document_title: Barrel (unit)

question_text: how many gallons in a barrel of beer

question_tokens: how many gallons in a barrel of beer

text: Barrel (unit)

text: Dry goods in the US[edit]

text:
US dry barrel: 7,056 cubic inches (115.6 L) (≈3.28 US bushels)
Defined as length of stave 28 1⁄2 in (72 cm), diameter of head 17 1⁄8 in (43 cm), distance between heads 26 in (66 cm), circumference of bulge 64 in (1.6 m) outside measurement; representing as nearly as possible 7,056 cubic inches; and the thickness of staves not greater than 4⁄10 in (10 mm)[2] ([Ø ≈ 20.37 in or 51.7 cm]). Any barrel that is 7,056 cubic inches is recognized as equivalent. This is exactly equal to 26.25 US dry gallons.[3]
US barrel for cranberries 5,826 cubic inches (95.5 L) (≈2.71 US bushels)
Defined as length of stave 28 1⁄2 in (72 cm), diameter of head 16 1⁄4 in (41 cm), distance between heads 25 1⁄4 in (64 cm), circumference of bulge 58 1⁄2 in (1.49 m) outside measurement; and the thickness of staves not greater than 4⁄10 in (10.16 mm)[2] ([Ø ≈18.62 in or 47.3 cm]). No equivalent in cubic inches is given in the statute, but later regulations specify it as 5,826 cubic inches.[4]

text: Some products have a standard weight or volume that constitutes a barrel:

text:
Cornmeal, 200 pounds (90.7 kg)
Cement (including Portland cement[5]), 4 cubic feet (113 L) or 376 pounds (170.6 kg)[3]
Sugar, 5 cubic feet (142 L) (37 US gal)
Wheat or rye flour, three bushels or 196 pounds (88.9 kg)
Lime (mineral), 280 pounds (127 kg) large barrel, or 180 pounds (81.6 kg) small barrel[6]
Butter and cheese in UK, 224 pounds (102 kg)[3]
Salt, 280 pounds (130 kg)[3]

text: Fluid barrel in the US and UK[edit]

text: Fluid barrels vary depending on what is being measured and where. In the UK a beer barrel is 36 imperial gallons (43 US gal; 164 L). In the US most fluid barrels (apart from oil) are 31.5 US gallons (26 imp gal; 119 L) (half a hogshead), but a beer barrel is 31 US gallons (26 imp gal; 117 L).[7][8] The size of beer kegs in the US is based loosely on fractions of the US beer barrel. When referring to beer barrels or kegs in many countries, the term may be used for the commercial package units independent of actual volume, where common range for professional use is 20-60 L, typically a DIN or Euro keg of 50 L.

text: History[edit]

text: Richard III, King of England from 1483 until 1485, had defined the wine puncheon as a cask holding 84 gallons and a wine tierce as holding 42 gallons. By 1700 custom had made the 42-gallon watertight tierce a standard container for shipping eel, salmon, herring, molasses, wine, whale oil and many other commodities in the English colonies. After the American Revolution in 1776, American merchants continued to use the same size barrels.[9]

text: Oil barrel[edit]

text: This section may need to be rewritten entirely to comply with Wikipedia's quality standards. You can help. The discussion page may contain suggestions. (January 2015)

text: In the worldwide oil industry, an oil barrel is defined as 42 US gallons, which is about 7002159000000000000♠159 litres[10] or 35 imperial gallons.[11]

text: Oil companies that are listed on American stock exchanges typically report their production in terms of volume and use the units of bbl, Mbbl (one thousand barrels), or MMbbl (one million barrels) and occasionally for widest comprehensive statistics the Gbbl (or sometimes Gbl) denoting a  billion.[12] There is a conflict concerning the units for oil barrels (see § Definitions and units). For all other physical quantities, according to the International System of Units, the uppercase letter "M" means Mega ("one million"), for example: Mm (one million metres, megametres), MHz (one million hertz, or megahertz), MW (one million watts, or megawatt), MeV (one million electronvolt, or megaelectronvolt). But due to tradition, the Mbbl acronym is used today meaning "one thousand bbl", as a heritage of the roman number "M" meaning "one thousand". On the other hand, there are efforts to avoid this ambiguity, and most of the barrel dealers today prefer to use bbl, instead of Mbbl, mbbl, MMbbl or mmbbl.

text: Outside the United States, volumes of oil are usually reported in cubic metres (m3) instead of oil barrels. Cubic metre is the basic volume unit in the International System. In Canada, oil companies measure oil in cubic metres but convert to barrels on export, since most of Canada's oil production is exported to the US. The nominal conversion factor is 1 cubic metre = 6.2898 oil barrels,[13] but conversion is generally done by custody transfer meters on the border since the volumes are specified at different temperatures and the exact conversion factor depends on both density and temperature. Canadian companies operate internally and report to Canadian governments in cubic metres, but often convert to US barrels for the benefit of American investors and oil marketers. They will generally quote prices in Canadian dollars per cubic metre to other Canadian companies, but use US dollars per barrel in financial reports and press statements, making it appear to the outside world that they operate in barrels.

text: Companies on the European stock exchanges report the mass of oil in metric tonnes. Since different varieties of petroleum have different densities, however, there is not a single conversion between mass and volume. For example, one tonne of heavy distillates might occupy a volume of 256 US gallons (6.1 bbl). In contrast, one tonne of crude oil might occupy 272 gallons (6.5 bbl) and one tonne of gasoline will require 333 gallons (7.9 bbl).[14] Overall, the conversion is usually between 6 and 8 bbl per tonne.

text: History[edit]

text: The measurement of an "oil barrel" originated in the early Pennsylvania oil fields. The Drake Well, the first oil well in the US, was drilled in Pennsylvania in 1859, and an oil boom followed in the 1860s. When oil production began, there was no standard container for oil, so oil and petroleum products were stored and transported in barrels of different shapes and sizes. Some of these barrels would originally have been used for other products, such as beer, fish, molasses or turpentine. Both the 42-US-gallon (159 l) barrels (based on the old English wine measure), the tierce (159 litres) and the 40-US-gallon (151.4 l) whiskey barrels were used. Also, 45-US-gallon (170 l) barrels were in common use. The 40-gallon whiskey barrel was the most common size used by early oil producers, since they were readily available at the time.

text: Around 1866, early oil producers in Pennsylvania came to the conclusion that shipping oil in a variety of different containers was causing buyer distrust. They decided they needed a standard unit of measure to convince buyers that they were getting a fair volume for their money, and settled on the standard wine tierce which was two gallons larger than the standard whisky barrel. The Weekly Register, an Oil City, Pennsylvania newspaper, stated on August 31, 1866 that "the oil producers have issued the following circular:"

text: Whereas, It is conceded by all producers of crude petroleum on Oil Creek that the present system of selling crude oil by the barrel, without regard to the size, is injurious to the oil trade, alike to the buyer and seller, as buyers, with an ordinary sized barrel cannot compete with  those with large ones. We, therefore, mutually agree and bind ourselves that from this date we will sell no crude by the barrel or package, but by the gallon only.  An allowance  of two gallons will be made on the gauge of each and every 40 gallons in favor of the buyer.

text: and by that means King Richard III's English wine tierce became the American standard oil barrel.[15]

text: By 1872, the standard oil barrel was firmly established as 42 US gallons.[16] The 42-gallon standard oil barrel was officially adopted by the Petroleum Producers Association in 1872 and by the U.S. Geological Survey and the U.S. Bureau of Mines in 1882.[9]

text: In modern times, many different types of oil, chemicals, and other products are transported in steel drums. In the United States, these commonly have a capacity of 55 US gallons (208 l) and are referred to as such. They are called 210-litre or 200-kg drums outside the United States. In the United Kingdom and its former dependencies, a 44-imperial-gallon (200 l) drum is used, even though all those countries now officially use the metric system and the drums are filled to 200 litres. Thus, the 42-US-gallon oil barrel is a unit of measure, and is no longer a physical container used to transport crude oil, as most petroleum is moved in pipelines or oil tankers. In the United States, the 42-US-gallon size of barrel as a unit of measure is largely confined to the oil industry, while different sizes of barrel are used in other industries. Nearly all other countries use the metric system.

text: Definitions and units[edit]

text: The abbreviations Mbbl and MMbbl refer to one thousand and one million barrels, respectively. These are derived from the Latin "mille" meaning "thousand". This is different from the SI convention where "M" stands for the Greek "mega", meaning "million". Outside of the oil industry, the unit Mbbl (megabarrel) can sometimes stand for one million barrels. The "b" may have been doubled originally to indicate the plural (1 bl, 2 bbl), or possibly it was doubled to eliminate any confusion with bl as a symbol for the bale. Some sources assert that "bbl" originated as a symbol for "blue barrels" delivered by Standard Oil in its early days. However, while Ida Tarbell’s 1904 Standard Oil Company history acknowledged the "holy blue barrel", the abbreviation “bbl” had been in use well before the 1859 birth of the U.S. petroleum industry.[17]

text: Oil wells recover not just oil from the ground, but also natural gas and water. The term barrels of liquids per day (BLPD) refers to the total volume of liquid that is recovered.[18] Similarly, barrels of oil equivalent or BOE is a value that accounts for both oil and natural gas while ignoring any water that is recovered.

text: Other terms are used when discussing only oil. These terms can refer to either the production of crude oil at an oil well, the conversion of crude oil to other products at an oil refinery, or the overall consumption of oil by a region or country. One common term is barrels per day (BPD, BOPD, bbl/d, bpd, bd, or b/d) where 1 BPD is equivalent to 0.0292 gallons per minute.[19] One BPD also becomes 49.8 tonnes per year.[19] At an oil refinery, production is sometimes reported as barrels per calendar day (b/cd or bcd), which is total production in a year divided by the days in that year. Likewise, barrels per stream day (BSD or BPSD) is the quantity of oil product produced by a single refining unit during continuous operation for 24 hours.[20]

text: Maximum accuracy when converting bbl to cubic metres[edit]

text: When used to denote a volume, 1 bbl is exactly equivalent to 42 US gallons and is easily converted to any other unit of volume. A volume of 1 bbl is exactly equivalent to a volume of 158.987294928 litres.

text: In the oil industry, following the definition of the American Petroleum Institute, a standard barrel of oil is often taken to mean the amount of oil that at a standard pressure (14.696 psi) and temperature (60 F) would occupy a volume of exactly 1 bbl. This standard barrel of oil will occupy a different volume at different pressures and temperatures. A standard barrel in this context is thus not simply a measure of volume, but of volume under specific conditions. The task of converting this standard barrel of oil to a standard cubic metre of oil is complicated by the fact that the standard cubic metre is defined by the American Petroleum Institute to mean the amount of oil that at 101.325 kPa and 15 C occupies 1 cubic metre. The fact that the conditions are not exactly the same means that an exact conversion is impossible unless the exact expansion coefficient of the crude is known, and this will vary from one crude oil to another.

text: For a light oil with an API gravity of 35, warming the oil from 15.00 °C to 60.00 °F (which is 15.56 °C) might increase its volume by about 0.047%. Conversely, a heavy oil with an API gravity of 20 might only increase in volume by 0.039%. If physically measuring the density at a new temperature is not possible, then tables of empirical data can be used to accurately predict the change in density. In turn, this allows maximum accuracy when converting between standard bbl and standard m3.

