document_title: Rocky Top

question_text: when did rocky top became a state song

question_tokens: when did rocky top became a state song

text: Rocky Top

text: Background[edit]

text: "Rocky Top" was written by married songwriting duo Boudleaux Bryant (1920–1987) and Felice Bryant (1925–2003) in 1967. At the time, the Bryants were working at The Gatlinburg Inn in Gatlinburg, Tennessee on a collection of slow-tempo songs for a project for Archie Campbell and Chet Atkins. Writing the fast-paced "Rocky Top," which took about 10 minutes to write, served as a temporary diversion for them.[2]

text: While the song became a staple of the Osborne Brothers concerts in the late 1960s, the song did not achieve mass popularity until the early 1970s, when Lynn Anderson's version reached number seventeen on the Billboard Country Top 100. In 1972, UT's Pride of the Southland Band first played the song as part of one of its drills, the idea and arrangement being primarily the work of band arranger Barry MacDonald. The song was deemed popular enough to be played at a halftime country music show at a game against Alabama in October 1972, gaining fans' attention. UT recognized the song's appeal and the band started playing Rocky Top at every game.[5] Longtime band director W.J. Julian stated that if Rocky Top was ever not played, then there would be a mutiny among Vol fans, reflecting the song's deep-rooted foundation in UT sports.[6]

text: The song was officially adopted as the fifth Tennessee state song in 1982.[2][7] In the 1970s, the song achieved such popularity among bar crowds that the Chapel Hill, North Carolina-based old-time band the Red Clay Ramblers' national tours included a crowd-pleasing satire informally titled "Play 'Rocky Top' (or I'll Punch Your Lights Out.)"[8][9] The Bryants' children currently own the rights to the song under the corporate name "House of Bryant,"[10] and the song's original sheet music is on display at the Rocky Top Village Inn in downtown Gatlinburg.[11]

text: Lyrics[edit]

text: Despite its fast and upbeat tempo, the song is actually a lament over the loss of a way of life. In the song's opening verse, the singer longs for a place called "Rocky Top," where there is no "smoggy smoke" and there are no "telephone bills." The singer reminisces about a love affair he once had on Rocky Top with a woman "wild as a mink" and "sweet as soda pop." The song's second verse recalls a story about two "strangers" (apparently revenue agents) climbing Rocky Top "looking for a moonshine still," but never returning (conflict between moonshiners and "revenuers" is a common theme in Appalachian culture).[12] The song says that the soil on Rocky Top is too rocky to grow corn, so the people of Rocky Top "get their corn from a jar". In the third and final verse (which consists of just four lines), the singer again longs for the "simple" life, likening life in the city to being "trapped like a duck in a pen."

text: College fight song[edit]

text: With its good-natured regional references to a carefree lifestyle, the singing of "Rocky Top" by UT students, alumni, and fans at sports venues such as Neyland Stadium and Thompson–Boling Arena is well established. House of Bryant has granted the University of Tennessee a perpetual license to play the song as much and as often as success on the field dictates. Longtime director W. J. Julian created a marching band arrangement that was first played at the Vols' October 21, 1972 game against the Alabama Crimson Tide.[13]

text: Over the years, "Rocky Top" has become so closely associated with UT that many people believe it to be the school's fight song. However, UT's official fight song is "Down the Field."[14]

text: Location of Rocky Top[edit]

text: While the Bryants never indicated that "Rocky Top, Tennessee" refers to a specific place, some have suggested that a 5,440-foot (1,660 m) barren summit known as "Rocky Top"— located in the Great Smoky Mountains along the Tennessee-North Carolina border— is the best fit, due in large part to its proximity to Gatlinburg, where the song was written.[15][16] Rocky Top is a subpeak of Thunderhead Mountain, which overlooks Cades Cove, and is traversed by the Appalachian Trail.[17] Rocky Top appears on maps of the western Smokies as early as 1934,[18] and has been a popular hiking destination since the Great Smoky Mountains National Park was created during the same period.[19]

text: The name "Rocky Top" is sometimes used as a nickname for East Tennessee, the city of Knoxville, and the University of Tennessee (especially its two major athletic venues, Neyland Stadium and the Thompson–Boling Arena). "Rocky Top" is also a popular name for East Tennessee businesses, among them a real estate agency and a chain of convenience stores.

text: In 2014, Lake City, Tennessee changed its name to Rocky Top, Tennessee after an effort by the House of Bryant to enjoin the city was denied by a federal court.[20]

text: Operation Rocky Top[edit]

text: "Operation Rocky Top" was the FBI's code name for a public corruption investigation into the Tennessee state government in the late 1980s which resulted in the eventual suicide of the Tennessee Secretary of State, Gentry Crowell, and the incarceration of several other individuals, most notably state House Majority Leader Tommy Burnett. The focus of the investigation was the illegal sale of bingo licenses.

text: Notable covers[edit]

text: Phish played "Rocky Top" regularly from 1987 to 2003 and, after reforming, again in 2009. There have been additional cover versions of the song by artists such as The Schwag, Dillard and Clark and country artists such as Buck Owens, Lynn Anderson, Dolly Parton, John Denver, Albert Lee, Conway Twitty, Billie Jo Spears, and John Stewart. Columbus, Ohio-based all-female rock trio Scrawl, included a cover of the song on their Nashville-recorded 1988 album "He's Drunk". Many contemporary groups and artists have performed the song while performing in Knoxville, including Rascal Flatts, Brad Paisley, Keith Urban, and Dierks Bentley. The country rock group the Nitty Gritty Dirt Band tackled the song on their 1976 compilation album Dirt, Silver and Gold. The 2011 pilot episode of NBC's sitcom Up All Night featured Christina Applegate and Will Arnett singing "Rocky Top."


document_title: Myenteric plexus

question_text: which nerve plexus plays a role in peristalsis

root

text: Myenteric plexus

text: Structure[edit]

text: A part of the enteric nervous system, the myenteric plexus exists between the longitudinal and circular layers of muscularis externa in the gastrointestinal tract. It is found in the muscles of the esophagus, stomach, and intestine.[citation needed]

tag: p

text: The ganglia have properties similar to the central nervous system (CNS). These properties include presence of glia, interneurons, a small extracellular space, dense synaptic neuropil, isolation from blood vessels, multiple synaptic mechanisms and multiple neurotransmitters.

text: The myenteric plexus originates in the medulla oblongata as a collection of neurons from the ventral part of the brain stem. The vagus nerve then carries the axons to their destination in the gastrointestinal tract.[4]

text: They contain Dogiel cells.[5]

text: Function[edit]

text: The myenteric plexus functions as a part of the enteric nervous system (digestive system). The enteric nervous system can and does function autonomously, but normal digestive function requires communication links between this intrinsic system and the central nervous system. The ENS contains sensory receptors, primary afferent neurons, interneurons, and motor neurons. The events that are controlled, at least in part, by the ENS are multiple and include motor activity, secretion, absorption, blood flow, and interaction with other organs such as the gallbladder or pancreas. These links take the form of parasympathetic and sympathetic fibers that connect either the central and enteric nervous systems or connect the central nervous system directly with the digestive tract. Through these cross connections, the gut can provide sensory information to the CNS, and the CNS can affect gastrointestinal function. Connection to the central nervous system also means that signals from outside of the digestive system can be relayed to the digestive system: for instance, the sight of appealing food stimulates secretion in the stomach.[6]

text: Neurotransmitters[edit]

text: The enteric nervous system makes use of over 30 different neurotransmitters, most similar to those of the CNS such as acetylcholine, dopamine, and serotonin. More than 90% of the body's serotonin lies in the gut; as well as about 50% of the body's dopamine, which is currently being studied to further our understanding of its utility in the brain.[7] The heavily studied neuropeptide known as substance P is present in significant levels and may help facilitate the production of saliva, smooth muscle contractions, and other tissue responses.

