document_title: Classical period (music)

question_text: the predominant texture in the classical era was

text: Classical period (music)

text: Classicism[edit]

text:
Part of a series onClassicism
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Age of Enlightenment
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text: In the middle of the 18th century, Europe began to move toward a new style in architecture, literature, and the arts, generally known as Classicism. This style sought to emulate the ideals of Classical antiquity, especially those of Classical Greece.[3] Classical music used formality and emphasis on order and hierarchy, and a "clearer", "cleaner" style that used clearer divisions between parts (notably a clear, single melody accompanied by chords), brighter contrasts and "tone colors" (achieved by the use of dynamic changes and modulations to more keys). In contrast with the richly layered music of the Baroque era, Classical music moved towards simplicity rather than complexity. In addition, the typical size of orchestras began to increase,[3] giving orchestras a more powerful sound.

text: The remarkable development of ideas in "natural philosophy" had already established itself in the public consciousness. In particular, Newton's physics was taken as a paradigm: structures should be well-founded in axioms and be both well-articulated and orderly. This taste for structural clarity began to affect music, which moved away from the layered polyphony of the Baroque period toward a style known as homophony, in which the melody is played over a subordinate harmony.[3] This move meant that chords became a much more prevalent feature of music, even if they interrupted the melodic smoothness of a single part. As a result, the tonal structure of a piece of music became more audible.

text: The new style was also encouraged by changes in the economic order and social structure. As the 18th century progressed, the nobility became the primary patrons of instrumental music, while public taste increasingly preferred lighter, funny comic operas. This led to changes in the way music was performed, the most crucial of which was the move to standard instrumental groups and the reduction in the importance of the continuo—the rhythmic and harmonic groundwork of a piece of music, typically played by a keyboard (harpsichord or organ) and usually accompanied by a varied group of bass instruments, including cello, double bass, bass viol, and theorbo. One way to trace the decline of the continuo and its figured chords is to examine the disappearance of the term obbligato, meaning a mandatory instrumental part in a work of chamber music. In Baroque compositions, additional instruments could be added to the continuo group according to the group or leader's preference; in Classical compositions, all parts were specifically noted, though not always notated, so the term "obbligato" became redundant. By 1800, basso continuo was practically extinct, except for the occasional use of a pipe organ continuo part in a religious Mass in the early 1800s.

text: Economic changes also had the effect of altering the balance of availability and quality of musicians. While in the late Baroque, a major composer would have the entire musical resources of a town to draw on, the musical forces available at an aristocratic hunting lodge or small court were smaller and more fixed in their level of ability. This was a spur to having simpler parts for ensemble musicians to play, and in the case of a resident virtuoso group, a spur to writing spectacular, idiomatic parts for certain instruments, as in the case of the Mannheim orchestra, or virtuoso solo parts for particularly skilled violinists or flautists. In addition, the appetite by audiences for a continual supply of new music carried over from the Baroque. This meant that works had to be performable with, at best, one or two rehearsals. Even after 1790 Mozart writes about "the rehearsal", with the implication that his concerts would have only one rehearsal.

text: Since there was a greater emphasis on a single melodic line, there was greater emphasis on notating that line for dynamics and phrasing. This contrasts with the Baroque era, when melodies were typically written with no dynamics, phrasing marks or ornaments, as it was assumed that the performer would improvise these elements on the spot. In the Classical era, it became more common for composers to indicate where they wanted performers to play ornaments such as trills or turns. The simplification of texture made such instrumental detail more important, and also made the use of characteristic rhythms, such as attention-getting opening fanfares, the funeral march rhythm, or the minuet genre, more important in establishing and unifying the tone of a single movement.

text: The Classical period also saw the gradual development of sonata form, a set of structural principles for music that reconciled the Classical preference for melodic material with harmonic development, which could be applied across musical genres. The sonata itself continued to be the principal form for solo and chamber music, while later in the Classical period the string quartet became a prominent genre. The symphony form for orchestra was created in this period (this is popularly attributed to Joseph Haydn). The concerto grosso (a concerto for more than one musician), a very popular form in the Baroque era, began to be replaced by the solo concerto, featuring only one soloist. Composers began to place more importance on the particular soloist's ability to show off virtuoso skills, with challenging, fast scale and arpeggio runs. Nonetheless, some concerti grossi remained, the most famous of which being Mozart's Sinfonia Concertante for Violin and Viola in E flat Major.

text: Main characteristics[edit]

text: In the classical period, the theme is made up of phrases with contrasting melodic figures and rhythms. These phrases are relatively brief, typically four bars in length, and can occasionally seem sparse or terse.  The texture is mainly homophonic,[2] with a clear melody above a subordinate chordal accompaniment, for instance an Alberti bass. This contrasts with the practice in Baroque music, where a piece or movement would typically have only one musical subject, which would then be worked out in a number of voices according to the principles of counterpoint, while maintaining a consistent rhythm or metre throughout.  As a result, Classical music tends to have a lighter, clearer texture than the Baroque. The classical style draws on the style galant, a musical style which emphasised light elegance in place of the Baroque's dignified seriousness and impressive grandeur.

text: Structurally, Classical music generally has a clear musical form, with a well-defined contrast between tonic and dominant, introduced by clear cadences. Dynamics are used to highlight the structural characteristics of the piece. In particular, sonata form and its variants were developed during the early classical period and was frequently used.  The Classical approach to structure again contrasts with the Baroque, where a composition would normally move between tonic and dominant and back again, but through a continual progress of chord changes and without a sense of "arrival" at the new key. While counterpoint was less emphasised in the classical period, it was by no means forgotten, especially later in the period, and composers still used counterpoint in "serious" works such as symphonies and string quartets, as well as religious pieces, such as Masses.

text: The classical musical style was supported by technical developments in instruments. The widespread adoption of equal temperament made classical musical structure possible, by ensuring that cadences in all keys sounded similar. The fortepiano and then the pianoforte replaced the harpsichord, enabling more dynamic contrast and more sustained melodies.  Over the Classical period, keyboard instruments became richer, more sonorous and more powerful.

text: The orchestra increased in size and range, and became more standardised. The harpsichord or pipe organ basso continuo role in orchestra  fell out of use between 1750 and 1775, leaving the string section woodwinds became a self-contained section, consisting of clarinets, oboes, flutes and bassoons.

