document_title: Jules Verne

question_text: when did jules verne wrote his first book

text: Jules Verne

text: Life[edit]

text: Early life[edit]

text: Jules Gabriel Verne was born on 8 February 1828, on Île Feydeau, a small artificial island on the Loire River within the town of Nantes, in No. 4 Rue de Clisson, the house of his maternal grandmother Dame Sophie Allotte de la Fuÿe.[7] His parents were Pierre Verne, an attorney originally from Provins, and Sophie Allote de la Fuÿe, a Nantes woman from a local family of navigators and shipowners, of distant Scottish descent.[8][a] In 1829, the Verne family moved some hundred meters away to No. 2 Quai Jean-Bart, where Verne's brother Paul was born the same year. Three sisters, Anna (1836), Mathilde (1839), and Marie (1842) would follow.[8]

text: In 1834, at the age of six, Verne was sent to boarding school at 5 Place du Bouffay in Nantes. The teacher, Mme Sambin, was the widow of a naval captain who had disappeared some 30 years before.[9] Mme Sambin often told the students that her husband was a shipwrecked castaway and that he would eventually return like Robinson Crusoe from his desert island paradise.[10] The theme of the Robinsonade would stay with Verne throughout his life and appear in many of his novels, including The Mysterious Island (1874), Second Fatherland (1900), and The School for Robinsons (1882).

text: In 1836, Verne went on to École Saint‑Stanislas, a Catholic school suiting the pious religious tastes of his father. Verne quickly distinguished himself in mémoire (recitation from memory), geography, Greek, Latin, and singing.[11] In the same year, 1836, Pierre Verne bought a vacation house at 29 Rue des Réformés in the village of Chantenay (now part of Nantes) on the Loire River.[12] In his brief memoir "Souvenirs d’enfance et de jeunesse" ("Memories of Childhood and Youth", 1890), Verne recalled a deep fascination with the river and with the many merchant vessels navigating it.[13] He also took vacations at Brains, in the house of his uncle Prudent Allotte, a retired shipowner, who had gone around the world and served as mayor of Brains from 1828 to 1837. Verne took joy in playing interminable rounds of the Game of the Goose with his uncle, and both the game and his uncle's name would be memorialized in two late novels (The Will of an Eccentric (1900) and Robur the Conqueror (1886), respectively).[13][14]

text: Legend has it that in 1839, at the age of 11, Verne secretly procured a spot as cabin boy on the three-mast ship Coralie, with the intention of traveling to the Indies and bringing back a coral necklace for his cousin Caroline. The ship was due to set out for the Indies that evening but stopped first at Paimboeuf, where Pierre Verne arrived just in time to catch his son and make him promise to travel "only in his imagination".[15] It is now known that the legend is an exaggerated tale invented by Verne's first biographer, his niece Marguerite Allotte de la Füye, though it may have been inspired by a real incident.[16]

text: In 1840, the Vernes moved again to a large apartment at No. 6 Rue Jean-Jacques-Rousseau, where the family's youngest child, Marie, was born in 1842.[12] In the same year Verne entered another religious school, the Petit Séminaire de Saint-Donatien, as a lay student. His unfinished novel Un prêtre en 1839 (A Priest in 1839), written in his teens and the earliest of his prose works to survive,[17] describes the seminary in disparaging terms.[11] From 1844 to 1846, Verne and his brother were enrolled in the Lycée Royal (now the Lycée Georges-Clemenceau) in Nantes. After finishing classes in rhetoric and philosophy, he took the baccalauréat at Rennes and received the grade "Fairly good" on 29 July 1846.[18]

text: By 1847, when Verne was 19, he had taken seriously to writing long works in the style of Victor Hugo, beginning Un prêtre en 1839 and seeing two verse tragedies, Alexandre VI and La Conspiration des poudres (The Gunpowder Plot), to completion.[17] However, his father took it for granted that Verne, being the firstborn son of the family, would not attempt to make money in literature but would instead inherit the family law practice.[19]

text: In 1847, Verne's father sent him to Paris, primarily to begin his studies in law school, and secondarily (according to family legend) to distance him temporarily from Nantes.[20][21] His cousin Caroline, with whom he was in love, was married on 27 April 1847, to Émile Dezaunay, a man of 40, with whom she would have five children.[22]

text: After a short stay in Paris, where he passed first-year law exams, Verne returned to Nantes for his father's help in preparing for the second year (provincial law students were in that era required to go to Paris to take exams).[23] While in Nantes, he met Rose Herminie Arnaud Grossetière, a young woman one year his senior, and fell intensely in love with her. He wrote and dedicated some 30 poems to her, including "La Fille de l'air" ("The Daughter of Air"), which describes her as "blonde and enchanting / winged and transparent".[24] His passion seems to have been reciprocated, at least for a short time,[21] but Grossetière's parents frowned upon the idea of their daughter marrying a young student of uncertain future. They married her instead to Armand Terrien de la Haye, a rich landowner 10 years her senior, on 19 July 1848.[25]

text: The sudden marriage sent Verne into deep frustration. He wrote a hallucinatory letter to his mother, apparently composed in a state of half-drunkenness, in which under pretext of a dream he described his misery.[26] This requited but aborted love affair seems to have permanently marked the author and his work, and his novels include a significant number of young women married against their will (Gérande in "Master Zacharius" (1854), Sava in Mathias Sandorf (1885), Ellen in A Floating City (1871), etc.), to such an extent that the scholar Christian Chelebourg attributed the recurring theme to a "Herminie complex".[27] The incident also led Verne to bear a grudge against his birthplace and Nantes society, which he criticized in his poem "La sixième ville de France" ("The Sixth City of France").[28][29]

text: Studies in Paris[edit]

text: In July 1848, Verne left Nantes again for Paris, where his father intended him to finish law studies and take up law as a profession. He obtained permission from his father to rent a furnished apartment at 24 Rue de l'Ancienne-Comédie, which he shared with Édouard Bonamy, another student of Nantes origin.[26] (On his 1847 Paris visit, Verne had stayed at 2 Rue Thérèse, the house of his aunt Charuel, on the Butte Saint-Roch.)[30]

text: Verne arrived in Paris during a time of political upheaval: the French Revolution of 1848. In February, Louis Philippe I had been overthrown and had fled; on 24 February, a provisional government of the French Second Republic took power, but political demonstrations continued, and social tension remained. In June, barricades went up in Paris, and the government sent Louis-Eugène Cavaignac to crush the insurrection. Verne entered the city shortly before the election of Louis-Napoléon Bonaparte as the first president of the Republic, a state of affairs that would last until the French coup of 1851, in which Bonaparte had himself crowned ruler of the Second French Empire. In a letter to his family, Verne described the bombarded state of the city after the recent June Days Uprising but assured them that the anniversary of Bastille Day had gone by without any significant conflict.[31]

text: Verne used his family connections to make an entrance into Paris society. His uncle Francisque de Chatêaubourg introduced him into literary salons, and Verne particularly frequented those of Mme de Barrère, a friend of his mother's.[32] While continuing his law studies, he fed his passion for the theatre, writing numerous plays. Verne later recalled: "I was greatly under the influence of Victor Hugo, indeed, very excited by reading and re-reading his works. At that time I could have recited by heart whole pages of Notre Dame de Paris, but it was his dramatic work that most influenced me."[33] Another source of creative stimulation came from a neighbor: living on the same floor in the Rue de l'Ancienne-Comédie apartment house was a young composer, Aristide Hignard, with whom Verne soon became good friends, and Verne wrote several texts for Hignard to set as chansons.[34]

text: During this period, Verne's letters to his parents primarily focused on expenses and on a suddenly appearing series of violent stomach cramps,[35] the first of many he would suffer from during his life. (Modern scholars have hypothesized that he suffered from colitis;[35] Verne believed the illness to have been inherited from his mother's side.)[36] Rumors of an outbreak of cholera in March 1849 exacerbated these medical concerns.[35] Yet another health problem would strike in 1851, when Verne suffered the first of four attacks of facial paralysis. These attacks, rather than being psychosomatic, were due to an inflammation in the middle ear, though this cause remained unknown to Verne during his life. [37]

