta Tharpe was also recording shouting, stomping music in the 1930s and 1940s, such as "Strange Things Happening Every Day" (1944), that in some ways contained major elements of mid-1950s rock and roll.[69] Pushing the date back even earlier, blues researcher Gayle Dean Wardlow has stated that "Crazy About My Baby" by Blind Roosevelt Graves and his brother, recorded in 1929, "could be considered the first rock 'n' roll recording".[50]

text: By contrast, musician and writer Billy Vera argued that because rock and roll was "an evolutionary process", it would be foolish to name any single record as the first.[124] Writer Nick Tosches similarly felt that, "It is impossible to discern the first modern rock record, just as it is impossible to discern where blue becomes indigo in the spectrum."[5] Music writer Rob Bowman remarked that the long-debated question is useless and cannot be answered because "criteria vary depending upon who is making the selection."[125]


document_title: The Walking Dead (season 8)

question_text: when does season 8 of the walking dead end

root

text: The Walking Dead (season 8)

text: Cast[edit]

text: Main cast[edit]

text: The eighth season features twenty series regulars overall. For this season, Katelyn Nacon, Khary Payton, Steven Ogg, and Pollyanna McIntosh were promoted to series regular status, after previously having recurring roles, while Seth Gilliam and Ross Marquand were added to the opening credits.

tag: p

text: Starring[edit]

text:
Andrew Lincoln as Rick Grimes, the series' protagonist, a former sheriff and the leader of Alexandria, who is leading a new alliance to fight Negan and the Saviors.
Norman Reedus as Daryl Dixon, Rick's right-hand man, the group's primary hunter and a recruiter for Alexandria.
Lauren Cohan as Maggie Rhee, the pregnant widow of Glenn and a leading figure of the Hilltop.
Chandler Riggs as Carl Grimes, Rick's bold and courageous teenage son.
Danai Gurira as Michonne, Rick's katana-wielding girlfriend, who acts as a mother figure to Carl and Judith.
Melissa McBride as Carol Peletier, a fierce survivor who is spurred into fighting the Saviors as revenge for the deaths of her friends.
Lennie James as Morgan Jones, the first survivor Rick had ever encountered, who now resides in the Kingdom and fights for his sanity.
Alanna Masterson as Tara Chambler, a caring, witty member of the group and supply runner for Alexandria who serves as a liaison with Oceanside.
Josh McDermitt as Eugene Porter, a timorous former member of the group whose resourcefulness leads Negan to take him under his wing.
Christian Serratos as Rosita Espinosa, an impulsive member of the group, who is motivated to avenge her ex-boyfriend Spencer and Abraham's death.
Seth Gilliam as Gabriel Stokes, a priest who has become hardened from his experiences with Rick's group.
Ross Marquand as Aaron, an Alexandrian recruiter who brought Rick's group to Alexandria and is currently in the fight against the Saviors.
Jeffrey Dean Morgan as Negan, the sociopathic and charismatic leader of the Saviors who serves as the season's primary antagonist.

text: Also starring[edit]

text:
Austin Amelio as Dwight, a former subordinate of Negan who now works for Rick as a double agent against the Saviors.
Tom Payne as Paul "Jesus" Rovia, a scout for the Hilltop.
Xander Berkeley as Gregory, the selfish and hypocritical leader of the Hilltop whose influence diminished with Maggie's prominence.
Khary Payton as King Ezekiel, the charismatic leader of the Kingdom who allies with Rick against the Saviors.
Steven Ogg as Simon, a former mortgage broker and Negan's ruthless second-in-command.[5]
Katelyn Nacon as Enid, a former member of Alexandria who moved to Hilltop to be with Maggie, and has formed a relationship with Carl.[5]
Pollyanna McIntosh as Jadis, the deceptive leader of the Scavengers who betrayed Rick's group, and maintains a neutral stance in the war.[5]

text: Supporting cast[edit]

text: Alexandria Safe-Zone[edit]

text:
Jason Douglas as Tobin, the foreman of Alexandria's construction crew and member of Rick's militia.
Jordan Woods-Robinson as Eric Raleigh, Aaron's boyfriend and his former recruiting partner, who is now a member of Rick's militia.
Kenric Green as Scott, a supply runner in Alexandria and member of Rick's militia.
Dahlia Legault as Francine, a member of Alexandria's construction crew and member of Rick's militia.
Mandi Christine Kerr as Barbara, resident of Alexandria.
Ted Huckabee as Bruce, resident and member of Alexandria's construction.

text: The Hilltop[edit]

text:
James Chen as Kal, a guard of the Hilltop.
Peter Zimmerman as Eduardo, a guard of the Hilltop and soldier of the Hilltop's militia.
Karen Ceesay as Bertie, a resident of the Hilltop and soldier of the Hilltop's militia.
Jeremy Palko as Andy, a resident of the Hilltop and soldier of the Hilltop's militia.
Brett Gentile as Freddie, a resident of the Hilltop and soldier of the Hilltop's militia.
R. Keith Harris as Harlan Carson, is the doctor of the Hilltop, who was captured by Simon in the previous season.

text: The Saviors[edit]

text:
Jayson Warner Smith as Gavin, one of Negan's top lieutenants, who leads the weapons base.
Traci Dinwiddie as Regina, one of Negan's top lieutenants.
Elizabeth Ludlow as Arat, one of Negan's top lieutenants.
Mike Seal as Gary, a member of the Saviors.
Lindsley Register as Laura, a member of the Saviors.
Juan Pareja as Morales, a survivor from Rick's original Atlanta camp who joined the Saviors.
Joshua Mikel as Jared, Benjamin's killer, and a hostile member of the Saviors who antagonizes Morgan.
Callan McAuliffe as Alden, a member of the Saviors who surrenders to Jesus at the satellite station outpost.
Lindsey Garrett as Mara, a Savior who guards one of many outposts.
Lee Norris as Todd, a timid member of the Saviors who works at the same outpost as Mara.
Whitmer Thomas as Gunther, a member of the Saviors who tortures Ezekiel.
Charles Halford as Yago, a Savior who manages Gavin's weapons base.
Ciera L. Payton as Zia, a Savior whom Rosita and Michonne encounter at a supply warehouse.
Adam Cronan as Leo, a Savior whom Rosita and Michonne encounter at a supply warehouse.
Chloe Aktas as Tanya, one of Negan's wives.
Adam Fristoe as Dean, a savior who tried to kill Jesus.