text: While vocal music such as comic opera was popular, great importance was given to instrumental music. The main kinds of instrumental music were the  sonata, trio, string quartet, symphony, concerto (usually for a virtuoso solo instrument accompanied by orchestra), and light pieces such as serenades and divertimentos. Sonata form developed and became the most important form. It was used to build up the first movement of most large-scale works in symphonies and string quartets. Sonata form was also used in other movements and in single, standalone pieces such as overtures.

text: History[edit]

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text: Baroque/Classical transition c. 1730–1760[edit]

text: At first the new style took over Baroque forms—the ternary da capo aria and the sinfonia and concerto—but composed with simpler parts, more notated ornamentation, rather than the improvised ornaments that were common in the Baroque era, and more emphatic division of pieces into sections. However, over time, the new aesthetic caused radical changes in how pieces were put together, and the basic formal layouts changed. Composers from this period sought dramatic effects, striking melodies, and clearer textures. One of the big textural changes was a shift away from the complex, dense polyphonic style of the Baroque, in which multiple interweaving melodic lines were played simultaneously, and towards homophony, a lighter texture which uses a clear single melody line accompanied by chords.

text: The Italian composer Domenico Scarlatti was an important figure in the transition from Baroque to Classical style. His unique compositional style is strongly related to that of the early Classical period. He is best known for composing more than five hundred one-movement keyboard sonatas. In Spain, Antonio Soler also produced valuable keyboard sonatas, more varied in form than those of Scarlatti, with some pieces in three or four movements.

text: Baroque music generally uses many harmonic fantasies and polyphonic sections that focus less on the structure of the musical piece, and there was less emphasis on clear musical phrases. In the classical period, the harmonies became simpler. However, the structure of the piece, the phrases and small melodic or rhythmic motives, became much more important than in the Baroque period.

text: Another important break with the past was the radical overhaul of opera by Christoph Willibald Gluck, who cut away a great deal of the layering and improvisational ornaments and focused on the points of modulation and transition. By making these moments where the harmony changes more of a focus, he enabled powerful dramatic shifts in the emotional color of the music. To highlight these transitions, he used changes in instrumentation (orchestration), melody, and mode. Among the most successful composers of his time, Gluck spawned many emulators, one of whom was Antonio Salieri. Their emphasis on accessibility brought huge successes in opera, and in other vocal music such as songs, oratorios, and choruses. These were considered the most important kinds of music for performance and hence enjoyed greatest public success.

text: The phase between the Baroque and the rise of the Classical, with its broad mixture of competing ideas and attempts to unify the different demands of taste, economics and "worldview", goes by many names. It is sometimes called Galant, Rococo, or pre-Classical, or at other times early Classical[citation needed]. It is a period where some composers still working in the Baroque style flourish, though sometimes thought of as being more of the past than the present—Bach, Handel, and Telemann all composed well beyond the point at which the homophonic style is clearly in the ascendant. Musical culture was caught at a crossroads: the masters of the older style had the technique, but the public hungered for the new. This is one of the reasons C. P. E. Bach was held in such high regard: he understood the older forms quite well and knew how to present them in new garb, with an enhanced variety of form.

text: By the late 1750s there were flourishing centers of the new style in Italy, Vienna, Mannheim, and Paris; dozens of symphonies were composed and there were bands of players associated with musical theatres. Opera or other vocal music accompanied by orchestra was the feature of most musical events, with concertos and symphonies (arising from the overture) serving as instrumental interludes and introductions for operas and church services. Over the course of the Classical period, symphonies and concertos developed and were presented independently of vocal music.

text: The "normal" orchestra ensemble—a body of strings supplemented by winds—and movements of particular rhythmic character were established by the late 1750s in Vienna. However, the length and weight of pieces was still set with some Baroque characteristics: individual movements still focused on one "affect" (musical mood) or had only one sharply contrasting middle section, and their length was not significantly greater than Baroque movements. There was not yet a clearly enunciated theory of how to compose in the new style. It was a moment ripe for a breakthrough.

text: Many consider this breakthrough to have been made by C. P. E. Bach, Gluck, and several others. Indeed, C. P. E. Bach and Gluck are often considered founders of the Classical style. The first great master of the style was the composer Joseph Haydn. In the late 1750s he began composing symphonies, and by 1761 he had composed a triptych (Morning, Noon, and Evening) solidly in the contemporary mode. As a vice-Kapellmeister and later Kapellmeister, his output expanded: he composed over forty symphonies in the 1760s alone. And while his fame grew, as his orchestra was expanded and his compositions were copied and disseminated, his voice was only one among many.

text: While some scholars suggest that Haydn was overshadowed by Mozart and Beethoven, it would be difficult to overstate Haydn's centrality to the new style, and therefore to the future of Western art music as a whole. At the time, before the pre-eminence of Mozart or Beethoven, and with Johann Sebastian Bach known primarily to connoisseurs of keyboard music, Haydn reached a place in music that set him above all other composers except perhaps the Baroque era's George Frideric Handel. Haydn took existing ideas, and radically altered how they functioned—earning him the titles "father of the symphony" and "father of the string quartet".

text: One of the forces that worked as an impetus for his pressing forward was the first stirring of what would later be called Romanticism—the Sturm und Drang, or "storm and stress" phase in the arts, a short period where obvious and dramatic emotionalism was a stylistic preference. Haydn accordingly wanted more dramatic contrast and more emotionally appealing melodies, with sharpened character and individuality in his pieces. This period faded away in music and literature: however, it influenced what came afterward and would eventually be a component of aesthetic taste in later decades.

text: The Farewell Symphony, No. 45 in F♯ Minor, exemplifies Haydn's integration of the differing demands of the new style, with surprising sharp turns and a long slow adagio to end the work. In 1772, Haydn completed his Opus 20 set of six string quartets, in which he deployed the polyphonic techniques he had gathered from the previous Baroque era to provide structural coherence capable of holding together his melodic ideas. For some, this marks the beginning of the "mature" Classical style, in which the period of reaction against late Baroque complexity yielded to a period of integration Baroque and Classical elements.