text: Receptors[edit]

text: Since many of the same neurotransmitters are found in the ENS as the brain, it follows that myenteric neurons can express receptors for both peptide and non-peptide (amines, amino acids, purines) neurotransmitters. Generally, expression of a receptor is limited to a subset of myenteric neurons, with probably the only exception being expression of nicotinic cholinergic receptors on all myenteric neurons. One receptor that has been targeted for therapeutic reasons has been the 5-hydroxytryptamine (5-HT4) receptor. Activating this pre-synaptic receptor enhances cholinergic neurotransmission and can stimulate gastrointestinal motility.[8]

text: The enteric nervous system exhibits taste receptors similar to the ones in the tongue. The taste receptor TAS1R3 and the taste G protein gustducin are two of the most common. These receptors sense "sweetness" on the tongue and sense glucose in the enteric nervous system. These receptors help regulate the secretion of insulin and other hormones that are responsible for controlling blood sugar levels.[9]

text: Clinical significance[edit]

text: Hirschsprung's disease is a congenital disorder of the colon in which nerve cells of the myenteric plexus in its walls, also known as ganglion cells, are absent. Hirschsprung's disease is a form of functional low bowel obstruction due to failure of caudal migration of neuroblasts within developing bowel – this results in an absence of parasympathetic intrinsic ganglion cells in both Auerbach’s and Meissner’s plexi. The distal large bowel from the point of neuronal arrest to the anus is continuously aganglionic. It is a rare disorder (1:5000), with prevalence among males being four times that of females.[10]

text: Achalasia is a motor disorder of the esophagus characterized by decrease in ganglion cell density in the myenteric plexus. The cause of the lesion is unknown.[11]

text: Role in CNS Disorders[edit]

text: Because the ENS is known as the "brain of the gut," due to its similarities with the CNS, researchers have been using colonic biopsies of Parkinson's patients to help better understand and manage Parkinson's disease.[12] PD patients are known to experience severe constipation due to GI tract dysfunction years before the onset of motor movement complications, which characterises Parkinson's disease.[13]

text: History[edit]

text: Leopold Auerbach, a neuropathologist, was one of the first to further research the nervous system using histological staining methods.[citation needed]


document_title: Star Trek (film)

question_text: who played james kirk's mother in star trek

question_tokens: who played james kirk 's mother in star trek

text: Star Trek (film)

text: Plot[edit]

text: In the 23rd century, the Federation starship USS Kelvin is investigating a "lightning storm" in space. A Romulan ship, Narada, emerges from the storm and attacks Kelvin. Narada's first officer, Ayel, demands that Kelvin's Captain Robau come aboard to negotiate a truce. Robau is questioned about the current stardate and an "Ambassador Spock", whom he does not recognize. Narada's commander, Nero, kills him, and resumes attacking Kelvin. George Kirk, Kelvin's first officer, orders the ship's personnel, including his pregnant wife Winona, to abandon ship while he pilots Kelvin on a collision course with Narada. Kirk sacrifices his life to ensure Winona's survival as she gives birth to James T. Kirk.

text: Seventeen years later on the planet Vulcan, a young Spock is accepted to join the Vulcan Science Academy. Realizing that the Academy views his human mother Amanda as a "disadvantage", he joins Starfleet instead. On Earth, Kirk becomes a reckless but intelligent young adult. Following a bar fight with Starfleet cadets accompanying Nyota Uhura, Kirk meets Captain Christopher Pike, who encourages him to enlist in Starfleet Academy, where Kirk meets and befriends doctor Leonard McCoy.

text: Three years later, Commander Spock accuses Kirk of cheating during the Kobayashi Maru simulation. Kirk argues that cheating was acceptable because the simulation was designed to be unbeatable. The disciplinary hearing is interrupted by a distress signal from Vulcan. With the primary fleet out of range, the cadets are mobilized. McCoy and Kirk board Pike's ship, the Enterprise. Realizing that the "lightning storm" observed near Vulcan is similar to the one that occurred when he was born, Kirk breaks protocol to convince Pike that the distress signal is a trap.

text: Enterprise arrives to find the fleet destroyed and Narada drilling into Vulcan's core. Narada attacks Enterprise and Pike surrenders, delegating command of the ship to Spock and promoting Kirk to first officer. Kirk, Hikaru Sulu and Chief Engineer Olson perform a space jump[5][6] onto the drilling platform. Olson is killed but Kirk and Sulu disable the drill. Despite their efforts, Nero launches "red matter" into Vulcan's core, forming an artificial black hole that destroys Vulcan. Spock rescues the high council and his father Sarek, but his mother Amanda dies.

text: As Narada moves toward Earth, Nero tortures Pike to gain access to Earth's defense codes. Spock maroons Kirk on Delta Vega after Kirk attempts mutiny. Kirk encounters an older Spock, who explains that he and Nero are from 129 years in the future. In that future, Romulus was threatened by a supernova. Spock's attempt to use "red matter" to create an artificial black hole and consume the supernova failed, and Nero's family perished along with Romulus. Narada and Spock's vessel were caught in the black hole, sending them back in time. Nero stranded Spock on Delta Vega to watch Vulcan's destruction.

text: Reaching a Starfleet outpost on Delta Vega, Kirk and the elder Spock meet Montgomery Scott. With the elder Spock's help, Scott devises a way for Kirk to beam onto Enterprise while it is travelling at Warp speed. Following the elder Spock's advice, Kirk provokes younger Spock into attacking him, forcing Spock to recognize himself as emotionally compromised and relinquish command to Kirk. After talking with Sarek, Spock decides to help Kirk. While Enterprise hides itself within the gas clouds of Titan, Kirk and Spock beam aboard Narada. Kirk fights with Nero and Ayel, killing the latter and rescuing Pike, while Spock uses the elder Spock's ship to destroy the drill. Spock leads Narada away from Earth and sets his ship to collide with Nero's ship. Enterprise beams Kirk, Pike, and Spock aboard. The older Spock's ship and Narada collide, igniting the "red matter". Kirk offers Nero help to escape, but Nero refuses, prompting Kirk to give the order to fire, dooming Narada to be consumed in a black hole.

text: Kirk is promoted to Captain and given command of Enterprise while Pike is promoted to Rear Admiral. Spock encounters his older self, who persuades his younger self to continue serving in Starfleet, encouraging him to do, for once, what feels right instead of what is logical. Spock remains in Starfleet, becoming first officer under Kirk's command. Enterprise goes to warp as the elder Spock speaks the "where no one has gone before" monologue.

text: Cast[edit]

text: Chris Pine as James T. Kirk

tag: ul

text: Jimmy Bennett portrays a younger Kirk.

text: Zachary Quinto as Spock

text: Jacob Kogan portrays a younger Spock.

text: Eric Bana as Captain Nero

text: Leonard Nimoy as Spock Prime: Nimoy reprises the role of the older Spock from the original Star Trek timeline, credited as "Spock Prime". He was a longtime friend of Abrams' parents,[20] but became better acquainted with Abrams during filming. Although Quinto watched some episodes of the show during breaks in filming, Nimoy was his main resource in playing Spock.[9] Abrams and the writers met Nimoy at his house; writer Roberto Orci recalled that the actor gave a "'Who are you guys and what are you up to?' vibe" before being told how important he was to them. He was silent, and Nimoy's wife Susan Bay told the creative team he had remained in his chair after their conversation, emotionally overwhelmed by his decision after turning down many opportunities to revisit the role.[21] Had Nimoy disliked the script, production would have been delayed for it to be rewritten.[22] Nimoy later said, "This is the first and only time I ever had a filmmaker say, 'We cannot make this film without you and we won't make it without you'".[23] He was "genuinely excited" by the script's scope and its detailing of the characters' backstories,[12] saying, "We have dealt with [Spock's being half-human, half-Vulcan], but never with quite the overview that this script has of the entire history of the character, the growth of the character, the beginnings of the character and the arrival of the character into the Enterprise crew."[24] Abrams commented, "It was surreal to direct him as Spock, because what the hell am I doing there? This guy has been doing it for forty years. It's like 'I think Spock would...'"[25]

text: Zoe Saldana as Nyota Uhura

text: Karl Urban as Dr. Leonard "Bones" McCoy

text: Simon Pegg as Montgomery "Scotty" Scott

text: John Cho as Hikaru Sulu

text: Anton Yelchin as Pavel Chekov

text:
Bruce Greenwood as Christopher Pike, the captain of USS Enterprise.[7]
Ben Cross as Sarek, Spock's father.
Winona Ryder as Amanda Grayson, Spock's mother.
Clifton Collins Jr. as Ayel, Nero's first officer.