text: International commodity exchanges will often set an arbitrary conversion factor for benchmark crude oils for financial accounting purposes. For instance the conversion factor set by the New York Mercantile Exchange (NYMEX) for Western Canadian Select (WCS) crude oil traded at Hardisty, Alberta, Canada is 6.29287 U.S. barrels per cubic metre.,[21] despite the fact that crude oil cannot be measured to that degree of accuracy. Regulatory authorities in producing countries set standards for measurement accuracy of produced hydrocarbons, where such measurements affect taxes or royalties to the government. In the United Kingdom, for instance, the measurement accuracy required is ±0.25%.[22]

text: Qualifiers[edit]

text: A barrel can technically be used to specify any volume. Since the actual nature of the fluids being measured varies along the stream, sometimes qualifiers are used to clarify what is being specified. In the oil field, it is often important to differentiate between rates of production of fluids, which may be a mix of oil and water, and rates of production of the oil itself. If a well is producing 10mbd of fluids with a 20% water cut, then the well would also be said to be producing 8,000 barrels of oil a day (bod).

text: In other circumstances, it can be important to include gas in production and consumption figures. Normally, gas amount is measured in standard cubic feet or cubic metres for volume (as well as in kg or Btu which don't depend on pressure or temperature). But when necessary, such volume is converted to a volume of oil of equivalent enthalpy of combustion. Production and consumption using this analogue is stated in barrels of oil equivalent per day (boed).

text: In the case of water injection wells, in the United States it is common to refer to the injectivity rate in barrels of water per day (bwd). In Canada, it is measured in cubic metres per day (m3/d). In general, water injection rates will be stated in the same units as oil production rates, since the usual objective is to replace the volume of oil produced with a similar volume of water to maintain reservoir pressure.


document_title: Jeepers Creepers (2001 film)

question_text: where is jeepers creepers supposed to take place

root

text: Jeepers Creepers (2001 film)

text: Plot[edit]

text: Trish Jenner and her brother Darry are traveling home from college for spring break. As they drive through the Florida countryside, an old rusty truck tries to run them off the road. The vehicle eventually passes them, and they later see the same truck parked next to an abandoned church with a man sliding what appears to be bodies wrapped in bloodstained sheets into a large pipe sticking out of the ground. The man notices Trish and Darry watching him and attempts to run them off the road a second time.

tag: p

text: After escaping, Darry convinces Trish to go back to the church and investigate. At the church, Darry hears noises coming from within the pipe and crawls inside with Trish holding on to his feet, but he ends up falling in. At the bottom, he finds a dying man with stitches running down his stomach, and hundreds of other bodies sewn to the walls and ceiling. After Darry escapes, the two flee the scene and attempt to contact the police at a diner. At the diner, they are phoned by a strange woman who warns them that they are in danger. Confused and frightened, they ignore her warning. Later, Trish and Darry leave, with two police officers providing a security escort. As they travel, the police learn that the church has caught fire, and any evidence of bodies has been destroyed. The police are then attacked and killed by the mysterious driver, who loads their bodies into his truck.

text: Fleeing, Trish and Darry stop at a reclusive old woman's house, and beg her to call the police. The woman complies until she notices the driver hiding in her yard. She attempts to kill him, but the driver kills her and reveals his inhuman face to Trish and Darry, before pursuing them once again. Trish runs the driver over with her car, but they are horrified to see a giant wing tear through his trench coat and flap in the air. They drive to the local police station, where they are approached by psychic Jezelle Gay Hartman. She reveals herself as the woman who called them at the diner and tells them the true nature of their pursuer: it is an ancient creature, known as "the Creeper", which hunts every twenty-third spring for twenty-three days to eat human body parts, which then form parts of its own body. She also tells them that it seeks out its victims through fear, and, by smelling the fear from Trish and Darry, it has found something it likes, but she does not know what.

text: The wounded Creeper arrives and attacks the police station. After cutting off the power, it gains entrance to the cells and eats prisoners to heal. The Creeper is swarmed by police but kills a number of them and evades capture. Trapped, Jezelle warns Trish and Darry that one of them will die a horrible death. Darry demands to know who, and Jezelle looks at Trish. The Creeper finds them, but spares Jezelle as she does not have anything it wants. The Creeper corners Trish and Darry in an upstairs interrogation room, and after sniffing and tasting them, the Creeper throws Trish aside and chooses Darry. Trish offers her life for her brother's, but the Creeper escapes out of the window and flies away with Darry. The next day, Trish is picked up by her parents, and Jezelle returns home in regret. In the Creeper's new hideout, an abandoned factory, it is revealed that the Creeper has removed the back of Darry's head and taken his eyes.

text: Cast[edit]

text:
Gina Philips as Patricia "Trish" Jenner
Justin Long as Darius "Darry" Jenner
Jonathan Breck as the Creeper / Bald Cop
Patricia Belcher as Jezelle Gay Hartman
Brandon Smith as Sergeant Davis Tubbs
Eileen Brennan as the Cat Lady
Jon Beshara as Trooper Robert Gideon
Avis-Marie Barnes as Trooper Natasha Weston
Tom Tarantini as Roach

tag: ul

text: Production[edit]

text: This section needs expansion. You can help by adding to it. (October 2016)

tag: table

text: Jeepers Creepers was filmed in Dunnellon, Florida in the summer of 2000.[4]

text: Reception[edit]

text: Rotten Tomatoes, a review aggregator, reports that 45% of 108 surveyed critics gave the film a positive review; the average rating was 5.1/10. The sites consensus reads: "Jeepers Creepers has a promising start. Unfortunately, the tension and suspense quickly deflates into genre cliches as the movie goes on."[5] Metacritic rated it 49/100.[6] Scott Foundas of Variety wrote that it is "the most conventional and least imaginative of the recent crop of high-class fright movies".[7] Stephen Holden of The New York Times called it "a cannier-than-average teen horror movie" that "disintegrates into a shoot-by-numbers monster hunt".[8] Kevin Thomas of the Los Angeles Times wrote that the film "has the scariest opening sequence of any horror picture in recent memory" but becomes an "amusing horror-comedy, spooky and jolting but too literally preposterous to regain its initial aura of suspense."[9] Peter Bradshaw of The Guardian wrote that the film starts off well but quickly degenerates into cliche.[10]

text: Audiences polled by CinemaScore gave the film an average grade of "D" on an A+ to F scale.[11]

text: Box office[edit]

text: Jeepers Creepers opened in 2,944 theaters and took in a US gross of $37.9 million; it later made $21.3 million internationally, making a total of $59.2 million worldwide.[3]

text: It broke the record for the highest ever Labor Day opening weekend four-day gross, holding the record until the 2003 release of its sequel, Jeepers Creepers 2.[12] After the 2015 Labor Day weekend, Jeepers Creepers holds the #7 spot and the #5 spot goes to its sequel.[12] Allowing for films that had been released prior to Labor Day, Jeepers Creepers holds the #16 spot for the Labor Day four-day weekend, with the #9 spot going to Jeepers Creepers 2.[13]

text: Awards[edit]

text:
Nominated: 28th Saturn Awards – Best Horror Film
Nominated: 28th Saturn Awards – Best Young Actor: Justin Long
Nominated: International Horror Guild Award – Best Movie[14]
Nominated: 34th Sitges Film Festival - Best Film[15]

text: Sequels[edit]

text: In 2003, a sequel was released, Jeepers Creepers 2. Events in the second film take place four days after the first film. The Creeper and Darry are the only characters to appear in both films, although they are not the only actors to appear in both films. In the first film, actor Tom Tarantini appears as the minor character "Austin McCoy" AKA "Roach" who is a car thief and regular in the Poho County jail. In the second film, he portrays "Coach Dwayne Barnes".

text: On September 11, 2015, Jeepers Creepers 3 was officially greenlit.,[16] with a planned 2017 release.[17] Victor Salva returns as director, Jonathan Breck returns as "the Creeper",[16] and Gina Philips returns as "Trish Jenner", her first screen role in five years.[17] Production was halted in 2016 until it resumed in February 2017,[18] and completed in April. The film opened for what was said would be only a one-night showing on September 26, 2017; it was then shown again October 4 and it was announced that it would air on the SyFy channel on October 28, with a Blu-ray/digital release on December 28, 2017.[19]


document_title: Suicide Squad (film)

question_text: who plays the joker off of suicide squad

text: Suicide Squad (film)

text: Plot

text: In the aftermath of Superman's death, intelligence officer Amanda Waller assembles Task Force X, a team of dangerous criminals imprisoned at Belle Reve Prison consisting of elite hitman Deadshot, former psychiatrist Harley Quinn, pyrokinetic ex-gangster El Diablo, opportunistic thief Captain Boomerang, genetic mutation Killer Croc, and specialized assassin Slipknot. They are placed under command of Colonel Rick Flag to be used as disposable assets in high-risk missions for the United States government. Each member has a nano bomb implanted in their neck, designed to detonate should any member rebel or try to escape.

text: One of Waller's intended recruits is Flag's girlfriend Dr. June Moone, an archaeologist possessed by a witch known as the "Enchantress". Enchantress quickly turns on Waller, deciding to eradicate humankind with a mystical weapon for imprisoning her. She besieges Midway City by transforming its populace into a horde of monsters, and summons her brother Incubus to assist her. Waller then deploys the squad to extract a high-profile mark from Midway, which is reported to be under a terrorist attack.

text: Harley's homicidal lover, the Joker, finds out about her predicament and tortures Belle Reve Security Officer Griggs into leading him to the facility where the nano bombs are made. There, he blackmails Dr. Van Criss into disabling Harley's bomb. On approach, the squad's helicopter is shot down, forcing them to proceed on foot to their target. Boomerang inaccurately convinces Slipknot that the bombs are a ruse to keep them in check; Slipknot attempts to escape and Flag kills him via his nano bomb, while the squad is attacked by Enchantress' minions. They eventually fight their way through to a safe room, where they learn that their mark is Waller herself, who is attempting to cover up her involvement in Enchantress' siege.

text: The squad escorts Waller to a rooftop for extraction, but the arriving helicopter has been hijacked by the Joker and his men, who open fire on the squad while Harley climbs aboard upon Dr. Van Criss disarming the bomb. However, Waller's men shoot down the helicopter, and Harley falls out while the Joker is presumed dead, after which Harley rejoins the squad. Alerted to Waller's whereabouts, Enchantress' minions arrive and kidnap her. Deadshot finds Waller's confidential files and learns the truth about Enchantress. Flag is then forced to confess the truth, causing the squad members to abandon him. With Waller compromised, Flag relieves the squad of the mission, but chooses to continue. Realizing they have an opportunity to prove themselves, they soon rejoin him and locate Enchantress at a partially-flooded subway station. Killer Croc and a group of Navy SEALs, led by Lieutenant GQ Edwards, go underwater to plant a bomb underneath Incubus. El Diablo embraces his abilities and distracts Incubus long enough for the bomb to detonate underneath, killing them both as well as Edwards.

text: The remaining squad members battle Enchantress together, but are ultimately defeated. Enchantress offers to fulfill their deepest desires in exchange for their allegiance, and Harley feigns interest in order to get close enough to cut out Enchantress' heart. Killer Croc then throws explosives into Enchantress' weapon and Deadshot shoots them, destroying the device. Flag takes Enchantress' heart and crushes it, finally freeing June from the curse. Waller, still alive, emerges, and the squad members are returned to Belle Reve with ten years off their sentences. All but Captain Boomerang are allowed special privileges. The Joker, alive and unscathed, breaks into the penitentiary and rescues Harley. In a mid-credits scene, Waller meets with Bruce Wayne, who agrees to protect her from the backlash against her role in Enchantress' rampage in exchange for access to the government's files on the expanding metahuman community.