text: In the same year, Verne was required to enlist in the French military, but the sortition process spared him, to his great relief. He wrote to his father: "You should already know, dear papa, what I think of the military life, and of these domestic servants in livery. … You have to abandon all dignity to perform such functions."[38] Verne's strong antiwar sentiments, to the dismay of his father, would remain steadfast throughout his life.[38]

text: Though writing profusely and frequenting the salons, Verne diligently pursued his law studies and graduated with a licence en droit in January 1851.[39]

text: Literary debut[edit]

text: Thanks to his visits to salons, Verne came into contact in 1849 with Alexandre Dumas through the mutual acquaintance of a celebrated chirologist of the time, the Chevalier d'Arpentigny.[39] Verne became close friends with Dumas' son, Alexandre Dumas, fils, and showed him a manuscript for a stage comedy, Les Pailles rompues (The Broken Straws). The two young men revised the play together, and Dumas, through arrangements with his father, had it produced by the Opéra-National at the Théâtre Historique in Paris, opening on 12 June 1850.[40]

text: In 1851, Verne met with a fellow writer from Nantes, Pierre-Michel-François Chevalier (known as "Pitre-Chevalier"), the editor-in-chief of the magazine Musée des familles (The Family Museum).[41] Pitre-Chevalier was looking for articles about geography, history, science, and technology, and was keen to make sure that the educational component would be made accessible to large popular audiences using a straightforward prose style or an engaging fictional story. Verne, with his delight in diligent research, especially in geography, was a natural for the job.[42] Verne first offered him a short historical adventure story, "The First Ships of the Mexican Navy", written in the style of James Fenimore Cooper, whose novels had deeply influenced him.[41] Pitre-Chevalier published it in July 1851, and in the same year published a second short story, "A Voyage in a Balloon"(August 1851). The latter story, with its combination of adventurous narrative, travel themes, and detailed historical research, would later be described by Verne as "the first indication of the line of novel that I was destined to follow."[33]

text: Dumas fils put Verne in contact with Jules Seveste, a stage director who had taken over the directorship of the Théâtre-Historique and renamed it the Théâtre Lyrique. Seveste offered Verne the job of secretary of the theatre, with little or no salary attached.[8] Verne accepted, using the opportunity to write and produce several comic operas written in collaboration with Hignard and the prolific librettist Michel Carré.[43] To celebrate his employment at the Théâtre Lyrique, Verne joined with ten friends to found a bachelors' dining club, the Onze-sans-femme (Eleven Bachelors).[44]

text: For some time, Verne's father pressed him to abandon his writing and begin a business as a lawyer. However, Verne argued in his letters that he could only find success in literature.[45] The pressure to plan for a secure future in law reached its climax in January 1852, when his father offered Verne his own Nantes law practice.[46] Faced with this ultimatum, Verne decided conclusively to continue his literary life and refuse the job, writing: "Am I not right to follow my own instincts? It's because I know who I am that I realize what I can be one day."[47]

text: Meanwhile, Verne was spending much time at the Bibliothèque nationale de France, conducting research for his stories and feeding his passion for science and recent discoveries, especially in geography. It was in this period that Verne met the illustrious geographer and explorer Jacques Arago, who continued to travel extensively despite his blindness (he had lost his sight completely in 1837). The two men became good friends, and Arago's innovative and witty accounts of his travels led Verne toward a newly developing genre of literature: that of travel writing.[48][49]

text: In 1852, two new pieces from Verne appeared in the Musée des familles: "Martin Paz", a novella set in Lima, which Verne wrote in 1851 and published 10 July through 11 August 1852, and Les Châteaux en Californie, ou, Pierre qui roule n’amasse pas mousse (The Castles in California, or, A Rolling Stone Gathers No Moss), a one-act comedy full of racy double entendres.[50] In April and May 1854, the magazine published Verne's short story "Master Zacharius", an E. T. A. Hoffmann-like fantasy featuring a sharp condemnation of scientific hubris and ambition,[51] followed soon afterward by "A Winter Amid the Ice", a polar adventure story whose themes closely anticipated many of Verne's novels.[52] The Musée also published some nonfiction popular science articles which, though unsigned, are generally attributed to Verne.[42] Verne's work for the magazine was cut short in 1856, when he had a serious quarrel with Pitre-Chevalier and refused to continue contributing (a refusal he would maintain until 1863, when Pitre-Chevalier died, and the magazine went to new editorship).[53]

text: While writing stories and articles for Pitre-Chevalier, Verne began to form the idea of inventing a new kind of novel, a Roman de la Science (novel of science), which would allow him to incorporate large amounts of the factual information he so enjoyed researching in the Bibliothèque. He is said to have discussed the project with the elder Alexandre Dumas, who had tried something similar with an unfinished novel, Isaac Laquedem, and who enthusiastically encouraged Verne's project.[54]

text: At the end of 1854, another outbreak of cholera led to the death of Jules Seveste, Verne's employer at the Théâtre Lyrique and by then a good friend.[52] Though his contract only held him to a further year of service, Verne remained connected to the theatre for several years after Seveste's death, seeing additional productions to fruition.[55] He also continued to write plays and musical comedies, most of which were not performed.[53]

text: Family[edit]

text: In May 1856, Verne traveled to Amiens to be the best man at the wedding of a Nantes friend, Auguste Lelarge, to an Amiens woman named Aimée du Fraysse de Viane. Verne, invited to stay with the bride's family, took to them warmly, befriending the entire household and finding himself increasingly attracted to the bride's sister, Honorine de Viane Morel, a widow aged 26 with two young children.[56][57] Hoping to find a secure source of income, as well as a chance to court Morel in earnest, he jumped at her brother's offer to go into business with a brokerage.[58] Verne's father was initially dubious but gave in to his son's requests for approval in November 1856. With his financial situation finally looking promising, Verne won the favor of Morel and her family, and the couple were married on 10 January 1857.[59]

text: Verne plunged into his new business obligations, leaving his work at the Théâtre Lyrique and taking up a full-time job as an agent de change[53] on the Paris Bourse, where he became the associate of the broker Fernand Eggly.[60] Verne woke up early each morning so that he would have time to write, before going to the Bourse for the day's work; in the rest of his spare time, he continued to consort with the Onze-Sans-Femme club (all eleven of its "bachelors" had by this time gotten married). He also continued to frequent the Bibliothèque to do scientific and historical research, much of which he copied onto notecards for future use—a system he would continue for the rest of his life.[53] According to the recollections of a colleague, Verne "did better in repartee than in business".[60]

text: In July 1858, Verne and Aristide Hignard seized an opportunity offered by Hignard's brother: a sea voyage, at no charge, from Bordeaux to Liverpool and Scotland. The journey, Verne's first trip outside France, deeply impressed him, and upon his return to Paris he fictionalized his recollections to form the backbone of a semi-autobiographical novel, Backwards to Britain (written in the autumn and winter of 1859–1860 and not published until 1989).[61] A second complementary voyage in 1861 took Hignard and Verne to Stockholm, from where they traveled to Christiania and through Telemark.[62] Verne left Hignard in Denmark to return in haste to Paris, but missed the birth on 3 August 1861 of his only biological son, Michel.[63]

text: Meanwhile, Verne continued work on the idea of a Roman de la Science, which he developed in a rough draft inspired, according to his recollections, by his "love for maps and the great explorers of the world". It took shape as a story of travel across Africa and would eventually become his first published novel, Five Weeks in a Balloon.[53]

text: Hetzel[edit]

