document_title: Movable type

question_text: who played the leading role in perfecting movable type for printing

text: Movable type

text: History[edit]

text: The world's first movable type printing press technology for printing paper books was made of porcelain materials and was invented around AD 1040 in China during the Northern Song Dynasty by the inventor Bi Sheng (990–1051).[1] Subsequently in 1377, the world's oldest extant movable metal print book, Jikji, was printed in Korea during the Goryeo dynasty.

text: Because of this, the diffusion of both movable-type systems was, to some degree, limited to primarily East Asia, although various sporadic reports of movable type technology were brought back to Europe by Christian missionaries, traders and business people who were returning to Europe after having worked in China for several years; and influenced the development of printing technology in Europe. Some of these medieval European accounts are still preserved in the library archives of the Vatican and Oxford University among many others.[2]

text: Around 1450, Johannes Gutenberg introduced the metal movable-type printing press in Europe, along with innovations in casting the type based on a matrix and hand mould. The small number of alphabetic characters needed for European languages was an important factor.[3] Gutenberg was the first to create his type pieces from an alloy of lead, tin, and antimony—and these materials remained standard for 550 years.[4]

text: For alphabetic scripts, movable-type page setting was quicker than woodblock printing. The metal type pieces were more durable and the lettering was more uniform, leading to typography and fonts. The high quality and relatively low price of the Gutenberg Bible (1455) established the superiority of movable type in Europe and the use of printing presses spread rapidly. The printing press may be regarded as one of the key factors fostering the Renaissance[5] and due to its effectiveness, its use spread around the globe.

text: The 19th-century invention of hot metal typesetting and its successors caused movable type to decline in the 20th century.

text: Precursors to movable type[edit]

text: Letter punch and coins[edit]

text: The technique of imprinting multiple copies of symbols or glyphs with a master type punch made of hard metal first developed around 3000 BC in ancient Sumer. These metal punch types can be seen as precursors of the letter punches adapted in later millennia to printing with movable metal type. Cylinder seals were used in Mesopotamia to create an impression on a surface by rolling the seal on wet clay.[6] They were used to "sign" documents and mark objects as the owner's property. Cylinder seals were a related form of early typography capable of printing small page designs in relief (cameo) on wax or clay—a miniature forerunner of rotogravure printing used by wealthy individuals to seal and certify documents. By 650 BC the ancient Greeks were using larger diameter punches to imprint small page images onto coins and tokens.

text: The designs of the artists who made the first coin punches were stylized with a degree of skill that could not be mistaken for common handiwork—salient and very specific types designed to be reproduced ad infinitum. Unlike the first typefaces used to print books in the 13th century, coin types were neither combined nor printed with ink on paper, but "published" in metal—a more durable medium—and survived in substantial numbers. As the portable face of ruling authority, coins were a compact form of standardized knowledge issued in large editions, an early mass medium that stabilized trade and civilization throughout the Mediterranean world of antiquity.

text: Seals and stamps[edit]

text: Seals and stamps may have been precursors to movable type. The uneven spacing of the impressions on brick stamps found in the Mesopotamian cities of Uruk and Larsa, dating from the 2nd millennium BC, has been conjectured by some archaeologists as evidence that the stamps were made using movable type.[7] The enigmatic Minoan Phaistos Disc of 1800–1600 BC has been considered by one scholar as an early example of a body of text being reproduced with reusable characters: it may have been produced by pressing pre-formed hieroglyphic "seals" into the soft clay. A few authors even view the disc as technically meeting all definitional criteria to represent an early incidence of movable-type printing.[8][9] Recently it has been alleged by Jerome Eisenberg that the disk is a forgery.[10]

text: The Prüfening dedicatory inscription is medieval example of movable type stamps being used.

text: Woodblock printing[edit]

text: Following the invention of paper in the 2nd century AD during the Chinese Han Dynasty, writing materials became more portable and economical than the bones, shells, bamboo slips, metal or stone tablets, silk, etc. previously used. Yet copying books by hand was still labour-consuming. Not until the Xiping Era (172–178 AD), towards the end of the Eastern Han Dynasty did sealing print and monotype appear. It was soon used for printing designs on fabrics, and later for printing texts.

text: Woodblock printing, invented by about the 8th century during the Tang Dynasty, worked as follows. First, the neat hand-copied script was stuck on a relatively thick and smooth board, with the front of the paper, which was so thin that it was nearly transparent, sticking to the board, and characters showing in reverse, but distinctly, so that every stroke could be easily recognized. Then carvers cut away the parts of the board that were not part of the character, so that the characters were cut in relief, completely differently from those cut intaglio. When printing, the bulging characters would have some ink spread on them and be covered by paper. With workers' hands moving on the back of paper gently, characters would be printed on the paper. By the Song Dynasty, woodblock printing came to its heyday. Although woodblock printing played an influential role in spreading culture, there remained some apparent drawbacks. Firstly, carving the printing plate required considerable time, labour and materials; secondly, it was not convenient to store these plates; and finally, it was difficult to correct mistakes.

text: With woodblock printing, one printing plate could be used for tens of hundreds of books, playing a magnificent role in spreading culture. Yet carving the plate was time and labour consuming. Huge books cost years of effort. The plates needed a lot of storage space, and were often damaged by deformation, worms and corrosion. If books had a small print run, and were not reprinted, the printing plates would become nothing but waste; and worse, if a mistake was found, it was difficult to correct it without discarding the whole plate.

text: History[edit]

text: Ceramic movable type[edit]

text: Bi Sheng (毕昇/畢昇) (990–1051) developed the first known movable-type system for printing in China around 1040 AD during the Northern Song dynasty, using ceramic materials.[11][12] As described by the Chinese scholar Shen Kuo (沈括) (1031–1095):

text: When he wished to print, he took an iron frame and set it on the iron plate. In this he placed the types, set close together. When the frame was full, the whole made one solid block of type. He then placed it near the fire to warm it. When the paste [at the back] was slightly melted, he took a smooth board and pressed it over the surface, so that the block of type became as even as a whetstone.

text: For each character there were several types, and for certain common characters there were twenty or more types each, in order to be prepared for the repetition of characters on the same page. When the characters were not in use he had them arranged with paper labels, one label for each rhyme-group, and kept them in wooden cases.