text: Chris Hemsworth plays George Kirk, James Tiberius Kirk's father, who dies aboard USS Kelvin while battling Nero. Mark Wahlberg was also approached for the role.[41] Faran Tahir plays Kelvin captain Richard Robau. Winona Kirk, Kirk's mother, is played by Jennifer Morrison. Greg Ellis plays Chief Engineer Olson, the redshirt who is killed during the space jump.[42]

text: Additional minor roles include Rachel Nichols as Gaila, an Orion Starfleet cadet; Deep Roy as Scotty's alien (Royla) assistant Keenser; and Paul McGillion as a Starfleet barracks leader.[43] Chris Doohan, the son of the original Scotty, James Doohan, makes a cameo appearance in the transporter room as Lt. Kyle.[44] Some characters had their scenes substantially or entirely cut from the film, including Brad William Henke as Kirk's stepfather (the character's lines in the film were provided by Greg Grunberg).[43][45] Spencer Daniels originally played Kirk's older brother, George Samuel "Sam" Kirk, Jr., but the majority of his scenes were cut and the opening car chase scene where Kirk can be heard calling out to him was overdubbed.[46] Victor Garber plays a Klingon interrogator who tortures Nero during his time on Rura Penthe.

text: Tyler Perry appears as the head of Starfleet Academy, Admiral Richard Barnett. James Cawley, producer and star of the web series Star Trek: New Voyages, appears as a Starfleet officer, while Pasha Lychnikoff and Lucia Rijker play Romulans, Lychnikoff a Commander and Rijker a Communications Officer. W. Morgan Sheppard, who played a Klingon in Star Trek VI: The Undiscovered Country, as well as Data's allegorical grandfather in the TNG episode "The Schizoid Man", appears in this film as the head of the Vulcan Science Council. Wil Wheaton, known for portraying Wesley Crusher on Star Trek: The Next Generation, was brought in, through urging by Greg Grunberg, to voice several of the other Romulans in the film.[47] Star Trek fan and Carnegie Mellon University professor Randy Pausch cameoed as a Kelvin crew member, and has a line of dialogue.[48] Majel Barrett, the widow of Star Trek creator Gene Roddenberry, reprised her role as the voice of Enterprise's computer, which she completed two weeks before her death on December 18, 2008.[49]

text: Orci and Kurtzman wrote a scene for Shatner, in which old Spock gives his younger self a recorded message by Kirk from the previous timeline. "It was basically a Happy Birthday wish knowing that Spock was going to go off to Romulus, and Kirk would probably be dead by the time," and it would have shifted into Shatner reciting "Where no man has gone before".[50] However, Shatner wanted to share Nimoy's major role, and did not want a cameo,[51] despite his character's death in Star Trek Generations. He suggested the film canonize his novels where Kirk is resurrected, but Abrams decided if his character was accompanying Nimoy's, it would have become a film about the resurrection of Kirk, and not about introducing the new versions of the characters.[52] Nimoy disliked the character's death in Generations, but also felt resurrecting Kirk would be detrimental to this film,[22] and his friendship with Shatner caused them to avoid discussing the film.[23]

text: Production[edit]

text: Development[edit]

text: As early as the 1968 World Science Fiction Convention, Star Trek creator Roddenberry had said he was going to make a film prequel to the television series.[53] But the prequel concept did not resurface until the late 1980s, when Ralph Winter and Harve Bennett submitted a proposal for a prequel during development of the fourth film. Roddenberry rejected Bennett's prequel proposal in 1991, after the completion of Star Trek V: The Final Frontier.[54]  Then David Loughery wrote a script entitled The Academy Years, but it was shelved in light of objections from Roddenberry and the fanbase. The film that was commissioned instead ended up being Star Trek VI: The Undiscovered Country. In February 2005, after the financial failure of the tenth film, Star Trek: Nemesis (2002), and the cancellation of the television series Star Trek: Enterprise, the franchise's executive producer Rick Berman and screenwriter Erik Jendresen began developing a new film entitled Star Trek: The Beginning. It was to revolve around a new set of characters, led by Kirk's ancestor Tiberius Chase, and be set during the Earth-Romulan War—after the events of Enterprise but before the events of the original series.[55]

text: In 2005, Viacom, which owned Paramount Pictures, separated from CBS Corporation, which retained Paramount's television properties, including ownership of the Star Trek brand. Gail Berman, then president of Paramount, convinced CBS' chief executive, Leslie Moonves, to allow them eighteen months to develop a new Star Trek film, otherwise Paramount would lose the film rights. Berman approached Mission: Impossible III writers Orci and Kurtzman for ideas on the new film, and after the film had completed shooting she asked their director, Abrams, to produce it.[56] Abrams, Orci and Kurtzman, plus producers Damon Lindelof and Bryan Burk, felt the franchise had explored enough of what took place after the series,[57] Orci and Lindelof consider themselves trekkies,[58] and feel some of the Star Trek novels have canonical value, although Roddenberry never considered the novels to be canon.[59] Kurtzman is a casual fan, while Burk was not.[7] Abrams' company, Bad Robot Productions produced the film with Paramount, marking the first time another company had financed a Star Trek film.[60] Bill Todman, Jr.'s Level 1 Entertainment also co-produced the film, but, during 2008, Spyglass Entertainment replaced them as financial partner.[61]

text: In an interview, Abrams said that he had never seen Star Trek: Nemesis because he felt the franchise had "disconnected" from the original series.[62] For him, he said, Star Trek was about Kirk and Spock, and the other series were like "separate space adventure[s] with the name Star Trek". He also acknowledged that as a child he had actually preferred the Star Wars movies.[63] He noted that his general knowledge of Star Trek made him well suited to introduce the franchise to newcomers,[64] and that, being an optimistic person, he would make Star Trek an optimistic film, which would be a refreshing contrast to the likes of The Dark Knight.[7] He added that he loved the focus on exploration in Star Trek and the idea of the Prime Directive, which forbids Starfleet to interfere in the development of primitive worlds, but that, because of the budgetary limitations of the original series, it had "never had the resources to actually show the adventure".[65] He noted he only became involved with the project as producer initially because he wanted to help Orci, Kurtzman and Lindelof.[56]

text: On February 23, 2007, Abrams accepted Paramount's offer to direct the film, after having initially been attached to it solely as a producer.[66] He explained that he had decided to direct the film because, after reading the script, he realized that he "would be so agonizingly envious of whoever stepped in and directed the movie."[67] Orci and Kurtzman said that their aim had been to impress a casual fan like Abrams with their story.[68] Abrams noted that, during filming, he had been nervous "with all these tattooed faces and pointy ears, bizarre weaponry and Romulan linguists, with dialogue about 'Neutral Zones' and 'Starfleet' [but] I knew this would work, because the script Alex and Bob wrote was so emotional and so relatable. I didn't love Kirk and Spock when I began this journey – but I love them now."[7]

text: Writing[edit]

text:
"We're from different worlds, Alex [Kurtzman] was born here, and I was born in Mexico City and lived there until I was nine. Kirk and Spock are opposites from two worlds. That's us in a nutshell. We're drawn to each by what each of us lacks. The story of this film is about two guys who are such opposites that they might end up strangling each other but instead they bond and thrive together. That's us. We can go warp speed together."
Roberto Orci on the film's emotional context.[21]

tag: div

text: Orci said getting Nimoy in the film was important. "Having him sitting around a campfire sharing his memories was never gonna cut it" though, and time travel was going to be included in the film from the beginning.[69] Kurtzman added, saying the time travel creates jeopardy, unlike other prequels where viewers "know how they all died".[70] The writers acknowledged time travel had been overused in the other series, but it served a good purpose in creating a new set of adventures for the original characters before they could completely do away with it in other films.[71] Abrams selected the Romulans as the villains because they had been featured less than the Klingons in the series, and thought it was "fun" to have them meet Kirk before they do in the series.[72] Orci and Kurtzman noted it would feel backward to demonize the Klingons again after they had become heroes in later Star Trek series, and the Romulan presence continues Spock's story from his last chronological appearance in "Unification", an episode of Star Trek: The Next Generation set in 2368.[71] The episode of the original continuity in which Kirk becomes the first human to ever see a Romulan, "Balance of Terror", served as one of the influences for the film.[58] Orci said it was difficult giving a good explanation for the time travel without being gimmicky, like having Nero specifically seeking to assassinate Kirk.[73]