text: In 1862, through their mutual acquaintance Alfred de Bréhat, Verne came into contact with the publisher Pierre-Jules Hetzel, and submitted to him the manuscript of his developing novel, then called Voyage en Ballon.[64] Hetzel, already the publisher of Balzac, George Sand, Victor Hugo, and other well-known authors, had long been planning to launch a high-quality family magazine in which entertaining fiction would combine with scientific education.[65] He saw Verne, with his demonstrated inclination toward scrupulously researched adventure stories, as an ideal contributor for such a magazine, and accepted the novel, giving Verne suggestions for improvement. Verne made the proposed revisions within two weeks and returned to Hetzel with the final draft, now titled Five Weeks in a Balloon.[66] It was published by Hetzel on 31 January 1863.[67]

text: To secure his services for the planned magazine, to be called the Magasin d'Éducation et de Récréation (Magazine of Education and Recreation), Hetzel also drew up a long-term contract in which Verne would give him three volumes of text per year, each of which Hetzel would buy outright for a flat fee. Verne, finding both a steady salary and a sure outlet for writing at last, accepted immediately.[68] For the rest of his lifetime, most of his novels would be serialized in Hetzel's Magasin before their appearance in book form, beginning with his second novel for Hetzel, The Adventures of Captain Hatteras (1864–65).[67]

text: When The Adventures of Captain Hatteras was published in book form in 1866, Hetzel publicly announced his literary and educational ambitions for Verne's novels by saying in a preface that Verne's works would form a novel sequence called the Voyages extraordinaires (Extraordinary Voyages or Extraordinary Journeys), and that Verne's aim was "to outline all the geographical, geological, physical, and astronomical knowledge amassed by modern science and to recount, in an entertaining and picturesque format that is his own, the history of the universe."[69] Late in life, Verne confirmed that this commission had become the running theme of his novels: "My object has been to depict the earth, and not the earth alone, but the universe… And I have tried at the same time to realize a very high ideal of beauty of style. It is said that there can't be any style in a novel of adventure, but it isn't true."[70] However, he also noted that the project was extremely ambitious: "Yes! But the Earth is very large, and life is very short! In order to leave a completed work behind, one would need to live to be at least 100 years old!"[71]

text: Hetzel influenced many of Verne's novels directly, especially in the first few years of their collaboration, for Verne was initially so happy to find a publisher that he agreed to almost all of the changes Hetzel suggested. For example, when Hetzel disapproved of the original climax of Captain Hatteras, including the death of the title character, Verne wrote an entirely new conclusion in which Hatteras survived.[72] Hetzel also rejected Verne's next submission, Paris in the Twentieth Century, believing its pessimistic view of the future and its condemnation of technological progress were too subversive for a family magazine.[73] (The manuscript, believed lost for some time after Verne's death, was finally published in 1994.)[74]

text: The relationship between publisher and writer changed significantly around 1869, when Verne and Hetzel were brought into conflict over the manuscript for Twenty Thousand Leagues Under the Sea. Verne had initially conceived of the submariner Captain Nemo as a Polish scientist whose acts of vengeance were directed against the Russians who had killed his family during the January Uprising. Hetzel, not wanting to alienate the lucrative Russian market for Verne's books, demanded that Nemo be made an enemy of the slave trade, a situation that would make him an unambiguous hero. Verne, after fighting vehemently against the change, finally invented a compromise in which Nemo's past is left mysterious. After this disagreement, Verne became notably cooler in his dealings with Hetzel, taking suggestions into consideration but often rejecting them outright.[75]

text: From that point, Verne published two or more volumes a year. The most successful of these are: Voyage au centre de la Terre (Journey to the Center of the Earth, 1864); De la Terre à la Lune (From the Earth to the Moon, 1865); Vingt mille lieues sous les mers (Twenty Thousand Leagues Under the Sea, 1869); and Le tour du monde en quatre-vingts jours (Around the World in Eighty Days), which first appeared in Le Temps in 1872. Verne could now live on his writings. But most of his wealth came from the stage adaptations of Le tour du monde en quatre-vingts jours (1874) and Michel Strogoff (1876), which he wrote with Adolphe d'Ennery.[citation needed]

text: In 1867, Verne bought a small ship, the Saint-Michel, which he successively replaced with the Saint-Michel II and the Saint-Michel III as his financial situation improved. On board the Saint-Michel III, he sailed around Europe. After his first novel, most of his stories were first serialised in the Magazine d'Éducation et de Récréation, a Hetzel biweekly publication, before being published in book form. His brother Paul contributed to 40th French climbing of the Mont-Blanc and a collection of short stories – Doctor Ox – in 1874. Verne became wealthy and famous.[citation needed]

text: Meanwhile, Michel Verne married an actress against his father's wishes, had two children by an underage mistress, and buried himself in debts.[citation needed] The relationship between father and son improved as Michel grew older.[citation needed]

text: Later years[edit]

text: Though he was raised Catholic, Verne became a deist in his later years, from about 1870 onward.[76][77] Some scholars believe his deist philosophy is reflected in his novels, as they often involve the notion of God or divine providence but rarely mention the concept of Christ.[78][79]

text: On 9 March 1886, as Verne was coming home, his twenty-six-year-old nephew, Gaston, shot at him twice with a pistol. The first bullet missed, but the second one entered Verne's left leg, giving him a permanent limp that could not be overcome. This incident was hushed up in the media, but Gaston spent the rest of his life in a mental asylum.[80]

text: After the death of both his mother and Hetzel, Jules Verne began publishing darker works. In 1888, Verne entered politics and was elected town councilor of Amiens, where he championed several improvements and served for fifteen years.[81]

text: Verne was made a Chevalier de la Legion d'honneur in 1870. He was promoted to an Officier de la Legion d'honneur in 1892.

text: Death and posthumous publications[edit]

text: On 24 March 1905, while ill with diabetes, Verne died at his home in Amiens, 44 Boulevard Longueville (now Boulevard Jules-Verne). His son, Michel Verne, oversaw publication of the novels Invasion of the Sea and The Lighthouse at the End of the World after Jules's death. The Voyages extraordinaires series continued for several years afterwards at the same rate of two volumes a year. It was later discovered that Michel Verne had made extensive changes in these stories, and the original versions were eventually published at the end of the 20th century by the Jules Verne Society (Société Jules Verne).[citation needed]

text: Works[edit]

text: Verne's largest body of work is the Voyages extraordinaires series, which includes all of his novels except for the two rejected manuscripts Paris in the Twentieth Century and Backwards to Britain (published posthumously in 1994 and 1989, respectively) and for projects left unfinished at his death (many of which would be posthumously adapted or rewritten for publication by his son Michel).[82] Verne also wrote many plays, poems, song texts, operetta libretti, and short stories, as well as a variety of essays and miscellaneous non-fiction.

text: Literary reception[edit]

text: After his debut under Hetzel, Verne was enthusiastically received in France by writers and scientists alike, with George Sand and Théophile Gautier among his earliest admirers.[83] Several notable contemporary figures, from the geographer Vivien de Saint-Martin to the critic Jules Claretie, spoke highly of Verne and his works in critical and biographical notes.[84]

text: However, Verne's growing popularity among readers and playgoers (due especially to the highly successful stage version of Around the World in Eighty Days) led to a gradual change in his literary reputation. As the novels and stage productions continued to sell, many contemporary critics felt that Verne's status as a commercially popular author meant he could only be seen as a mere genre-based storyteller, rather than a serious author worthy of academic study.[85]

text: This denial of formal literary status took various forms, including dismissive criticism by such writers as Émile Zola and the lack of nomination to Verne for membership in the Académie Française,[85] and was far from unrecognized by Verne himself, who said in a late interview: "The great regret of my life is that I have never taken any place in French literature."[86] To Verne, who considered himself "a man of letters and an artist, living in the pursuit of the ideal",[87] this critical dismissal on the basis of literary ideology could only be seen as the ultimate snub.[88]

text: This bifurcation of Verne as a popular genre writer but a critical persona non grata continued after his death, with early biographies (including one by Verne's own niece, Marguerite Allotte de la Fuÿe) focusing on error-filled and embroidered hagiography of Verne as a popular figure rather than on Verne's actual working methods or his output.[89] Meanwhile, sales of Verne's novels in their original unabridged versions dropped markedly even in Verne's home country, with abridged versions aimed directly at children taking their place.[90]