text: If one were to print only two or three copies, this method would be neither simple nor easy. But for printing hundreds or thousands of copies, it was marvelously quick. As a rule he kept two forms going. While the impression was being made from the one form, the type was being put in place on the other. When the printing of the one form was finished, the other was then ready. In this way the two forms alternated and the printing was done with great rapidity.[11]

text: In 1193, Zhou Bida, an officer of Southern Song Dynasty, made a set of clay movable-type method according to the method described by Shen Kuo in his Dream Pool Essays, and printed his book Notes of The Jade Hall (《玉堂雜記》).[13]

text: The claim that Bi Sheng's clay types were "fragile" and "not practical for large-scale printing" and "short lived"[14] was refuted by facts and experiments. Bao Shicheng (1775–1885) wrote that baked clay moveable type was "as hard and tough as horn"; experiments show that clay type, after being baked in an oven, becomes hard and difficult to break, such that it remains intact after being dropped from a height of two metres onto a marble floor. The length of clay movable types in China was 1 to 2 centimetres, not 2mm, thus hard as horn.

text: There has been an ongoing debate regarding the success of ceramic printing technology as there have been no printed materials found with ceramic movable types. However, it is historically recorded to have been used as late as 1844 in China from the Song dynasty through the Qing dynasty.[13][15]:22

text: Wooden movable type[edit]

text: Bi Sheng (990–1051) also pioneered the use of wooden movable type around 1040 AD, as described by the Chinese scholar Shen Kuo (1031–1095). However, this technology was abandoned in favour of clay movable types due to the presence of wood grains and the unevenness of the wooden type after being soaked in ink.[11][16]

text: In 1298, Wang Zhen (王祯/王禎), a Yuan dynasty governmental official of Jingde County, Anhui Province, China, re-invented a method of making movable wooden types. He made more than 30,000 wooden movable types and printed 100 copies of Records of Jingde County (《旌德縣志》), a book of more than 60,000 Chinese characters. Soon afterwards, he summarized his invention in his book A method of making moveable wooden types for printing books. Although the wooden type was more durable under the mechanical rigors of handling, repeated printing wore the character faces down, and the types could only be replaced by carving new pieces. This system was later enhanced by pressing wooden blocks into sand and casting metal types from the depression in copper, bronze, iron or tin. This new method overcame many of the shortcomings of woodblock printing. Rather than manually carving an individual block to print a single page, movable type printing allowed for the quick assembly of a page of text. Furthermore, these new, more compact type fonts could be reused and stored.[11][12] The set of wafer-like metal stamp types could be assembled to form pages, inked, and page impressions taken from rubbings on cloth or paper.[12] In 1322，a Fenghua county officer Ma Chengde (馬称德) in Zhejiang, made 100,000 wooded movable types and printed the 43-volume Daxue Yanyi (《大學衍義》). Wooden movable types were used continually in China. Even as late as 1733, a 2300-volume Wuying Palace Collected Gems Edition (《武英殿聚珍版叢書》) was printed with 253,500 wooden movable types on order of the Yongzheng Emperor, and completed in one year.

text: A number of books printed in Tangut script during the Western Xia (1038–1227) period are known, of which the Auspicious Tantra of All-Reaching Union that was discovered in the ruins of Baisigou Square Pagoda in 1991 is believed to have been printed sometime during the reign of Emperor Renzong of Western Xia (1139–1193).[17] It is considered by many Chinese experts to be the earliest extant example of a book printed using wooden movable type.[18]

text: The logistical problems of handling the several thousand logographs (required for full literacy in Chinese language) posed a particular difficulty. It was faster to carve one woodblock per page than to composit a page from so many different types. However, if one used movable type to produce multiple copies of the same document, the speed of printing would increase relatively.[11]:201

text: Metal movable type in China[edit]

text: At least 13 material finds in China indicate the invention of bronze movable type printing in China no later than the 12th century,[19] with the country producing large-scale bronze-plate-printed paper money and formal official documents issued by the Jin (1115–1234) and Southern Song (1127–1279) dynasties with embedded bronze metal types for anti-counterfeit markers. Such paper-money printing might date back to the 11th-century jiaozi of Northern Song (960–1127).[15]:41–54

text: The typical example of this kind of bronze movable type embedded copper-block printing is a printed "check" of the Jin Dynasty with two square holes for embedding two bronze movable-type characters, each selected from 1,000 different characters, such that each printed paper note has a different combination of markers. A copper-block printed note dated between 1215–1216 in the collection of Luo Zhenyu's Pictorial Paper Money of the Four Dynasties, 1914, shows two special characters – one called Ziliao, the other called Zihao – for the purpose of preventing counterfeiting; over the Ziliao there is a small character (輶) printed with movable copper type, while over the Zihao there is an empty square hole – apparently the associated copper metal type was lost. Another sample of Song dynasty money of the same period in the collection of the Shanghai Museum has two empty square holes above Ziliao as well as Zihou, due to the loss of the two copper movable types. Song dynasty bronze block embedded with bronze metal movable type printed paper money was issued on a large scale and remained in circulation for a long time.[20]

text: The 1298 book Zao Huozi Yinshufa (《造活字印书法》/《造活字印書法》) by the Yuan dynasty (1271–1368) official Wang Zhen mentions tin movable type, used probably since the Southern Song dynasty (1127–1279), but this was largely experimental.[21] It was unsatisfactory due to its incompatibility with the inking process.[11]:217

text: During the Mongol Empire (1206–1405), printing using movable type spread from China to Central Asia.[clarification needed] The Uyghurs of Central Asia used movable type, their script type adopted from the Mongol language, some with Chinese words printed between the pages – strong evidence that the books were printed in China.[22]

text: During the Ming Dynasty (1368–1644), Hua Sui in 1490 used bronze type in printing books.[11]:212 In 1574 the massive 1000-volume encyclopedia Imperial Readings of the Taiping Era (《太平御览》/《太平御覧》) was printed with bronze movable type.