text: Orci noted while the time travel story allowed them to alter some backstory elements such as Kirk's first encounter with the Romulans, they could not use it as a crutch to change everything and they tried to approach the film as a prequel as much as possible. Kirk's service on Farragut, a major backstory point to the original episode "Obsession", was left out because it was deemed irrelevant to the story of Kirk meeting Spock, although Orci felt nothing in his script precluded it from the new film's backstory.[69] There was a scene involving Kirk meeting Carol Marcus (who is revealed as the mother of his son in Star Trek II: The Wrath of Khan) as a child, but it was dropped because the film needed more time to introduce the core characters.[50][74] Figuring out ways to get the crew together required some contrivances, which Orci and Kurtzman wanted to explain from old Spock as a way of the timeline mending itself, highlighting the theme of destiny. The line was difficult to write and was ultimately cut out.[71][75]

text: The filmmakers sought inspiration from novels such as Prime Directive, Spock's World and Best Destiny to fill in gaps unexplained by canon; Best Destiny particularly explores Kirk's childhood and names his parents.[58][69][76] One idea that was justified through information from the novels was having Enterprise built on Earth, which was inspired by a piece of fan art of Enterprise being built in a shipyard. Orci had sent the fan art to Abrams to show how realistic the film could be.[77] Orci explained parts of the ship would have to be constructed on Earth because of the artificial gravity employed on the ship and its requirement for sustaining warp speed, and therefore the calibration of the ship's machinery would be best done in the exact gravity well which is to be simulated.[78] They felt free to have the ship built in Iowa because canon is ambiguous as to whether it was built in San Francisco, but this is a result of the time travel rather than something intended to overlap with the original timeline.[70] Abrams noted the continuity of the original series itself was inconsistent at times.[9]

text: Orci and Kurtzman said they wanted the general audience to like the film as much as the fans, by stripping away "Treknobabble", making it action-packed and giving it the simple title of Star Trek to indicate to newcomers they would not need to watch any of the other films.[79] Abrams saw humor and sex appeal as two integral and popular elements of the show that needed to be maintained.[64] Orci stated being realistic and being serious were not the same thing.[77] Abrams, Burk, Lindelof, Orci and Kurtzman were fans of The Wrath of Khan, and also cited The Next Generation episode "Yesterday's Enterprise" as an influence.[58] Abrams' wife Katie was regularly consulted on the script, as were Orci, Kurtzman and Lindelof's wives, to make the female characters as strong as possible.[80] Katie Abrams' approval of the strong female characters was partly why Abrams signed on to direct.[81]

text: Orci and Kurtzman read graduate school dissertations on the series for inspiration;[57] they noted comparisons of Kirk, Spock and McCoy to Shakespearian archetypes, and Kirk and Spock's friendship echoing that of John Lennon and Paul McCartney.[58] They also noted that, in the creation of this film, they were influenced by Star Wars, particularly in pacing. "I want to feel the space, I want to feel speed and I want to feel all the things that can become a little bit lost when Star Trek becomes very stately" said Orci.[68] Star Wars permeated in the way they wrote the action sequences,[70] while Burk noted Kirk and Spock's initially cold relationship mirrors how "Han Solo wasn't friends with anyone when they started on their journey."[82] Spock and Uhura were put in an actual relationship as a nod to early episodes highlighting her interest in him.[75] Orci wanted to introduce strong Starfleet captains, concurring with an interviewer that most captains in other films were "patsies" included to make Kirk look greater by comparison.[80]

text: USS Kelvin, the ship Kirk's father serves on, is named after J.J. Abrams' grandfather, as well as the physicist and engineer Lord Kelvin (William Thomson). Kelvin's captain, Richard Robau (Faran Tahir), is named after Orci's Cuban uncle: Orci theorized the fictional character was born in Cuba and grew up in the Middle East.[77] Another reference to Abrams' previous works is Slusho, which Uhura orders at the bar where she meets Kirk. Abrams created the fictitious drink for Alias and it reappeared in viral marketing for Cloverfield. Its owner, Tagruato, is also from Cloverfield and appears on a building in San Francisco.[43] The red matter in the film is in the shape of a red ball, an Abrams motif dating back to the pilot of Alias.[83]

text: Design[edit]

text: The film's production designer was Scott Chambliss, a longtime collaborator with Abrams. Chambliss worked with a large group of concept illustrators, including James Clyne, Ryan Church, creature designer Neville Page, and Star Trek veteran John Eaves.[84] Abrams stated the difficulty of depicting the future was that much of modern technology was inspired by the original show, and made it seem outdated. Thus the production design had to be consistent with the television series but also feel more advanced than the real world technology developed after it.[57] "We all have the iPhone that does more than the communicator," said Abrams. "I feel like there's a certain thing that you can't really hold onto, which is kind of the kitschy quality. That must go if it's going to be something that you believe is real."[85] Prop master Russell Bobbitt collaborated with Nokia on recreating the original communicator, creating a $50,000 prototype. Another prop recreated for the film was the tricorder. Bobbitt brought the original prop to the set, but the actors found it too large to carry when filming action scenes, so technical advisor Doug Brody redesigned it to be smaller.[86] The phaser props were designed as spring-triggered barrels that revolve and glow as the setting switches from "stun" to "kill".[7] An Aptera Typ-1 prototype car was used on location.[87]

text: Production designer Scott Chambliss maintained the layout of the original bridge, but aesthetically altered it with brighter colors to reflect the optimism of Star Trek. The viewscreen was made into a window that could have images projected on it to make the space environment palpable. Abrams compared the redesign to the sleek modernist work of Pierre Cardin and the sets from 2001: A Space Odyssey, which were from the 1960s.[88] He joked the redesigned bridge made the Apple Store look "uncool". At the director's behest, more railings were added to the bridge to make it look safer,[7] and the set was built on gimbals so its rocking motions when the ship accelerates and is attacked was more realistic.[88] To emphasize the size of the ship, Abrams chose to give the engine room a highly industrial appearance: he explained to Pegg that he was inspired by RMS Titanic, a sleek ship in which there was an "incredible gut".[89]

text: Abrams selected Michael Kaplan to design the costumes because he had not seen any of the films, meaning he would approach the costumes with a new angle. For the Starfleet uniforms, Kaplan followed the show's original color-coding, with dark gray (almost black) undershirts and pants and colored overshirts showing each crew member's position. Command officers wear gold shirts, science and medical officers wear blue, and operations (technicians, engineers, and security personnel) wear red. Kaplan wanted the shirts to be more sophisticated than the originals and selected to have the Starfleet symbol patterned on them.[88] Kirk wears only the undershirt because he is a cadet.[7] Kaplan modelled the uniforms on Kelvin on science fiction films of the 1940s and 1950s, to contrast with Enterprise-era uniforms based on the ones created in the 1960s.[88] For Abrams, "The costumes were a microcosm of the entire project, which was how to take something that's kind of silly and make it feel real. But how do you make legitimate those near-primary color costumes?"[90]

text: Lindelof compared the film's Romulan faction to pirates with their bald, tattooed heads and disorganized costuming. Their ship, Narada, is purely practical with visible mechanics as it is a "working ship", unlike the Enterprise crew who give a respectable presentation on behalf of the Federation.[91] Chambliss was heavily influenced by the architecture of Antoni Gaudí for Narada, who created buildings that appeared to be inside out: by making the ship's exposed wires appear like bones or ligaments, it would create a foreboding atmosphere. The ship's interior was made of six pieces that could be rearranged to create a different room.[88] The Romulan actors had three prosthetics applied to their ears and foreheads, while Bana had a fourth prosthetic for the bitemark on his ear that extends to the back of his character's head.[92] The film's Romulans lacked the 'V'-shaped ridges on the foreheads, which had been present in all of their depictions outside the original series. Neville Page wanted to honor that by having Nero's crew ritually scar themselves too, forming keloids reminiscent of the 'V'-ridges. It was abandoned as they did not pursue the idea enough.[93] Kaplan wanted aged, worn and rugged clothes for the Romulans because of their mining backgrounds, and found some greasy looking fabrics at a flea market. Kaplan tracked down the makers of those clothes, who were discovered to be based in Bali, and commissioned them to create his designs.[7]