text: Cast

text: Will Smith as Floyd Lawton / Deadshot:[4]

text: Jared Leto as the Joker:

text: Margot Robbie as Harleen Quinzel / Harley Quinn:[10]

text: Joel Kinnaman as Rick Flag:[13]

text: Viola Davis as Amanda Waller:[15]

text: Jai Courtney as George "Digger" Harkness / Captain Boomerang:[18]

text: Jay Hernandez as Chato Santana / El Diablo:[14][17]

text: Adewale Akinnuoye-Agbaje as Waylon Jones / Killer Croc:

text: Cara Delevingne as June Moone / Enchantress:

text: Karen Fukuhara as Tatsu Yamashiro / Katana:

text: Adam Beach as Christopher Weiss / Slipknot:[21]

text: Ike Barinholtz as Griggs:[22]

text: Scott Eastwood as GQ Edwards:[22]

text: Additionally, Ben Affleck appears as Bruce Wayne / Batman, and Ezra Miller appears as Barry Allen / Flash, reprising their roles from Batman v Superman: Dawn of Justice in cameo roles; while Jason Momoa makes a brief photographic appearance as Arthur Curry / Aquaman.[24][25][26] Alain Chanoine portrays Incubus, the brother of Enchantress, who possesses the body of a businessman in Midway City.[27] Jim Parrack appears as Jonny Frost, and Common appears as Monster T, the Joker's henchmen.[17][28] David Harbour portrays government official Dexter Tolliver, Alex Meraz portrays Navy SEAL Gomez, and Matt Baram portrays Dr. Van Criss.[29][30][22] Shailyn Pierre-Dixon plays Zoe Lawton, Deadshot's daughter, and Corina Calderon plays Grace Santana, Diablo's wife.[31][32] David Ayer, writer and director of the film, makes a cameo appearance as a Belle Reve officer.

text: Production

text: Development

text: The film was announced in 2009 with Dan Lin as producer, Stephen Gilchrist as co-producer and Justin Marks as the screenwriter.[33] David Ayer signed on to direct and write the film in September 2014.[34][35] He later described the film to Empire Online as "Dirty Dozen with supervillains".[36] Ayer had six weeks to write his script, given the release date was already set.[37]

text: Casting

text: In October 2014, Warner Bros. had initially offered Ryan Gosling, Tom Hardy, Margot Robbie, and Will Smith roles in the film.[38] In November, TheWrap revealed that Jared Leto was in talks for the role of Joker, which Gosling was originally sought for.[39] The main cast was announced by Warner Brothers in December 2014 with Smith, Hardy, Leto, Robbie, Jai Courtney, and Cara Delevingne as Deadshot, Rick Flag, Joker, Harley Quinn, Captain Boomerang, and Enchantress, respectively.[40] The studio was also considering Viola Davis, Octavia Spencer, and Oprah Winfrey for the role of Amanda Waller.[41] Following the announcement of the cast, comic book writer John Ostrander (creator of the modern incarnation of the Suicide Squad) talked with Comic Book Resources about the casting, saying, "I have no problem with the casting... what I am really impressed by with all of the casting is that they are getting some very good actors to play these parts."[42]

text: In January 2015, Davis expressed interest in playing Amanda Waller during an interview, saying "I'm fascinated by her (Waller)."[16] Meanwhile, Tom Hardy had to drop out as Rick Flag because of scheduling issues with his film The Revenant.[43] Jake Gyllenhaal was then given an offer to replace Hardy as Flag, but he declined.[44] The studio was then looking at Joel Edgerton, Jon Bernthal, and Joel Kinnaman to play the role.[45][46][47] In February, Jay Hernandez joined the cast and Kinnaman was also confirmed to play Flag.[48] At the 87th Academy Awards, Davis confirmed that she had been cast as Amanda Waller.[49] In March 2015, boxer Raymond Olubawale was reported to have an unspecified role in the film,[50] and Scott Eastwood announced that he had been cast on Twitter.[51] Later that month, it was confirmed that Adewale Akinnuoye-Agbaje and Karen Fukuhara had been cast as Killer Croc and Katana, respectively.[20] Adam Beach, Ike Barinholtz, and Jim Parrack were added to the cast in April 2015.[22] In January 2016, Ben Affleck was confirmed to reprise his role as Batman from Batman v Superman: Dawn of Justice.[24]

text: Filming

text: Filming began on April 13, 2015.[52][53] On April 26 and 27, filming was to take place at the Hy's Steakhouse.[54] A "snowstorm" scene was filmed on April 29 on the Adelaide St. and in Ching Lane.[55] On May 5, a few major scenes were filmed in downtown Toronto next to Yonge and Dundas Square.[56] Principal photography wrapped in August 2015 after additional filming took place in Chicago, Illinois.[57][58] Additional filming ensued in 2016 following Warner's desire to make a more lighthearted and comedic tone akin to the trailers, especially as Batman v Superman: Dawn of Justice was criticized for being too somber. It was also confirmed that Zack Snyder filmed the shot with the Flash while shooting Justice League in London, while Ayer was in post-production on Suicide Squad.[59] Ayer confirmed that the film was completed on June 24, 2016.[60] Despite the involvement of multiple editors in the process, only John Gilroy is named in the main credit sequence.[37] It was later revealed that many of Jared Leto's scenes were omitted from the final cut.[61][62] An interview with Leto revealed that he was upset over the removal of his work.[63][64]

text: Music

text: Academy Award-winning composer Steven Price, who previously worked with Ayer on Fury, composed the score for Suicide Squad.[65] Suicide Squad: Original Motion Picture Score was announced for a release date of August 8, 2016.[66] A soundtrack album for the film, titled Suicide Squad: The Album, was announced in June 2016, and released on August 5, 2016.[67] The album's first single, "Heathens" by Twenty One Pilots, was released on June 20, 2016.[68] A music video for the song, set in a prison and featuring footage from the film, was released on June 21.[69] "Sucker for Pain" was released as the second single on June 24.[68] The album's third single, "Purple Lamborghini" by Skrillex and Rick Ross, was released on July 22.[70] "Gangsta" by Kehlani; "Standing in the Rain" by Action Bronson, Mark Ronson, and Dan Auerbach of The Black Keys; "Medieval Warfare" by Grimes; and a cover of Queen's "Bohemian Rhapsody" performed by Panic! at the Disco were released as four promotional singles on August 2, August 3, and August 4, 2016 respectively, with "Medieval Warfare" and "Bohemian Rhapsody" being released on the same day.[71]

text: Marketing

text: Suicide Squad held a panel at the 2015 San Diego Comic-Con International, with stars Smith, Robbie, Courtney, Davis, and Kinnaman amongst those who appeared. A trailer intended to be exclusive to the event premiered, but was leaked online, with Warner Bros. responding by stating they would not release an official version.[72] However, the following day, Warner Bros. released an official version, stating: "Warner Bros. Pictures and our anti-piracy team have worked tirelessly over the last 48 hours to contain the Suicide Squad footage that was pirated from Hall H on Saturday. We have been unable to achieve that goal. Today we will release the same footage that has been illegally circulating on the web, in the form it was created and high quality with which it was intended to be enjoyed. We regret this decision as it was our intention to keep the footage as a unique experience for the Comic-Con crowd, but we cannot continue to allow the film to be represented by the poor quality of the pirated footage stolen from our presentation."[73]

text: Release

text: Suicide Squad premiered at the Beacon Theatre in New York City on August 1, 2016. It was theatrically released in the United States on August 5, 2016, in 2D, 3D and IMAX 3D.[74]

text: Reception

text: Box office

text: Suicide Squad was a box office success,[75] grossing $325.1 million in the United States and Canada and $420.5 million in other territories for a worldwide total of $745.6 million, against a production budget of $175 million ($325 million including advertising and promotion costs).[3][76][77] Suicide Squad was highly anticipated by audiences worldwide, despite the negative critical reception and lower-than-expected box office performance of Batman v Superman: Dawn of Justice in March.[2] It recorded a worldwide opening of $267.1 million from 59 countries and IMAX global debut of $18.2 million, both set new records for the month of August.[78] That is also the second-best debut worldwide for a DC property after Dawn of Justice ($422.5 million) and the seventh best for a superhero title.[79] The Hollywood Reporter highlighted that Dawn of Justice had an advantage of receiving a coveted day-and-date release with China, while Suicide Squad did not secure a release date in the country.[80] Forbes pointed out that had the film secured a release in China, it may well have matched or topped the $773 million total of Guardians of the Galaxy and the $782 million gross of Deadpool.[75] Deadline.com calculated the net profit of the film to be $158.45 million, when factoring together all expenses and revenues for the film, making it the 10th most profitable release of 2016.[81]

text: North America

text: Projections for its opening weekend in the United States and Canada were being continuously revised upwards starting from $100 million to as high as $150 million.[82][83][84][85][86] The film opened across 4,255 theaters, the widest for the month of August. Of that, 382 theaters were in IMAX, over 490 large-format screens locations, 270+ drive-ins, 180+ D-Box locations and over 200 dine-in/luxury theaters.[87] It opened Friday, August 5, 2016, on about 11,000 screens and earned $65.1 million, marking the biggest August opening and single day, and the third biggest opening day gross of 2016. Of that, $5.8 million came from IMAX theaters, also a new August record.[88] This includes $20.5 million it earned from Thursday previews, which began at 6:00pm, setting the record for biggest-ever preview of August and the second biggest for a non-sequel film (behind Man of Steel). IMAX comprised $2.4 million (12%) of that figure.[89][90] Much like Batman v Superman and The Dark Knight Rises, however, the film saw a steep Friday-to-Saturday decline, grossing $38.8 million (a drop of 41%).[79][91] In total, it earned $133.7 million in its opening weekend, setting records for the month of August (previously held by Guardians of the Galaxy) and for Will Smith's career (I Am Legend).[79] It is also the second-biggest debut ever for a non-sequel, behind The Hunger Games ($152 million), the fourth biggest of the year and the fifth biggest for Warner Bros.[79][91] IMAX made up $11 million of the opening numbers from 382 theaters, just $200,000 shy of breaking Guardians of the Galaxy' record. Nevertheless, it did beat Guardians' $7.6 million in terms of premium large format screens which comprised $13 million. For Cinemark XD screens, which made $3.2 million, the sixth-highest opening ever.[79]

text: The opening numbers helped Warner Bros. push past the $1 billion mark in North America for the sixteenth year in a row. The film also helped the total weekend tickets sales to an unprecedented $221.3 million in August. Previously, August has never exceeded $200 million at the box office in a single weekend in North America.[79][92][93] Suicide Squad scored a massive debut primarily on the backs of the under-35 set which made up 76% of the opening weekend.[94] Audiences were also diverse, with African-Americans making up 41% of the patrons.[94]

text: Following its record breaking opening weekend, it posted the biggest August Monday gross with $13.1 million, a drop of 56.5% from its Sunday gross. This broke Guardians of the Galaxy's previous record of $11.7 million,[95][96] and also the biggest August Tuesday with $14.3 million, up 9% from its Monday take.[97] The film has now earned the biggest Friday, Saturday, Sunday, Monday and Tuesday in August history.[98] It made $179.1 million in its first week of release, the fourth biggest of the year.[99] Despite earning $13.4 million on its second Friday, the film dropped 79%, slightly less than Batman v Superman's 81% drop.[100] Following a first-place finish in its first weekend of release, the film faced a steep decline of 67.2% in its second weekend, earning an estimated $43.8 million to score the biggest August second weekend gross. It also passed the $200 million mark in just ten days and was able to hold the top spot for the second time in a row despite competition from the comedy Sausage Party.[101] However, the drop is among one of the biggest decline for a studio superhero film, and for Warner Bros. which The Hollywood Reporter called it "deja vu all over again" after Batman v Superman tumbled 69% in its second weekend earlier in the year. The second weekend decline is the second biggest in summer history, only behind Warcraft's historic 70% drop in June of the same year. The site also highlighted possible reasons for the significantly steep drop: dismal reviews, general apathy among moviegoers, altering movie-going habits and competition.[102][103]

text: After three weeks of holding the top spot, it was finally overtaken by Don't Breathe on its fourth weekend.[104] It maintained the second spot in its fifth weekend and registered its best hold with only a -20% decline while also passing the $300 million threshold[105][106] on its thirty-second day of release.[107] It remained in the top ten for eight weekends until finally falling off in its ninth weekend.[108]