text: The Kingdom[edit]

text:
Cooper Andrews as Jerry, Ezekiel's loyal and good-natured bodyguard.
Kerry Cahill as Dianne, one of Ezekiel's top soldiers and a skilled archer.
Daniel Newman as Daniel, one of Ezekiel's top soldiers.
Carlos Navarro as Alvaro, one of Ezekiel's top soldiers.
Macsen Lintz as Henry, a resident of the Kingdom and younger brother of the deceased Benjamin.
Jason Burkey as Kevin, a resident of the Kingdom.
Nadine Marissa as Nabila, a resident and gardener of the Kingdom.

text: Oceanside[edit]

text:
Deborah May as Natania, the vigilant leader of Oceanside.
Sydney Park as Cyndie, Natania's granddaughter.
Briana Venskus as Beatrice, one of Oceanside's top soldiers.
Nicole Barré as Kathy, one of Oceanside's top soldiers.

text: The Scavengers[edit]

text:
Sabrina Gennarino as Tamiel, a leading member of the Scavengers.
Thomas Francis Murphy as Brion, a leading member of the Scavengers.

text: Miscellaneous[edit]

text: Avi Nash as Siddiq, a mysterious vagabond survivor who befriends Carl.

text: Production[edit]

text: The Walking Dead was renewed by AMC for a 16-episode eighth season on October 16, 2016,[2] and that same month it was reported that Maria Bello would have a role on the show.[6] Production began on April 25, 2017, in Atlanta, Georgia.[7] On July 12, 2017, production was shut down after stuntman John Bernecker was killed, after falling more than 20 feet onto a concrete floor.[8] Production resumed on July 17.[9]

text: The season premiere, which also serves as the series' milestone 100th episode, was directed by executive producer Greg Nicotero.[10]

text: In November 2017, it was announced that Lennie James who portrays Morgan Jones, would be leaving The Walking Dead after the conclusion of this season, and he will join the cast of the spin-off series Fear the Walking Dead.[11]

text: Episodes[edit]

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

100
1
"Mercy"
Greg Nicotero
Scott M. Gimple
October 22, 2017 (2017-10-22)
11.44[12]

Rick, Maggie, and Ezekiel rally their communities together to take down Negan. Gregory attempts to have the Hilltop residents side with Negan, but they all firmly stand behind Maggie. The group attacks the Sanctuary, taking down its fences and flooding the compound with walkers. With the Sanctuary defaced, everyone leaves except Gabriel, who reluctantly stays to save Gregory, but is left behind when Gregory abandons him. Surrounded by walkers, Gabriel hides in a trailer, where he is trapped inside with Negan.

101
2
"The Damned"
Rosemary Rodriguez
Matthew Negrete & Channing Powell
October 29, 2017 (2017-10-29)
8.92[13]

Rick's forces split into separate parties to attack several of the Saviors' outposts, during which many members of the group are killed; Eric is critically injured and rushed away by Aaron. Jesus stops Tara and Morgan from executing a group of surrendered Saviors. While clearing an outpost with Daryl, Rick is confronted and held at gunpoint by Morales, a survivor he met in the initial Atlanta camp, who is now with the Saviors.

102
3
"Monsters"
Greg Nicotero
Matthew Negrete & Channing Powell
November 5, 2017 (2017-11-05)
8.52[14]

Daryl finds Morales threatening Rick and kills him; the duo then pursue a group of Saviors who are transporting weapons to another outpost. Gregory returns to Hilltop, and after a heated argument, Maggie ultimately allows him back in the community. Eric dies from his injuries, leaving Aaron distraught. Despite Tara and Morgan's objections, Jesus leads the group of surrendered Saviors to Hilltop. Ezekiel's group attacks another Savior compound, during which several Kingdommers are shot while protecting Ezekiel.

103
4
"Some Guy"
Dan Liu
David Leslie Johnson
November 12, 2017 (2017-11-12)
8.69[15]

Ezekiel's group is overwhelmed by the Saviors, who kill all of them except for Ezekiel himself and Jerry. Carol clears the inside of the compound, killing all but two Saviors, who almost escape but are eventually caught by Rick and Daryl. En route to the Kingdom, Ezekiel, Jerry, and Carol are surrounded by walkers, but Shiva sacrifices herself to save them. The trio returns to the Kingdom, where Ezekiel's confidence in himself as a leader has diminished.

104
5
"The Big Scary U"
Michael E. Satrazemis
Story by : Scott M. Gimple & David Leslie Johnson & Angela Kang
Teleplay by : David Leslie Johnson & Angela Kang
November 19, 2017 (2017-11-19)
7.85[16]

After confessing their sins to each other, Gabriel and Negan manage to escape from the trailer. Simon and the other lieutenants grow suspicious of each other, knowing that Rick’s forces must have inside information. The workers in the Sanctuary become increasingly frustrated with their living conditions, and a riot nearly ensues, until Negan returns and restores order. Gabriel is locked in a cell, where Eugene discovers him sick and suffering. Meanwhile, Rick and Daryl argue over how to take out the Saviors, leading Daryl to abandon Rick.

105
6
"The King, the Widow, and Rick"
John Polson
Angela Kang & Corey Reed
November 26, 2017 (2017-11-26)
8.28[17]

Rick visits Jadis in hopes of convincing her to turn against Negan; Jadis refuses, and locks Rick in a shipping container. Carl encounters Siddiq in the woods and recruits him to Alexandria. Daryl and Tara plot to deviate from Rick’s plans by destroying the Sanctuary. Ezekiel isolates himself at the Kingdom, where Carol tries to encourage him to be the leader his people need. Maggie has the group of captured Saviors placed in a holding area and forces Gregory to join them as punishment for betraying Hilltop.