text: In 1725 the Qing Dynasty government made 250,000 bronze movable-type characters and printed 64 sets of the encyclopedic Gujin Tushu Jicheng (《古今图书集成》/《古今圖書集成》, Complete Collection of Illustrations and Writings from the Earliest to Current Times). Each set consisted of 5,040 volumes, making a total of 322,560 volumes printed using movable type.[22]

text: Metal movable type in Korea[edit]

text:
In 1234 the first books known to have been printed in metallic type set were published in Goryeo Dynasty Korea. They form a set of ritual books, Sangjeong Gogeum Yemun, compiled by Choe Yun-ui.
[23][24]

text:
While these books have not survived, the oldest book in the world printed in metallic movable types is Jikji, printed in Korea in 1377.[25]
The Asian Reading Room of the Library of Congress in Washington, D.C. displays examples of this metal type.[26]
Commenting on the invention of metallic types by Koreans, French scholar Henri-Jean Martin described this as "[extremely similar] to Gutenberg's".[27]

text: The techniques for bronze casting, used at the time for making coins (as well as bells and statues) were adapted to making metal type. The Joseon dynasty scholar Seong Hyeon (성현, 成俔, 1439–1504) records the following description of the Korean font-casting process:

text: At first, one cuts letters in beech wood. One fills a trough level with fine sandy [clay] of the reed-growing seashore. Wood-cut letters are pressed into the sand, then the impressions become negative and form letters [moulds]. At this step, placing one trough together with another, one pours the molten bronze down into an opening. The fluid flows in, filling these negative moulds, one by one becoming type. Lastly, one scrapes and files off the irregularities, and piles them up to be arranged.[23]

text: A potential solution to the linguistic and cultural bottleneck that held back movable type in Korea for 200 years appeared in the early 15th century—a generation before Gutenberg would begin working on his own movable-type invention in Europe—when Sejong the Great devised a simplified alphabet of 24 characters (hangul) for use by the common people, which could have made the typecasting and compositing process more feasible. But Korea's cultural elite, "appalled at the idea of losing hanja, the badge of their elitism", stifled the adoption of the new alphabet.[12]

text: A "Confucian prohibition on the commercialization of printing" also obstructed the proliferation of movable type, restricting the distribution of books produced using the new method to the government.[28] The technique was restricted to use by the royal foundry for official state publications only, where the focus was on reprinting Chinese classics lost in 1126 when Korea's libraries and palaces had perished in a conflict between dynasties.[28]

text: Scholarly debate and speculation has occurred as to whether Eastern movable type spread to Europe between the late 14th century and early 15th centuries.[23][29]:58–69[30][31]

text: Metal movable type in Europe[edit]

text: Johannes Gutenberg of Mainz, Germany is acknowledged as the first to invent a metal movable-type printing system in Europe, the printing press. Gutenberg was a goldsmith familiar with techniques of cutting punches for making coins from moulds. Between 1436 and 1450 he developed hardware and techniques for casting letters from matrices using a device called the hand mould.[29] Gutenberg's key invention and contribution to movable-type printing in Europe, the hand mould, was the first practical means of making cheap copies of letterpunches in the vast quantities needed to print complete books, making the movable-type printing process a viable enterprise.

text: Before Gutenberg, books were copied out by hand on scrolls and paper, or printed from hand-carved wooden blocks. It was extremely time-consuming; even a small book could take months to complete, and because the carved letters or blocks were flimsy and the wood susceptible to ink the blocks had a limited lifespan.

text: Gutenberg and his associates developed oil-based inks ideally suited to printing with a press on paper, and the first Latin typefaces. His method of casting type may have been different from the hand mould used in subsequent decades. Detailed analysis of the type used in his 42-line Bible has revealed irregularities in some of the characters that cannot be attributed to ink spread or type wear under the pressure of the press. Scholars conjecture that the type pieces may have been cast from a series of matrices made with a series of individual stroke punches, producing many different versions of the same glyph.

text:
[34] It has also been suggested that the method used by Gutenberg involved using a single punch to make a mould, but the mould was such that the process of taking the type out disturbed the casting, creating variants and anomalies, and that the punch-matrix system came into use possibly around the 1470s.[35]
This raises the possibility that the development of movable type in the West may have been progressive rather than a single innovation.[36]

text: Gutenberg's movable-type printing system spread rapidly across Europe, from the single Mainz printing press in 1457 to 110 presses by 1480, of which 50 were in Italy. Venice quickly became the center of typographic and printing activity. Significant were the contributions of Nicolas Jenson, Francesco Griffo, Aldus Manutius, and other printers of late 15th-century Europe.

text: Type-founding[edit]

text: Type-founding as practiced in Europe and the west consists of three stages.

text: The type-height was quite different in different countries. The Monotype Corporation Limited in London UK produced moulds in various heights:

text:
0.918 inches (23.3 mm) : United Kingdom, Canada, U.S.
0.928 inches (23.6 mm) : France, Germany, Switzerland and most other European countries
0.933 inches (23.7 mm) : Belgium height
0.9785 inches (24.85 mm) : Dutch height

text: A Dutch printers manual mentions a tiny difference between French and German Height:[38]

text:
62.027 points Didot = 23.30 millimetres (0.917 in) = English height
62.666 points Didot = 23.55 millimetres (0.927 in) = French height
62.685 points Didot = 23.56 millimetres (0.928 in) = German height
66.047 points Didot = 24.85 millimetres (0.978 in) = Dutch Height

text: Tiny differences in type-height will cause quite bold images of characters.

text: At the end of the 19th century there were only two typefoundries left in the Netherlands: Johan Enschedé & Zonen, at Haarlem, and Lettergieterij Amsterdam, voorheen Tetterode. They both had their own type-height: Enschedé: 65 23/24 points Didot, and Amsterdam: 66 1/24 points Didot. Enough difference to prevent a combined use of fonts of both typefoundries: Enschede would be to light, or otherwise the Amsterdam-font would print rather bold. A perfect way of binding clients.[39]

text: In 1905 the Dutch governmental "Algemeene Landsdrukkerij", later: "State-printery" (Staatsdrukkerij) decided during a reorganisation to use a standard type-height of 63 points Didot. "Staatsdrukkerij-hoogte", actually Belgium-height, but this fact was not widely known.

text: Typesetting[edit]

text: Modern, factory-produced movable type was available in the late 19th century. It was held in the printing shop in a job case, a drawer about 2 inches high, a yard wide, and about two feet deep, with many small compartments for the various letters and ligatures. The most popular and accepted of the job case designs in America was the California Job Case, which took its name from the Pacific coast location of the foundries that made the case popular.[40]

text: Traditionally, the capital letters were stored in a separate drawer or case that was located above the case that held the other letters; this is why capital letters are called "upper case" characters while the non-capitals are "lower case".[41]

text: Compartments also held spacers, which are blocks of blank type used to separate words and fill out a line of type, such as em and en quads (quadrats, or spaces. A quadrat is a block of type whose face is lower than the printing letters so that it does not itself print.). An em space was the width of a capital letter "M" – as wide as it was high – while an en space referred to a space half the width of its height (usually the dimensions for a capital "N").