text: Barney Burman supervised the makeup for the other aliens: his team had to rush the creation of many of the aliens, because originally the majority of them were to feature in one scene towards the end of filming. Abrams deemed the scene too similar to the cantina sequence in Star Wars and decided to dot the designs around the film.[92] A tribble was placed in the background of Scotty's introduction.[43] Both digital and physical makeup was used for aliens.[94]

text: Filming[edit]

text: Principal photography for the film began on November 7, 2007, and culminated on March 27, 2008;[95] however second unit filming occurred in Bakersfield, California in April 2008, which stood in for Kirk's childhood home in Iowa.[96] Filming was also done at the City Hall of Long Beach, California;[97] the San Rafael Swell in Utah;[98] and the California State University, Northridge in Los Angeles (which was used for establishing shots of students at Starfleet Academy).[99] A parking lot outside Dodger Stadium was used for the ice planet of Delta Vega and the Romulan drilling rig on Vulcan. The filmmakers expressed an interest in Iceland for scenes on Delta Vega, but decided against it: Chambliss enjoyed the challenge of filming scenes with snow in southern California. Other Vulcan exteriors were shot at Vasquez Rocks, a location that was used in various episodes of the original series. A Budweiser plant in Van Nuys was used for Enterprise's engine room, while a Long Beach power plant was used for Kelvin's engine room.[88]

text: Following the initiation of the 2007–2008 Writers Guild of America strike on November 5, 2007, Abrams, himself a WGA member, told Variety that while he would not render writing services for the film and intended to walk the picket line, he did not expect the strike to impact his directing of the production.[100] In the final few weeks before the strike and start of production, Abrams and Lindelof polished the script for a final time.[101] Abrams was frustrated that he was unable to alter lines during the strike, whereas normally they would have been able to improvise new ideas during rehearsal, although Lindelof acknowledged they could dub some lines in post-production.[102] Orci and Kurtzman were able to stay on set without strikebreaking because they were also executive producers on the film; they could "make funny eyes and faces at the actors whenever they had a problem with the line and sort of nod when they had something better".[103] Abrams was able to alter a scene where Spock combats six Romulans from a fistfight to a gunfight, having decided there were too many physical brawls in the film.[13]

text: The production team maintained heavily enforced security around the film. Karl Urban revealed, "[There is a] level of security and secrecy that we have all been forced to adopt. I mean, it's really kind of paranoid crazy, but sort of justified. We're not allowed to walk around in public in our costumes and we have to be herded around everywhere in these golf carts that are completely concealed and covered in black canvas. The security of it is immense. You feel your freedom is a big challenge."[104] Actors like Jennifer Morrison were only given the scripts of their scenes.[105] The film's shooting script was fiercely protected even with the main cast. Simon Pegg said, "I read [the script] with a security guard near me – it's that secretive."[106] The film used the fake working title of Corporate Headquarters.[107] Some of the few outside of the production allowed to visit the set included Rod Roddenberry,[108] Ronald D. Moore,[109] Jonathan Frakes, Walter Koenig, Nichelle Nichols, Ben Stiller, Tom Cruise and Steven Spielberg (who had partially convinced Abrams to direct because he liked the script, and he even advised the action scenes during his visit).[81]

text: When the shoot ended, Abrams gave the cast small boxes containing little telescopes, which allowed them to read the name of each constellation it was pointed at. "I think he just wanted each of us to look at the stars a little differently," said John Cho. After the shoot, Abrams cut out some scenes of Kirk and Spock as children, including seeing the latter as a baby, as well as a subplot involving Nero being imprisoned by the Klingons and his escape: this explanation for his absence during Kirk's life confused many to whom Abrams screened the film.[65] Other scenes cut out explained that the teenage Kirk stole his stepfather's antique car because he had forced him to clean it before an auction; and that the Orion he seduced at the Academy worked in the operations division. Afterward, she agrees to open the e-mail containing his patch that allows him to pass the Kobayashi Maru test.[75]

text: Abrams chose to shoot the film in the anamorphic format on 35 mm film after discussions about whether the film should be shot in high-definition digital video. Cinematographer Dan Mindel and Abrams agreed the choice gave the film a big-screen feel and the realistic, organic look they wanted for the film setting.[110] Abrams and Mindel used lens flares throughout filming to create an optimistic atmosphere and a feeling that activity was taking place off-camera, making the Star Trek universe feel more real. "There's something about those flares, especially in a movie that potentially could be incredibly sterile and CG and overly controlled. There's just something incredibly unpredictable and gorgeous about them." Mindel would create more flares by shining a flashlight or pointing a mirror at the camera lens, or using two cameras simultaneously and therefore two lighting set-ups.[110] Editor Mary Jo Markey later said in an interview that he had not told her (or fellow editor Maryann Brandon) this, and initially contacted the film developers asking why the film seemed overexposed.[111]

text: Effects[edit]

text: Industrial Light & Magic and Digital Domain were among several companies that created over 1,000 special effect shots.[112] The visual effects supervisors were Roger Guyett, who collaborated with Abrams on Mission: Impossible III and also served as second unit director, and Russell Earl. Abrams avoided shooting only against bluescreen and greenscreen, because it "makes me insane", using them instead to extend the scale of sets and locations.[57] The Delta Vega sequence required the mixing of digital snow with real snow.[113]

text: Star Trek was the first film ILM worked on using entirely digital ships.[113] Enterprise was intended by Abrams to be a merging of its design in the series and the refitted version from the original film. Abrams had fond memories of the revelation of Enterprise's refit in Star Trek: The Motion Picture, because it was the first time the ship felt tangible and real to him.[114] The iridescent pattern on the ship from The Motion Picture was maintained to give the ship depth, while model maker Roger Goodson also applied the "Aztec" pattern from The Next Generation. Goodson recalled Abrams also wanted to bring a "hot rod" aesthetic to the ship. Effects supervisor Roger Guyett wanted the ship to have more moving parts, which stemmed from his childhood dissatisfaction with the ship's design: The new Enterprise's dish can expand and move, while the fins on its engines split slightly when they begin warping.[115] Enterprise was originally redesigned by Ryan Church using features of the original, at 1,200 feet (370 m) long,[116] but was doubled in size to 2,357 feet (718 m) long to make it seem "grander",[116] while the Romulan Narada is five miles long and several miles wide.[88] The filmmakers had to simulate lens flares on the ships in keeping with the film's cinematography.[113]

text: Carolyn Porco of NASA was consulted on the planetary science and imagery.[117] The animators realistically recreated what an explosion would look like in space: short blasts, which suck inward and leave debris from a ship floating. For shots of an imploding planet, the same explosion program was used to simulate it breaking up, while the animators could manually composite multiple layers of rocks and wind sucking into the planet.[113] Unlike other Star Trek films and series, the transporter beam effects swirl rather than speckle.[39] Abrams conceived the redesign to emphasize the notion of transporters as beams that can pick up and move people, rather than a signal composed of scrambled atoms.[112]

text: Lola Visual Effects worked on 48 shots, including some animation to Bana and Nimoy. Bana required extensive damage to his teeth, which was significant enough to completely replace his mouth in some shots. Nimoy's mouth was reanimated in his first scene with Kirk following a rerecording session. The filmmakers had filmed Nimoy when he rerecorded his lines so they could rotoscope his mouth into the film, even recreating the lighting conditions, but they realized they had to digitally recreate his lips because of the bouncing light created by the camp fire.[112]

text: Music[edit]