text: However, the decades after Verne's death also saw the rise in France of the "Jules Verne cult", a steadily growing group of scholars and young writers who took Verne's works seriously as literature and willingly noted his influence on their own pioneering works. Some of the cult founded the Société Jules Verne, the first academic society for Verne scholars; many others became highly respected avant garde and surrealist literary figures in their own right. Their praise and analyses, emphasizing Verne's stylistic innovations and enduring literary themes, proved highly influential for literary studies to come.[91]

text: In the 1960s and 1970s, thanks in large part to a sustained wave of serious literary study from well-known French scholars and writers, Verne's reputation skyrocketed in France.[92][93] Roland Barthes' seminal essay "Nautilus et Bateau Ivre" ("The Nautilus and the Drunken Boat") was influential in its exegesis of the Voyages extraordinares as a purely literary text, while book-length studies by such figures as Marcel Moré and Jean Chesneaux considered Verne from a multitude of thematic vantage points.[94]

text: French literary journals devoted entire issues to Verne and his work, with essays by such imposing literary figures as Michel Butor, Georges Borgeaud, Marcel Brion, Pierre Versins, Michel Foucault, René Barjavel, Marcel Lecomte, Francis Lacassin, and Michel Serres; meanwhile, Verne's entire published opus returned to print, with unabridged and illustrated editions of his works printed by Livre de Poche and Éditions Rencontre.[95] The wave reached its climax in Verne's sesquicentennial year 1978, when he was made the subject of an academic colloquium at the Centre culturel international de Cerisy-la-Salle, and Journey to the Center of the Earth was accepted for the French university system's Agrégation reading list. Since these events, Verne has been consistently recognized in Europe as a legitimate member of the French literary canon, with academic studies and new publications steadily continuing.[96]

text: Verne's reputation in English-speaking countries has been considerably slower in changing. Throughout the 20th century, most Anglophone scholars dismissed Verne as a genre writer for children and a naïve proponent of science and technology (despite strong evidence to the contrary on both counts), thus finding him more interesting as a technological "prophet" or as a subject of comparison to English-language writers such as Edgar Allan Poe and H. G. Wells than as a topic of literary study in his own right. This narrow view of Verne has undoubtedly been influenced by the poor-quality English translations and very loosely adapted Hollywood film versions through which most American and British readers have discovered Verne.[4][97] However, since the mid-1980s a considerable number of serious English-language studies and translations have appeared, suggesting that a rehabilitation of Verne's Anglophone reputation may currently be underway.[98][99]

text: English translations[edit]

text: Translation of Verne into English began in 1852, when Verne's short story "A Voyage in a Balloon" (1851) was published in the American journal Sartain's Union Magazine of Literature and Art in a translation by Anne T. Wilbur.[100] Translation of his novels began in 1869 with William Lackland's translation of Five Weeks in a Balloon (originally published in 1863),[101] and continued steadily throughout Verne's lifetime, with publishers and hired translators often working in great haste to rush his most lucrative titles into English-language print.[102] Unlike Hetzel, who targeted all ages with his publishing strategies for the Voyages extraordinaires, the British and American publishers of Verne chose to market his books almost exclusively to young audiences; this business move, with its implication that Verne could be treated purely as a children's author, had a long-lasting effect on Verne's reputation in English-speaking countries.[98][103]

text: These contemporaneous English-language translations have been widely criticized for their extensive textual omissions, errors, and alterations, and are not considered adequate representations of Verne's actual novels.[102][104][105] The British writer Adam Roberts, in an essay for The Guardian titled "Jules Verne deserves a better translation service", commented: "I'd always liked reading Jules Verne and I've read most of his novels; but it wasn't until recently that I really understood I hadn't been reading Jules Verne at all.... It's a bizarre situation for a world-famous writer to be in. Indeed, I can't think of a major writer who has been so poorly served by translation."[104]

text: Similarly, the American novelist Michael Crichton observed:

text: Verne's prose is lean and fast-moving in a peculiarly modern way … [but] Verne has been particularly ill-served by his English translators. At best they have provided us with clunky, choppy, tone-deaf prose. At worst—as in the notorious 1872 "translation" [of Journey to the Center of the Earth] published by Griffith & Farran—they have blithely altered the text, giving Verne's characters new names, and adding whole pages of their own invention, thus effectively obliterating the meaning and tone of Verne's original.[105]

text: Since 1965, a considerable number of more accurate English translations of Verne have appeared. However, the highly criticized older translations continue to be republished, due to their public domain status and in many cases their easy availability in online sources.[98]

text: Relationship with science fiction[edit]

text: The relationship between Verne's Voyages extraordinaires and the literary genre science fiction is a complex one. Verne, like H. G. Wells, is frequently cited as one of the founders of the genre, and his profound influence on its development is indisputable; however, many earlier writers, such as Lucian of Samosata and Mary Shelley, have also been cited as creators of science fiction, an unavoidable ambiguity arising from the vague definition and history of the genre.[6]

text: A primary issue at the heart of the dispute is the question of whether Verne's works count as science fiction to begin with. Maurice Renard claimed that Verne "never wrote a single sentence of scientific-marvelous".[106] Verne himself argued repeatedly in interviews that his novels were not meant to be read as scientific, saying "I have invented nothing."[107] His own goal was rather to "depict the earth [and] at the same time to realize a very high ideal of beauty of style",[70] as he pointed out in an example:

text: I wrote Five Weeks in a Balloon, not as a story about ballooning, but as a story about Africa. I always was greatly interested in geography and travel, and I wanted to give a romantic description of Africa. Now, there was no means of taking my travellers through Africa otherwise than in a balloon, and that is why a balloon is introduced.… I may say that at the time I wrote the novel, as now, I had no faith in the possibility of ever steering balloons…[70]

text: Closely related to Verne's science-fiction reputation is the often-repeated claim that he is a "prophet" of scientific progress, and that many of his novels involve elements of technology that were fantastic for his day but later became commonplace.[108] These claims have a long history, especially in America, but the modern scholarly consensus is that such claims of prophecy are heavily exaggerated.[109] As with science fiction, Verne himself flatly denied that he was a futuristic prophet, saying that any connection between scientific developments and his work was "mere coincidence" and attributing his indisputable scientific accuracy to his extensive research: "even before I began writing stories, I always took numerous notes out of every book, newspaper, magazine, or scientific report that I came across."[110] Because Verne only focused on technology and principles that were scientifically possible, or assumed to be possible, novels like From the Earth to the Moon and Twenty Thousand Leagues Under the Sea belongs in the subgenre known as mundane science fiction.[citation needed]

text: Legacy[edit]

text: Verne's novels have had a wide influence on both literary and scientific works; writers known to have been influenced by Verne include Marcel Aymé, Roland Barthes, René Barjavel, Michel Butor, Blaise Cendrars, Paul Claudel, Jean Cocteau, François Mauriac, Raymond Roussel, Claude Roy, Antoine Saint-Exupéry, and Jean-Paul Sartre,[111] while scientists and explorers who acknowledged Verne's inspiration have included Richard E. Byrd, Yuri Gagarin, Simon Lake, Hubert Lyautey, Guglielmo Marconi, Fridtjof Nansen, Wernher von Braun,[97] and Jack Parsons.[112] He is credited with helping inspire the steampunk genre, a literary and social movement that glamorizes science fiction based on 19th-century technology.[113][114]

text: Ray Bradbury summed up Verne's influence on literature and science the world over by saying: "We are all, in one way or another, the children of Jules Verne."[115]

text: Notes[edit]

text: Footnotes[edit]

text: Jump up ^ Jules-Verne 1976, p. 1: "On his mother's side, Verne is known to be descended from one 'N. Allott, Scotsman', who came to France to serve in the Scots Guards of Louis XI and rose to earn a title (in 1462). He built his castle, complete with dovecote or fuye (a privilege in the royal gift), near Loudun in Anjou and took the noble name of Allotte de la Fuye."