text: Individual letters are assembled into words and lines of text with the aid of a composing stick, and the whole assembly is tightly bound together to make up a page image called a forme, where all letter faces are exactly the same height to form a flat surface of type. The forme is mounted on a printing press, a thin coating of viscous ink is applied and impressions made on paper under great pressure in the press. "Sorts" is the term given to special characters not freely available in the typical type case, such as the "@" mark.

text: Metal type combined with other methods[edit]

text:
Sometimes it is erroneously stated that printing with metal type replaced the earlier methods. In the industrial era printing methods would be chosen to suit the purpose. For example, when printing large scale letters in posters etc. the metal type would have proved too heavy and economically unviable. Thus, large scale type was made as carved wood blocks as well as ceramics plates.[42] Also in many cases where large scale text was required, it was simpler to hand the job to a sign painter than a printer.
Images could be printed together with movable type if they were made as woodcuts or wood engravings as long as the blocks were made to the same type height. If intaglio methods, such as copper plates, were used for the images, then images and the text would have required separate print runs on different machines.


document_title: Ben Aaron

question_text: what did ben do before pickler and ben

question_tokens: what did ben do before pickler and ben

root

text: Ben Aaron

text: Early life and education[edit]

text: Benjamin Aaron Colonomos[2] was born on September 10, 1981,[3] in New York to Janis Yudelson Salerno and Mark Colonomos.[4][5] He graduated from Emerson College, in Boston, Massachusetts.[3]

tag: p

text: Career[edit]

text: Aaron started his journalism career on radio in 1999 at 18 years old working for "Radio Disney".[6] After a brief stint hosting a radio show in Tucson, Arizona, he moved to L.A. and landed an on-air television hosting job for "Daybreak OC", an Orange County-based morning lifestyle/news show serving all of Los Angeles. From there he went to "Fox" in San Diego continuing his work as a features reporter until WNBC in NY picked him up. He has worked for NBC Universal at WNBC as their host of "New York Live" and as a part of their LXTV-branded series'.[6] There he received three consecutive "Emmy Awards" for "Best Features Reporter". His current media role is a co-host of the nationally syndicated television program, Crazy Talk as well as being a correspondent for EXTRA.[7][8] Starting in September 2017, Ben will co-host Pickler & Ben, a new syndicated talk show, with country star Kelly Pickler.[9]

text: Personal life[edit]

text: In August 2013, Aaron became engaged to ABC News Chief Meteorologist Ginger Zee.[10] The couple wed on June 7, 2014.[11] Their son Adrian Benjamin Colonomos was born in December 2015.[12] in Petosky, Michigan.[13] On August 14, 2017, she announced on Good Morning America she is pregnant with her second child.[12] The family resided in New York City [14] until 2017. Due to Aaron's new show, the family moved to and currently resides in Nashville, Tennessee. On August 14, 2017, Ginger Zee, announced on Good Morning America she is pregnant with her second child.


document_title: The Longest Yard (2005 film)

question_text: who played the warden in the longest yard

text: The Longest Yard (2005 film)

text: Plot[edit]

text: This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (September 2015) (Learn how and when to remove this template message)

tag: table

text: Paul Crewe (Adam Sandler) is a former NFL player who, one night, gets drunk and goes joyriding in the Bentley of his girlfriend (Courteney Cox in an uncredited role), crashing it. It is revealed that he was accused of shaving points in a big game, although it was never proven.

text: In prison, Warden Rudolph Hazen (James Cromwell), wishing to boost his prison's reputation for future elections as State Governor, uses threats and confinement in a hot box to coerce Crewe into helping the prison guards' football team, led by the hostile Captain Knauer (William Fichtner). Crewe informs Hazen that what Hazen's team needs is a tune-up game to boost the guards' confidence, and is therefore coerced to form an inmate team to play against the guards. He does so with the help of a newfound friend, Caretaker (Chris Rock). They start off with a poorly organized team, before being noticed by another prisoner, former college football star Nate Scarborough (Burt Reynolds), who decides to help coach the team by gathering several intimidating inmates as a boost to the team's strength.

text: Caretaker tells Crewe that they need more "brothers" on the team. When Crewe goes to the basketball court to ask the black inmates to join the team, their leader, Deacon Moss (Michael Irvin) rebuffs him. Crewe challenges Deacon to a one-on-one basketball game, saying that if he wins, the brothers will join the team, and if Deacon wins, Crewe will leave them alone. Deacon accepts, and despite Deacon's undisguised personal fouls in which he elbows, punches or grabs Crewe, Crewe continues without complaint, because the match is a question of pride and respect. On the game-winning shot, Crewe cleanly steals the ball from Deacon and scores, but Deacon calls a foul. Realizing he wouldn't be allowed to win, Crewe lets Deacon score the final shot. Although Deacon beats Crewe, one of the brothers, a fast runner named Earl Megget (Nelly), impressed with Crewe's decision to take the beating, joins the football team as its running back. When the guards learn of this, they confront Earl in an attempt to provoke an assault by him by saying the racial epithet "nigger", but Earl does not allow himself to be provoked despite intimidation and minor abuse. Having witnessed this, the other "brothers", including Deacon, decide to join the team too.

text: Hazen and the guards continue attempts to hinder Crewe's team by flooding their field, but the team decides to practice in the mud anyway.

text: Inmate Unger (David Patrick Kelly) spies on the activities of the inmates and after being pressured by the guards, rigs Crewe’s radio with an explosive. Caretaker unknowingly enters the cell to give a photo gift to Crewe, but is killed when he tries to turn the dial on the radio.

text: On game day, the inmates are revitalized in the wake of Caretaker's murder when Crewe reveals Caretaker's last gift to the team, quality gear and uniforms from his cousin at Reebok with the team name "Mean Machine" on the uniforms. The Mean Machine overcomes a rough start, due to individual inmates' attempts to retaliate against guards for the abuse they've suffered. Crewe angrily tells the inmates that winning the game is more important and will damage the guards more than their personal grudges, and gets them to play as a team. The first half ends with the score tied. The angered Hazen informs Crewe in private that if he does not lose he will be charged for Caretaker's murder. Crewe acquiesces to Hazen's threat, asking that the guards refrain from using excessive force on the field after getting a comfortable lead, to which Hazen agrees to do so after they obtain a two touchdown lead. After Crewe fakes an injury in order to leave the field, his teammates voice their displeasure over his obvious deserting over the team.