text: Michael Giacchino, Abrams' most frequent collaborator, composed the music for Star Trek. He kept the original theme by Alexander Courage for the end credits, which Abrams said symbolized the momentum of the crew coming together.[118] Giacchino admitted personal pressure in scoring the film, as "I grew up listening to all of that great [Trek] music, and that's part of what inspired me to do what I'm doing [...] You just go in scared. You just hope you do your best. It's one of those things where the film will tell me what to do."[119] Scoring took place at the Sony Scoring Stage with a 107-piece orchestra and 40-person choir. An erhu, performed by Karen Han, was used for the Vulcan themes. A distorted recording was used for the Romulans.[118] Varèse Sarabande, the record label responsible for releasing albums of Giacchino's previous scores for Alias, Lost, Mission: Impossible III, and Speed Racer, released the soundtrack for the film on May 5.[120] The music for the theatrical trailers were composed by Two Steps from Hell.[121]

text: Sound effects[edit]

text: The sound effects were designed by Star Wars veteran Ben Burtt. Whereas the phaser blast noises from the television series were derived from The War of the Worlds (1953), Burtt made his phaser sounds more like his blasters from Star Wars, because Abrams' depiction of phasers were closer to the blasters' bullet-like fire, rather than the steady beams of energy in previous Star Trek films. Burtt reproduced the classic photon torpedo and warp drive sounds: he tapped a long spring against a contact microphone, and combined that with cannon fire. Burtt used a 1960s oscillator to create a musical and emotional hum to the warping and transporting sounds.[122]

text: Release[edit]

text: In February 2008, Paramount announced they would move Star Trek from its December 25, 2008, release date to May 8, 2009, as the studio felt more people would see the film during summer than winter. The film was practically finished by the end of 2008.[123] Paramount's decision came about after visiting the set and watching dailies, as they realized the film could appeal to a much broader audience. Even though the filmmakers liked the Christmas release date, Damon Lindelof acknowledged it would allow more time to perfect the visual effects.[102] The months-long gap between the completion of the production and release meant Alan Dean Foster was allowed to watch the whole film before writing the novelization, although the novel would contain scenes absent from the final edit.[124] Quinto narrated the audiobook.[125]

text: A surprise public screening was held on April 6, 2009, at the Alamo Drafthouse theater in Austin, Texas, hosted by writers Robert Orci, Alex Kurtzman, and producer Damon Lindelof. The showing was publicized as a screening of Star Trek II: The Wrath of Khan, followed by a ten-minute preview of the new Star Trek film. A few minutes into Khan, the film appeared to melt and Nimoy appeared on stage with Orci, Kurtzman and Lindelof, asking the audience, "wouldn't you rather see the new movie?"[126] Following the surprise screening in Texas, the first of many premieres across the world was held at the Sydney Opera House in Sydney on April 7, 2009.[127] For almost two years, the town of Vulcan, Alberta had campaigned to have the film premiere there, but because it had no theater, Paramount arranged instead a lottery where 300 winning residents would be taken to a prerelease screening in Calgary.[128]

text: Marketing[edit]

text: The first teaser trailer debuted in theaters with Cloverfield on January 18, 2008, which showed Enterprise under construction. Abrams himself directed the first part of the trailer, where a welder removes his goggles. Professional welders were hired for the teaser.[129] The voices of the 1960s played over the trailer were intended to link the film to the present day; John F. Kennedy in particular was chosen because of similarities with the character of James T. Kirk and because he is seen to have "kicked off" the Space Race. Orci explained that: "If we do indeed have a Federation, I think Kennedy’s words will be inscribed in there someplace."[78] Star Trek's later trailers would win four awards, including Best in Show, in the tenth annual Golden Trailer Awards.[130]

text: Paramount faced two obstacles in promoting the film: the unfamiliarity of the "MySpace generation" with the franchise and the relatively weak international performance of the previous films. Six months before the film's release, Abrams toured Europe and North America with 25 minutes of footage. Abrams noted the large-scale campaign started unusually early, but this was because the release delay allowed him to show more completed scenes than normal. The director preferred promoting his projects quietly, but concurred Paramount needed to remove Star Trek's stigma.[131] Abrams would exaggerate his preference for other shows to Star Trek as a child to the press, with statements like "I'm not a Star Trek fan" and "this movie is not made for Star Trek fans necessarily". Orci compared Abrams' approach to The Next Generation episode "A Matter of Honor", where William Riker is stationed aboard a Klingon vessel. "On that ship when someone talks back to you, you would have to beat them down or you lose the respect of your crew, which is protocol, whereas on a Federation ship that would be a crime. So we have to give [J. J. Abrams] a little bit of leeway, when he is traveling the 'galaxy' over there where they don't know Trek, to say the things that need to be said in order to get people onto our side."[77]

text: Promotional partners on the film include Nokia, Verizon Wireless, Esurance, Kellogg's, Burger King and Intel Corporation, as well as various companies specializing in home decorating, apparel, jewelry, gift items and "Tiberius", "Pon Farr" and "Red Shirt" fragrances.[132][133] Playmates Toys, who owned the Star Trek toy license until 2000, also held the merchandise rights for the new film.[134] The first wave was released in March and April 2009. Playmates hope to continue their toy line into 2010.[135][needs update] The first wave consists of 3.75", 6" and 12" action figures, an Enterprise replica, prop toys and play sets. to recreate the whole bridge, one would have to buy more 3.75" figures, which come with chairs and consoles to add to the main set consisting of Kirk's chair, the floor, the main console and the viewscreen.[136] Master Replicas,[137] Mattel, Hasbro and Fundex Games will promote the film[needs update] via playing cards, Monopoly, UNO, Scrabble, Magic 8-Ball, Hot Wheels, Tyco R/C, 20Q, Scene It? and Barbie lines. Some of these are based on previous Star Trek iterations rather than the film.[133][138] CBS also created a merchandising line based around Star Trek caricatures named "Quogs".[139]

text: Home release[edit]

text: The film was released on DVD and Blu-ray on November 17, 2009, in North America,[140] November 16 in the United Kingdom[141] and October 26 in Australia and New Zealand. In Sweden and Germany, it was released on November 4.[142] First week sales stood at 5.7 million DVDs along with 1.1 million Blu-ray Discs,[143] giving Paramount Pictures their third chart topping release in five weeks following Transformers: Revenge of the Fallen and G.I. Joe: The Rise of Cobra.[144]

text: Reception[edit]

text: Box office[edit]

text: Official screenings in the United States started at 7 pm on May 7, 2009,[145] grossing $4 million on its opening day. By the end of the weekend, Star Trek had opened with $79,204,300, as well as $35,500,000 from other countries. Adjusted and unadjusted for inflation, it beat Star Trek: First Contact for the largest American opening for a Star Trek film. The film made US$8.5 million from its IMAX screenings, breaking The Dark Knight's $6.3 million IMAX opening record.[146] The film is the highest-grossing in the United States and Canada from the entire Star Trek film franchise, eclipsing The Voyage Home and Star Trek: The Motion Picture. Its opening weekend numbers alone outgross the entire individual runs of The Undiscovered Country, The Final Frontier, Insurrection and Nemesis.[147] Star Trek ended its United States theatrical run on October 1, 2009, with a box office total of $257,730,019, which places it as the seventh highest-grossing film for 2009 behind The Hangover.[2] The film grossed $127,764,536 in international markets,[148] for a total worldwide gross of $385,494,555.[149] While foreign grosses represent only 31% of the total box office receipts, executives of Paramount were happy with the international sales, as Star Trek historically was a movie franchise that never has been a big draw overseas.[150]

text: Critical response[edit]

text: Star Trek was acclaimed by film critics. On the review aggregator website Rotten Tomatoes, it received 94% approval with an average rating of 8.1/10 (the highest scored Star Trek film), based on 340 reviews, with the consensus: "Star Trek reignites a classic franchise with action, humor, a strong story, and brilliant visuals, and will please traditional Trekkies and new fans alike."[151] Metacritic, which assigns a weighted average score, gave the film an 82 out of 100 based on 46 reviews from critics.[152][153]