tag: ol


document_title: Man of the Woods Tour

question_text: who's opening for justin timberlake 2018 tour

question_tokens: who 's opening for justin timberlake 2018 tour

root

text: Man of the Woods Tour

text: Background[edit]

text: The tour was first announced in January 2018, and due to demand additional dates were released soon after. On February 5, 2018, the day following Timberlake's Super Bowl LII halftime show, Timberlake announced European tour dates, as well as second and third North American tour dates. Timberlake will tour Europe after the first North American leg, then will tour North America again starting in the fall. The third North American leg will begin in January 2019.[2][3][4][1]

tag: p

text: Show[edit]

text: During a portion of the concert, Timberlake and his band the "Tennessee Kids" sing around a campfire. The "Stage Bar" VIP Experience on the tour includes a bar near the center stage, and a drink ticket. A disco dance floor is near the stage, where Timberlake performs "Rock Your Body"[5]

text: Commercial performance[edit]

text: In May 2018, Billboard reported grosses totalling $36.6 million from the first five weeks, with 255,780 attendees at 16 shows, thus reaching number one on the magazine's weekly ranking Hot Tours. The magazine expects the tour to reach a total of $275 million and 2 million attendees by the time it concludes.[6] Timberlake’s sold-out Orlando concert on May 14 was the highest-grossing, single-day concert in Amway Center history with $2,387,112 and 17,839 attendees.[7]

text: Critical reception[edit]

text: Toronto Star journalist Nick Krewen, who attended the opening date, gave it a score of four-out-of-four, writing "[the] stellar tour kickoff delivers the hits and the spectacle... Even with some of the most elaborate, sophisticated visual technology available at his disposal, pop superstar Justin Timberlake managed to have his campfire moment at the Air Canada Centre Tuesday night. With a literal campfire."[8] Chicago Tribune's Bob Gendron, who attended the show at the United Center, praised the spectacle and said "Parade leader. Spurned lover. Assertive dancer. Down-on-his-knees relationship savior. Bartender who handed shots out to his large ensemble. Outdoors lover who gathered around a campfire to play familiar songs. Timberlake embraced an array of roles, blurring the lines between entertainer, singer and actor."[9] Adam Graham of the Detroit News wrote it "was an engrossing spectacle that turned the arena into his personal wooded playland; no concert artist has come close to using Little Caesars Arena’s space this creatively, save for perhaps Lady Gaga. [...] Timberlake was cool and commanding, taking the stage in a jean jacket and track pants and still looking like he owned the place." Graham also praised Timberlake's band the Tennessee Kids, "[they] became his own E Street Band — there were times, especially when the band turned around and played to the fans at the back of the arena, that the show recalled a Bruce Springsteen concert."[10]

text: Franklin Soults of The Boston Globe described the first half of the show as "ritzy glamour," with the "undercut with casual outfits and attitudes that made the extravaganza feel almost relaxed, like a professional athlete’s seemingly effortless performance during a career-topping late season." Despite describing the sing-along around the campfire as "clumsy," he did believe that Timberlake won the crowd back towards the end of the show.[11] The Oakland Press' Gary Graff said "You'd be hard-pressed to find a production that makes full use of an arena in as complete a way as Timberlake is doing" and opined "the whole affair was tightly choreographed to appear precision at times, loose and improvisational at others. Timberlake and company were best when they were at their funkiest."[12] Peter Larsen in Daily Breeze said in his review that Timberlake delivered "with swagger and style in a terrific night at the Forum," and noted the opening act The Shadowboxers "surely won over many with their energetic performance."[13]

text: Jimmie Tramel of Tulsa World said Timberlake brought "cool factor" to BOK Center, and noted his "appeal is such that among those spotted walking into the arena was state senator and former University of Tulsa football coach David Rader."[14] Ed Masley of The Arizona Republic said "there were plenty of breathtaking nature scenes projected on the scrims that dotted the arena," while "it felt more like a night at the club in downtown Phoenix than a trip to Payson," about Timberlake he commented, "he's only gotten better, as he proved repeatedly in the course of a heavily choreographed performance. His sense of showmanship has also gotten stronger through the years."[15]

text: Setlist[edit]

text: The following set list is from the show on March 13, 2018, in Toronto. It is not representative of all concerts for the duration of the tour.[16]

text:
"Filthy"
"Midnight Summer Jam"
"LoveStoned"
"SexyBack"
"Man of the Woods"
"Higher Higher"
"Señorita"
"Suit & Tie" (contains elements of "Sho Nuff")
"My Love" (contains elements of "Blessings")
"Cry Me a River"
"Mirrors"
"Drink You Away"
"Flannel"
"Until the End of Time"
"Dreams" / " Ex-Factor" / "Come Together" / "Thank God I'm a Country Boy" (each sung by a backup singer)
"Morning Light"
"What Goes Around... Comes Around"
"Say Something"
"Montana"
"Summer Love"
"Rock Your Body"
"Supplies"
"Can't Stop the Feeling!"

text:
At selected dates, Timberlake performed "Like I Love You".[17]
On May 9, 2018, during the concert in Nashville, Chris Stapleton joined Timberlake on stage to perform "Tennessee Whiskey".[18]

tag: ul

text: Tour dates[edit]

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

Date
City
Country
Venue
Opening act
Attendance
Revenue

Leg 1 — North America[2][19]

March 13, 2018
Toronto
Canada
Air Canada Centre
Francesco Yates
32,142 / 32,142
$3,463,128

March 15, 2018

March 18, 2018
Washington, D.C.
United States
Capital One Arena
The Shadowboxers
16,274 / 16,274
$2,809,918

March 22, 2018
New York City
Madison Square Garden
17,288 / 17,288
$2,867,064

March 25, 2018
Newark
Prudential Center
15,645 / 15,645
$2,390,462

March 27, 2018
Chicago
United Center
33,006 / 33,006
$5,304,255

March 28, 2018

March 31, 2018
Cleveland
Quicken Loans Arena
18,237 / 18,237
$2,504,220

April 2, 2018
Detroit
Little Caesars Arena
17,131 / 17,131
$2,246,777

April 4, 2018
Boston
TD Garden
30,976 / 30,976
$4,604,928

April 5, 2018

April 8, 2018
Montreal
Canada
Bell Centre
Francesco Yates
29,726 / 29,726
$3,200,799

April 9, 2018

April 12, 2018
Salt Lake City
United States
Vivint Smart Home Arena
The Shadowboxers
14,862 / 14,862
$2,098,916

April 14, 2018
Las Vegas
T-Mobile Arena
30,493 / 30,493
$5,113,319

April 15, 2018

April 24, 2018
San Jose
SAP Center
31,221 / 31,221
$4,385,706

April 25, 2018

April 28, 2018
Inglewood
The Forum
33,242 / 33,242
$4,901,470

April 29, 2018

May 2, 2018
Phoenix
Talking Stick Resort Arena
16,288 / 16,288
$2,319,640

May 5, 2018
Tulsa
BOK Center
17,162 / 17,162
$2,464,710

May 7, 2018
Columbus
Nationwide Arena
17,687 / 17,687
$2,579,208

May 9, 2018
Nashville
Bridgestone Arena
16,055 / 16,055
$2,551,016

May 11, 2018
Duluth
Infinite Energy Arena
12,149 / 12,149
$2,194,486

May 14, 2018
Orlando
Amway Center
16,208 / 16,208
$2,387,113

May 15, 2018
Tampa
Amalie Arena
—
—

May 18, 2018
Miami
American Airlines Arena
15,126 / 15,126
$2,113,415

May 19, 2018
Sunrise
BB&T Center
16,369 / 16,369
$2,361,871

May 23, 2018
Houston
Toyota Center
29,926 / 29,926
$4,452,950

May 25, 2018

May 27, 2018
Dallas
American Airlines Center
33,482 / 33,482
$4,898,488

May 28, 2018

May 30, 2018
Memphis
FedExForum
14,594 / 14,594
$2,148,372

June 1, 2018
Pittsburgh
PPG Paints Arena
17,074 / 17,074
$2,340,659

June 2, 2018
Philadelphia
Wells Fargo Center
17,303 / 17,303
$2,668,122

Leg 2 — Europe[4]