text: After seeing that Hazen has broken his promise and two members of the Mean Machine are injured, Crewe asks Skitchy if the time spent in jail for punching the warden was worth it. Skitchy replies, "It was worth every goddamn second," and inspired Crewe returns to the field. The team initially doubts Crewe’s resolve and allows him to be sacked twice. After running for a first down on 4th and Long, Crewe, realizing that his inmates are still not protecting him due to his prior actions, calls a huddle, and admits to the point shaving that disgraced him, and to the injury that he faked as a result of Hazen's threat, and sabotage to the other inmates, and asks for their forgiveness, putting his hands in the middle of all of them. Moss puts his hand in, followed by the rest of the team.

text: The Mean Machine, united again as a team, quickly scores two touchdowns to cut the guards' lead to 35-28. After Megget is injured after a long run, Scarborough comes in for one play as replacement and scores a touchdown off a trick play involving a fumble called a Fumblerooski. Mean Machine decides to go for the two-point conversion and the win. As they get up to the line they seem to be confused, and Crewe and Scarborough start arguing in order to trick the guards. Moss gets the snap and passes it to Crewe, who scores the winning conversion, winning the game. Knauer, with a newfound respect for Crewe, tells him that he showed extraordinary nerve, and lets him know that he will vouch that Crewe had nothing to do with Caretaker's death.

text: Hazen admonishes Knauer for losing a fixed game and notices that Crewe is heading towards the exit. Eagerly implying Crewe is trying to escape, Hazen orders that Crewe be shot for attempting to escape. Knauer hesitates and at the last moment realizes (and scornfully tells Hazen) that Crewe is only picking up the game football, losing a lot of respect for Hazen as he's left with a shocked look on his face. Crewe returns it to Hazen, telling him to "stick it in [his] trophy case." Moss (Michael Irvin) and Joey Battle (Bill Goldberg) give Hazen a Gatorade shower, and when he tells them that this has earned them a week in the hot box, Battle defiantly yells "Who gives a shit?!"

text: Cast[edit]

text: Cons[edit]

text:
Adam Sandler as Paul "Wrecking" Crewe
Chris Rock as James "Caretaker" Farrell
Nelly as Earl Megget
David Patrick Kelly as Unger
Terry Crews as "Cheeseburger Eddy"
Nicholas Turturro as Brucie
Bill Goldberg as Joey "Battle" Battaglio
Bob Sapp as Switowski
Steve Reevis as Billy "Baby Face Bob" Rainwater
Lobo Sebastian as Torres
Dalip Singh as Turley
Joey "Coco" Diaz as Anthony "Big Tony" Cobianco
Eddie Bunker as "Skitchy" Rivers
Tracy Morgan as Miss Tucker
Cloris Leachman as Lynette Grey
Burt Reynolds as Coach Nate Scarborough
Michael Irvin as Deacon Moss
D12 as Basketball Convicts

tag: ul

text: Guards[edit]

text:
James Cromwell as Warden Rudolph Hazen
Bill Romanowski as Guard Lambert
Brian Bosworth as Guard Garner
Kevin Nash as Sgt. Engleheart
Steve Austin as Guard Dunham
Michael Papajohn as Guard Papajohn
Conrad Goode as Guard Webster
Brandon Molale as Guard Malloy
Todd Holland as Guard Holland
Walter Williamson as Errol Dandridge
William Fichtner as Cpt. Brian Knauer
John Hockridge as Guard Hock

text: Others[edit]

text:
Allen Covert as Referee
Rob Schneider as Punky
Chris Berman as Himself
Jim Rome as Himself
Patrick Bristow as Walt
Lauren Sanchez as Herself
Dan Patrick as Officer Jack Pugh
Christopher Neiman as Big Ear Cop
Ed Lauter as Duane
Sean Salisbury as Vic
Rob "Revolution" Moore as Gavin
Big Boy as Jesse
Marc S. Ganis as Lorenzo
Shane Ralston as Bradlee
Courteney Cox as Lena (uncredited)

text: Production[edit]

text: The movie was filmed at the New Mexico State Penitentiary on Route 14, Santa Fe, New Mexico. The football game at the end of the film was filmed at Murdock Stadium at the El Camino College in Torrance, California. The car chase scene was filmed whereabouts in Long Beach, California. Other parts of the film were filmed in Los Angeles and New Mexico.[citation needed] The golf course scene was filmed at Lost Canyons Golf Club in Simi Valley, California.[1]

text: Reception[edit]

text: Box office[edit]

text: The film did well at the box office. Its $47.6 million opening weekend was the largest of Sandler's career and only second to The Day After Tomorrow as the largest opening by a movie that was not #1. The film would go on to gross $158.1 million in the United States and Canada and $190 million worldwide. It was the highest-grossing film produced by MTV Films, until it was surpassed by Hansel and Gretel: Witch Hunters. Despite the large number of remakes released at the theaters, it's worth noting that The Longest Yard is the highest grossing comedy remake of the modern box office era (from 1980 on).[2]

text: Critical response [edit]

text: The overall critical response was mixed. It received a 31% Freshness rating on Rotten Tomatoes, though users, who rated it 62%, generally agreed that it was a play-by-play remake; the greatest complaint from critics was that it replaced the original's uncompromising violence, dark comedy and grit with juvenile humor and visual gags. Roger Ebert, in the critical minority with this title, gave it a "Thumbs Up", defending it later in his Chicago Sun-Times review as a film that "...more or less achieves what most of the people attending it will expect." In the print review, Ebert beseeches his readers to "...seek out a movie you could have an interesting conversation about", citing films not in wide release such as Dominion: Prequel to the Exorcist and Kontroll, until finally encouraging his readers to "drop any thought of seeing anything else instead" if they can see Crash.[3] According to CinemaScore, audiences gave the film a grade of "A−" on an A+ to F scale.[4]

text: Awards[edit]

text: The film earned Chris Rock a BET Comedy Award for Outstanding Supporting Actor in a Theatrical Film.[citation needed]

text: Burt Reynolds earned a Golden Raspberry Award nomination for Worst Supporting Actor for his performance in the film.[citation needed]

text: Soundtrack[edit]

text: The official soundtrack, which consisted entirely of hip-hop music, was released on May 24, 2005 by Universal Records. It peaked at 11 on the Billboard 200 and 10 on the Top R&B/Hip-Hop Albums.