text: Haydn, having worked for over a decade as the music director for a prince, had far more resources and scope for composing than most other composers. His position also gave him the ability to shape the forces that would play his music, as he could select skilled musicians. This opportunity was not wasted, as Haydn, beginning quite early on his career, sought to press forward the technique of building and developing ideas in his music. His next important breakthrough was in the Opus 33 string quartets (1781), in which the melodic and the harmonic roles segue among the instruments: it is often momentarily unclear what is melody and what is harmony. This changes the way the ensemble works its way between dramatic moments of transition and climactic sections: the music flows smoothly and without obvious interruption. He then took this integrated style and began applying it to orchestral and vocal music.

text: Haydn's gift to music was a way of composing, a way of structuring works, which was at the same time in accord with the governing aesthetic of the new style. However, a younger contemporary, Wolfgang Amadeus Mozart, brought his genius to Haydn's ideas and applied them to two of the major genres of the day: opera, and the virtuoso concerto. Whereas Haydn spent much of his working life as a court composer, Mozart wanted public success in the concert life of cities, playing for the general public. This meant he needed to write operas and write and perform virtuoso pieces. Haydn was not a virtuoso at the international touring level; nor was he seeking to create operatic works that could play for many nights in front of a large audience. Mozart wanted to achieve both. Moreover, Mozart also had a taste for more chromatic chords (and greater contrasts in harmonic language generally), a greater love for creating a welter of melodies in a single work, and a more Italianate sensibility in music as a whole. He found, in Haydn's music and later in his study of the polyphony of J.S. Bach, the means to discipline and enrich his artistic gifts.

text: Mozart rapidly came to the attention of Haydn, who hailed the new composer, studied his works, and considered the younger man his only true peer in music. In Mozart, Haydn found a greater range of instrumentation, dramatic effect and melodic resource. The learning relationship moved in both directions. Mozart also had a great respect for the older, more experienced composer, and sought to learn from him.

text: Mozart's arrival in Vienna in 1780 brought an acceleration in the development of the Classical style. There, Mozart absorbed the fusion of Italianate brilliance and Germanic cohesiveness that had been brewing for the previous 20 years. His own taste for flashy brilliances, rhythmically complex melodies and figures, long cantilena melodies, and virtuoso flourishes was merged with an appreciation for formal coherence and internal connectedness. It is at this point that war and economic inflation halted a trend to larger orchestras and forced the disbanding or reduction of many theater orchestras. This pressed the Classical style inwards: toward seeking greater ensemble and technical challenges—for example, scattering the melody across woodwinds, or using a melody harmonized in thirds. This process placed a premium on small ensemble music, called chamber music. It also led to a trend for more public performance, giving a further boost to the string quartet and other small ensemble groupings.

text: It was during this decade that public taste began, increasingly, to recognize that Haydn and Mozart had reached a high standard of composition. By the time Mozart arrived at age 25, in 1781, the dominant styles of Vienna were recognizably connected to the emergence in the 1750s of the early Classical style. By the end of the 1780s, changes in performance practice, the relative standing of instrumental and vocal music, technical demands on musicians, and stylistic unity had become established in the composers who imitated Mozart and Haydn. During this decade Mozart composed his most famous operas, his six late symphonies that helped to redefine the genre, and a string of piano concerti that still stand at the pinnacle of these forms.

text: One composer who was influential in spreading the more serious style that Mozart and Haydn had formed is Muzio Clementi, a gifted virtuoso pianist who tied with Mozart in a musical "duel" before the emperor in which they each improvised on the piano and performed their compositions. Clementi's sonatas for the piano circulated widely, and he became the most successful composer in London during the 1780s. Also in London at this time was Jan Ladislav Dussek, who, like Clementi, encouraged piano makers to extend the range and other features of their instruments, and then fully exploited the newly opened up possibilities. The importance of London in the Classical period is often overlooked, but it served as the home to the Broadwood's factory for piano manufacturing and as the base for composers who, while less notable than the "Vienna School", had a decisive influence on what came later. They were composers of many fine works, notable in their own right. London's taste for virtuosity may well have encouraged the complex passage work and extended statements on tonic and dominant.

text: Circa 1790–1820[edit]

text: When Haydn and Mozart began composing, symphonies were played as single movements—before, between, or as interludes within other works—and many of them lasted only ten or twelve minutes; instrumental groups had varying standards of playing, and the continuo was a central part of music-making.

text: In the intervening years, the social world of music had seen dramatic changes. International publication and touring had grown explosively, and concert societies formed. Notation became more specific, more descriptive—and schematics for works had been simplified (yet became more varied in their exact working out). In 1790, just before Mozart's death, with his reputation spreading rapidly, Haydn was poised for a series of successes, notably his late oratorios and "London" symphonies. Composers in Paris, Rome, and all over Germany turned to Haydn and Mozart for their ideas on form.

text: The time was again ripe for a dramatic shift. In the 1790s, a new generation of composers, born around 1770, emerged. While they had grown up with the earlier styles, they heard in the recent works of Haydn and Mozart a vehicle for greater expression. In 1788 Luigi Cherubini settled in Paris and in 1791 composed Lodoiska, an opera that raised him to fame. Its style is clearly reflective of the mature Haydn and Mozart, and its instrumentation gave it a weight that had not yet been felt in the grand opera. His contemporary Étienne Méhul extended instrumental effects with his 1790 opera Euphrosine et Coradin, from which followed a series of successes. The final push towards change came from Gaspare Spontini, who was deeply admired by future romantic composers such as Weber, Berlioz and Wagner. The innovative harmonic language of his operas, their refined instrumentation and their "enchained" closed numbers (a structural pattern which was later adopted by Weber in Euryanthe and from him handed down, through Marschner, to Wagner), formed the basis from which French and German romantic opera had its beginnings.

text: The most fateful of the new generation was Ludwig van Beethoven, who launched his numbered works in 1794 with a set of three piano trios, which remain in the repertoire. Somewhat younger than the others, though equally accomplished because of his youthful study under Mozart and his native virtuosity, was Johann Nepomuk Hummel. Hummel studied under Haydn as well; he was a friend to Beethoven and Franz Schubert. He concentrated more on the piano than any other instrument, and his time in London in 1791 and 1792 generated the composition and publication in 1793 of three piano sonatas, opus 2, which idiomatically used Mozart's techniques of avoiding the expected cadence, and Clementi's sometimes modally uncertain virtuoso figuration. Taken together, these composers can be seen as the vanguard of a broad change in style and the center of music. They studied one another's works, copied one another's gestures in music, and on occasion behaved like quarrelsome rivals.