106
7
"Time for After"
Larry Teng
Matthew Negrete & Corey Reed
December 3, 2017 (2017-12-03)
7.47[18]

After learning of Dwight's association with Rick's group, Eugene affirms his loyalty to Negan and outlines a plan to get rid of the walkers surrounding the Sanctuary. With help from Morgan and Tara, Daryl drives a truck through the Sanctuary’s walls, flooding its interior with walkers, killing many Saviors. Rick finally convinces Jadis and the Scavengers to align with him, and they plan to force the Saviors to surrender. However, when they arrive at the Sanctuary, Rick is horrified to see the breached walls and no sign of the walker herd.

107
8
"How It's Gotta Be"
Michael E. Satrazemis
David Leslie Johnson & Angela Kang
December 10, 2017 (2017-12-10)
7.89[19]

Eugene's plan allows the Saviors to escape, and separately, the Saviors waylay the Alexandria, Hilltop, and Kingdom forces. The Scavengers abandon Rick, after which he returns to Alexandria. Ezekiel ensures that the Kingdom residents are able to escape before locking himself in the community with the Saviors. Eugene aids Gabriel and Doctor Carson in escaping the Sanctuary in order to ease his conscience. Negan attacks Alexandria, but Carl devises a plan to allow the Alexandria residents to escape into the sewers. Carl reveals he was bitten by a walker while escorting Siddiq to Alexandria.

108
9
"Honor"
Greg Nicotero
Matthew Negrete & Channing Powell
February 25, 2018 (2018-02-25)
8.28[20]

After the Saviors leave Alexandria, the survivors make for the Hilltop while Rick and Michonne stay behind to say their final goodbyes to a dying Carl, who pleads with Rick to build a better future alongside the Saviors before killing himself. In the Kingdom, Morgan and Carol launch a rescue mission for Ezekiel. Although they are successful and retake the Kingdom, the Saviors' lieutenant Gavin is killed by Benjamin's vengeful brother Henry.

109
10
"The Lost and the Plunderers"[21]
TBA
TBA
March 4, 2018 (2018-03-04)
TBD

110
11
"Dead or Alive Or"[21]
TBA
TBA
March 11, 2018 (2018-03-11)
TBD

111
12
"The Key"[21]
TBA
TBA
March 18, 2018 (2018-03-18)
TBD

tag: table

text: Release[edit]

text: The first trailer for the season was released on July 21, 2017, at San Diego Comic-Con. The second trailer was released on February 1, 2018, for the second part of the season.[22]

text: Reception[edit]

text: Critical response[edit]

text: The eighth season of The Walking Dead has received mostly positive reviews from critics. On Rotten Tomatoes, the season holds a score of 73% with an average rating of 6.9 out of 10, based on 13 reviews, and an average episode score of 69%. The site's critical consensus reads: "The Walking Dead's eighth season energizes its characters with some much-needed angst and action, though it's still occasionally choppy and lacking forward-moving plot progression."[23]

text:
The Walking Dead (season 8): Critical reception by episode

Season 8 (2017–18): Percentage of positive reviews tracked by the website Rotten Tomatoes[23]

text: Ratings[edit]

text:
No.
Title
Air date
Rating/share
(18–49)
Viewers
(millions)
DVR
(18–49)
DVR viewers
(millions)
Total
(18–49)
Total viewers
(millions)

1
"Mercy"
October 22, 2017
5.0
11.44[12]
2.2
4.28
7.2
15.74[24]

2
"The Damned"
October 29, 2017
4.0
8.92[13]
2.0
4.16
6.0
13.10[25]

3
"Monsters"
November 5, 2017
3.8
8.52[14]
2.2
4.47
6.0
13.01[26]

4
"Some Guy"
November 12, 2017
3.9
8.69[15]
1.8
3.66
5.7
12.36[27]1

5
"The Big Scary U"
November 19, 2017
3.4
7.85[16]
1.7
3.58
5.3
11.87[28]

6
"The King, the Widow, and Rick"
November 26, 2017
3.6
8.28[17]
2.1
4.44
5.7
12.73[29]

7
"Time for After"
December 3, 2017
3.3
7.47[18]
1.9
4.15
5.2
11.63[30]

8
"How It's Gotta Be"
December 10, 2017
3.4
7.89[19]
2.0
4.23
5.4
12.13[31]

9
"Honor"
February 25, 2018
3.6
8.28[20]
TBD
TBD
TBD
TBD

10
"The Lost and the Plunderers"
March 4, 2018
TBD
TBD
TBD
TBD
TBD
TBD

11
"Dead or Alive Or"
March 11, 2018
TBD
TBD
TBD
TBD
TBD
TBD

12
"The Key"
March 18, 2018
TBD
TBD
TBD
TBD
TBD
TBD

text: ^1 Live +7 ratings were not available, so Live +3 ratings have been used instead.


document_title: List of Prime Ministers of India

question_text: who is the 12 prime minister of india

question_tokens: who is the 12 prime minister of india

text: List of Prime Ministers of India

text: Key[edit]

text:
Colour key for party of the prime ministers

  Bharatiya Janata Party

  Indian National Congress
designated Indian National Congress (I) 1977–1996[3]

  Janata Dal

  Janata Party

  Janata Party (Secular)

  Samajwadi Janata Party

Other key

№: Incumbent number
† Assassinated or died in office
§ Returned to office after a previous term
RES Resigned
NC Resigned following a no-confidence motion

text: Prime Ministers of India[edit]

text:
№
Name
(birth–death); constituency
Portrait
Prior Office
Party
(Alliance)
Elected constituency
Term of office[4]
Elections
(Lok Sabha)
Ministry
Appointed by

1
Jawaharlal Nehru
(1889–1964)

Indian freedom fighter

Indian National Congress
Phulpur, Uttar Pradesh
15 August
1947
27 May
1964[†]
7003613000000000000♠16 years, 286 days
—
Nehru I
Lord Mountbatten

1952 (1st)
Nehru II
Rajendra Prasad

1957 (2nd)
Nehru III

1962 (3rd)
Nehru IV

–
Gulzarilal Nanda (acting)
(1898–1998)