July 3, 2018
Paris
France
AccorHotels Arena
TBA
—
—

July 4, 2018

July 7, 2018
Glasgow
Scotland
SSE Hydro
—
—

July 9, 2018
London
England
The O2 Arena
—
—

July 11, 2018

July 13, 2018
Mannheim
Germany
SAP Arena
—
—

July 15, 2018
Amsterdam
Netherlands
Ziggo Dome
—
—

July 17, 2018
Antwerp
Belgium
Sportpaleis
—
—

July 18, 2018

July 21, 2018
Cologne
Germany
Lanxess Arena
—
—

July 22, 2018

July 31, 2018
Stockholm
Sweden
Friends Arena
—
—

August 2, 2018
Oslo
Norway
Telenor Arena
—
—

August 4, 2018
Copenhagen
Denmark
Royal Arena
—
—

August 5, 2018

August 8, 2018
Hamburg
Germany
Barclaycard Arena
—
—

August 9, 2018

August 12, 2018
Berlin
Mercedes-Benz Arena
—
—

August 13, 2018

August 16, 2018
Zürich
Switzerland
Hallenstadion
—
—

August 18, 2018
Vienna
Austria
Wiener Stadthalle
—
—

August 20, 2018
Frankfurt
Germany
Festhalle
—
—

August 21, 2018

August 24, 2018
Arnhem
Netherlands
GelreDome
—
—

August 25, 2018
Amsterdam
Ziggo Dome
—
—

August 27, 2018
Birmingham
England
Arena Birmingham
—
—

August 29, 2018
Manchester
Manchester Arena
—
—

Leg 3 — North America[1]

September 19, 2018
Lexington
United States
Rupp Arena
TBA
—
—

September 21, 2018
Milwaukee
Wisconsin Entertainment and Sports Center
—
—

September 25, 2018
Pittsburgh
PPG Paints Arena
—
—

September 28, 2018
Saint Paul
Xcel Energy Center
—
—

September 29, 2018

October 2, 2018
Cleveland
Quicken Loans Arena
—
—

October 5, 2018
Chicago
United Center
—
—

October 9, 2018
Toronto
Canada
Air Canada Centre
—
—

October 11, 2018[a]
Ottawa
Canadian Tire Centre
—
—

October 13, 2018
Quebec City
Videotron Centre
—
—

October 15, 2018
State College
United States
Bryce Jordan Center
—
—

October 18, 2018
Boston
TD Garden
—
—

October 20, 2018
Albany
Times Union Center
—
—

October 22, 2018[b]
New York City
Madison Square Garden
—
—

October 24, 2018

October 28, 2018
Buffalo
KeyBank Center
—
—

November 4, 2018
Edmonton
Canada
Rogers Place
—
—

November 5, 2018

November 8, 2018
Vancouver
Rogers Arena
—
—

November 9, 2018

November 12, 2018
Tacoma
United States
Tacoma Dome
—
—

November 13, 2018

November 16, 2018
Portland
Moda Center
—
—

November 18, 2018
Sacramento
Golden 1 Center
—
—

November 20, 2018
Anaheim
Honda Center
—
—

November 27, 2018
Los Angeles
Staples Center
—
—

November 29, 2018
Phoenix
Talking Stick Resort Arena
—
—

December 1, 2018
Las Vegas
T-Mobile Arena
—
—

December 5, 2018
Oakland
Oracle Arena
—
—

December 8, 2018
Omaha
CenturyLink Center Omaha
—
—

December 10, 2018
Kansas City
Sprint Center
—
—

December 13, 2018
St. Louis
Scottrade Center
—
—

December 14, 2018
Indianapolis
Bankers Life Fieldhouse
—
—

December 17, 2018
Philadelphia
Wells Fargo Center
—
—

December 21, 2018
Uncasville
Mohegan Sun Arena
—
—

Leg 4 — North America[1]

January 4, 2019
Washington, D.C.
United States
Capital One Arena
TBA
—
—

January 6, 2019
Raleigh
PNC Arena
—
—

January 8, 2019
Charlotte
Spectrum Center
—
—

January 10, 2019
Atlanta
Philips Arena
—
—

January 12, 2019
Memphis
FedExForum
—
—

January 15, 2019
New Orleans
Smoothie King Center
—
—

January 17, 2019
North Little Rock
Verizon Arena
—
—

January 19, 2019
San Antonio
AT&T Center
—
—

January 22, 2019
Houston
Toyota Center
—
—

January 24, 2019
Dallas
American Airlines Center
—
—

January 26, 2019
Oklahoma City
Chesapeake Energy Arena
—
—

January 29, 2019
Denver
Pepsi Center
—
—

Total
560,666 / 560,666

tag: table

text: Notes[edit]

text:
Jump up ^ The show on October 11, 2018 at Canadian Tire Centre in Ottawa was originally scheduled to take place on October 22, 2018.[20]
Jump up ^ The show on October 22, 2018 at Madison Square Garden in New York City was originally scheduled to take place on March 21, 2018, but was postponed due to severe weather conditions.


document_title: Need for Speed (film)

question_text: where was the final race in need for speed filmed

text: Need for Speed (film)

text: Plot[edit]

text: Tobey Marshall is a former race car driver who owns a garage named Marshall Motors in Mount Kisco, New York where he and his friends tune performance cars. Struggling to make ends meet, he and his crew participate in street races after hours. After a race, Tobey's former rival Dino Brewster arrives at their garage with an offer to complete the build of a rare Ford Shelby Mustang worked on by the late Carroll Shelby. Dino wants Tobey and his crew to complete the project in exchange for 25% of the car's estimated selling price of $2 million.

text: The completed Shelby Mustang is put up for auction at a party. Tobey and Dino meet Julia, an English car broker whose client will purchase the car if they can go prove it will drive over 230 mph as Tobey claims. Tobey volunteers to drive the car, but Dino objects and orders him not to. The next morning Tobey gets the Mustang to reach 234 mph, leading Julia's client Bill Ingram to purchase it for $2.7 million. After Julia and Ingram leave, an enraged Dino confronts Tobey for driving the car after being ordered not to.

text: Dino challenges Tobey and Pete to a race after Pete flatly tells Dino that everyone knows Tobey is a better driver than him. Dino offers to relinquish his entire share of the Mustang sale if Tobey wins, Tobey agrees to forfeit his share if Dino wins. The three race on the interstate in three illegally imported Koenigsegg Agera R's. During the race, Dino realizes he will lose and intentionally bumps Pete's car, flipping it into a ravine and killing Pete when it bursts into flames. Dino disappears from the scene, and Tobey is sent to jail for involuntary manslaughter after no one can prove that Dino was there.

text: Two years later, Tobey is released on parole and sets out to avenge Pete's death. He borrows Ingram's Mustang to enter the De Leon, a winner-takes-all supercar race organized by the mysterious Monarch. As a condition, Ingram requires Julia to accompany Tobey with the Mustang. The pair have to reach San Francisco before the race starts in two days, but first cause an interstate chase with the Michigan State Police and upload the footage, leading Monarch to offer the invitation for the De Leon. Dino offers his rare Lamborghini Sesto Elemento to anyone who can stop Tobey from entering the race.