text: The crucial differences with the previous wave can be seen in the downward shift in melodies, increasing durations of movements, the acceptance of Mozart and Haydn as paradigmatic, the greater use of keyboard resources, the shift from "vocal" writing to "pianistic" writing, the growing pull of the minor and of modal ambiguity, and the increasing importance of varying accompanying figures to bring "texture" forward as an element in music. In short, the late Classical was seeking a music that was internally more complex. The growth of concert societies and amateur orchestras, marking the importance of music as part of middle-class life, contributed to a booming market for pianos, piano music, and virtuosi to serve as examplars. Hummel, Beethoven, and Clementi were all renowned for their improvising.

text: Direct influence of the Baroque continued to fade: the figured bass grew less prominent as a means of holding performance together, the performance practices of the mid-18th century continued to die out. However, at the same time, complete editions of Baroque masters began to become available, and the influence of Baroque style continued to grow, particularly in the ever more expansive use of brass. Another feature of the period is the growing number of performances where the composer was not present. This led to increased detail and specificity in notation; for example, there were fewer "optional" parts that stood separately from the main score.

text: The force of these shifts became apparent with Beethoven's 3rd Symphony, given the name Eroica, which is Italian for "heroic", by the composer. As with Stravinsky's The Rite of Spring, it may not have been the first in all of its innovations, but its aggressive use of every part of the Classical style set it apart from its contemporary works: in length, ambition, and harmonic resources as well.

text: First Viennese School[edit]

text: The First Viennese School is a name mostly used to refer to three composers of the Classical period in late-18th-century Vienna: Haydn, Mozart, and Beethoven. Franz Schubert is occasionally added to the list.

text: In German-speaking countries, the term Wiener Klassik (lit. Viennese classical era/art) is used. That term is often more broadly applied to the Classical era in music as a whole, as a means to distinguish it from other periods that are colloquially referred to as classical, namely Baroque and Romantic music.

text: The term "Viennese School" was first used by Austrian musicologist Raphael Georg Kiesewetter in 1834, although he only counted Haydn and Mozart as members of the school. Other writers followed suit, and eventually Beethoven was added to the list.[4] The designation "first" is added today to avoid confusion with the Second Viennese School.

text: Whilst, Schubert apart, these composers certainly knew each other (with Haydn and Mozart even being occasional chamber-music partners), there is no sense in which they were engaged in a collaborative effort in the sense that one would associate with 20th-century schools such as the Second Viennese School, or Les Six. Nor is there any significant sense in which one composer was "schooled" by another (in the way that Berg and Webern were taught by Schoenberg), though it is true that Beethoven for a time received lessons from Haydn.

text: Attempts to extend the First Viennese School to include such later figures as Anton Bruckner, Johannes Brahms, and Gustav Mahler are merely journalistic, and never encountered in academic musicology.

text: Classical influence on later composers[edit]

text: Musical eras and their prevalent styles, forms and instruments seldom disappear at once; instead, features are replaced over time, until the old approach is simply felt as "old-fashioned". The Classical style did not "die" suddenly; rather, it gradually got phased out under the weight of changes. To give just one example, while it is generally stated that the Classical era stopped using the harpsichord in orchestras, this did not happen all of a sudden at the start of the Classical era in 1750. Rather, orchestras slowly stopped using the harpsichord to play basso continuo until the practice was discontinued by the end of the 1700s.

text: One crucial change was the shift towards harmonies centering on "flatward" keys: shifts in the subdominant direction[clarification needed]. In the Classical style, major key was far more common than minor, chromaticism being moderated through the use of "sharpward" modulation (e.g., a piece in C major modulating to G major, D major, or A major, all of which are keys with more sharps). As well, sections in the minor mode were often used for contrast. Beginning with Mozart and Clementi, there began a creeping colonization of the subdominant region (the ii or IV chord, which in the key of C major would be the keys of d minor or F major). With Schubert, subdominant modulations flourished after being introduced in contexts in which earlier composers would have confined themselves to dominant shifts (modulations to the dominant chord, e.g., in the key of C major, modulating to G major). This introduced darker colors to music, strengthened the minor mode, and made structure harder to maintain. Beethoven contributed to this by his increasing use of the fourth as a consonance, and modal ambiguity—for example, the opening of the Symphony No. 9 in D minor.

text: Franz Schubert, Carl Maria von Weber, and John Field are among the most prominent in this generation of "Proto-Romantics", along with the young Felix Mendelssohn. Their sense of form was strongly influenced by the Classical style. While they were not yet "learned" composers (imitating rules which were codified by others), they directly responded to works by Beethoven, Mozart, Clementi, and others, as they encountered them. The instrumental forces at their disposal in orchestras were also quite "Classical" in number and variety, permitting similarity with Classical works.

text: However, the forces destined to end the hold of the Classical style gathered strength in the works of many of the above composers, particularly Beethoven. The most commonly cited one is harmonic innovation. Also important is the increasing focus on having a continuous and rhythmically uniform accompanying figuration: Beethoven's Moonlight Sonata was the model for hundreds of later pieces—where the shifting movement of a rhythmic figure provides much of the drama and interest of the work, while a melody drifts above it. Greater knowledge of works, greater instrumental expertise, increasing variety of instruments, the growth of concert societies, and the unstoppable domination of the increasingly more powerful piano (which was given a bolder, louder tone by technological developments such as the use of steel strings, heavy cast-iron frames and sympathetically vibrating strings) all created a huge audience for sophisticated music. All of these trends contributed to the shift to the "Romantic" style.

text: Drawing the line between these two styles is very difficult: some sections of Mozart's later works, taken alone, are indistinguishable in harmony and orchestration from music written 80 years later—and some composers continued to write in normative Classical styles into the early 20th century. Even before Beethoven's death, composers such as Louis Spohr were self-described Romantics, incorporating, for example, more extravagant chromaticism in their works (e.g., using chromatic harmonies in a piece's chord progression). Conversely, works such as Schubert's Symphony No. 5, written during the chronological dawn of the Romantic era, exhibit a deliberately anachronistic artistic paradigm, harking back to the compositional style of several decades before.