text: The film itself contains a mixture of hip hop and rock music, featuring music by Creedence Clearwater Revival, Norman Greenbaum and AC/DC among others.


document_title: Blur (band)

question_text: what was blur's first number one single in the uk

question_tokens: what was blur 's first number one single in the uk

text: Blur (band)

text: History[edit]

text: Formation and Leisure, 1988–1991[edit]

text: Childhood friends Damon Albarn and Graham Coxon from Essex met Alex James when they began studying at London's Goldsmiths College in 1988. Albarn was in a group named Circus, who were joined by drummer Dave Rowntree that October.[1][2] Circus requested the services of Coxon after the departure of their guitarist. That December, Circus fired two members and James joined as the group's bassist. This new group named themselves Seymour in December 1988, inspired by J. D. Salinger's Seymour: An Introduction.[2][3] The group performed live for the first time in summer 1989.[4] In November, Food Records' A&R representative Andy Ross attended a Seymour performance that convinced him to court the group for his label. The only concern held by Ross and Food was that they disliked the band's name. Food drew up a list of alternatives, from which the group decided on "Blur". Food Records finally signed the newly christened band in March 1990.[5]

text: From March to July 1990, Blur toured Britain, opening for the Cramps, and testing out new songs. In October 1990, after their tour was over, Blur released the "She's So High" single, which reached number 48 in the UK Singles Chart.[6] The band had trouble creating a follow-up single, but they made progress when paired with producer Stephen Street. The resulting single release, "There's No Other Way", became a hit, peaking at number eight.[7] As a result of the single's success, Blur became pop stars and were accepted into a clique of bands who frequented the Syndrome club in London dubbed "The Scene That Celebrates Itself".[8] NME magazine wrote in 1991, "[Blur] are [the] acceptable pretty face of a whole clump of bands that have emerged since the whole Manchester thing started to run out of steam."[9]

text: The band's third single, "Bang", performed relatively disappointingly, reaching only number 24.[10] Andy Ross and Food owner David Balfe were convinced Blur's best course of action was to continue drawing influence from the Madchester genre. Blur attempted to expand their musical sound, but the recording of the group's debut album was hindered by Albarn having to write his lyrics in the studio. Although the resulting album Leisure (1991) peaked at number seven on the UK Albums Chart, it received mixed reviews,[6] and according to journalist John Harris, "could not shake off the odour of anti-climax".[11]

text: Britpop years, 1992–1995[edit]

text: After discovering they were £60,000 in debt, Blur toured the United States in 1992 in an attempt to recoup their financial losses.[12] The group released the single "Popscene" to coincide with the start of the tour. Featuring "a rush of punk guitars, '60s pop hooks, blaring British horns, controlled fury, and postmodern humor",[13] "Popscene" was a turning point for the band musically.[14] However, upon its release it only charted at number 32. "We felt 'Popscene' was a big departure; a very, very English record", Albarn told the NME in 1993, "But that annoyed a lot of people ... We put ourselves out on a limb to pursue this English ideal and no-one was interested."[15] As a result of the single's lacklustre performance, plans to release a single named "Never Clever" were scrapped and work on Blur's second album was pushed back.[16]

text: During the two-month American tour, the band became increasingly unhappy, often venting frustrations on each other, leading to several physical confrontations.[17] The band members were homesick; Albarn said, "I just started to miss really simple things ... I missed everything about England so I started writing songs which created an English atmosphere."[15] Upon the group's return to Britain, Blur (Albarn in particular) were upset by the success rival group Suede had achieved while they were gone.[18] After a poor performance at a 1992 gig that featured a well-received set by Suede on the same bill, Blur were in danger of being dropped by Food.[19] By that time, Blur had undergone an ideological and image shift intended to celebrate their English heritage in contrast to the popularity of American grunge bands like Nirvana.[20] Although sceptical of Albarn's new manifesto for Blur, Balfe gave assent for the band's choice of Andy Partridge (of XTC) to produce their follow-up to Leisure. The sessions with Partridge proved unsatisfactory, but a chance reunion with Stephen Street resulted in him returning to produce the group.[21]

text: Blur completed their second album Modern Life Is Rubbish in December 1992, but Food Records said the album required more potential hit singles and asked them to return to the studio for a second time. The band complied and Albarn wrote "For Tomorrow", which became the album's lead single.[22] "For Tomorrow" was a minor success, reaching number 28 on the charts.[23] Modern Life Is Rubbish was released in May 1993. The announcement of the album's release included a press photo which featured Blur, dressed in a mix of mod and skinhead attire, posing alongside a mastiff with the words "British Image 1" spraypainted behind them. At the time, such imagery was viewed as nationalistic and racially insensitive by the British music press; to quieten concerns, Blur released the "British Image 2" photo, which was "a camp restaging of a pre-war aristocratic tea party".[24] Modern Life Is Rubbish peaked at number 15 on the British charts,[25] but failed to break into the US Billboard 200, selling only 19,000 copies there.[26][27]

text: The success of Parklife (1994) revived Blur's commercial fortunes. The album's first single, the disco-influenced "Girls & Boys", found favour on BBC Radio 1 and peaked at number 5 on the UK Singles Chart,[28] and number 59 in the US Billboard Hot 100 where it remains the band's highest-charting single.[27] Parklife entered the British charts at number one and stayed on the album charts for 90 weeks.[29] Enthusiastically greeted by the music press—the NME called it "a Great Pop Record ... bigger, bolder, narkier and funnier [than Modern Life is Rubbish]"—Parklife is regarded as one of Britpop's defining records.[30][31] Blur won four awards at the 1995 Brit Awards, including Best Band and Best Album for Parklife.[32] Coxon later pointed to Parklife as the moment when "[Blur] went from being regarded as an alternative, left field arty band to this amazing new pop sensation".[33]

text: Blur began working on their fourth album The Great Escape at the start of 1995.[34] Building upon the band's previous two albums, Albarn's lyrics for the album consisted of several third-person narratives. James reflected, "It was all more elaborate, more orchestral, more theatrical, and the lyrics were even more twisted ... It was all dysfunctional, misfit characters fucking up."[35] The release of the album's lead single "Country House" played a part in Blur's public rivalry with Manchester band Oasis termed the "Battle of Britpop". Partly due to increasing antagonisms between the groups, Blur and Oasis ultimately decided to release their new singles on the same day, an event the NME called "The British Heavyweight Championship". The debate over which band would top the British singles chart became a media phenomenon, and Albarn appeared on the News at Ten.[36] At the end of the week, "Country House" ultimately outsold Oasis' "Roll With It" by 274,000 copies to 216,000, becoming Blur's first number one single.[37]