text: Outside North America

text: Internationally, Suicide Squad secured a release in approximately 62 countries with no China on the slate.[109] It was released in 57 countries (70% of the marketplace) in conjuncture with its North American debut, including France, South Korea, Australia, Russia and the CIS, Brazil, the United Kingdom, Republic of Ireland, Spain and Mexico beginning from Wednesday, August 3. According to trackings, the film was projected to have an opening anywhere between $85 million to $120 million, which would be a new August international debut record.[110][111] Deadline.com pointed out that although the film is a lesser known property, similar to Guardians of the Galaxy, stars such as Will Smith are better known internationally, which could potentially aid the film's performance.[110] It opened Wednesday, August 3, 2016, in 7 countries, earning $8.1 million.[112] It opened in 50 more countries on August 4 and 5, earning $53.8 million for a three-day total of $64.6 million from 57 countries.[112] Through Sunday, August 7, it delivered a five-day opening of $133.3 million from 57 countries on 17,630 screens, nearly double the previous August record held by Guardians of the Galaxy. It also set IMAX opening record with $7 million.[113] It added $58.7 million on its second weekend, a drop of 57% on 15,600 screens in 62 territories.[114] After two straight wins, it was overtaken by the animated The Secret Life of Pets in its third weekend.[115]

text: It recorded the biggest opening day of all time for Warner Bros. in Russia ($3.9 million), the biggest August opening day in the United Kingdom and Ireland ($6.2 million), Brazil ($3 million), South Korea ($2.9 million, also the second biggest Warner Bros. opening day), France ($2.7 million), Sweden ($564,000) and Holland ($517,000, also the biggest opening of the year).[112] Mexico and Spain opened with $3.9 million and $1.4 million respectively.[112] In terms of opening weekend, the film recorded the biggest Warner Bros. opening of all time in Russia ($11.4 million). In Brazil, despite playing amidst the 2016 Summer Olympics, it managed to open with $11.75 million, marking the biggest August opening weekend of all time, the biggest Will Smith opening, and the fourth biggest opening for a superhero film. Its opening numbers alone made it the second biggest film for the studio there.[113] In South Korea, although the film was off to a strong start, however, it was eventually overtaken by The Last Princess and Operation Chromite debuting at No. 3. It made $10.8 million in five days (Wednesday to Sunday).[113][116] The U.K. and Ireland posted the biggest opening market for the film with £11.25 million ($14.8 million) from 573 theaters. Discounting previews, it delivered the third-biggest UK opening of the year, behind Batman v Superman: Dawn of Justice (£14.62 million) and Captain America: Civil War (£14.47 million). It also became the first new released film of August since 2014 to debut above £3 million.[113][117] Elsewhere, it scored the biggest August opening in Australia ($10.5 million), Mexico ($10.4 million) and Argentina ($2.5 million), while in Spain, it recorded the biggest DC opening with $3.4 million, where it was behind The Secret Life of Pets for the weekend and France a $7.9 million opening.[113] It opened in first place in India for a non-local film with $1.8 million from 462 screens, despite facing competition from Jason Bourne ($1.1 million from 1,027 screens) which also opened on the same weekend. Despite the later film occupying twice the screen number of the former, Suicide Squad managed to take the top spot.[118] Italy opened with an estimated $2.2 million in two days, that's the biggest opening for Smith there.[114] It opened in first place in Germany with $6.9 million.[115] It opened in Japan – the film's last market – on September 9 where it debuted with $3.8 million.[119] It finished in second spot (and first among new releases) behind local anime Your Name. With such a robust opening, Variety projected that the film will end its run there around $20 million.[120] It has so far grossed $9.4 million there.[109]

text: In terms of total earnings, its biggest market outside of North America are the U.K. and Ireland ($43.3 million), followed by Brazil ($35.1 million) and Mexico ($27.1 million).[119] In just two weeks, it became the second-highest-grossing Warner Bros. film of all time in Brazil behind Dawn of Justice.[121]

text: Critical response

text: Suicide Squad received generally negative reviews from critics.[123][124] On Rotten Tomatoes, the film has a rating of 26% based on 321 reviews, with a weighted average rating of 4.7/10. The site's critical consensus reads, "Suicide Squad boasts a talented cast and a little more humor than previous DCEU efforts, but they aren't enough to save the disappointing end result from a muddled plot, thinly written characters, and choppy directing."[125] On Metacritic, the film has a normalized score of 40 out of 100, based on 53 critics, indicating "mixed or average reviews".[126] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[127]

text: Rolling Stone's Peter Travers wrote, "DC Comics tries something different with Suicide Squad, an all-star collection of crime fighting villains—and the result is anything but super."[128] Richard Lawson of Vanity Fair said, "Suicide Squad is just bad. It's ugly and boring, a toxic combination that means the film's highly fetishized violence doesn't even have the exciting tingle of the wicked or the taboo."[129] Writing for The Wall Street Journal, Joe Morgenstern heavily criticized the film saying, "In a word, Suicide Squad is trash. In two words, it's ugly trash." He further said, it "amounts to an all-out attack on the whole idea of entertainment," and called the film a product of "shameless pandering".[130]

text: Chris Nashawaty of Entertainment Weekly gave the film B− saying, "Suicide Squad kicks off with fizzy, punk-rock ferocity before turning flat and spiraling into familiar formulas," and called Jared Leto's "scene-stealing" Joker "wasted" and "stranded in the periphery". He concluded by saying, "For DC, Suicide Squad is a small step forward. But it could have been a giant leap."[131] IGN gave the film 5.9/10, saying: "Suicide Squad is a decidedly different flavor than Batman v Superman. It goes for subversive, funny and stylish, and it succeeds wildly during the first act. But then the movie turns into something predictable and unexciting."[132] Drew McWeeny from HitFix gave it a positive review, writing "Suicide Squad is not the darkest mainstream superhero comic book movie ever made, nor is it even the darkest live-action film featuring Batman ever made. However, it is gleefully nihilistic, and it takes a different approach to what has become a fairly familiar story form at this point, right at the moment when it feels like superhero movies either have to evolve or die."[133] Brian Truitt from USA Today wrote, "Compared to its ilk, Suicide Squad is an excellently quirky, proudly raised middle finger to the staid superhero-movie establishment."[134]

text: Margot Robbie's performance as Harley Quinn was better received, with many critics eager to see more of the character in future films.[123][131][135][136][137] In January 2017, David Ayer later stated on Twitter that he wished he had done certain things differently in the film including story elements, as well as giving more screen time to the Joker.[122]

text: Accolades

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2017) (Learn how and when to remove this template message)

text: Despite the negative critical and mixed audience reception to the film, Suicide Squad was nominated for various awards, receiving several.

text: Home media

text: Suicide Squad was released on Digital HD on November 15, 2016, and on Blu-ray, 4K Ultra-HD Blu-Ray, Blu-Ray 3D, and DVD on December 13, 2016. An extended cut of the film is included in the home entertainment release, containing roughly thirteen minutes of footage absent from the theatrical version.[138][139][140]

text: Sequel and spin-offs

text:
In March 2016, it was announced that Warner Bros. would bring Ayer and Smith back for a sequel, to be shot in 2017.[141][142] The following month, Ayer expressed an interest in making the sequel R-rated.[143] Fukuhara has stated that she wants to explore Katana's backstory in the sequel,[144] and Courtney has stated about his hopes of reprising his role as well.[145] In February 2017, it was reported that the studio had a shortlist of potential directors for the sequel, including Mel Gibson.[146][147] In March of that same year, Adam Cozad was hired as screenwriter for the film.[148] In July, Jaume Collet-Serra was named as the studio's first choice to helm the sequel, with production scheduled for mid-2018; Zak Penn had also submitted a story treatment and a new script was being written.[149] The film was officially titled Suicide Squad 2 at San Diego Comic-Con.[150] Leto was confirmed to reprise his role as the Joker in the film.[151] In September 2017, it was announced Gavin O'Connor had signed on as writer and director for the film.[152][153]
In addition, it was later announced in September 2016 that Warner Bros. was planning a film focusing on Harleen Quinzel / Harley Quinn, with Robbie serving as executive producer and Christina Hodson serving as the screenwriter for the solo film.[154][155][156] In December 2016, it was announced that Ayer will return to the shared universe as director and producer of Gotham City Sirens, a film based on the comic book team of the same name, consisting of Harley Quinn, Selina Kyle / Catwoman and Pamela Isley / Poison Ivy. That same month, it was also reported that the studio is developing a film focusing on Floyd Lawton / Deadshot, which will star Smith.[157] In August 2017, another film focusing on the Joker and Harley Quinn entered development with Glenn Ficarra and John Requa in final negotiations to be the co-writer/co-director team handling the project.[158]


document_title: List of The Originals episodes

question_text: when is the last episode of the originals going to air

text: List of The Originals episodes

text: Series overview[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

Pilot
April 25, 2013 (2013-04-25)

1
22
October 3, 2013 (2013-10-03)
May 13, 2014 (2014-05-13)

2
22
October 6, 2014 (2014-10-06)
May 11, 2015 (2015-05-11)

3
22
October 8, 2015 (2015-10-08)
May 20, 2016 (2016-05-20)

4
13
March 17, 2017 (2017-03-17)
June 23, 2017 (2017-06-23)

5
13[4]
April 18, 2018 (2018-04-18)
August 1, 2018 (2018-08-01)[5]

text: Episodes[edit]

text: Pilot (2013)[edit]

text: "No. overall" and "No. in season" for the pilot dictate the airing and location of the episode within the parent series.

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

86
20
"The Originals"
Chris Grismer
Julie Plec
April 25, 2013 (2013-04-25)
2J6670
2.24[6]

Following a tip off informing him a witch called Jane Anne Deveraux has ties to him, Klaus goes back to New Orleans only to find the protégé he thought dead ruling the city. The city lives under his strict rules, which makes the witches in the city hope to overthrow Marcel. They persuade Klaus to help by using Hayley, a werewolf who is pregnant with his child. Along with his brother, Elijah's, help, they decide to get back the city. Meanwhile, Elijah tries to persuade their sister Rebekah to come home too.

text: Season 1 (2013–14)[edit]

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

1
1
"Always and Forever"
Chris Grismer
Michael Narducci & Julie Plec
October 3, 2013 (2013-10-03)
2J7802
2.21[7]

2
2
"House of the Rising Son"
Brad Turner
Diane Ademu-John & Declan de Barra
October 8, 2013 (2013-10-08)
2J7801
1.92[8]

3
3
"Tangled Up in Blue"
Chris Grismer
Ashley Lyle & Bart Nickerson
October 15, 2013 (2013-10-15)
2J7803
2.22[9]

4
4
"Girl in New Orleans"
Jesse Warn
Michelle Paradise & Michael Narducci
October 22, 2013 (2013-10-22)
2J7804
2.23[10]

5
5
"Sinners and Saints"
Chris Grismer
Marguerite MacIntyre & Julie Plec
October 29, 2013 (2013-10-29)
2J7805
2.05[11]

6
6
"Fruit of the Poisoned Tree"
Michael Allowitz
Charlie Charbonneau & Diane Ademu-John
November 5, 2013 (2013-11-05)
2J7806
2.03[12]

7
7
"Bloodletting"
Jeffrey Hunt
Michael Russo & Michael Narducci
November 12, 2013 (2013-11-12)
2J7807
2.40[13]

8
8
"The River in Reverse"
Jesse Warn
Declan de Barra & Julie Plec
November 26, 2013 (2013-11-26)
2J7808
2.38[14]

9
9
"Reigning Pain in New Orleans"
Joshua Butler
Ashley Lyle & Bart Nickerson
December 3, 2013 (2013-12-03)
2J7809
2.33[15]