text: However, Vienna's fall as the most important musical center for orchestral composition during the late 1820s, precipitated by the deaths of Beethoven and Schubert, marked the Classical style's final eclipse—and the end of its continuous organic development of one composer learning in close proximity to others. Franz Liszt and Frédéric Chopin visited Vienna when they were young, but they then moved on to other cities. Composers such as Carl Czerny, while deeply influenced by Beethoven, also searched for new ideas and new forms to contain the larger world of musical expression and performance in which they lived.

text: Renewed interest in the formal balance and restraint of 18th century classical music led in the early 20th century to the development of so-called Neoclassical style, which numbered Stravinsky and Prokofiev among its proponents, at least at certain times in their careers.

text: Classical period instruments[edit]

text: Guitar[edit]

text: The Baroque guitar, with four or five sets of double strings or "courses" and elaborately decorated soundhole, was a very different instrument from the early classical guitar which more closely resembles the modern instrument with the standard six strings. Judging by the number of instructional manuals published for the instrument – over three hundred texts were published by over two hundred authors between 1760 and 1860 – the classical period marked a golden age for guitar.[5]

text: Strings[edit]

text: In the Baroque era, there was more variety in the bowed stringed instruments used in ensembles, with instruments such as the viola d'amore and a range of fretted viols being used, ranging from small viols to large bass viols. In the Classical period, the string section of the orchestra was standardized as just four instruments:

text:
Violin (in orchestras and chamber music, typically there are first violins and second violins, with the former playing the melody and/or a higher line and the latter playing either a countermelody, a harmony part, a part below the first violin line in pitch, or an accompaniment line)
Viola (the alto voice of the orchestral string section and string quartet; it often performs "inner voices", which are accompaniment lines which fill in the harmony of the piece)
Cello (the cello plays two roles in Classical era music; at times it is used to play the bassline of the piece, typically doubled by the double basses [Note: When cellos and double basses read the same bassline, the basses play an octave below the cellos, because the bass is a transposing instrument]; and at other times it performs melodies and solos in the lower register)
Double bass (the bass typically performs the lowest pitches in the string section in order to provide the bassline for the piece)

text: In the Baroque era, the double bass players were not usually given a separate part; instead, they typically played the same basso continuo bassline that the cellos and other low-pitched instruments (e.g., theorbo, serpent wind instrument, viols), albeit an octave below the cellos, because the double bass is a transposing instrument that sounds one octave lower than it is written. In the Classical era, some composers continued to write only one bass part for their symphony, labeled "bassi"; this bass part was played by cellists and double bassists. During the Classical era, some composers began to give the double basses their own part.

text: Woodwinds[edit]

text:
Basset clarinet
Basset horn
Clarinette d'amour
Classical clarinet
Chalumeau
Flute
Oboe
Bassoon

text: Percussion[edit]

text:
Timpani
"Turkish music":
Bass drum
Cymbals
Triangle

text: Keyboards[edit]

text:
Clavichord
Fortepiano (the forerunner to the modern piano)
Piano
Harpsichord, the standard Baroque era basso continuo keyboard instrument, was used until the 1750s, after which time it was gradually phased out, and replaced with the fortepiano and then the piano. By the early 1800s, the harpsichord was no longer used.

text: Brasses[edit]

text:
Buccin
Ophicleide – replacement for the "serpent", a bass wind instrument that was the precursor of the tuba
French horn
Trumpet
Trombone


document_title: Register (sociolinguistics)

question_text: the pledge of allegiance is an example of which language register

root

text: Register (sociolinguistics)

text: History and use[edit]

text: The term register was first used by the linguist Thomas Bertram Reid in 1956, and brought into general currency in the 1960s by a group of linguists who wanted to distinguish among variations in language according to the user (defined by variables such as social background, geography, sex and age), and variations according to use, "in the sense that each speaker has a range of varieties and choices between them at different times" (Halliday et al., 1964). The focus is on the way language is used in particular situations, such as legalese or motherese, the language of a biology research lab, of a news report, or of the bedroom.

tag: p

text: M. A. K. Halliday and R. Hasan (1976) interpret register to be "the linguistic features which are typically associated with a configuration of situational features – with particular values of the field, mode and tenor...". Field for them is "the total event, in which the text is functioning, together with the purposive activity of the speaker or writer; includes subject-matter as one of the elements". Mode is "the function of the text in the event, including both the channel taken by language – spoken or written, extempore or prepared – and its genre, rhetorical mode, as narrative, didactic, persuasive, 'phatic communion', etc." The tenor refers to "the type of role interaction, the set of relevant social relations, permanent and temporary, among the participants involved". These three values – field, mode and tenor – are thus the determining factors for the linguistic features of the text. "The register is the set of meanings, the configuration of semantic patterns, that are typically drawn upon under the specified conditions, along with the words and structures that are used in the realization of these meanings." Register, in the view of M. A. K. Halliday and R. Hasan, is one of the two defining concepts of text. "A text is a passage of discourse which is coherent in these two regards: it is coherent with respect to the context of situation, and therefore consistent in register; and it is coherent with respect to itself, and therefore cohesive."

text: Register being formality scale[edit]

text: One of the most analyzed areas where the use of language is determined by the situation is the formality scale. Especially in language teaching, the term "register" often forms a shorthand for formal/informal style, although this is an aging definition. Linguistics textbooks may use the term "tenor" instead (Halliday 1978), but increasingly prefer the term "style" – "we characterise styles as varieties of language viewed from the point of view of formality" (Trudgill, 1992) – while defining "registers" more narrowly as specialist language use related to a particular activity, such as academic jargon. There is very little agreement as to how the spectrum of formality should be divided.

text: In one prominent model, Martin Joos (1961) describes five styles in spoken English:

text:
Frozen: Also referred to as static register. Printed unchanging language, such as Biblical quotations, often contains archaisms. Examples are the Pledge of Allegiance of the United States of America and other "static" vocalizations. The wording is exactly the same every time it is spoken.
Formal: One-way participation; no interruption; technical vocabulary or exact definitions are important; includes presentations or introductions between strangers.
Consultative: Two-way participation; background information is provided – prior knowledge is not assumed. "Back-channel behavior" such as "uh huh", "I see", etc. is common. Interruptions are allowed. Examples include teacher/student, doctor/patient, expert/apprentice, etc.
Casual: In-group friends and acquaintances; no background information provided; ellipsis and slang common; interruptions common. This is common among friends in a social setting.
Intimate: Non-public; intonation more important than wording or grammar; private vocabulary. Also includes non-verbal messages. This is most common among family members and close friends.