text: While Tobey and Julia drive through Utah, they are forced off-road by a couple of trucks vying for Dino's car. Maverick, a member of Tobey's crew, appears in a US Army helicopter he stole from the National Guard. Maverick tows the Mustang mid-air to the Bonneville Salt Flats, where Tobey's crew awaits them, getting himself arrested in the process. Tobey and Julia reach San Francisco in time to register for the race, but the Mustang is destroyed when Dino's henchman smashes into it with a tow truck. The Mustang is flipped over, seriously injuring Julia and leaving Tobey without a car for the race. A desperate Tobey reaches out to Dino's fiancè Anita, his ex-girlfriend and Pete's sister. Anita discovers that Dino covered up his involvement in Pete's death and gives Tobey the location of the Agera R that Dino was driving when he killed Pete. Toby and Joe go to the warehouse for the Agera R. Tobey meets up with Julia, at the hospital, and confesses his feelings for her with a kiss, letting her know that he has a "fast" car, and that this is for Pete.

text: The next morning, Tobey surprises Dino by showing up in the Koenigsegg and giving him Anita's engagement ring to inform him that she dumped him. The race is gruelling, with racers and police alike getting wrecked one by one. Leaving himself and Toby racing side-by-side along the Pacific Coast Highway, Dino attempts to ram Tobey off the road, but Tobey slams the brakes, causing Dino's car to flip and catch fire. Tobey sees the finish line, but turns around to pull Dino from the flames before completing the race and winning. The California Highway Patrol arrives to arrest them both; the police prove the Agera R belonged to Dino and use that evidence to put Dino in jail. After serving 178 days in jail for illegal street racing, Tobey is released and Julia meets him at the prison gates with a 2015 Ford Mustang. The couple heads to the prison in Utah where Maverick is being released early for good behavior.

text: Cast[edit]

text:
Aaron Paul as Tobey Marshall, a blue-collar mechanic and skilled former race car driver from Mount Kisco, New York who is framed for a federal crime he didn't commit.
Dominic Cooper as Dino Brewster, a former Indy racer and Tobey's fierce rival.
Imogen Poots as Julia Maddon, a savvy exotic car broker, who becomes Tobey's love interest.
Harrison Gilbertson as Pete Coleman, Anita's younger brother and Tobey's protégé and friend.
Kid Cudi as Sergeant Benny 'Maverick' Jackson, a member of Tobey's crew. He is a pilot, able to fly small airplanes and helicopters, and is often called "Liar One" because the team doesn't believe he can fly a military helicopter, which he later proves. He owns a Cessna plane.
Ramon Rodriguez as Joe Peck, a member of Tobey's crew. He is the team's professional mechanic, and drives a modified 2011 Ford F-450 called "The Beast".
Rami Malek as Finn, a member of Tobey's crew. He serves as the team's computer expert, monitoring cameras to record races.
Michael Keaton as Monarch, a reclusive and eccentric host of an "underground" supercar race competition, De Leon. He operates from a lighthouse on a small farm where he lives.
Dakota Johnson as Anita Coleman, Pete's older sister, Tobey's former girlfriend and Dino's fiancée.

text: Production[edit]

text: In July 2012, DreamWorks Studios was committed to a film based on the Need for Speed series of video games by Electronic Arts, initially with a release date of February 7, 2014, and later March 14, 2014.[4] Brothers George and John Gatins had written a script that was being shopped to studios by April of that year.[5] Taylor Kitsch was offered the lead role in July 2012,[6] though the role eventually went to Aaron Paul that October.[7] Paul had originally auditioned for the role of Dino Brewster, although director Scott Waugh and DreamWorks head Steven Spielberg decided against that and cast him as the lead.[8] The same month, Imogen Poots was cast as the female lead.[9] In January 2013, Dominic Cooper, Kid Cudi, Ramón Rodríguez, Rami Malek and Harrison Gilbertson were cast in the film.[10] Michael Keaton was cast in February 2013.[11]

text: Principal photography began in Macon, Georgia, in mid-April 2013.[12] Other filming locations include Road Atlanta in Braselton, Georgia, on May 12, 2013,[13] the 13th Street Bridge in Columbus, Georgia and Phenix City, Alabama, and Campus Martius in Detroit, Michigan, beginning on June 1, 2013.[14][15] Other production locations include sections of California's Highway 1 north of Point Arena, California, the Point Arena Lighthouse, and Highway 253 between Boonville, California and Ukiah, California; and also Highway 128, between the town of Navarro and the Navarro Bridge linking Highway 128 North to Highway 1 South to Point Arena, California.[citation needed]

text: For the film's chase sequences, the filmmakers decided against the use of computer-generated imagery, instead employing practical effects, which required the cast to receive extensive driving lessons.[8][16] For the final race sequences and the car crashes the production unit used propped supercars.

text: Release[edit]

text: On September 25, 2013, a trailer for the film was released on iTunes.[17] Disney and DreamWorks announced the film's post-production conversion to 3D on February 5, 2014.[18] Need for Speed held its world premiere at the TCL Chinese Theatre on March 7, 2014.[19] The film was released by Walt Disney Studios Motion Pictures through the Touchstone Pictures banner on March 14, 2014, in selected 3D, IMAX, and conventional 2D theaters.[citation needed] It was also released worldwide by Disney, except for territories in Europe, Africa and Middle East, where the rights are sold by Mister Smith Entertainment to other industries. Reliance Entertainment had released the film in India, while Entertainment One Films released it in the United Kingdom. Rai Cinema had released it in Italy through its movie label 01 Distribution.[citation needed]

text: Need for Speed was released by Touchstone Home Entertainment on Blu-ray Disc, DVD and Blu-ray 3D on August 5, 2014.[20]

text: Reception[edit]

text: Box office[edit]

text: Need for Speed had earned $43,577,636 in North America and $159,700,000 in other countries, as of May 19, 2014, for a worldwide total of $203,277,636.[2] In North America, it topped the box office with $6.7 million on its opening Friday, March 14, 2014.[21] However, the film finished in third place over the three-day weekend (Friday-to-Sunday) with $17.8 million.[22][23] Outside North America, the film debuted in first place with $45.6 million on the same weekend as its North America release.[24] It remained in first place for a second weekend.[25] Overall, the film's largest territory is China, where both the film's opening weekend ($21.1 million)[26] and its total earnings ($66.2 million)[27] are higher than in North America. Following these two territories in total earnings is Russia and the CIS with $13.8 million.[28]

text: Critical response[edit]

text: Need For Speed received generally negative reviews from critics. On Rotten Tomatoes the film has an approval rating of 23% based on 158 reviews with an average rating of 4.3/10. The site's critical consensus reads, "With stock characters and a preposterous plot, this noisily diverting video game adaptation fulfills a Need for Speed and little else."[29] On Metacritic, the film has a score of 39 out of 100 based on 38 critics, indicating "generally unfavorable reviews".[30] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[31]

text: Michael Phillips of the Chicago Tribune gave the film 2.5 out of 4 stars, remarking that "Paul has talent, though the actor's idea of simmering intensity in the context of Need for Speed comes off more like serial killer in the making. Cooper, by contrast, seems to be having some fun playing a dashing, dastardly, sexy beast." Phillips added, "At its occasional best, the thrills in the film recall the delirious fun of the Fast & Furious franchise."[32] Betsy Sharkey of Los Angeles Times felt similarly, writing "In trying for the vicarious varoom of the street-racing video game that inspired it, and no doubt dreaming of Fast success, Speed clocks in at a long two-plus hours and falls painfully short."[33] Jason Torchinsky of the automotive blog Jalopnik decried the movie for insulting gearheads with its far-reaching suspension of disbelief on many plot points and tropes and stated the film was nothing more than a glorified car commercial for the 2015 Ford Mustang.[34]

text: A.O. Scott of The New York Times gave a more positive review, praising the film's car chase sequences, while declaring the overall film "an energetic, unpretentious B movie".[35]

text: Soundtrack[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2016) (Learn how and when to remove this template message)

text:
Need for Speed (Original Motion Picture Score)