Union Minister of Labour and Employment

Indian National Congress
Sabarkantha, Gujarat
27 May
1964
9 June
1964
13 days
(3rd)
(acting)
Sarvepalli Radhakrishnan

2
Lal Bahadur Shastri
(1904–1966)

Minister of Home Affairs

Indian National Congress
Allahabad, Uttar Pradesh
9 June
1964
11 January
1966[†]
7002581000000000000♠1 year, 216 days
(3rd)
Shastri

–
Gulzarilal Nanda (acting)
(1898–1998)

Minister of Home Affairs

Indian National Congress
Sabarkantha, Gujarat
11 January
1966
24 January
1966
13 days
(3rd)
(acting)

3
Indira Gandhi
(1917–1984)

Minister of Information and Broadcasting

Indian National Congress
Rajya Sabha MP for Uttar Pradesh
24 January
1966
24 March
1977
7003407700000000000♠11 years, 59 days
(3rd)
I. Gandhi I

Prime Minister
(Re-elected)

Rae Bareli, Uttar Pradesh
1967 (4th)

Prime Minister
(Re-elected)

1971 (5th)
I. Gandhi II
V. V. Giri

4
Morarji Desai
(1896–1995)

Minister of Finance and Deputy Prime Minister of India before he resigned in 1969

Janata Party
Surat, Gujarat
24 March
1977
28 July
1979[RES]
7002856000000000000♠2 years, 126 days
1977 (6th)
Desai
B. D. Jatti
(acting President)

5
Charan Singh
(1902–1987)

Minister of Finance

Janata Party (Secular)
with INC
Baghpat, Uttar Pradesh
28 July
1979
14 January
1980[RES]
170 days
 – (6th)
C. Singh
Neelam Sanjiva Reddy

(3)
Indira Gandhi
(1917–1984)

Former Prime Minister

Indian National Congress (I)
Medak, Andhra Pradesh
14 January
1980[§]
31 October
1984[†]
7003175200000000000♠4 years, 291 days
1980 (7th)
I. Gandhi III

6
Rajiv Gandhi
(1944–1991)

MP for Amethi

Indian National Congress (I)
Amethi, Uttar Pradesh
31 October
1984
2 December
1989
7003185800000000000♠5 years, 32 days
(7th)
R. Gandhi
Zail Singh

Former Prime Minister
(Re-elected)

1984 (8th)

7
V. P. Singh
(1931–2008)

Minister of Defence

Janata Dal
(National Front)
Fatehpur, Uttar Pradesh
2 December
1989
10 November
1990[NC]
343 days
1989 (9th)
V. P. Singh
R. Venkataraman

8
Chandra Shekhar
(1927–2007)

MP for Ballia

Samajwadi Janata Party
with INC
Ballia, Uttar Pradesh
10 November
1990
21 June
1991
223 days
 (9th)
Chandra Shekhar

9
P. V. Narasimha Rao
(1921–2004)

Minister of External Affairs

Indian National Congress (I)
Nandyal, Andhra Pradesh
21 June
1991
16 May
1996
7003179100000000000♠4 years, 330 days
1991 (10th)
Rao

10
Atal Bihari Vajpayee
(born 1924)

Minister of External Affairs

Bharatiya Janata Party
Lucknow, Uttar Pradesh
16 May
1996
1 June
1996[RES]
16 days
1996 (11th)
Vajpayee I
Shankar Dayal Sharma

11
H. D. Deve Gowda
(born 1933)

Chief Minister of Karnataka

Janata Dal
(United Front)
Rajya Sabha MP for Karnataka
1 June
1996
21 April
1997[RES]
324 days
(11th)
Deve Gowda

12
Inder Kumar Gujral
(1919–2012)

Minister of External Affairs

Janata Dal
(United Front)
Rajya Sabha MP for Bihar
21 April
1997
19 March
1998
332 days
(11th)
Gujral

(10)
Atal Bihari Vajpayee
(born 1924)

Former Prime Minister

Bharatiya Janata Party
(NDA)
Lucknow, Uttar Pradesh
19 March
1998[§]
22 May
2004
7003225600000000000♠6 years, 64 days
1998 (12th)
Vajpayee II
K. R. Narayanan

Former Prime Minister
(Re-elected)

1999 (13th)
Vajpayee III

13
Manmohan Singh
(born 1932)

Minister of Finance

Indian National Congress
(UPA)
Rajya Sabha MP for Assam
22 May
2004
26 May
2014
7003365600000000000♠10 years, 4 days
2004 (14th)
M. Singh I
A. P. J. Abdul Kalam

Former Prime Minister
(Re-elected)

2009 (15th)
M. Singh II
Pratibha Patil

14
Narendra Modi
(born 1950)

Chief Minister of Gujarat

Bharatiya Janata Party
(NDA)
Varanasi, Uttar Pradesh
26 May
2014[5]
Incumbent
7003122500000000000♠3 years, 129 days
2014 (16th)
Modi
Pranab Mukherjee


document_title: Leave It to Beaver characters

question_text: who played benji on leave it to beaver

question_tokens: who played benji on leave it to beaver

text: Leave It to Beaver characters

text: Main characters and cast[edit]

text: The show's four main characters appeared in all 234 episodes of the show, and, in the opening sequence, were introduced in the following order:

text:
June Evelyn Bronson Cleaver (Barbara Billingsley) is the wife of Ward Cleaver and the mother of two sons, Wally and Beaver, who is also the main character of the series. She grew up in the Mayfield area and summered with her aunt, Martha Bronson, at Riverside, a community a few hours from Mayfield. June attended boarding school, dated Ward in her teens, and attended college. June mentions that her Aunt Martha "practically raised her".[1] When Beaver asks her about her life, June doesn't mention she ever held down a full-time job. She merely indicates she had a part-time job and was dismissed when she got her books messed up so bad. When the show opens, she is a full-time wife and mother, often seen tidying the house, preparing meals in the kitchen, or tending her family. Her outside interests include social events such as weddings and her sons' school events. In the later seasons, many episodes feature a brief "after-school" scene in the kitchen for June and Wally. Wally breezes through the back door and regales his mother with a short recital couched in teen-speak of his school day. The camera zooms-in on June's amusingly mystified countenance as Wally trots away with a hot dog or other snack-in-hand. During the course of the series' run, June has several housekeepers, including Minerva,[2] Mrs. Manners (who smells like gingerbread according to Beaver), Mrs. Manners' teen daughter Margie (who becomes a romantic interest for Wally),[3] and other unnamed women. Actress Barbara Billingsley appeared in the pilot, every episode of the series, and in the show's spin-offs. Throughout the series' run, she wore either a necklace or a dress with a high collar, jabot, or scarf to hide a surgery-inflicted hollow in her neck which would have caused on-screen shadows.
Ward Cleaver (Hugh Beaumont) is June's husband, and the father of Wally and Beaver. He is a farmer's son who grew up on a farm near Shaker Heights, a community in the vicinity of Mayfield. It's never stated Ward went to the same prep school as June but it is established he dated June in high school, and majored in Philosophy at college. He was an engineer in the Seabees during World War II and, through the show's run, works in a white collar office job, though the nature of his work is never specified. A co-worker, Fred Rutherford, is also a friend and the two men socialize outside the workplace. Though Ward speaks of his father and siblings when recalling his childhood, only his globe-trotting Uncle Billy pays visits to the Cleaver home. Ward drives a Plymouth throughout most of the series—usually a top-of-the-line 4 door hardtop sedan—and plays golf at a country club. Ward and his wife sleep in twin beds and have a portable television set in their bedroom – the only TV in the house until the last few seasons at which time a console TV (rarely used) stands in Ward's first-floor den. In one episode,[4] Beaver allows a tramp to bathe in his parents' bathroom. The tramp then absconds from the Cleaver house wearing one of Ward's suits and a pair of his shoes. Ward is a good-natured, understanding man who is often called upon to give his sons some moral instruction regarding their choices and behavior. Actor Hugh Beaumont often played villains and heavies in film and television before capturing his signature role as Ward Cleaver. Just before beginning filming a new season for Leave It to Beaver, Beaumont flew from his home in Minnesota to Hollywood while his wife, son, and mother-in-law drove. An accident on the road killed his mother-in-law and severely injured his son. Jerry Mathers later stated that Beaumont's entire participation in the production was seriously impaired by the tragic accident, with Beaumont often walking through his part.[5] Beaumont wrote the story for one episode from the second season, "A Horse Named Nick", and directed a number of episodes in the last two seasons, including the final, retrospective "Family Scrapbook". The character of Ward was portrayed by Max Showalter (credited as Casey Adams) in the pilot episode, "It's a Small World".
Wally Cleaver (Tony Dow) is the son of Ward and June Cleaver and the older brother of Beaver. When the show opens, Wally is 12 and in the eighth grade at Grant Ave. Grammar School. He is an above average student and a top-notch athlete, eventually lettering in three sports. Wally is popular with his peers as well as adults, and, has little difficulty attracting girlfriends, among them Mary Ellen Rogers and Julie Foster. The girls referred to Wally as "the absolute most." His pals include Tooey Brown, Chester Anderson, the awkward Clarence "Lumpy" Rutherford and smart-aleck Eddie Haskell. Wally comes down hard on both Lumpy and Eddie when they pick on Beaver. Wally acts as a bridge in the show between his parents and his brother, often translating parental communications into kidspeak for Beaver's benefit and keeping Ward and June informed of Beaver's feelings, plans, and whereabouts. Leave It to Beaver was actor Tony Dow's first dramatic experience. He would later play the role in spin-offs. The character Wally was portrayed by Paul Sullivan in the pilot episode.
Theodore "Beaver" Cleaver (Jerry Mathers) is the younger son of Ward and June Cleaver and Wally's brother. When the show opens, Beaver is seven years old ("almost eight") and in the second grade at Grant Ave. Grammar School. Beaver is all-boy with baseball, carnivals, comic books, money-making schemes, and animals of all kinds high on his list of interests while very proper ladies,[6] dance lessons, bathing, and homework test his patience to the limit. Through the series' entire six-season run, Beaver shares a bedroom and adjoining bath with Wally. In one episode, he moves into the guest room after a spat with Wally but returns to the safety of his old bedroom when shadows in the guest room spook him.[7] Beaver is not the athlete his brother is, but he does play football[8] and wins his school team's Most Inspirational Player award.[9] He also performs in many school plays. Beaver has several one-shot pets (an alligator,[2] a rabbit,[10] pigeons,[11] and other creatures) through the series' run. Though Beaver has many friends his own age, his best friend is Gus, an old fireman in the neighborhood, who gives Beaver sound advice and tries to keep the boy on the straight and narrow. Beaver wants and tries to do the right thing but cannot help going astray and usually faces a moral lecture from his father at the end of each episode regarding some misadventure he has suffered or mistake he has made. Actor Jerry Mathers played the role in the pilot and the show's spin-offs.

text: Recurring characters[edit]

text: Beaver's friends, classmates, and teachers[edit]

text: Beaver's best pals include apple-munching Larry Mondello (Rusty Stevens, November 22, 1957 – June 6, 1960), Gilbert Bates (Stephen Talbot, March 19, 1959 – June 6, 1963), Hubert "Whitey" Whitney (Stanley Fafara, October 4, 1957 – June 6, 1963), and the old fireman, Gus (Burt Mustin, October 4, 1957 – February 24, 1962). Except for Gus, Beaver's friends steer him into trouble time and again. Other friends include Harry Henderson (Keith Taylor), a chubby, bespectacled boy brought in after Rusty Stevens' departure, and Richard Rickover (Richard Correll, April 30, 1960 – October 18, 1962).

text: Judy Hensler (Jeri Weil, October 4, 1957 – October 15, 1960) is Beaver's snitching, goody-goody classroom nemesis on the show. Penny Woods (Karen Sue Trent, February 20, 1960 – January 20, 1962) filled the nemesis role when Judy was dropped. Other friends include Lumpy's sister Violet Rutherford, (Wendy Winkleman, 1957 and Veronica Cartwright, February 19, 1959 – May 2, 1963). Benjie Bellamy (Joey Scott) and Chuckie Murdock (Rory Stevens) are both small boys and Cleaver neighbors who cause trouble. Beaver's notorious classmate Angela Valentine is an unseen character, mentioned a dozen times in the series but never shown on screen.