text: The Great Escape, which Albarn told the public was the last instalment in the band's Life Trilogy, was released in September 1995 to ecstatic reviews.[38] The NME hailed it as "spectacularly accomplished, sumptuous, heart-stopping and inspirational",[39] while Mojo argued "Blur are the very best that '95 Britpop has to offer and this is a most gong-worthy sound, complete with head-slicing guitars, catchy tunes and very funny words".[40] Entering the UK charts at number one,[41] the album sold nearly half a million copies in its first month of sale.[42] However, opinion quickly changed and Blur found themselves largely out of favour with the media once again. Following the worldwide success of Oasis' (What's the Story) Morning Glory? (which went quadruple platinum in America), the media quipped "[Blur] wound up winning the battle but losing the war."[43] Blur became perceived as an "inauthentic middle class pop band" in comparison to the "working class heroes" Oasis, which Albarn said made him feel "stupid and confused".[36] Alex James later summarised, "After being the People's Hero, Damon was the People's Prick for a short period ... basically, he was a loser – very publicly."[44]

text: Reinvention after Britpop, 1996–2000[edit]

text: An early 1996 Q magazine interview revealed that relations between Blur members had become very strained; journalist Adrian Deevoy wrote that he found them "on the verge of a nervous breakup".[44] Coxon, in particular, began to resent his bandmates: James for his playboy lifestyle, and Albarn for his control over Blur's musical direction and public image.[44] The guitarist struggled with drinking problems and, in a rejection of the group's Britpop aesthetic, made a point of listening to noisy American alternative rock bands such as Pavement.[45] In February 1996, when Coxon and James were absent for a lip-synced Blur performance broadcast on Italian television, they were replaced by a cardboard cutout and a roadie, respectively. Blur biographer Stuart Maconie later wrote that, at the time, "Blur were sewn together very awkwardly".[44]

text: Although he had previously dismissed it, Albarn grew to appreciate Coxon's tastes in lo-fi and underground music, and recognised the need to significantly change Blur's musical direction once again. "I can sit at my piano and write brilliant observational pop songs all day long but you've got to move on", he said.[44] He subsequently approached Street, and argued for a more stripped-down sound on the band's next record. Coxon, recognising his own personal need to—as Rowntree put it—"work this band", wrote a letter to Albarn, describing his desire for their music "to scare people again". After initial sessions in London, the band left to record the rest of the album in Iceland, away from the Britpop scene.[44]

text: The result was Blur, the band's fifth studio album, released in February 1997. Although the music press predicted that the lo-fi sonic experimentation would alienate Blur's teenage girl fan-base, they generally applauded the effort. Pointing out lyrics such as "Look inside America/She's alright", and noting Albarn's "obligatory nod to Beck, [and promotion of] the new Pavement album as if paid to do so", reviewers felt the band had come to accept American values during this time—an about-face of their attitude during the Britpop years.[46] Despite cries of "commercial suicide", the album and its first single, "Beetlebum", debuted at number one in the UK.[47] Although the album could not match the sales of their previous albums in the UK, Blur became the band's most successful internationally.[47] In the US, the album received strong reviews; Blur reached number 61 on the Billboard 200 and was certified gold.[27][48] The album's "Song 2" single was also popular on alternative radio, reaching number six on the Modern Rock chart.[27] After it was licensed for use in various media—such as soundtracks, advertisements and television shows—"Song 2" became the most recognisable Blur song in the US. After the success of Blur, the band embarked on a nine-month world tour.[44]

text: In February 1998, a few months after completing the tour, Blur released Bustin' + Dronin' for the Japanese market. The album is a collection of Blur songs remixed by artists such as Thurston Moore, William Orbit and Moby. Among the tracks, the band were most impressed by Orbit's effort and enlisted him to replace Street as producer for their next album,[49] citing a need to approach the recording process from a fresh perspective.[33]

text: Released in March 1999, Blur's sixth studio album 13 saw them drift still further away from their Britpop-era attitude and sound. Orbit's production style allowed for more jamming, and incorporated a "variety of emotions, atmospheres, words and sounds" into the mix. 13 was creatively dominated by Coxon, who "was simply allowed to do whatever he chose, unedited", by Orbit.[50] Albarn's lyrics—more heart-felt, personal and intimate than on previous occasions—were reflective of his break-up with Elastica frontwoman Justine Frischmann, his partner of eight years.[50] The album received generally favourable reviews from the press. While Q called it "a dense, fascinating, idiosyncratic and accomplished art rock album",[51] the NME felt it was inconsistent and "(at least) a quarter-of-an-hour too long".[52] 13 debuted at the top of the UK charts, staying at that position for two weeks. The album's lead single, the gospel-based "Tender", opened at the second spot on the charts. After "Coffee & TV", the first Blur single to feature Coxon on lead vocals, only reached number 11 in the UK, manager Chris Morrison demanded a chart re-run because of what he deemed was a sales miscalculation.[53]

text: In July 1999, in celebration of their tenth anniversary, Blur released a 22-CD limited edition box-set of their singles. The accompanying tour saw Blur play the A-sides of the 22 singles in their chronological order of release.[54] In October 2000, the group released the compilation Blur: The Best of, which debuted at number three in the UK and received a Platinum certification for 300,000 copies shipped.[55] Dismissed by the band as "the first record we have seen as product", the track listing and release dates of Blur: The Best of were determined on the basis of market research and focus groups conducted by Blur's record label, EMI.[56] By this time, the group had largely disowned the upbeat pop singles from the Britpop era, and favoured the more arty, experimental work on Blur and 13. In an otherwise highly enthusiastic review of the best-of for the NME, Steve Sutherland criticised the band's "sheer disregard" for their earlier work; "Just because these songs embarrassed them once they started listening to broadsheet critics and retreated wounded from the big-sales battle with Oasis doesn't mean that we're morons to love them."[57]

text: Coxon's departure, Think Tank and hiatus, 2001–2007[edit]

text: After 13 and the subsequent tours in 1999–2000, band members pursued other projects. Graham Coxon recorded a string of solo albums, while Damon Albarn dedicated his time to Gorillaz, the animated band he had created with Jamie Hewlett. Alex James worked with Fat Les and co-wrote several songs with Sophie Ellis-Bextor and Marianne Faithfull.[58][59]