10
10
"The Casket Girls"
Jesse Warn
Charlie Charbonneau & Michelle Paradise
January 14, 2014 (2014-01-14)
2J7810
2.07[16]

11
11
"Après Moi, Le Déluge"
Leslie Libman
Marguerite MacIntyre & Diane Ademu-John
January 21, 2014 (2014-01-21)
2J7811
2.51[17]

12
12
"Dance Back from the Grave"
Rob Hardy
Michael Russo & Michael Narducci
January 28, 2014 (2014-01-28)
2J7812
2.32[18]

13
13
"Crescent City"
Chris Grismer
Michael Narducci & Julie Plec
February 4, 2014 (2014-02-04)
2J7813
2.10[19]

14
14
"Long Way Back from Hell"
Matt Hastings
Ashley Lyle & Bart Nickerson
February 25, 2014 (2014-02-25)
2J7814
1.83[20]

15
15
"Le Grand Guignol"
Chris Grismer
Declan de Barra & Diane Ademu-John
March 4, 2014 (2014-03-04)
2J7815
1.80[21]

16
16
"Farewell to Storyville"
Jesse Warn
Michael Narducci
March 11, 2014 (2014-03-11)
2J7816
1.73[22]

17
17
"Moon Over Bourbon Street"
Michael Robison
Michelle Paradise & Christopher Hollier
March 18, 2014 (2014-03-18)
2J7817
1.53[23]

18
18
"The Big Uneasy"
Leslie Libman
Marguerite MacIntyre & Michael Russo
April 15, 2014 (2014-04-15)
2J7818
1.52[24]

19
19
"An Unblinking Death"
Kellie Cyrus
Ashley Lyle & Bart Nickerson
April 22, 2014 (2014-04-22)
2J7819
1.50[25]

20
20
"A Closer Walk with Thee"
Sylvain White
Carina Adly MacKenzie & Julie Plec
April 29, 2014 (2014-04-29)
2J7820
1.77[26]

21
21
"The Battle of New Orleans"
Jeffrey Hunt
Charlie Charbonneau & Michael Narducci
May 6, 2014 (2014-05-06)
2J7821
1.44[27]

22
22
"From a Cradle to a Grave"
Matt Hastings
Diane Ademu-John
May 13, 2014 (2014-05-13)
2J7822
1.76[28]

text: Season 2 (2014–15)[edit]

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

23
1
"Rebirth"
Lance Anderson
Marguerite MacIntyre & Julie Plec
October 6, 2014 (2014-10-06)
3J5201
1.37[29]

24
2
"Alive and Kicking"
Jeffrey Hunt
Michelle Paradise & Michael Narducci
October 13, 2014 (2014-10-13)
3J5202
1.29[30]

25
3
"Every Mother's Son"
Dermott Downs
Christopher Hollier
October 20, 2014 (2014-10-20)
3J5203
1.27[31]

26
4
"Live and Let Die"
Jeffrey Hunt
Ashley Lyle & Bart Nickerson
October 27, 2014 (2014-10-27)
3J5204
1.31[32]

27
5
"Red Door"
Michael Robison
Declan de Barra & Diane Ademu-John
November 3, 2014 (2014-11-03)
3J5205
1.09[33]

28
6
"Wheel Inside the Wheel"
Matt Hastings
Michael Russo & Michael Narducci
November 10, 2014 (2014-11-10)
3J5206
1.46[34]

29
7
"Chasing the Devil's Tail"
Jesse Warn
Carina Adly Mackenzie & Christopher Hollier
November 17, 2014 (2014-11-17)
3J5207
1.44[35]

30
8
"The Brothers That Care Forgot"
Michael Allowitz
Charlie Charbonneau & Michelle Paradise
November 24, 2014 (2014-11-24)
3J5208
1.26[36]

31
9
"The Map of Moments"
Leslie Libman
Marguerite MacIntyre & Julie Plec
December 8, 2014 (2014-12-08)
3J5209
1.41[37]

32
10
"Gonna Set Your Flag on Fire"
Rob Hardy
Ashley Lyle & Bart Nickerson
January 19, 2015 (2015-01-19)
3J5210
1.52[38]

33
11
"Brotherhood of the Damned"
Sylvain White
Kyle Arrington & Diane Ademu-John
January 26, 2015 (2015-01-26)
3J5212
1.74[39]

34
12
"Sanctuary"
Matt Hastings
Declan de Barra & Michael Narducci
February 2, 2015 (2015-02-02)
3J5211
1.47[40]

35
13
"The Devil is Damned"
Lance Anderson
Christopher Hollier & Julie Plec
February 9, 2015 (2015-02-09)
3J5213
1.22[41]

36
14
"I Love You, Goodbye"
Matt Hastings
Carina Adly MacKenzie & Michael Narducci
February 16, 2015 (2015-02-16)
3J5214
1.44[42]

37
15
"They All Asked for You"
Chris Grismer
Michelle Paradise
March 9, 2015 (2015-03-09)
3J5215
1.40[43]

38
16
"Save My Soul"
Kellie Cyrus
Michael Russo
March 16, 2015 (2015-03-16)
3J5216
1.25[44]

39
17
"Exquisite Corpse"
Dermott Downs
Declan de Barra & Diane Ademu-John
April 6, 2015 (2015-04-06)
3J5217
1.12[45]

40
18
"Night Has A Thousand Eyes"
Jesse Warn
Ashley Lyle & Bart Nickerson
April 13, 2015 (2015-04-13)
3J5218
1.01[46]

41
19
"When The Levee Breaks"
Bethany Rooney
Marguerite MacIntyre
April 20, 2015 (2015-04-20)
3J5219
1.30[47]

42
20
"City Beneath the Sea"
Leslie Libman
Carina Adly MacKenzie & Charlie Charbonneau
April 27, 2015 (2015-04-27)
3J5220
1.20[48]

43
21
"Fire with Fire"
David Straiton
Michael Narducci
May 4, 2015 (2015-05-04)
3J5221
1.14[49]

44
22
"Ashes to Ashes"
Matt Hastings
Christopher Hollier & Diane Ademu-John
May 11, 2015 (2015-05-11)
3J5222
1.19[50]

text: Season 3 (2015–16)[edit]

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

45
1
"For the Next Millennium"
Lance Anderson
Michael Narducci
October 8, 2015 (2015-10-08)
3J5301
0.89[51]

46
2
"You Hung the Moon"
Jeffrey Hunt
Carina Adly Mackenzie
October 15, 2015 (2015-10-15)
3J5302
1.12[52]

47
3
"I'll See You in Hell or New Orleans"
Michael Grossman
Declan de Barra & Michelle Paradise
October 22, 2015 (2015-10-22)
3J5303
0.95[53]

48
4
"A Walk on the Wild Side"
Matt Hastings
Ashley Lyle & Bart Nickerson
October 29, 2015 (2015-10-29)
3J5304
1.07[54]

49
5
"The Axeman's Letter"
Michael Allowitz
Michael Russo & Diane Ademu-John
November 5, 2015 (2015-11-05)
3J5305
0.97[55]

50
6
"Beautiful Mistake"
Steven DePaul
Kyle Arrington & Christopher Hollier
November 12, 2015 (2015-11-12)
3J5306
0.98[56]

51
7
"Out of the Easy"
Bethany Rooney
Beau DeMayo & Michelle Paradise
November 19, 2015 (2015-11-19)
3J5307
0.80[57]

52
8
"The Other Girl in New Orleans"
Kellie Cyrus
Michael Russo & Michael Narducci
December 3, 2015 (2015-12-03)
3J5308
1.17[58]

53
9
"Savior"
Matt Hastings
Carina Adly MacKenzie & Diane Ademu-John
December 10, 2015 (2015-12-10)
3J5309
0.97[59]

54
10
"A Ghost Along the Mississippi"
Michael Grossman
Declan de Barra
January 29, 2016 (2016-01-29)
3J5310
0.95[60]

55
11
"Wild at Heart"
John Hyams
Ashley Lyle & Bart Nickerson
February 5, 2016 (2016-02-05)
3J5311
0.92[61]

56
12
"Dead Angels"
Darren Genet
Kyle Arrington & Michael Narducci
February 12, 2016 (2016-02-12)
3J5312
0.80[62]

57
13
"Heart Shaped Box"
Chris Grismer
Michelle Paradise & Christopher Hollier
February 19, 2016 (2016-02-19)
3J5313
0.87[63]

58
14
"A Streetcar Named Desire"
Matt Hastings
Beau DeMayo & Diane Ademu-John
February 26, 2016 (2016-02-26)
3J5314
1.07[64]

59
15
"An Old Friend Calls"
Jeffrey Hunt
Carina Adly MacKenzie & Michael Russo
March 4, 2016 (2016-03-04)
3J5315
0.88[65]

60
16
"Alone with Everybody"
Hanelle Culpepper
Ashley Lyle & Bart Nickerson
April 1, 2016 (2016-04-01)
3J5316
0.93[66]

61
17
"Behind the Black Horizon"
Joseph Morgan
Declan de Barra & Diane Ademu-John
April 8, 2016 (2016-04-08)
3J5317
0.89[67]

62
18
"The Devil Comes Here and Sighs"
Jesse Warn
Kyle Arrington & Michelle Paradise
April 15, 2016 (2016-04-15)
3J5318
0.86[68]

63
19
"No More Heartbreaks"
Millicent Shelton
Celeste Vasquez & Michael Narducci
April 29, 2016 (2016-04-29)
3J5319
0.93[69]

64
20
"Where Nothing Stays Buried"
John Hyams
Carina Adly MacKenzie & Christopher Hollier
May 6, 2016 (2016-05-06)
3J5320
0.83[70]

65
21
"Give 'Em Hell, Kid"
Jeffrey Hunt
Ashley Lyle & Bart Nickerson
May 13, 2016 (2016-05-13)
3J5321
0.79[71]

66
22
"The Bloody Crown"
Matt Hastings
Beau DeMayo & Diane Ademu-John
May 20, 2016 (2016-05-20)
3J5322
0.85[72]

text: Season 4 (2017)[edit]

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

67
1
"Gather Up the Killers"
Lance Anderson
Michael Russo & Michael Narducci
March 17, 2017 (2017-03-17)
401
1.05[73]

68
2
"No Quarter"
Bethany Rooney
Talicia Raggs & Michelle Paradise
March 24, 2017 (2017-03-24)
402
0.99[74]

69
3
"Haunter of Ruins"
Jeffrey Hunt
Carina Adly Mackenzie & Declan de Barra
March 31, 2017 (2017-03-31)
403
0.93[75]

70
4
"Keepers of the House"
Joseph Morgan
Beau DeMayo & Christopher Hollier
April 7, 2017 (2017-04-07)
404
1.08[76]

71
5
"I Hear You Knocking"
Chris Grismer
Kyle Arrington
April 14, 2017 (2017-04-14)
405
0.87[77]

72
6
"Bag of Cobras"
Jesse Warn
Michael Russo & Michelle Paradise
April 28, 2017 (2017-04-28)
406
0.96[78]

73
7
"High Water and a Devil's Daughter"
Charles Michael Davis
Celeste Vasquez & Carina Adly MacKenzie
May 5, 2017 (2017-05-05)
407
0.93[79]

74
8
"Voodoo in My Blood"
John Hyams
Talicia Raggs & Christopher Hollier
May 12, 2017 (2017-05-12)
408
0.85[80]

75
9
"Queen Death"
Nicole Rubio
Beau DeMayo
May 19, 2017 (2017-05-19)
409
0.84[81]

76
10
"Phantomesque"
Daniel Gillies
K.C. Perry & Kyle Arrington
June 2, 2017 (2017-06-02)
410
1.03[82]

77
11
"A Spirit Here That Won't Be Broken"
Hanelle Culpepper
Carina Adly MacKenzie & Michael Russo
June 9, 2017 (2017-06-09)
411
0.89[83]