tag: ul

text: ISO standard[edit]

text: The ISO has defined standard ISO 12620 on Data Category Registry.[1] This is a registry for registering linguistic terms used in various fields of translation, computational linguistics and natural language processing and defining mappings both between different terms and the same terms used in different systems. The registers identified are:

text:
bench-level register
dialect register
facetious register
formal register
in house register
ironic register
neutral register
slang register
taboo register
technical register
vulgar register

text: Diatype[edit]

text: The term diatype is sometimes used to describe language variation which is determined by its social purpose (Gregory 1967). In this formulation, language variation can be divided into two categories: dialect, for variation according to user, and diatype for variation according to use (e.g. the specialised language of an academic journal). This definition of diatype is very similar to those of register.

text: The distinction between dialect and diatype is not always clear; in some cases a language variety may be understood as both a dialect and a diatype.

text: Diatype is usually analysed in terms of field, the subject matter or setting; tenor, the participants and their relationships; and mode, the channel of communication, such as spoken, written or signed.


document_title: Stage management

question_text: who is responsible for organising the rehearsal schedule for a production

text: Stage management

text: History[edit]

text: Between the Renaissance and the 16th century, actors and playwrights took upon themselves the handling of finances, general directorial duties, and stage management.[1] Stage management first emerged as a distinct role in the 17th century during Shakespeare's and Molière's time, though it wasn't until the 18th century in England that the term Stage Manager was used. This was the first time a person other than actors and playwright was hired to direct or manage the stage. Over time, with the rise in complexity of theatre due to advances such as mechanized scenery, quick costume changes, and controlled lighting, the stage manager's job was split into two positions—director and stage manager.[2]

text: Many playwrights, directors, and actors have previously worked as an assistant stage manager. Writer and director Preston Sturges, for example, was employed as an ASM on Isadora Duncan's production of Oedipus Rex at the age of 16 and a half:

text: When one is responsible for giving an offstage cue, even the simplest ones, like the ring of a telephone or a birdcall, demand considerable sangfroid, and the job is nervewracking. One is very much aware that everything depends on the delivery of the cue at exactly the right microsecond. One stands there, knees slightly bent, breathing heavily...[3]

text: Sturges didn't last long in this job, due to his calling for thunder and then lightning instead of lightning and then thunder, but 16 years later Brock Pemberton hired him as an ASM on Antoinette Perry's production of Goin' Home, which led to the first mounting of one of Sturges' plays on Broadway, The Guinea Pig, in 1929.[4]

text: Responsibilities[edit]

text: The responsibilities and duties of stage management vary depending on the setting of a production (i.e., rehearsal or performance) and the type of production (e.g., theatre, dance, music). Most broadly, it is the stage manager's responsibility to ensure that the director's artistic choices are realized in actual performance.

text: During rehearsals, the stage manager typically serves as an adjunct to the director by recording the blocking and ensuring that cast members stay on script, have the requisite props, and follow the blocking. Stage managers are responsible for helping establish a show's rehearsal schedule and ensuring that rehearsals run on time. The stage manager typically documents each rehearsal in a rehearsal report.

text: As the lighting, sound, and set change cues are developed, the stage manager records the timing of each as it relates to the script and other aspects of the performance. The stage manager maintains a prompt book, sometimes also referred to as a "calling script," which contains all cues, technical notes, blocking, and other information pertinent to the show.

text: Once the audience begins to enter a theater prior to a performance, the stage manager controls all aspects of the performance by calling the cues for all transitions (this is known as "calling the show") and acting as communications hub for the cast and crew. Large productions may utilize a stage management team in which the manager is responsible for calling the show while other team members operate backstage to ensure actors and crew are ready to perform their duties. After a show opens, the stage manager is also responsible for calling brush-up, put in, and understudy rehearsals to make sure that the show's quality is maintained.[5]

text: The stage manager ensures that lighting and sound cues are acted upon at the right time by issuing verbal standby and prompt calls. Each cue call begins with the word "standby" to indicate that an action is imminent and, in response, the technician who will perform the action acknowledges readiness to perform the action. Occasionally, after a long pause or break in the production's action, the stage manager will give a "warning" cue. This warns the technicians that the next cue is approaching. At the appropriate time, the stage manager will prompt immediate execution of the action by saying "go."

text: When the stage manager is calling the show from a control booth, an Assistant Stage Manager (ASM) is often stationed offstage.

text: Regional differences[edit]

text: United States[edit]

text: In the United States, Stage Manager is a generic title that may be applied to anyone who performs stage management functions. On small shows, one person typically performs all the tasks of stage management, and is simply referred to as the stage manager. Larger shows often need two or more stage managers. In such cases the head stage manager is titled Production Stage Manager (commonly abbreviated PSM), and working under the PSM is one or more Assistant Stage Managers (commonly abbreviated ASM). Shows that employ three stage managers have a PSM and two ASMs, though the program credits may list them as Production Stage Manager (first or head stage manager), Stage Manager (second stage manager), and Assistant Stage Manager (third stage manager).[2]

text: Some professional stage managers in plays and musicals may choose to be represented by a union known as the Actors' Equity Association, which also represents performers. In addition to performing their typical stage management duties (e.g., maintaining the prompt book and calling performances), Equity stage managers are also required to uphold the union's rules and rights for Equity artists. Union stage managers for opera, ballet, and modern dance are represented by the American Guild of Musical Artists and perform most of the same duties as their counterparts in plays and musicals.

text: United Kingdom[edit]

text: In the UK, the structure of a stage management team depends on the type and size of the production. It can consist of stage manager (overseeing the running of the show), deputy stage manager (commonly called DSM), and assistant stage manager (commonly called ASM). A fringe theatre show may employ one stage manager to carry out the tasks of an entire team, whereas a West End theatre show in London might employ multiple ASMs. Professional stage managers are represented by the British Actors' Equity Association, which also represents performers.