text: Beaver had two female teachers in the earliest seasons. Miss Canfield (Diane Brewster, October 4, 1957 – March 21, 1958) is Beaver's kind and understanding second grade teacher at Grant Ave. Grammar School and appears in four first-season episodes. Beaver has a crush on her in one episode. Alice Landers (Sue Randall, October 16, 1958 – February 17, 1962) becomes Beaver's third grade teacher in the second season, replacing Miss Canfield. She remains his teacher for several seasons. Beaver develops a crush on her but his joy turns sour when she announces her engagement to Tom Brittingham. Cornelia Rayburn (Doris Packer, October 4, 1957 – June 13, 1963) is the principal of Grant Ave. Grammar School and, later Beaver's teacher, after Miss Landers, replacing Mr. Bloomgarten. In the later seasons, Beaver has male, rather than female, teachers who include Mr. Willet and Mr. Blair, both played by Wendell Holmes.

text: Wally's friends and classmates[edit]

text: Wally's closest friends are archetypal wise-guy Eddie Haskell (Ken Osmond, November 1, 1957 – June 6, 1963), Clarence "Lumpy" Rutherford (Frank Bank, January 24, 1958 – May 30, 1963), Tooey Brown (Tiger Fafara, November 15, 1957 – May 28, 1960) and Chester Anderson (Buddy Hart, November 8, 1957 – May 28, 1960). Eddie and Lumpy appear in all six seasons while Tooey and Chester appear in the first through third seasons. Buddy Hart's father, John Hart (star of television's Hawkeye and the Last of the Mohicans, and part-time Lone Ranger), appears in three episodes though in no scenes with his son.

text: Several episodes in the last seasons concentrate on Eddie's adventures, with one episode following his plans to work on an Alaskan fishing boat[12] and another chronicling his troubles with a credit card.[13]

text: Lumpy is the heavy-set, not-very-bright, yet sincere football-playing Clarence, the son of Ward's co-worker, Fred Rutherford. While later appearances would cast him as a friend and classmate, Initially he is an 'outsider' between Beaver and Wally's age. As Beaver's nemesis, he bullies both Beaver and Wally in his first appearance[14]

text: Wally has several girlfriends through the series' run, with Mary Ellen Rogers (Pamela Baird, occasionally as Pamela Beaird, April 16, 1958 – June 6, 1963) and Julie Foster (Cheryl Holdridge, January 7, 1961 – April 11, 1963) making many appearances (Holdridge had earlier played girlfriend Gloria Cusick in two 1959 episodes). Carol Sydes (aka Cindy Carol) appears as Wally's first girlfriend, Penny Jamison, in "Wally's Girl Trouble", and later appears as classmate and date Alma Hanson.

text: Cleaver family, neighbors, and co-workers[edit]

text: Aunt Martha Bronson (Madge Kennedy, December 13, 1957 – March 28, 1963) is June's beloved aunt. She is proper old maid who lives not far from Mayfield and wants Beaver to attend a prep school. Ward is nervous around her, as he feels that he must always be apologizing for something when she comes. She appears in five episodes and is mentioned in other episodes. Because she once gave Wally and Beaver umbrellas, she is called "their umbrella aunt".

text: Uncle Billy (Edgar Buchanan, December 30, 1960 – March 21, 1963) is Wally and Beaver's fancy-free, globe-trotting, story-telling great uncle. June does not trust him completely because he fills her sons' heads with tales of irresponsible living.

text: Larry Mondello's mother Margaret Mondello (Madge Blake, June 25, 1958 – February 27, 1960) is a nervous woman who finds her son's misadventures exasperating. The character was dropped when Rusty Stevens left the show in its fourth season. George and Agnes Haskell are Eddie's parents. George was played by Karl Swenson and George O. Petrie. However, in one episode, it is implied that Mr. Haskell's name is "Edward Clark Haskell, Sr."; and in another episode, where he's played by John Alvin, he is "Frank". Agnes was played by Ann Doran and Anne Barton. Tooey Brown's mother, Mr. Mondello, Judy Hensler's parents, and Whitey Whitney's parents make one-time appearances. Larry Mondello's sister in high school is never seen.

text: Fred Rutherford (Richard Deacon, October 18, 1957 – May 23, 1963) is Ward's pompous, overbearing co-worker. Fred is the father of an awkward teenage son named Clarence ("Lumpy"), and a daughter about Beaver's age named Violet. The Rutherfords socialize with the Cleavers on a couple of occasions: playing cards in the Cleaver home and, at a later time, enjoying a picnic outing together. Fred travels widely and gives Ward a meerschaum pipe after visiting Germany.

text: Special appearances[edit]

text:
Lyle Talbot appeared in two episodes as Mr. Dennison, the father of Beaver's first girlfriend, Linda. In one early episode, Linda is sweet on Beaver and invites him to her all-girl birthday party. Beaver suffers miserably until he sneaks off to a den in the house where Mr. Dennison entertains him with his antique gun collection. Lyle Talbot was father of Stephen Talbot, who portrayed Beaver's friend Gilbert Bates. Talbot had no scenes with his son.
John Hart, the star of the 1950s television series The Lone Ranger (54 episodes from 1950 to 1953) and the syndicated Hawkeye and the Last of the Mohicans, appeared in one episode as a scoutmaster. He also appeared in a fifth-season episode as a forest ranger. Hart was father of Buddy Hart, the portrayer of Wally's friend Chester Anderson. Though his son appeared in the scouting episode, the two had no scenes together.
Former baseball player Don Drysdale appeared as himself in the episode "Long Distance Call".
Ryan O'Neal, star of the classic tearjerker Love Story and television series Peyton Place, appeared as Tom Henderson, a young married man, in the fifth season's "Wally Goes Steady".
Barbara Parkins, Patty Duke and Sharon Tate's co-star in the film Valley of the Dolls, played Judy Walker in "No Time for Babysitters".
John Hoyt, veteran film and television actor best remembered perhaps for his role as a mad scientist in the sci-fi classic Attack of the Puppet People (1958), appeared as different characters in three episodes.
Jason Robards, Sr. appeared in the third season episode "Kite Day".
Kim Hamilton, the only black performer to appear on the show, played a maid at a wedding reception in "The Parking Attendants".
Richard "Dick" Simmons, portrayer of the title character in Jack Wrather's Sgt. Preston of the Yukon, played Mr. Langley in both "Beaver the Caddy" and "The Parking Attendants".
William Schallert, Patty Duke's father on The Patty Duke Show, played Mr. Bloomgarten, a schoolteacher, in "Beaver's Short Pants".
William Fawcett, venerable performer in countless early television westerns, played Grant Avenue Grammar School's night watchman Mr. Johnson in "Beaver's Crush".