text: Recording for Blur's next album began in London in November 2001, but concerted work started in June 2002, with the sessions moving to Marrakech, Morocco soon after, and then to Devon back in the UK. Not long after the sessions began, Coxon left the group.[60] Coxon said "there were no rows" and "[the band] just recognised the feeling that we needed some time apart".[61] Before the album was released, Blur released a new single, "Don't Bomb When You Are the Bomb" as a very limited white label release. The song is largely electronic, and was part of the band's protest against war in the Middle East. Albarn, however, attempted to assuage fans' fears that the album would be electronic by providing reassurances that the band's new album would be "a rockin' record", and also said that it has "a lot of finely crafted pop songs".[62] Early in 2002, Blur recorded a song that would be played by European Space Agency's Beagle 2 lander once it touched down;[63] however, attempts to locate the probe after it landed on Mars were fruitless.[64]

text: Think Tank, released in May 2003, was filled with atmospheric, brooding electronic sounds, featuring simpler guitar lines played by Albarn, and largely relying on other instruments to replace Coxon. The guitarist's absence also meant that Think Tank was almost entirely written by Albarn. Its sound was seen as a testament to Albarn's increasing interest in African and Middle Eastern music, and to his complete control over the group's creative direction.[65] Think Tank was yet another UK number one and managed Blur's highest US position of number 56.[25][27] It was also nominated for best album at the 2004 Brit Awards.[66] The band did a successful tour in 2003, with former Verve guitarist Simon Tong filling in for Coxon.[67]

text: In 2005, XFM News reported that Blur would record an EP, and denied that they would hire a replacement guitarist for Coxon.[68] There were also some aborted recordings made in 2005. Overall the band kept a low profile and did no studio or touring work as a three-piece. After Coxon significantly thawed on the subject of rejoining Blur,[69] in 2007 band members announced that they would reunite, and that they intended to record together first in August, with the date later being pushed back to September, then October.[70][71] Though the band members finally met up in October, they posted on their website that they had only "met up for an enjoyable lunch" and that there were no "other music plans for Blur".[72]

text: Reunion and The Magic Whip, 2008–present[edit]

text: In December 2008, Blur announced they would reunite for a concert at London's Hyde Park on 3 July 2009.[72] Days later, the band added a second date, for 2 July.[73] A series of June preview shows were also announced, ending at Manchester Evening News arena on the 26th. All the shows were well received; The Guardian's music critic Alexis Petridis gave their performance at Goldsmiths college a full five stars, and wrote "Blur's music seems to have potentiated by the passing of years ... they sound both more frenetic and punky and more nuanced and exploratory than they did at the height of their fame".[74] Blur headlined the Glastonbury Festival on 28 June, where they played for the first time since their headline slot in 1998. Reviews of the Glastonbury performance were enthusiastic; The Guardian called them "the best Glastonbury headliners in an age".[75] The band released their second greatest hits album Midlife: A Beginner's Guide to Blur in June 2009.

text: Blur also headlined at other summer festivals, including Oxegen 2009 in Ireland,[76] and the Scottish outdoor show of T in the Park. Their T in the Park headline slot was put in jeopardy after Graham Coxon was admitted to hospital with food poisoning. Ultimately, the band did play, albeit an hour and a half after they were scheduled to appear.[77] After the completion of the reunion dates, James said the group had not discussed further plans, and Albarn told Q soon after that Blur had no intention of recording or touring again. He said, "I just can't do it anymore", and explained that the main motivation for participating in the reunion was to repair his relationship with Coxon, which he succeeded at.[78] Coxon also said that no further Blur activity was planned, telling NME.com in September, "We're in touch and we say 'Wotcha' and all that but nothing has been mentioned about any more shows or anything else".[79]

text: In January 2010, No Distance Left to Run, a documentary about the band, was released in cinemas and a month later on DVD.[80] In April 2010, Blur released their first new recording since 2003, "Fool's Day", for the Record Store Day event, as a vinyl record limited to 1000 copies; it was later made available as a free download on their website.[81] No Distance Left to Run was nominated as Best Long Form Music Video for the 53rd Grammy Awards, Blur's first-ever Grammy nomination.[82]

text: In February 2012, Blur were awarded the Outstanding Contribution to Music award at the 2012 Brit Awards.[83] Later that month, Albarn and Coxon premiered a new track together live, "Under the Westway".[84] In April, the band announced that a box-set entitled Blur 21—containing all seven Blur studio albums, four discs of unreleased rarities and three DVDs—would be released in July.[85] Blur had also entered the studio early that year to record material for a new album, but in May producer William Orbit told the NME that Albarn had halted recording.[86] Blur's official Twitter and Facebook pages announced that the band would release two singles "The Puritan" and "Under the Westway" on 2 July.[87] That August, Blur headlined a show at Hyde Park for the 2012 Summer Olympics closing ceremony.[88] In 2013, the band performed at the Rock Werchter in Belgium, the Spanish and Portuguese dates of the Primavera Sound festival,[89] and the Coachella Valley Music and Arts Festival in the United States.[90]

text: In April 2015, Blur released their first studio album in twelve years, The Magic Whip. Conceived over five days in Hong Kong after a cancelled Japan tour in 2013, the album was inspired by the city as well. "There's nothing pastoral about it", Albarn said, "it's very urban". The Magic Whip also marks the return of Coxon, absent on all but one track on Think Tank, and Stephen Street, Blur's producer during the Britpop era.[91] Upon its release, the record was greeted with applause both by the music press and the mainstream media.[92] Awarding the album a full five stars, The Daily Telegraph called The Magic Whip "a triumphant comeback that retains the band's core identity while allowing ideas they'd fermented separately over the past decade to infuse their sound with mature and peculiar new flavour combinations".[93] The NME concurred, saying Blur were "a reunited band making music to rival their very best".[94] It was also a commercial success, becoming the sixth consecutive Blur LP since Parklife (1994) to top the British charts. The Guardian also noted that at times during its first week of release, The Magic Whip sold "more than the rest of the top five combined".[95] That December New World Towers, a documentary on the recording process of The Magic Whip, was released in select British theatres.[96][97]

text: Discography[edit]

text:
Leisure (1991)
Modern Life Is Rubbish (1993)
Parklife (1994)
The Great Escape (1995)
Blur (1997)
13 (1999)
Think Tank (2003)
The Magic Whip (2015)