text: Deputy stage manager[edit]

text: The DSM prompts actors and will usually cue technical crew members and sometimes cast, while following the orders of the director and stage manager. The DSM calls actors to hold while technical problems are sorted out during rehearsal, and determines where in the script to restart halted scenes.[6] The deputy stage manager (DSM) is a separate position in some theatres, while in others the responsibilities of the DSM may be assumed by the stage manager or assistant stage manager.[7]

text: Assistant stage manager[edit]

text: The assistant stage manager (ASM) has varied responsibilities, which are assigned by the stage manager. The ASM assists in finding and maintaining props during rehearsals and the run of the show. The ASM may take attendance or estimate audience size, may manage the backstage technicians, may act as a liaison between crew, cast and management, and may call some cues. Mundane tasks such as mopping the stage and brewing coffee or tea may fall to the ASM. If the stage manager is unable to perform his or her duties, the ASM must be able to fill in.[8] The assistant may also be in charge of one wing of the stage, while the stage manager is on the other wing.

text: Show control based venues[edit]

text: Many live shows around the world are produced with the forehand knowledge that they will have a very long run, often measured in years. These are usually known quantities that are very expensive productions and have a guaranteed audience because of their location. Typically, they are on cruise ships, in theme parks, Las Vegas or at destination resorts. These shows warrant very long-range development and planning and use stage managers to run almost all technical elements in the show, without many of the other traditional crew members, such as sound, lighting and rigging operators. In these cases, show control systems are installed and connected to all other technical systems in the theatre, which are specifically designed to be controlled by show control and to operate safely with minimal supervision. Stage managers working these shows usually have the additional responsibility for programming the show control system, and often the other control systems as well.


document_title: List of Billboard Hot 100 number-one singles of 2005

question_text: what was the number 1 song in august 2005

text: Chart history

text:
Key

Indicates best-performing single of 2005

tag: table

text:
Issue date

Song

Artist(s)

Reference(s)

January 1

"Let Me Love You"

Mario

[9]

January 8

[10]

January 15

[11]

January 22

[12]

January 29

[13]

February 5

[14]

February 12

[15]

February 19

[16]

February 26

[17]

March 5

"Candy Shop"

50 Cent featuring Olivia

[18]

March 12

[19]

March 19

[20]

March 26

[21]

April 2

[22]

April 9

[23]

April 16

[24]

April 23

[25]

April 30

[26]

May 7

"Hollaback Girl"

Gwen Stefani

[27]

May 14

[28]

May 21

[29]

May 28

[30]

June 4

"We Belong Together"

Mariah Carey

[31]

June 11

[32]

June 18

[33]

June 25

[34]

July 2

"Inside Your Heaven"

Carrie Underwood

[35]

July 9

"We Belong Together"

Mariah Carey

[36]

July 16

[37]

July 23

[38]

July 30

[39]

August 6

[40]

August 13

[41]

August 20

[42]

August 27

[43]

September 3

[44]

September 10

[45]

September 17

"Gold Digger"

Kanye West featuring Jamie Foxx

[46]

September 24

[47]

October 1

[48]

October 8

[49]

October 15

[50]

October 22

[51]

October 29

[52]

November 5

[53]

November 12

[54]

November 19

[55]

November 26

"Run It!"

Chris Brown

[56]

December 3

[57]

December 10

[58]

December 17

[59]

December 24

[60]

December 31

"Don't Forget About Us"

Mariah Carey

[61]


document_title: Kung Fu Panda: Legends of Awesomeness

question_text: who does the voice of kung fu panda tv series

text: Kung Fu Panda: Legends of Awesomeness

text: Synopsis[edit]

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

text: Po and the Furious Five defend the Valley of Peace from villains of different kinds. All the while, Po makes mistakes, learns lessons, learns more about the history of kung fu, and meets other famous kung fu Masters.

text: Episodes[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
26
September 19, 2011 (2011-09-19)
April 5, 2012 (2012-04-05)

2
26
April 6, 2012 (2012-04-06)
June 21, 2013 (2013-06-21)

3
28
June 24, 2013 (2013-06-24)
June 29, 2016 (2016-06-29)[note 1]

text: Voice cast[edit]

text:
Mick Wingert as Po[3]
Fred Tatasciore as Shifu[3]
Kari Wahlgren as Tigress[3]
Lucy Liu as Viper[3]
Amir Talai as Crane[3]
James Sie as Monkey[3]
Max Koch as Mantis[3]
James Hong as Mr. Ping[3]

text: Development[edit]

text: The show's musical score is done by the Track Team.[8] In addition, Sifu Kisu was the martial arts consultant for the show as he was on the Avatar: The Last Airbender series.[9]

text: Media[edit]

text: Kung Fu Panda: Legends of Awesomeness also took part in Nickelodeon's revamp to their cartoon season on TV. As an early promotion, Po was featured in a Nickelodeon bumper with all the characters of the shows set to premiere (or were renewed) in 2011.[10] On July 23, an exclusive sneak peek of the show was shown at the 2011 San Diego Comic-Con, with producers and members of the voice cast present at the panel.[11] A sneak peek episode was released for the DVD / Blu-ray release for Kung Fu Panda 2 on December 13, 2011.[12] In addition, two sneak preview episodes aired (one on September 19, 2011 and another on October 21, 2011) before the official premiere of the show.

text: Critical reception[edit]

text: Mary McNamara of Los Angeles Times called Kung Fu Panda: Legends of Awesomeness "a show that won't drive every adult in earshot absolutely crazy. And these days, that's saying something."[13] Kevin McFarland of The A.V. Club said that the show "rips out the elements that made the original film such a surprise, leaving behind a derivative, cliché-laden children's show that recycles moral platitudes adequately but is otherwise indistinguishable from countless other programs" and "isn't a show that's aiming to be cutting edge or original, just mildly entertaining, which it is....This isn't going to harm any kids, but it's not going to impress them either."[14] Despite the mixed reviews, the show has received four Emmy Awards and nominated for four Annie Awards.

text: Awards and nominations[edit]

text:
Year
Award
Category
Nominee
Result

2012
Annie Awards[15]
Best Television Production Children

Nominated

Character Animation in a Television Production
Michael Franceschi

Directing in a Television Production
Gabe Swarr

Editing in a Television Production
Hugo Morales, Davrick Waltjen, Adam Arnold, Otto Ferrene

Kids' Choice Awards
Favorite Cartoon

Daytime Emmy Awards[16][17]

Outstanding Sound Editing - Animation
Joe Pizzulo, Paulette Lifton, James Lifton, Benjamin Wynn, Jeremy Zuckerman, Rob McIntryre, Anna Adams, Jason Stiff, Molly Minus, Matt Hall, Andrew Ing, Roberto Dominguez Alegria, Aran Tanchum, Chris Gresham and Lawrence Reyes
Won