text: Several Andy Griffith Show players appeared on Leave It to Beaver. Hal Smith, Mayberry's town sot Otis Campbell, appeared as a restaurant manager in the fourth-season episode "Beaver Won't Eat", while Dorothy Neumann, Otis Campbell's wife Rita on The Andy Griffith Show, appeared in "The Community Chest" as a Mayfield housewife. Howard McNear, Mayberry's barber Floyd Lawson, played a barber in a second-season Beaver episode. Burt Mustin (Mayfield's Gus, the fireman) had a long career as Jud Fletcher on The Andy Griffith Show and Will Wright (Mayfield's first season Pete, the fireman) appeared on The Andy Griffith Show as Ben Weaver, a sour, miserly Mayberry department store owner.

text: Phyllis Coates, who portrayed Lois Lane during the first season of The Adventures of Superman, played Mrs. Donaldson in "New Neighbors," while Superman heavy Herb Vigran appeared in the first-season episode "Brotherly Love".

text: Two actors playing veterinarians on the long-running CBS children's series Lassie appeared on Leave It to Beaver. Frank Ferguson (Dr. Peter Wilson in the early seasons of Lassie) played Jeff, the tramp, in "Beaver's Good Deed", and Arthur Space, who portrayed Doc Weaver through the Timmy years of Lassie, played Mr. Judson in "Wally's Present".

text: Veteran film and television character actresses appearing on the show included Maudie Prickett as Mrs. Bennett, the owner of a lost chihuahua in "Beaver and Poncho", Irene Tedrow as Mrs. Hathaway, Aunt Martha's traveling companion in "The Visiting Aunts", and Lurene Tuttle as Mrs. Evans, Eddie's landlady in "Bachelor-at-Large".

text: Barbara Parkins, Judy Walker, a babysitter for an older Beaver. "No Time for Babysitters" She understands Beaver wanting to be alone when Gilbert and Richard arrive.

text: Actress Lee Meriwether, winner of the 1955 Miss America beauty pageant, appeared as an unnamed housewife in "Community Chest".


document_title: Dirty Harry (film series)

question_text: which iconic character is featured in movies such as the enforcer sudden impact and the dead pool

text: Dirty Harry (film series)

text: Films[edit]

text: Dirty Harry (1971)[edit]

text: Dirty Harry (1971) was directed by Don Siegel and starred Clint Eastwood as Harry Callahan.  Harry tracks serial killer Scorpio (loosely based on the Zodiac killer). Eastwood's iconic portrayal of the blunt-speaking, unorthodox detective set the style for a number of his subsequent roles, and its box-office success led to the production of four sequels. The "alienated cop" motif was subsequently imitated by a number of other films.  At the beginning and end of the film, Callahan corners a criminal and says, "You've got to ask yourself a question: 'Do I feel lucky?' Well, do ya, punk?" (The line is often misquoted as "Do you feel lucky, punk?", and in the second movie, Magnum Force, Harry begins by saying, “do you feel lucky”).

text: It was the fourth-highest-grossing film of 1971 after Fiddler on the Roof, The French Connection, and Diamonds Are Forever.

text: Magnum Force (1973)[edit]

text: Magnum Force (1973) was directed by Ted Post. The main theme of this film is vigilante justice, and the plot revolves around a group of renegade traffic cops who are executing criminals who have avoided conviction in court. Despite Harry's penchant for strong-arm methods, he does not tolerate coldblooded murder of the accused and resolves to stop the killers. In this film, Harry's catch-phrase is "A man's got to know his limitations."

text: The Enforcer (1976)[edit]

text: The Enforcer (1976) was directed by James Fargo. In this film, Harry is teamed with a rookie female partner, Kate Moore (Tyne Daly), as they take on a terrorist ring calling themselves the People's Revolutionary Strike Force. Harry opposes introducing inexperienced inspectors to the dangers of police work, whether male or female, and sees the homicide department as too dangerous for his new partner, who worked until recently in Personnel. Though Moore starts out overenthusiastic, she soon proves herself valuable to Harry, and matures quickly, earning Harry's respect in the process.

text: Sudden Impact (1983)[edit]

text: Sudden Impact (1983) was directed by Clint Eastwood.  Aging, but still bitter, Callahan is sent to a small town to follow up a lead in a murder case, which leads him directly to a rape victim who is out to avenge herself and her catatonic sister by killing the people who sexually assaulted them.  The film is notable for Callahan's catchphrase, "Go ahead, make my day".

text: The Dead Pool (1988)[edit]

text: The Dead Pool (1988) was directed by Buddy Van Horn.  Harry finds that he is among the subjects of a dead pool, a game betting on deaths of celebrities.  Someone tries to rig the game by killing the celebrities on one player's list.

text: After this film, Eastwood retired from playing the Dirty Harry character, as he felt his age (58 in 1988) would make Harry a parody.