text:
The editing, cinematography, and special effects work are state-of-the-art, as you'd expect – extra praise goes to an astonishingly detailed sound mix – but so are the same aspects of Wolverine, and that film's a joyless bore by comparison. What lifts the Abrams film into the ether is the rightness of its casting and playing, from Saldana's Uhura, finally a major character after all these years, to Urban's loyal, dyspeptic McCoy, to Simon Pegg's grandly comic Scotty, the movie's most radical reimagining of a Star Trek regular.
—Ty Burr of the Boston Globe[154]

text: Ty Burr of the Boston Globe gave the film a perfect four star rating, describing it as "ridiculously satisfying", and the "best prequel ever".[154] Burr praised the character development in the film, opining that "emotionally, Star Trek hits every one of its marks, functioning as a family reunion that extends across decades, entertainment mediums, even blurring the line between audience and show."[154] He continued: "Trading on affections sustained over 40 years of popular culture, Star Trek does what a franchise reboot rarely does. It reminds us why we loved these characters in the first place."[154] Owen Gleiberman from Entertainment Weekly gave the film an 'A-' grade, commenting that director Abrams "crafts an origin story that avoids any hint of the origin doldrums."[155] Similar sentiments were expressed by Rolling Stone journalist Peter Travers, who gave the film a 3.5 out of 4 stars. He felt that the acting from the cast was the highlight of the filming, asserting that the performance of Pine radiated star quality.[156] Likewise, Travers called Quinto's performance "sharp" and "intuitive", and felt that Quinto "gave the film a soul".[156] Manohla Dargis of the New York Times wrote, "Star Trek [...] isn’t just a pleasurable rethink of your geek uncle's favorite science-fiction series. It's also a testament to television's power as mythmaker, as a source for some of the fundamental stories we tell about ourselves, who we are and where we came from.[157] Slate's Dana Stevens felt that the film was "a gift to those of us who loved the original series, that brainy, wonky, idealistic body of work that aired to almost no commercial success between 1966–69 and has since become a science fiction archetype and object of cult adoration."[158] Time Out London's Tom Huddleston praised the aesthetic qualities of the film, such as the design of Enterprise, and praised the performances of the cast.[159] He wrote, "The cast are equally strong: Quinto brings wry charm to an otherwise calculating character, while Pine powers through his performance in bullish, if not quite Shatner-esque, fashion."[159]

text: The chemistry between Pine and Quinto was well received by critics. Gleiberman felt that as the film progressed to the conclusion, Pine and Quinto emulated the same connection as Kirk and Spock.[155] Tim Robey of The Telegraph echoed similar attitudes; "The movie charts their relationship [...] in a nicely oblique way." Robey resumed: "It's the main event, dramatically speaking, but there's always something more thumpingly urgent to command their attention, whether it's a Vulcan distress signal or the continuing rampages of those pesky Romulans."[160] Burr opined that Abrams had an accurate understanding of the relationship between Kirk and Spock, and wrote, "Pine makes a fine, brash boy Kirk, but Quinto's Spock is something special – an eerily calm figure freighted with a heavier sadness than Roddenberry's original. The two ground each other and point toward all the stories yet to come."[154] Similarly, The Guardian writer Peter Bradshaw expressed: "The story of Kirk and Spock is brought thrillingly back to life by a new first generation: Chris Pine and Zachary Quinto, who give inspired, utterly unselfconscious and lovable performances, with power, passion and some cracking comic timing."[161]

text: Some film critics were polarized with Star Trek. Keith Phipps of The A.V. Club gave the film a 'B+' grade, and asserted that it was "a reconsideration of what constitutes Star Trek, one that deemphasizes heady concepts and plainly stated humanist virtues in favor of breathless action punctuated by bursts of emotion. It might not even be immediately recognizable to veteran fans."[162] In concurrence, Roger Ebert of the Chicago Sun-Times stated that "the Gene Roddenberry years, when stories might play with questions of science, ideals or philosophy, have been replaced by stories reduced to loud and colorful action." Ebert ultimately gave the film 2.5 out of 4 stars.[163] Similarly, Marc Bain of Newsweek opined: "The latest film version of Star Trek [...] is more brawn than brain, and it largely jettisons complicated ethical conundrums in favor of action sequences and special effects.[164] Slate journalist Juliet Lapidos argued that the new film, with its "standard Hollywood torture scene", failed to live up to the intellectual standard set by the 1992 Next Generation episode "Chain of Command", whose treatment of the issue she found both more sophisticated and pertinent to the ongoing debate over the United States' use of enhanced interrogation techniques.[165]

text: Accolades[edit]

text: The film garnered numerous accolades after its release. In 2010, it was nominated for four Academy Awards at the 82nd Academy Awards, for Best Sound Editing, Best Sound, Best Visual Effects, and Best Makeup. Star Trek won in the category for Best Makeup, making it the first Star Trek film to receive an Academy Award.[166] The film was nominated for three Empire Awards, to which it won for Best Sci-Fi/Fantasy.[167] In October 2009, Star Trek won the Hollywood Award for Best Movie,[168] and attained six Scream Awards and the 2009 Scream Awards Ceremony.[169] The film attained a Screen Actors Guild Award for Outstanding Performance by a Stunt Ensemble in a Motion Picture at the 16th Screen Actors Guild Awards.[170]

text: Star Trek received several nominations. The film was nominated for a Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media, but was beaten out by Up, also composed by Michael Giacchino.[171][172] At the 36th People's Choice Awards, the film received four nominations: the film was a contender for Favorite Movie, Zoe Saldana was nominated for Favorite Breakout Movie Actress, and both Pine and Quinto were nominated for Favorite Breakout Movie Actor.[173] On June 15, 2009, the film was nominated for five Teen Choice Awards.[174] In addition, Star Trek was nominated for five Broadcast Film Critics Association Awards and was named one of the top-ten films of 2009 by the National Board of Review of Motion Pictures.[175][176]

text: Sequels[edit]

text: The film's major cast members signed on for two sequels as part of their original deals.[177] Abrams and Bryan Burk signed to produce and Abrams signed to direct the first sequel.[178][179] The sequel, Star Trek Into Darkness,[180] starring Benedict Cumberbatch as Khan Noonien Singh, was released on May 16, 2013.[181]

text: A third film, Star Trek Beyond, directed by Justin Lin and starring Idris Elba as the main antagonist,[182] was released on July 22, 2016, to positive reviews. In July 2016, Abrams confirmed plans for a fourth film, and stated that Chris Hemsworth would return as Kirk's father. Most of the cast and producers of Beyond have also agreed to return; however, Abrams stated Anton Yelchin's role would not be recast following his death.[183]


document_title: Pound Cake / Paris Morton Music 2

question_text: who speaks in the beginning of pound cake

text: Pound Cake / Paris Morton Music 2

text: Background[edit]

text: In September 2013, Drake appeared on the cover of Billboard, where in the interview he stated he had two Jay-Z verses on the outro track of Nothing Was the Same.[1] Jay-Z sent Drake his two verses a cappella for "Pound Cake", who Noah "40" Shebib" created a beat for, but Drake decided was not right for the song. OVO Sound producer Boi-1da then created a instrumental that Drake decided to use for the song.[2] Following that, he sent "Pound Cake" to Jay-Z, who wanted to use the song for his twelfth studio album Magna Carta Holy Grail. However, Jay-Z gave the song back to Drake, so he could use it on Nothing Was the Same.[2][3]

text: "Paris Morton" is the name of a model who Drake wrote the first "Paris Morton Music" about, which was an extended verse from his Rick Ross collaboration "Aston Martin Music".[4]

text: Leading up to the album's release, "Pound Cake" / "Paris Morton Music 2" was one of the most anticipated songs from Nothing Was the Same. It then leaked along with the rest of the album on September 15, 2013.[4][5] Drake called the song a sequel, to his previous collaboration with Jay-Z "Light Up", which was featured on his debut album Thank Me Later.[6] The song features them both rapping on the "Pound Cake" side of the song, with "Paris Morton Music 2" being a solo Drake track.[6]

text: Music and lyrics[edit]