78
12
"Voodoo Child"
Michael Grossman
Michelle Paradise & Christopher Hollier
June 16, 2017 (2017-06-16)
412
1.01[84]

79
13
"The Feast of All Sinners"
Bethany Rooney
Michael Narducci
June 23, 2017 (2017-06-23)
413
0.80[85]

text: Season 5 (2018)[edit]

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

80
1
"Where You Left Your Heart"
Lance Anderson
Marguerite MacIntyre
April 18, 2018 (2018-04-18)
T46.10001
0.97[86]

81
2
"One Wrong Turn on Bourbon"
Carol Banker
Carina Adly MacKenzie
April 25, 2018 (2018-04-25)
T46.10002
1.03[87]

82
3
"Ne Me Quitte Pas"
Joseph Morgan
K.C. Perry & Michelle Paradise
May 2, 2018 (2018-05-02)
T46.10003
0.90[88]

83
4
"Between the Devil and the Deep Blue Sea"
Michael Grossman
Beau DeMayo & Kyle Arrington
May 9, 2018 (2018-05-09)
T46.10004
0.76[89]

84
5
"Don't It Just Break Your Heart"
Jeffrey W. Byrd
Story by : Bianca Sams & Jeffrey Lieber
Teleplay by : Jeffrey Lieber
May 16, 2018 (2018-05-16)
T46.10005
0.80[90]

85
6
"What, Will, I, Have, Left"
Charles Michael Davis
Marguerite MacIntyre
May 30, 2018 (2018-05-30)
T46.10006
0.82[91]

86
7
"God's Gonna Trouble the Water"
Carl Seaton
Bianca Sams & Julie Plec
June 6, 2018 (2018-06-06)
T46.10007
0.77[92]

87
8
"The Kindness of Strangers"
Kellie Cyrus
Beau DeMayo & Carina Adly MacKenzie
June 13, 2018 (2018-06-13)
TBA
0.86[93]

88
9
"We Have Not Long to Love"[94]
Bethany Rooney
K.C. Perry & Michelle Paradise
June 20, 2018 (2018-06-20)
TBA
TBD

text: Webisodes[edit]

text: The Originals: The Awakening[edit]

text:
No.
Title
Directed by
Written by
Original air date

1
"The Awakening: Part 1"
Matt Hastings
Carina Adly MacKenzie
November 10, 2014 (2014-11-10)

2
"The Awakening: Part 2"
Matt Hastings
Carina Adly MacKenzie
November 17, 2014 (2014-11-17)

3
"The Awakening: Part 3"
Matt Hastings
Carina Adly MacKenzie
November 24, 2014 (2014-11-24)

4
"The Awakening: Part 4"
Matt Hastings
Carina Adly MacKenzie
December 8, 2014 (2014-12-08)


document_title: Rain (Beatles song)

question_text: beatles song rain what album is it on

question_tokens: beatles song rain what album is it on

text: Rain (Beatles song)

text: Music and lyrics[edit]

text: The inspiration for "Rain" is agreed on by Neil Aspinall, the Beatles' roadie, and John Lennon. They both described the band's arrival in Sydney, Australia, marked by rain and poor weather.[4] Lennon said, "I've never seen rain as hard as that, except in Tahiti", and later explained that "Rain" was "about people moaning about the weather all the time".[5]   Another interpretation is that the song's "rain" and "sun" are phenomena experienced during a benign LSD trip.[6]

text: "Rain" has a simple musical structure. Set in the key of G major (the final mix pitches it about a quarter of a semitone below this, while the backing track was taped in G sharp), it begins with what Alan W. Pollack calls, "a ra-ta-tat half-measure's fanfare of solo snare drums", followed by a guitar intro of the first chord. The verses are nine measures long, and the song is in 44 time. Each verse is based on the G, C, and D chords (I, IV, and V). The refrain contains only I and IV chords, and is twelve measures long (the repetition of a six-measure pattern). The first two measures are the G chord. The third and fourth measures are the C chord. The third measure has the C chord in the so-called 64 (second) inversion. The fifth and sixth measures return to the G chord. Pollack says the refrain seems slower than the verse, though it is at the same tempo, an illusion achieved by "the change of beat for the first four measures from its erstwhile bounce to something more plodding and regular". After four verses and two refrains, a short solo for guitar and drums is played, with complete silence for one beat. Following this, the music returns accompanied by what Pollack terms "historically significant" reverse lyrics.[7] Musicologist Walter Everett cites this closing section as an example of how the Beatles pioneered the "fade-out–fade-in coda", a device used again by them on "Strawberry Fields Forever" and "Helter Skelter", and by Led Zeppelin on "Thank You".[8]

text: Allan Kozinn describes McCartney's bass as "an ingenious counterpoint that takes him all over the fretboard ...  while Lennon and McCartney harmonize in fourths on a melody with a slightly Middle Eastern tinge, McCartney first points up the song's droning character by hammering on a high G (approached with a quick slide from the F natural just below it), playing it steadily on the beat for twenty successive beats."[9]

text: Recording[edit]

text: Recording began on 14 April 1966, in the same session as "Paperback Writer", and concluded on 16 April, with a series of overdubs before mixing on the same day.[10][11] At that time, the Beatles were enthusiastic about experimenting in the studio to achieve new sounds and effects.[12] These experiments were showcased in their seventh album, Revolver. Geoff Emerick, who was the engineer for both sessions, described one technique he used to alter the sonic texture of the track by recording the backing track "faster than normal." When played back, slightly slower than the usual speed, "the music had a radically different tonal quality.[13] The opposite technique was used to alter the tone of Lennon's lead vocal: it was recorded with the tape machine slowed down, making Lennon's voice sound higher when played back.[14]

text:
The last verse of "Rain" includes backwards vocals, the first use of this technique on a record.[15] (the hit novelty song "They're Coming to Take Me Away, Ha-Haaa!
", where side B is side A played backwards, was released later that year of 1966). The backwards vocals are Lennon singing the lyrics of the song: "When the sun shines," "Rain," and "If the rain comes, they run and hide their heads."[16] Both Lennon and producer George Martin have claimed credit for the idea; Lennon said:

text:
“

After we'd done the session on that particular song—it ended at about four or five in the morning—I went home with a tape to see what else you could do with it. And I was sort of very stoned and tired, you know, not knowing what I was doing, and I just happened to put it on my own tape recorder and it came out backwards. And I liked it better. So that's how it happened.[17][18]

”

text: Emerick confirms Lennon's creative accident, but Martin remembers it differently:

text:
“

I was always playing around with tapes and I thought it might be fun to do something extra with John's voice. So I lifted a bit of his main vocal off the four-track, put it on another spool, turned it around and then slid it back and forth until it fitted. John was out at the time but when he came back he was amazed.[10][13]

”

text: Later, in 1980, John claimed:

text:
“

I got home from the studio and I was stoned out of my mind on marijuana and, as I usually do, I listened to what I'd recorded that day. Somehow I got it on backwards and I sat there, transfixed, with the earphones on, with a big hash joint. I ran in the next day and said, 'I know what to do with it, I know... Listen to this!' So I made them all play it backwards. The fade is me actually singing backwards with the guitars going backwards. [Singing backwards] Sharethsmnowthsmeaness... [Laughter] That one was the gift of God, of Jah, actually, the god of marijuana, right? So Jah gave me that one.[19]

”

text: Regardless of who is credited for the technique, "from that point on," Emerick wrote, "almost every overdub we did on Revolver had to be tried backwards as well as forwards."[20]

text: The "Paperback Writer"/"Rain" single was the first release to use a new device invented by the maintenance department at Abbey Road called "ATOC" for "Automatic Transient Overload Control". The new device allowed the record to be cut at a louder volume, louder than any other single up to that time.[13] On the final mix of the single, Lennon played a 1965 Gretsch Nashville, Paul McCartney a 1964 Rickenbacker 4001S bass, Harrison a 1964 Gibson SG, and Ringo Starr used Ludwig drums.[21][11]

text: Release and reception[edit]

text: First released as a B-side to "Paperback Writer" in the United States (Capitol 5651) on 30 May 1966 and in the UK on 10 June 1966, the single was later released part of a Record Store Day reissue in 2010.[22] It later appeared on the compilations Hey Jude in the US and Rarities in the UK. It also appeared on the Past Masters CD.[11]

text: In the United States, the song peaked at number 23 on the Billboard Hot 100 on 9 July 1966,[23] and remained in that position the following week.[24] The "Paperback Writer" single reached number one in the UK (for two weeks starting on 23 June 1966).[11] Rolling Stone magazine ranks "Rain" 463rd in its list of "The 500 Greatest Songs of All Time".[25] On a similar list compiled by the New York radio station Q104.3, the song appeared at number 382.[26]

text: "Rain" is notable for Ringo Starr's drumming, which Starr rates as his best recorded performance.[27] Critics agreed: both Ian MacDonald and Rolling Stone described his drumming on the track as "superb", while Richie Unterberger of AllMusic praised his "creative drum breaks".[28][29][30] In 1984, Starr said: "I think it's the best out of all the records I've ever made. 'Rain' blows me away … I know me and I know my playing … and then there's 'Rain'."[31]

text: Music critic Jim DeRogatis describes it as "the Beatles' first great psychedelic rock song".[32] It has been noted for its slowed-down rhythm track and backwards vocals, both of which were a hint of things to come on Revolver, released two months later.[33][10][21]

text: Promotional films[edit]

text: The Beatles created three promotional films for "Rain"[3] which are considered among the early precursors of music videos.[34] These videos, along with other Beatles videos at the time, sparked George Harrison to say during the Beatles Anthology, "So I suppose, in a way, we invented MTV."[35]

text: The films were directed by Michael Lindsay-Hogg who worked with them earlier on the pop 1960 television programme Ready Steady Go![36] One features the Beatles walking and singing in a garden and a greenhouse (filmed 20 May 1966 at Chiswick House in London).[3][37] The other two feature the band performing on a sound stage (filmed 19 May 1966, one in colour for Ed Sullivan and the other in black and white for the UK).[3][38] McCartney was injured in a moped accident on 26 December 1965, six months prior to the filming of "Rain" and closeups in the film reveal a scarred lip and a chipped tooth.[36][38] McCartney's appearance in the film played a role in the "Paul is dead" rumours from 1969.[11]

text: The Beatles' Anthology documentary video includes a re-edit of two of these three clips, full of rhythmic fast cuts and several shots that went unused in the original videos.[39] This creates an impression that the videos were more technically complex, fast-paced, and innovative than was the case. For example, the backwards film effects shown here are 1990s creations. Such effects were actually first deployed in the "Strawberry Fields Forever" promotional film of January 1967.[40]

text: Covers, samples, and media references[edit]

text: U2 has played the song in whole or in part throughout many of their tours, usually during outdoor concerts when it has started to rain.[41] Pearl Jam improvised the song into their song "Jeremy" during their 1992 Pinkpop Festival show and played it in full at the Isle of Wight Festival in 2012.[42] Kula Shaker covered the song live at Reading Festival in 1996 as did Fairport Convention, featuring Dan Ar Braz, at the Cropredy Festival in 1997. Todd Rundgren has also covered the song,[11] as has the late Dan Fogelberg, who reprised it as part of his own cover of "Rhythm of the Rain". The Grateful Dead played it twenty times throughout the early 1990s.

text: The Beatles tribute act Rain derives its name from the song.[43]

text: In 2016 Aloe Blacc sings it as Boris the Frog in the eponymous Beat Bugs episode 3b.

text: Personnel[edit]

text:
John Lennon – lead and backing vocals, rhythm guitar
Paul McCartney – backing vocals, bass
George Harrison – backing vocals, lead guitar
Ringo Starr – drums, tambourine

text: Notes[edit]

text:
Jump up ^ http://www.thedailybeast.com/articles/2016/08/05/the-beatles-revolver-turns-50-a-psychedelic-masterpiece-that-rewrote-the-rules-of-rock

Jump up ^ Reising & LeBlanc 2009, pp. 94, 95.