Film score by Nathan Furst

Released
March 14, 2014

Genre
Film score

Length
1:10:34

Label
Varèse Sarabande

text: The film's soundtrack, composed by Nathan Furst, was released by Varèse Sarabande on March 14, 2014. Interscope Records released a separate EP on April 8, 2014, which featured four songs; "Fortunate Son" and "Back in the Saddle" by Aloe Blacc, "All Along the Watchtower" by Jamie N Commons, and "Hero" by Kid Cudi and Skylar Grey. Linkin Park's song "Roads Untraveled" from their 2012 album Living Things was also featured in the film. Score performed by a 77-piece The Angel City Studio Orchestra: 60-piece string orchestra conducted by Tim Davis and 17 musicians on brass section consists 8 French horns, 3 trumpets, 5 trombones and 1 tuba conducted by Suise Benchasil Seiter.

text: Sequel[edit]

text: China Movie Channel, Jiaflix Enterprises and 1905 Pictures are teaming up with EA Games to develop a sequel with the film to be set and shot in China.[36]


document_title: Sons of Liberty

question_text: who was the founder of the sons of liberty

text: Sons of Liberty

text: History[edit]

text: In 1765, the British government needed money to afford the 10,000 officers and soldiers living in the colonies, and intended that the colonists living there should contribute.[5] The British passed a series of taxes aimed at the colonists, and many of the colonists refused to pay certain taxes; they argued that they should not be held accountable for taxes which were decided upon without any form of their consent through a representative. This became commonly known as "No Taxation without Representation." Parliament insisted on its right to rule the colonies despite the fact that the colonists had no representative in Parliament.[6] The most incendiary tax was the Stamp Act of 1765, which caused a firestorm of opposition through legislative resolutions (starting in the colony of Virginia), public demonstrations,[7] threats, and occasional hurtful losses.[8]

text: The organization spread hour by hour, after independent starts in several different colonies. In August 1765, the group was founded in Boston, Massachusetts.[9] By November 6, a committee was set up in New York to correspond with other colonies. In December, an alliance was formed between groups in New York and Connecticut. January bore witness to a correspondence link between Boston and New York City, and by March, Providence had initiated connections with New York, New Hampshire, and Newport, Rhode Island. March also marked the emergence of Sons of Liberty organizations in New Jersey, Maryland, and Virginia.

text: In Boston, another example of violence could be found in their treatment of local stamp distributor Andrew Oliver. They burned his effigy in the streets. When he did not resign, they escalated to burning down his office building. Even after he resigned, they almost destroyed the whole house of his close associate Lieutenant Governor Thomas Hutchinson. It is believed that the Sons of Liberty did this to excite the lower classes and get them actively involved in rebelling against the authorities. Their actions made many of the stamp distributors resign in fear.

text: Early in the American Revolution, the former Sons of Liberty generally joined more formal groups, such as the Committee of Safety.

text: The Sons of Liberty popularized the use of tar and feathering to punish and humiliate offending government officials starting in 1767. This method was also used against British Loyalists during the American Revolution. This punishment had long been used by sailors to punish their mates.[10]

text: New York[edit]

text: In December 1773, a new group calling itself the Sons of Liberty issued and distributed a declaration in New York City called the Association of the Sons of Liberty in New York, which formally stated that they were opposed to the Tea Act and that anyone who assisted in the execution of the act was "an enemy to the liberties of America" and that "whoever shall transgress any of these resolutions, we will not deal with, or employ, or have any connection with him".[11]

text: After the end of the American Revolutionary War, Isaac Sears, Marinus Willet, and John Lamb in New York City revived the Sons of Liberty. In March 1784, they rallied an enormous crowd that called for the expulsion of any remaining Loyalists from the state starting May 1. The Sons of Liberty were able to gain enough seats in the New York assembly elections of December 1784 to have passed a set of punitive laws against Loyalists. In violation of the Treaty of Paris (1783), they called for the confiscation of the property of Loyalists.[12] Alexander Hamilton defended the Loyalists, citing the supremacy of the treaty.

text: Flags[edit]

text: In 1767, the Sons of Liberty adopted a flag called the rebellious stripes flag with nine vertical stripes, four white and five red. A flag having 13 horizontal red and white stripes was used by Commodore Esek Hopkins (Commander-in-Chief of the Continental Navy) and by American merchant ships during the war. This flag was also associated with the Sons of Liberty. Red and white were common colors of the flags, although other color combinations were used, such as green and white or yellow and white.[13][14][15]

text: Notable Sons of Liberty[edit]

text:
Samuel Adams – political writer, tax collector, cousin of John Adams, fire warden. Founded the Sons Of Liberty, Boston
Joseph Allicocke – One of the leaders of the Sons in New York, and possibly of African ancestry.[16]
Benedict Arnold – businessman, later General in the Continental Army and then the British Army[17]
Timothy Bigelow – blacksmith, Worcester
John Brown – business leader of Providence, Rhode Island
John Crane – carpenter, Colonel in command of the 3rd Continental Artillery Regiment, Braintree
Benjamin Edes – journalist/publisher Boston Gazette, Boston
Christopher Gadsden – merchant, Charleston, South Carolina
John Hancock – merchant, smuggler, fire warden, Boston[18]
Patrick Henry – lawyer, Virginia
John Lamb – trader, New York City
Alexander McDougall – captain of privateers, New York City
Hercules Mulligan – tailor, spy under George Washington for the Continental Army, friend of Alexander Hamilton
James Otis – lawyer, Massachusetts
Charles Willson Peale – portrait painter and saddle maker, Annapolis, Maryland
Paul Revere – silversmith, fire warden, Boston[19]
Benjamin Rush – physician, Philadelphia
Isaac Sears – captain of privateers, New York City
Haym Salomon – financial broker, New York and Philadelphia
James Swan – American patriot and financier, Boston
Isaiah Thomas – printer, Boston then Worcester, first to read Declaration of Independence in Massachusetts[20]
Charles Thomson – tutor, secretary, Philadelphia[21]
Joseph Warren – doctor, soldier, Boston
Thomas Young – doctor, Boston
Marinus Willett – cabinetmaker, soldier, New York[22]
Oliver Wolcott – lawyer, Connecticut

text: Later societies[edit]

text: At various times, small secret organizations took the name "sons of liberty". They generally left very few records.

text: The name was also used during the American Civil War.[23] By 1864, the Copperhead group the Knights of the Golden Circle set up an offshoot called Order of the Sons of Liberty. They both came under federal prosecution in 1864 for treason, especially in Indiana.[24]

text: A radical wing of the Zionist movement launched a boycott in the U.S. against British films in 1948, in response to British policies in Palestine. It called itself the "Sons of Liberty."[25]

text: Modern references[edit]

text: The patriotic spirit of the Sons of Liberty has been used by Walt Disney Pictures through their 1957 film adaptation of Esther Forbes' novel Johnny Tremain. Within the movie, the Sons of Liberty sing a rousing song titled "The Liberty Tree". This song raises the Liberty Tree to a national icon in a manner similar to the way in which George M. Cohan's "You're a Grand Old Flag" revitalized respect for the American flag in the early twentieth century.

text: In the 1995 alternative history novel The Two Georges, the Sons of Liberty are depicted as a nativist terrorist organisation whose aim is to make the North American Union independent of the British Empire; their attempts include the theft of the titular portrait for a fifty million pound ransom and two assassination attempts on King-Emperor Charles III. The flag used by the Sons of Liberty and the Independence Party alike is a variation of the North American Jack and Stripes with the Union Jack in the canton being replaced by a bald eagle.

text: The Sons of Liberty are referred to in the 2001 video game Metal Gear Solid 2: Sons of Liberty. It refers to them in the title, and a group within the game calls itself the Sons of Liberty and models itself after them.

text: In 2015, a three-part mini-series aired on the History Channel with the same name.

text: The Sons of Liberty are referred to in the 2015 Broadway show Hamilton. In the song "Yorktown (The World Turned Upside Down)," the character Hercules Mulligan sings, "I am runnin' with the Sons of Liberty and I am lovin' it."

text: In an episode of the Claymation children's TV show Gumby, entitled "Son of Liberty" (first aired in 1966), Gumby becomes a member of the Sons of Liberty.