text: Jay-Z's verse on "Pound Cake" has him referencing pop-culture and rapping in foreign languages. The "Paris Morton Music 2" section features Drake "proclaiming his once-in-a-generation greatness amid upscale-retail piano tinkling." The closing line of the song and album, is also the album's title; "the tone is neither rueful nor celebratory as much as simply matter-of-fact."[7] Wu-Tang Clan's "C.R.E.A.M." is sampled on "Pound Cake", where the chorus is chopped throughout the song. The song also features Jimmy Smith in the intro, vocals from Timbaland on the chorus, and Ellie Goulding from her song "Don't Say a Word."[8] The track features a "smooth and mellow instrumental that remains steady, before a complete beat switch up at the four-minute mark".[9]

text: In "Pound Cake" Jay-Z says, "I've done made more millionaires than the lotto did/Dame made millions, Biggs made millions/Ye made millions, Just made millions/Lyor made millions, Cam made millions".[10] Rapper Cam'ron took some offense to this saying, "He said he made more millionaires than the lotto did, but I knew Jay when he didn't have a million, when none of us had a million, when Dame and them were on the come-up." He would also went on to say, "he was proud of all of their successes but he thinks Jay-Z could have worded his verse differently as to not infer that he was given a hand out."[11] Additionally Cam'ron responded to the lyric on his Ghetto Heaven, Vol. 1 mixtape track "Come and Talk To Me".[12]

text: Critical reception[edit]

text: "Pound Cake" / "Paris Morton Music 2" was met with generally positive reviews from music critics.. MTV praised Drake's lyricism in the song saying, "Drake ends NWTS just as he started, with slick rhymes and a nimble flow."[13] Justin Davis of Complex said, Drake "shows blinding confidence next to Jay-Z on "Pound Cake," lifting a little of Hov's aura to match him bar-for-bar."[14] Jordan Sargent of Spin praised Boi-1da's production as "brilliant."[15]

text: Despite the positive reviews, most critics dismissed Jay-Z's guest appearance as "lackluster." Bryant Kitching of Consequence of Sound put down Jay-Z's appearance saying, "It's the sequel to Thank Me Later's "Light Up", but the contrast between the two tracks couldn't be more stark. It's here, standing shoulder to shoulder with giants, where it's easiest to see how much Drake's craft has improved since he broke onto the scene. He doesn't need to lean on another MC; He's honed his game to the point where he can make even one of the most decorated rappers look like a second-rate schlub."[16] Andrew Barker of Variety called Jay-Z's appearance on the song "half-assed", and said "it's hardly even surprising to see Drake run lyrical rings around him."[17]

text: Lawsuit[edit]

text: Drake was sued by the estate of Jimmy Smith over the sampling of "Jimmy Smith Rap" in the song. Although Cash Money Records had licensed the recording of the spoken-word piece, the estate argued that they had not licensed the composition (or lack thereof). The estate argued that they would not have licensed the song to Drake in the first place, given that Smith "wasn't a fan of hip hop". Of particular prominence in the case was a line from "Jimmy Smith Rap" that was modified to express an opinion different from that of the original recording; the line "Jazz is the only real music that's gonna last. All that other bullshit is here today and gone tomorrow. But jazz was, is and always will be", was abridged in "Pound Cake" to state that "Only real music's gonna last. All that other bullshit is here today and gone tomorrow."[18]

text: U.S. District Court judge William H. Pauley III ruled in favour of Drake, arguing that his use of the passage qualified as fair use due to its transformative nature. Pauley argued that by "transform[ing] Jimmy Smith's brazen dismissal of all non-jazz music into a statement that 'real music,' with no qualifiers, is 'the only thing that's gonna last.", Drake had created "something new, with a further purpose or different character", with a "sharply different" purpose than the original work. The use of a total of 35 seconds of spoken-word material from "Jimmy Smith Rap" was considered reasonable, noting that the song's subsequent use of a second passage, in which Smith stated that his "company" had champagne in his studio, and that "we just laid back and [recorded the album]", was a commentary on an argument "that many musicians make records in similar ways (e.g. with the help of A&R experts or the stimulating effects of champagne), but that only 'real' music — regardless of creative process or genre — will stand the test of time."[18]

text: Live performances[edit]

text: Jay-Z performed "Pound Cake" for the first time while on his Magna Carter World Tour in Manchester, England.[19]

text: Remixes[edit]

text: The instrumental of "Pound Cake" was remixed by various other rappers shortly after its premiere. On September 25, 2013, The LOX released a remix to "Pound Cake" titled, "Hood Cake".[20] Later that same day, Lupe Fiasco released a remix titled, "Pound of Flesh" / "Paris, Tokyo 2".[21] At the end of the song he references various Chicago hip hop artists such as, Lil Durk, Lil Mouse, Chief Keef, Chance the Rapper, Common and Kanye West.[22] That same day Ransom released a remix to the song.[23] Two days later, Wu-Tang Clan member Raekwon released a remix to the first song titled, "Marble Cake". "Marble Cake" contains an intro that samples Ghostface Killah's verse from "Glaciers of Ice" and he changes Jay-Z's chant of "cake, cake" to "tecs, tecs."[24] Along with Mysonne also releasing a remix that day.[25] Then the following day, Houston's Killa Kyleon released a remix.[26]

text: In October 2013, Trinidad James,[27] Meek Mill and Spade-O,[28] Memphis Bleek,[29] Papoose,[30] Skeme, Childish Gambino, Lil Dicky, and Chamillionaire released remixes or freestyles to "Pound Cake".[31][32][33] On October 13, 2013, Complex named Fiasco's, Killa Kyleon's and The LOX's the best "Pound Cake" remixes.[34][35] In November 2013, Legacy has released a remix to the song,[36] and Craig David released a freestyle of the song on his radio show on Capital XTRA.[37] On January 25, 2014, Tinie Tempah freestyled to the song for Charlie Sloth's Fire in the Booth on BBC Radio 1.[38]

text: Charts[edit]

text:
Chart (2013)
Peak
position

Canada (Canadian Hot 100)[39]
88

UK Singles (Official Charts Company)[40]
[41]
111

UK R&B (Official Charts Company)[42]
26

US Billboard Hot 100[43]
65

US Hot R&B/Hip-Hop Songs (Billboard)[44]
24

tag: table

text: Release history[edit]

text:
Country
Date
Format
Label

United Kingdom
September 26, 2013[45]
Urban contemporary radio
Cash Money Records, Republic Records


document_title: Pearl Fishery Coast

question_text: where is the pearl fishing done in india

text: Pearl Fishery Coast

text: The Pearl Fishery Coast refers to a coastal area of southern India, extending along the Coromandel Coast from Tuticorin to Comorin ruled by Paravars.[1]

text: The coast took its name from the presence of pearls on the coast, and the numerous fisheries that operated to exploit them.[2]

text: In a conflict between the Paravas and the Arabs in 1532, the Paravas sought protection from the Portuguese. In 1535, the Portuguese led an army under Pedro Vaz and expelled the Arabs.[3] As a compensation, the Paravas accepted to convert to Christianity.[3]

text: The Portuguese conquered the Pearl Fishery Coast from the Muslims of Kalyalpattanam in 1525.[3] They restored the rights of the Paravas to exploit their fisheries in exchange for a considerable annual tribute.[3]

text: The Paravas, who lived along the Pearl Fishery Coast adopted Christianity in 1535-1536, becoming an important Christian region, and succeeded the first introduction of Christianity in Mylapore with the Thomas Christians.[3] The Portuguese derived considerable profit from the pearl trade, and strictly controlled the Pearl Fishery Coast through the Padroado system.[3]

text: The missionary Francis Xavier, coming from Goa, reached the Pearl Fishery Coast in 1542, where he was able to evangelize successfully the Paravars, converting an estimated 40,000 to 50,000 souls.[1]

text: In 1553, a fleet of the Ottoman Empire made a raid on the Pearl Fishery Coast around Tuticorin. They were assisted by the Marakkar Muslims of Malabar, and had the tacit agreement of Vittula Nayak of Madurai.[4] 52 Portuguese were captured at Punnaikayal, and churches burnt down.[4] The Ottomans failed however in 1553 against a Portuguese fleet at sea near al-Fahl.[5][6]

text: There were numerous conflicts between the Christian Paravas and the Muslims for control of the fisheries.[2]