^ Jump up to: a b c d Neaverson 2009.

Jump up ^ The Beatles 2000, p. 140.

Jump up ^ The Beatles 2000, p. 212.

Jump up ^ Revolution in the Head - MacDonald 2005, p. 196-7.

Jump up ^ Pollack 1993.

Jump up ^ Everett 2009, p. 154.

Jump up ^ Allan Kozinn (1995). The Beatles. London: Phaidon. p. 143.

^ Jump up to: a b c Lewisohn 1988, p. 74.

^ Jump up to: a b c d e f Fontenot 2008.

Jump up ^ Lewisohn 1988, p. 70.

^ Jump up to: a b c Emerick 2006, p. 117.

Jump up ^ Lewisohn 1988, p. 83.

Jump up ^ Playboy Magazine & April, 1981, p. 194.

Jump up ^ YouTube: Rain Finale backwards 1995.

Jump up ^ The Beatles Interview Database 2007.

Jump up ^ Gilliland 1969, show 37, track 4.

Jump up ^ http://www.beatlesbible.com/songs/rain/

Jump up ^ "88 – 'Rain'". 100 Greatest Beatles Songs. Rolling Stone.

^ Jump up to: a b c MacDonald 2005, p. 196.

Jump up ^ Beatles, The – Paperback Writer / Rain (Vinyl) at Discogs

Jump up ^ "The Hot 100: July 9th 1966". billboard.com. Retrieved 2 August 2017.

Jump up ^ Castleman, Harry; Podrazik, Walter J. (1976). All Together Now: The First Complete Beatles Discography 1961–1975. New York, NY: Ballantine Books. p. 349. ISBN 0-345-25680-8.

Jump up ^ Rolling Stone 2004b.

Jump up ^ "Archived copy". Archived from the original on 14 December 2013. Retrieved 3 February 2014.

Jump up ^ Miles 1997, p. 280.

Jump up ^ Unterberger 2007.

Jump up ^ MacDonald 2005, p. 198.

Jump up ^ Rolling Stone 2004a.

Jump up ^ www.beatleswiki.com/wiki/index.php/Rain.

Jump up ^ DeRogatis 2003, p. 43.

Jump up ^ Sheff 2000, p. 197.

Jump up ^ BBC 2008.

Jump up ^ The Beatles 2000, p. 214.

^ Jump up to: a b Miles 1998.

Jump up ^ Ritchie 2008.

^ Jump up to: a b Anthology DVD 2003, Episode 3, "Rain".

Jump up ^ Unterberger 2006, p. 320.

Jump up ^ Unterberger 2006, p. 322.

Jump up ^ U2gigs.com 2010.

Jump up ^ http://www.setlist.fm/setlist/pearl-jam/2012/seaclose-park-newport-england-53df1709.html

Jump up ^ Isherwood, Charles. "Another Long and Winding Detour," New York Times (OCT. 26, 2010).

tag: ol


document_title: Mr. Holland's Opus

question_text: where did mr holland's opus take place

question_tokens: where did mr holland 's opus take place

text: Mr. Holland's Opus

text: Plot[edit]

text: In Portland, Oregon in 1965, Glenn Holland is a talented musician and composer who has been relatively successful in the exhausting life of a professional musical performer. However, in an attempt to enjoy more free time with his young wife, Iris, and to enable him to compose a piece of orchestral music, the 30-year-old Holland accepts a teaching position at John F. Kennedy High School.

text: Unfortunately for Holland, he is soon forced to realize that his position as a music teacher makes him a marginalized figure in the faculty's hierarchy. Many of his colleagues, and some in Kennedy High's administration, including the school's vice principal Gene Wolters, resent Holland and question the value and importance of music education given the school's strained budget. However, he quickly begins to win many of his colleagues over. Holland finds success using rock and roll as a way to make classical music more accessible to his students.

text: Holland's lack of quality time with Iris becomes problematic when their son Coltrane (Cole), is found to be deaf. Holland reacts with hostility to the news that he can never teach the joys of music to his own child. Iris willingly learns American Sign Language to communicate with her son, but Holland resists. This causes further estrangement within his family.

text: As the years progress, Holland grows closer to his students at Kennedy High and more distant from his own son. He addresses a series of challenges created by people who are either hesitant or hostile towards the concept of musical excellence within the walls of the average American high school. He inspires numerous students, but never has private time for himself or his family, delaying the completion of his own orchestral composition. Eventually, he reaches an age when it is too late to have a realistic chance of finding financial backing, or ever having it performed.

text: In 1995, the adversaries of the Kennedy High music program win a decisive institutional victory. Wolters, now promoted to principal, faces budget cuts from the board of education.  He responds by eliminating music, as well as art and drama, from the school curriculum, leading to Holland's early retirement. Holland realizes that his career in music is likely over, thinking that his former students have mostly forgotten him and is dejected at his failure ever to have his composition, which he views as his life's work, performed.

text: On his final day as a teacher, Holland enters the school auditorium, where his professional life is surprisingly redeemed. Hearing that their beloved teacher is retiring, hundreds of his former students have secretly returned to the school to celebrate his life.

text: Holland's orchestral piece, never before heard in public, has been put before the musicians by his wife and son. One of his most musically challenged students, Gertrude Lang, now the Governor of Oregon, takes the podium and explains to Holland that the symphony he wrote is not his only legacy... it's the people he has inspired and taught, all of the people he has helped to make a better person, that is his true legacy. Gov. Lang then sits among the musicians -- drawn from Holland's students over the decades -- with her clarinet, but not before asking Holland to step on up on stage and serve as their conductor for the premiere performance of Mr. Holland's Opus ("The American Symphony"). A proud Iris and Cole look on, appreciating the affection and respect that Holland receives.

text: Cast[edit]

text:
Richard Dreyfuss as Glenn Holland
Glenne Headly as Iris Holland
Jay Thomas as Bill Meister
Olympia Dukakis as Principal Helen Jacobs
William H. Macy as Vice Principal (later Principal) Gene Wolters
Alicia Witt as young Gertrude Lang
Joanna Gleason as older Governor Gertrude Lang
Terrence Howard as Louis Russ
Damon Whitaker as Bobby Tidd
Jean Louisa Kelly as Rowena Morgan
Alexandra Boyd as Sarah Olmstead
Nicholas John Renner as Coltrane "Cole" Holland (age 6)
Joseph Anderson as Coltrane "Cole" Holland (age 15)
Anthony Natale as Coltrane "Cole" Holland (age 28)
Beth Maitland as Deaf School Principal
Balthazar Getty as Stadler

text: Production[edit]

text: The movie was written by Patrick Sheane Duncan, directed by Stephen Herek, and was filmed in and around Portland, Oregon, with many exterior and interior scenes taking place at Ulysses S. Grant High School.[3]

text: Archive footage[edit]

text: Archive footage seen in the film includes:

text:
Martin Luther King, Jr.'s speech
Robert and John F. Kennedy
Woodstock
Vietnam War
Richard Nixon's resignation speech
The Rocky Horror Picture Show
Saturday Night Fever
Stop Making Sense
Death of John Lennon
Disco Demolition Night at Comiskey Park

text: Music[edit]

text: The film features an orchestral score by Michael Kamen and many pieces of classical music. Kamen also wrote An American Symphony ("Mr. Holland's Opus"), the work on which Mr. Holland is shown working throughout the movie.  Kamen's arrangement won the 1997 Grammy for Best Instrumental Arrangement.

text: Soundtrack releases[edit]

text: Two soundtrack albums were released for this film in January 1996. One is the original motion picture score, and includes all of the original music written for the film by Michael Kamen. The second album is a collection of popular music featured in the film:

text:
"Visions of a Sunset" – Shawn Stockman (of Boyz II Men)
"1-2-3" – Len Barry
"A Lover's Concerto" – The Toys
"Keep On Running" – Spencer Davis Group
"Uptight (Everything's Alright)" – Stevie Wonder
"Imagine" – John Lennon
"The Pretender" – Jackson Browne
"Someone to Watch Over Me" – Julia Fordham
"I Got a Woman" – Ray Charles
"Beautiful Boy (Darling Boy)" – John Lennon
"Cole's Song" – Julian Lennon and Tim Renwick
An American Symphony ("Mr. Holland's Opus") – London Metropolitan Orchestra and Michael Kamen

text: Reception[edit]

text: Box office[edit]

text: In the United States, gross domestic takings totaled US$82,569,971. International takings are estimated at US$23,700,000, for a gross worldwide takings of $106,269,971.[4] Rental totals reached $36,550,000 in the US. Although the film is included among 1995 box-office releases (it ranks as the 14th-most successful film of that year), it was only released in a few theatres in New York and Los Angeles on December 29, 1995, because Disney felt, accurately, that Richard Dreyfuss' performance had a good chance of getting an Oscar nomination if it beat that year's in-theatre deadline.

text: Critical[edit]

text: Rotten Tomatoes gave the film a 74% Fresh rating.[5] CinemaScore reported that audiences gave the film a rare "A+" grade. Writer Patrick Sheane Duncan was nominated for the Golden Globe Award for Best Screenplay at the 53rd Golden Globe Awards. Dreyfuss was nominated for the Academy Award for Best Actor and the Golden Globe Award for Best Actor – Motion Picture Drama.

text: Accolades[edit]

text: The film is recognized by American Film Institute in these lists:

text: 2006: AFI's 100 Years...100 Cheers – Nominated[6]

text: The Mr. Holland's Opus Foundation[edit]

text: Inspired by the motion picture, its composer, Michael Kamen, founded The Mr. Holland's Opus Foundation  in 1996 as his commitment to the future of music education.[7]


document_title: Federal Perkins Loan

question_text: what type of loan is the perkins loan

question_tokens: what type of loan is the perkins loan

text: Federal Perkins Loan

text:
Student loans in the U.S.