text: Characters[edit]

text:
Character

Film

Dirty Harry

Magnum Force

The Enforcer

Sudden Impact

The Dead Pool

Harry Callahan

Clint Eastwood

Frank DiGiorgio

John Mitchum

The Mayor

John Vernon

John Crawford

Al Bressler

Harry Guardino

Harry Guardino

Scorpio

Andy Robinson

Chico Gonzalez

Reni Santoni

Bank Robber

Albert Popwell

Neil Briggs

Hal Holbrook

Charlie McCoy

Mitchell Ryan

John Davis

David Soul

Red Astrachan

Kip Niven

Mike Grimes

Robert Urich

Phil Sweet

Tim Matheson

Earlington "Early" Smith

Felton Perry

J.J. Wilson

Albert Popwell

Kate Moore

Tyne Daly

Bobby Maxwell

DeVeren Bookwalter

Lalo

Michael Cavanaugh

Karl

Dick Durock

Abdul

Kenneth Boyd

Miki

Jocelyn Jones

Father John

M. G. Kelly

Big Ed Mustapha

Albert Popwell

Jennifer Spencer

Sondra Locke

Mick

Paul Drake

Ray Perkins

Audrie J. Neenan

Lester Jannings

Pat Hingle

Horace King

Albert Popwell

Samantha Walker

Patricia Clarkson

Peter Swan

Liam Neeson

Al Quan

Evan C. Kim

Harlan Rook

David Hunt

Johnny Squares

Jim Carrey

text: Reception[edit]

text:
Film

Rotten Tomatoes

Dirty Harry

95%[1]

Magnum Force

80%[2]

The Enforcer

78%[3]

Sudden Impact

56%[4]

The Dead Pool

52%

text: Influence on other productions[edit]

text: Sin City: That Yellow Bastard[edit]

text: Frank Miller, creator of the Sin City graphic novels, revealed in an interview that he created the Sin City story-arc That Yellow Bastard out of his dislike of The Dead Pool. Miller said: "When I went to see the last Dirty Harry movie, The Dead Pool, I was disgusted. I went out and said, this is not a Dirty Harry movie, this is nothing, this is a pale sequel." and I also said, "that's not the last Dirty Harry story, I will show you the last Dirty Harry story."[5] Another character in That Yellow Bastard story is Nancy Callahan, who is a pastiche or caricature of Harry Callahan.

text: Bruce Willis played Hartigan, the "Dirty Harry of the story", in the Sin City (2005) film.

text: The Protector[edit]

text: This 1985 film featuring Jackie Chan was Chan's second American feature film. The movie was noted for being similar to the Dirty Harry series, with inspiration taken therefrom by director James Glickenhaus.

text: The Rookie[edit]

text: Directed by and co-starring Clint Eastwood; the film features an aging, tough cop who partners with a rookie cop, played by Charlie Sheen. Upon the film's release critics and audiences noted the similarities between Eastwood's two characters.[6]

text: Gran Torino[edit]

text: Eastwood returned to acting after a four-year self-imposed hiatus[7] in this 2008 film, which he also directed, produced, and partly scored with his son Kyle and Jamie Cullum. Eastwood plays Walt Kowalski, a recently widowed Korean War veteran alienated from his family and angry at the world. Walt's young neighbor, Thao Vang Lor, is pressured into stealing Walt's prized 1972 Ford Gran Torino by his cousin for his initiation into a gang. Walt thwarts the theft and subsequently develops a relationship with the boy and his family.

text: Biographer Marc Eliot called Eastwood's role "an amalgam of the Man with No Name, Dirty Harry, and William Munny, here, aged and cynical, but willing and able to fight on whenever the need arose".[8] Manohla Dargis compared Eastwood's presence on film to Dirty Harry and the Man with No Name, stating, "Dirty Harry is back, in a way, in Gran Torino, not as a character but as a ghostly presence. He hovers in the film, in its themes and high-caliber imagery, and of course, most obviously in Mr. Eastwood’s face. It is a monumental face now, so puckered and pleated that it no longer looks merely weathered, as it has for decades, but seems closer to petrified wood."[9]

text: Tania Modleski, author of Clint Eastwood and Male Weepies, said, "[f]or many reviewers, Gran Torino represents the final step in Eastwood’s repudiation of the Dirty Harry persona. If Unforgiven ends up being equivocal in its attitude toward violence and vigilantism, Gran Torino appears to accept the impotence of the lone, avenging hero" and that the impotence "is perhaps underlined by Walt’s repeated gesture of pointing his finger at villains as if it were a gun."[10] Amy Biancolli of the Houston Chronicle said that though Walt, an "old fart", does not have the same name as Dirty Harry, "there’s no mistaking the rasp in his voice or the uncompromising crankiness of his Weltanschauung."[11] Tom Charity of CNN said of Walt, "Like other Eastwood heroes before him, Walt sacrifices his independence by accepting that others depend on him."[12] John Serba of The Grand Rapids Press said that Walt, who is "bitter, hopelessly cranky," "shares a sense of moral certainty" with Callahan, but that Walt "is infused with the wisdom and weariness" that Callahan does not have.[13]

text: Merchandise[edit]

text: Home media[edit]

text: Warner Home Video owns rights to the Dirty Harry series. The five films have been remastered for DVD three times — in 1998, 2001 and 2008. They have been packaged in several DVD box sets. The Dirty Harry films made their high-definition debuts with the 2008 Blu-ray discs. Warner's marketing plan calls for only "The Dead Pool" film to be available as a separate Blu-ray, requiring fans who want the other four movies in high definition to buy the box set.[14] In 2010 all five movies were released as a Blu-ray box set, "Clint Eastwood Dirty Harry Collection".

text: Novels[edit]

text: In the early 1980s, Warner Books published twelve books, authored under the pseudonym Dane Hartman, that further the adventures of Dirty Harry. The novels were later translated into French in the 1990s, as the Collection Supercops.[15]

text: Video games[edit]

text: Dirty Harry: The War Against Drugs is a 1990 video game based on Dirty Harry film series. It incorporates several references to the film series.

text: Dirty Harry, originally scheduled for a 2007 release, is a canceled video game by The Collective, Inc. based on the 1971 film of the same name.

text: In 1995 Williams Electronic Games (WMS) created a Dirty Harry pinball machine, inspired by the 1971 film. 4,248 units were manufactured. Notable features include a gun handle shooter, a moving cannon used to shoot playfield targets and custom audio callouts recorded by Clint Eastwood. Game modes, sounds and dot matrix animations reflect events in the movie, such as a car chase, barroom brawl, defusing bombs and "Feel Lucky" mode.[16]