Regulatory framework

Higher Education Act of 1965
U.S. Dept. of Education · FAFSA
Cost of attendance · Expected Family Contribution

Distribution channels

Federal Direct Student Loan Program
Federal Family Education Loan Program

Loan products

Perkins · Stafford
PLUS · Consolidation Loans
Private student loans

text: A Federal Perkins Loan, or Perkins Loan, is a need-based student loan offered by the U.S. Department of Education to assist American college students in funding their post-secondary education. The program is named after Carl D. Perkins, a former member of the U.S. House of Representatives from Kentucky.

text: Perkins Loans carry a fixed interest rate of 5% for the duration of the ten-year repayment period. The Perkins Loan Program has a nine-month grace period, so that borrowers begin repayment in the tenth month upon graduating, falling below half-time status, or withdrawing from their college or university. Because the Perkins Loan is subsidized by the government, interest does not begin to accrue until the borrower begins to repay the loan. As of the 2009-2010 academic year, the loan limits for undergraduates are $5,500 per year with a lifetime maximum loan of $27,500. For graduate students, the limit is $8,000 per year with a lifetime limit of $60,000 (including undergraduate loans).

text: Perkins Loans are eligible for Federal Loan Cancellation for individuals choosing to work in a number of different public service occupations including early childhood education, elementary and secondary school teaching, speech therapy, nursing, law enforcement, librarian, public defense attorney, fire fighting and certain active duty military postings.[1] Depending on the field of employment, further restrictions on the setting of employment may apply. For example, forgiveness for teachers may be restricted to designated low-income schools or specific teacher shortage areas such as math, science, and bilingual education and forgiveness for nurses requires employment at a non-profit medical facility. A percentage of the loan is cancelled for each year spent teaching full-time(as long as the loan remains in good standing). This cancellation also applies to Peace Corps Volunteers. Cancellation typically occurs on a graduating scale: 15% for year 1, 15% for year 2, 20% for year 3, 20% for year 4, 30% for year 5. These percentages are based on the original debt amount. Thus after 3 years of service, one would have 50% of their original debt cancelled.

text: On September 30, 2017, the Federal Perkins Loan program failed to renew in Congress, thus effectively ending the loan program.


document_title: Advance Australia Fair

question_text: when was the australian national anthem first performed

text: Advance Australia Fair

text: History[edit]

text: Origin[edit]

text:
"Advance Australia Fair"

Performed in 1915
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text: "Advance Australia Fair" was composed in the late 19th century by Peter Dodds McCormick under the pen-name "Amicus" (which means "friend" in Latin). It was first performed by Andrew Fairfax at a function of the Highland Society of New South Wales in Sydney on 30 November 1878. The song quickly gained popularity and an amended version was sung by a choir of around 10,000 at the inauguration of the Commonwealth of Australia on 1 January 1901. In 1907 the Australian Government awarded McCormick £100 for his composition.[1]

text: In a letter to R.B. Fuller, dated 1 August 1913, McCormick described the circumstances that inspired him to write "Advance Australia Fair":

text: One night I attended a great concert in the Exhibition Building, when all the National Anthems of the world were to be sung by a large choir with band accompaniment. This was very nicely done, but I felt very aggravated that there was not one note for Australia. On the way home in a bus, I concocted the first verse of my song & when I got home I set it to music. I first wrote it in the Tonic Sol-fa notation, then transcribed it into the Old Notation, & I tried it over on an instrument next morning, & found it correct. Strange to say there has not been a note of it altered since. Some alteration has been made in the wording, but the sense is the same. It seemed to me to be like an inspiration, & I wrote the words & music with the greatest ease.[2]

text: The earliest known sound recording of "Advance Australia Fair" appears in The Landing of the Australian Troops in Egypt (circa 1916), a short commercial recording dramatising the arrival of Australian troops in Egypt en route to Gallipoli.[3]

text: Before its adoption as Australia's national anthem, "Advance Australia Fair" had considerable use elsewhere. For example, Australia's national broadcaster, the Australian Broadcasting Commission, used it to announce its news bulletins until 1952.[4] It was also frequently played at the start or end of official functions. Towards the end of World War II it was one of three songs played in certain picture theatres, along with "God Save the King" and the US national anthem.[5]

text: Competitions, plebiscite and adoption[edit]

text: In 1951 there was a competition for a new national anthem to celebrate the golden jubilee of the Federation of Australia.  The entry by the Austrian-born conductor Henry Krips, "This Land of Mine", won the competition but it was decided to make no change to the status quo.[6]

text: Until 1974 "God Save the Queen" was Australia's national anthem. In 1973 the Whitlam government decided that the country needed an anthem that could represent Australia with "distinction" and started a competition to find one. This decision by Whitlam was driven by the desire to forge a new nationalism separate from Great Britain. In 1973, Gough Whitlam dedicated an entire Australia Day speech to the search for a new anthem saying that it will be a "symbolic expression of our national pride and dignity".[7] The Australia Council for the Arts organised the contest, which was dubbed the "Australian National Anthem Quest". The contest was held in two stages, the first seeking lyrics and the second music, each having an A$5,000 prize for the winning entry. On the recommendation of the Council for the Arts, none of the new entries were felt worthy enough, so the contest ended with the suggestions for "Advance Australia Fair", "Waltzing Matilda" and "Song of Australia".[8]

text: In 1974 the Whitlam government then performed a nationwide opinion survey to determine the song to be sung on occasions of national significance. Conducted through the Australian Bureau of Statistics, it polled 60,000 people nationally. "Advance Australia Fair" was chosen and was enshrined as the national song, to be used on all occasions excepting those of a specifically regal nature. A spokesman for the Prime Minister Gough Whitlam stated that the Government regarded the tune primarily as the national anthem.  During the 1975 election campaign following the dismissal of Whitlam by Sir John Kerr, it was proposed by David Combe that the song be played at the start of the Labor Party's official campaign launch on 24 November 1975 at Festival Hall, Melbourne. Whitlam's speechwriter Graham Freudenberg rejected this idea, on two grounds, one of which was that the status of the anthem was still tentative.[9]

text: In January 1976 the Fraser government reinstated "God Save the Queen" for royal, vice-regal, defence and loyal toast occasions as well as making plans to conduct a national poll to find a song for use on ceremonial occasions when it was desired to mark a separate Australian identity. This was conducted as a plebiscite to choose the National Song, held as an optional additional question in the 1977 referendum on various issues. "Advance Australia Fair" received 43.29% of the vote, defeating the three alternatives, "Waltzing Matilda" (28.28%), "Song of Australia" (9.65%) and the existing national anthem, "God Save the Queen" (18.78%).[10]

text: "Advance Australia Fair", with modified lyrics from the original (see development of lyrics), was adopted as the Australian national anthem on 19 April 1984 by a proclamation by the Governor-General, Sir Ninian Stephen,[11] on a recommendation by the Labor government of Bob Hawke. "God Save the Queen", now known as the royal anthem, continues to be played alongside the Australian national anthem at public engagements in Australia that are attended by the Queen or members of the Royal Family.

text: Lyrics[edit]

text: The lyrics of "Advance Australia Fair" were officially adopted in 1984 as follows:[12]

text:
Australians all let us rejoice,
For we are young and free;
We've golden soil and wealth for toil;
Our home is girt by sea;
Our land abounds in nature's gifts
Of beauty rich and rare;
In history's page, let every stage
Advance Australia Fair.
In joyful strains then let us sing,
Advance Australia Fair.

text:
Beneath our radiant Southern Cross
We'll toil with hearts and hands;
To make this Commonwealth of ours
Renowned of all the lands;
For those who've come across the seas
We've boundless plains to share;
With courage let us all combine
To Advance Australia Fair.
In joyful strains then let us sing,
Advance Australia Fair.

text: Copyright[edit]

text: Even though any copyright of Peter Dodds McCormick's original lyrics has expired, as he died in 1916, the Commonwealth of Australia claims copyright on the official lyrics and particular arrangements of music. Non-commercial use of the anthem is permitted without case-by-case permission, but the Commonwealth government requires permission for commercial use.[13]

text: Orchestral version[edit]

text: The wordless orchestral version of "Advance Australia Fair" that is now regularly played for Australian victories at international sporting medal ceremonies, and at the openings of major domestic sporting, cultural and community events, is by Tommy Tycho, an immigrant from Hungary. It was first commissioned by ABC Records in 1984 and then televised by Channel 10 in 1986 in their Australia Day Broadcast, featuring Julie Anthony as the soloist.[14]

text: Development of lyrics[edit]

text: Since the original lyrics were written in 1879, there have been several changes, in some cases with the intent of increasing the anthem's inclusiveness and gender neutrality. Some of these were minor while others have significantly changed the song. The original song was four verses long. For its adoption as the national anthem, the song was cut from four verses to two. The first verse was kept largely as the 1879 original, except for the change in the first line from "Australia's sons let us rejoice" to "Australians all let us rejoice".[12] The second, third and fourth verses of the original were dropped, in favour of a modified version of the new third verse which was sung at Federation in 1901.[15]

text: The original lyrics published in 1879 were as follows:[16]

text:
Australia's sons let us rejoice,
For we are young and free;
We've golden soil and wealth for toil,
Our home is girt by sea;
Our land abounds in Nature's gifts
Of beauty rich and rare;
In hist'ry's page, let ev'ry stage
Advance Australia fair.
In joyful strains then let us sing,
Advance Australia fair.

text:
When gallant Cook from Albion sailed,
To trace wide oceans o'er,
True British courage bore him on,
Til he landed on our shore.
Then here he raised Old England's flag,
The standard of the brave;
"With all her faults we love her still"
"Britannia rules the wave."
In joyful strains then let us sing
Advance Australia fair.

text:
While other nations of the globe
Behold us from afar,
We'll rise to high renown and shine
Like our glorious southern star;
From England soil and Fatherland,
Scotia and Erin fair,
Let all combine with heart and hand
To advance Australia fair.
In joyful strains then let us sing
Advance Australia fair.

text:
Should foreign foe e'er sight our coast,
Or dare a foot to land,
We'll rouse to arms like sires of yore,
To guard our native strand;
Britannia then shall surely know,
Though oceans roll between,
Her sons in fair Australia's land
Still keep their courage green.
In joyful strains then let us sing
Advance Australia fair.

text: The 1901 Federation version of the third verse was originally sung as:

text:
Beneath our radiant Southern Cross,
We'll toil with hearts and hands;
To make our youthful Commonwealth,
Renowned of all the lands;
For loyal sons beyond the seas
We've boundless plains to share;
With courage let us all combine
To advance Australia fair.
In joyful strains then let us sing
Advance Australia fair!

text: Criticism[edit]

text: Both the lyrics and melody of the Australian national anthem have been criticised in some quarters as being dull and unendearing to the Australian people. A National Party senator, Sandy Macdonald, said in 2001 that "Advance Australia Fair" is so boring that the nation risks singing itself to sleep, with boring music and words impossible to understand.[17]  A parliamentary colleague, Peter Slipper, said that Australia should consider another anthem.[18] One suggested replacement was "I Am Australian", notably in 2011 by former Victorian Premier Jeff Kennett.[19]

text: Specific criticism is also directed at the fourth line of lyrics, "our home is girt by sea", for its use of the archaic word "girt" to acknowledge the fact that Australia is an island.[20] The current version of the anthem has a mix of old and new language, rather than having one style of language consistently throughout. Criticism has come from various people, including Australian Labor Party politician Craig Emerson,[21] but others, including former Labor leader Kim Beazley, have defended it.[22]

text: The line "for we are young and free" has been criticised by a Victorian judge who said that many indigenous Australians find the words offensive.[23]  Australian Aboriginal soprano, Deborah Cheetham, has refused to sing "Advance Australia Fair" at the AFL grand finals, citing this lyric, and has advocated for the lyrics to be rewritten.[24]

text: Unofficial Christian variant[edit]

text: A variant of the national anthem penned in 1988 by Sri Lankan immigrant Ruth Ponniah and sung in some Christian schools replaces the second verse with the following:[25][26]

text:
With Christ our head and cornerstone,
We'll build our nation's might;
Whose way and truth and light alone,
Can guide our path aright;
Our lives a sacrifice of love,
Reflect our master's care;
With faces turned to heav'n above,
Advance Australia Fair;
In joyful strains then let us sing,
Advance Australia Fair.


document_title: Patagonia Lake

question_text: what kind of fish are in patagonia lake

question_tokens: what kind of fish are in patagonia lake

text: Patagonia Lake

text:
Patagonia Lake

Location
Santa Cruz County, Arizona, United States

Coordinates
31°29′37″N 110°51′20″W / 31.49361°N 110.85556°W / 31.49361; -110.85556Coordinates: 31°29′37″N 110°51′20″W / 31.49361°N 110.85556°W / 31.49361; -110.85556

Type
reservoir

Primary inflows
Sonoita Creek

Basin countries
United States

Surface area
260 acres (110 ha)

Average depth
90 ft (27 m)

Surface elevation
4,050 ft (1,230 m)

Settlements
Patagonia

text: Patagonia Lake is a man-made reservoir in Santa Cruz County, Arizona, located southwest of the town of Patagonia, Arizona and northeast of Nogales.[1] The lake was created by damming Sonoita Creek,[2] and is a popular area for boating and sport fishing. Facilities are maintained by Arizona State Parks as part of Patagonia Lake State Park.

text: Fish species[edit]

text:
Rainbow trout
Largemouth bass
Crappie
Sunfish
Channel catfish
Flathead catfish
Bullfrogs
Crayfish