Outstanding Sound Mixing - Animation
Justin Brinsfield, Matt Corey and Thomas J. Maydeck

Outstanding Casting for an Animated Series or Special
Sarah Noonan and Meredith Layne

Outstanding Individual in Animation
Joel Fajnor

2013
Annie Awards[18][19]
Storyboarding in an Animated Television or other Broadcast Venue Production
Ryan Kramer, Paul Linsley, Kenji Ono, Le Tang, Alice Herring, Mike Mullen, Aaron Hammersley (for "Enter the Dragon")
Nominated

Writing in an Animated Television or other Broadcast Venue Production
Doug Langdale (for "Kung Fu Day Care")

Editorial in an Animated Television or other Broadcast Venue Production
Hugo Morales, Adam Arnold, Davrick Waltjen, Otto Ferrene (for "Monkey in the Middle")
Nominated

Hugo Morales, Adam Arnold, Davrick Waltjen, Otto Ferrene (for "Enter the Dragon")
Won

Daytime Emmy Awards[20][21]
Outstanding Children's Animated Program
Peter Hastings, Bret Haaland, Randy Dormans, Gabe Swarr, Andrew Huebner
Won

Outstanding Directing in an Animated Program
Gabe Swarr, Michael Mullen, Lane Lueras, Juan Meza-Leon, Peter Hastings
Nominated

Outstanding Individual in Animation
Joel Fajnor (for "Kung Fu Day Care")
Won

Bill Dely (for "Kung Shoes")
Won

Outstanding Writing in Animation
Peter Hastings, Doug Langdale, Gene Grillo, Paul Rugg, Kevin Seccia, Scot Kreamer
Nominated

Outstanding Sound Editing - Animation
Joe Pizzulo, Gary Falcone, Jeremy Zukerman, Benjamin Wynn, Rob McIntyre, Anna Adams, Marc Schmidt, Andrew Ing, Jeseey Drake, Roberto Dominguez Alegira, Cynthia Merrill
Nominated

Outstanding Sound Mixing - Animation
Justin Brinsfield, Thomas J Maydeck, Rob McIntyre
Nominated

Primetime Emmy Awards[22]
Outstanding Animated Program
For episode: "Enter The Dragon"
Nominated

2014
Annie Awards[23]
Best Animated TV/Broadcast Production For Children's Audience

Nominated

Writing in an Animated TV/Broadcast Production
Katie Matila
Nominated

Editorial in an Animated TV/Broadcast Production
Adam Arnold, Hugo Morales, Davrick Waltjen
Nominated

Daytime Emmy Award[24][25]
Outstanding Children's Animated Program
Peter Hastings, Bret Haaland, Randy Dormans, Gabe Swarr, Joann Estoesta and Andrew Huebner
Won

Outstanding Writing in an Animated Program
Gene Grillo, Peter Hastings, Scott Kreamer, Doug Langdale and Paul Rugg
Nominated

Outstanding Directing in an Animated Program
Aaron Hammersley, Lane Lueras, Michael Mullen and Peter Hastings
Nominated

Outstanding Sound Mixing – Animation
Justin Brinsfield, Matt Corey, Thomas J. Maydeck and Rob McIntyre
Won

Outstanding Sound Editing – Animation
Gary Falcone, Jeremy Zuckerman, Benjamin Wynn, Jessey Drake, Andrew Ing, Anna Adams, Roberto Alegria, Cynthia Merrill, Rob McIntyre and Marc Schmidt
Nominated

2015
Daytime Emmy Award[26][27]
Outstanding Sound Editing – Animation
Gary Falcone, Rob McIntyre, Marc Schmidt, Jeremy Zuckerman, Benjamin Wynn, Anna Adams, Andrew Ing, Thomas J. Maydeck, Roberto Dominguez Alegria and Cynthia Merrill
Won

Outstanding Sound Mixing – Animation
Justin Brinsfield, Matt Corey, Thomas J. Maydeck, Rob McIntyre and Roberto Dominguez Alegria

text: Home media[edit]

text:
Title
Release Date
Episodes

Kung Fu Panda: Legends of Awesomeness - Good Croc, Bad Croc
June 18, 2013[28]

"Good Croc, Bad Croc"
"The Princess and the Po"
"Chain Reaction"
"Bad Po"
"Jailhouse Panda"
"Father Crime"
"Po Fans Out"

Kung Fu Panda: Legends of Awesomeness - The Scorpion Sting
October 15, 2013[29]

"Scorpion's Sting"
"Love Stings"
"Owl Be Back"
"Monkey in the Middle"
"Crane On A Wire"
"Kung Shoes"
"Qilin Time"

Kung Fu Panda: Legends of Awesomeness - The Midnight Stranger
March 11, 2014[30]

"Master Ping"
"Shifu's Back"
"Terror Cotta"
"The Midnight Stranger"
"Shoot the Messenger"
"Secret Admirer"
"Huge"

text: Notes[edit]

text: Jump up ^ The official final episode of the show "Po the Croc" premiered in Germany on January 7, 2015.

tag: ol


document_title: Miss Oklahoma

question_text: when was the last time miss oklahoma won miss america

text: Miss Oklahoma

text: Gallery of past titleholders[edit]

text:
Norma Smallwood,Miss Tulsa 1926 and Miss America 1926

Jane Jayroe, Miss Oklahoma 1966 and Miss America 1967 in 2008

Susan Powell, Miss Oklahoma 1980 and Miss America 1981 in 2008

Shawntel Smith, Miss Oklahoma 1995 and Miss America 1996 in 2008

Jennifer Berry,Miss Oklahoma 2005 and Miss America 2006

Lauren Nelson, Miss Oklahoma 2006 and Miss America 2007

Makenna Smith,Miss Oklahoma 2007

text: Results summary[edit]

text: The following is a visual summary of the past results of Miss Oklahoma titleholders presented in the table below. The year in parentheses indicates year of the Miss America competition in which the placement and/or award was garnered.

text: Placements[edit]

text:
Miss Americas: Norma Smallwood (1926)**, Jane Anne Jayroe (1967), Susan Powell (1981), Shawntel Smith (1996), Jennifer Berry (2006), Lauren Nelson (2007)
1st runners-up: Bettye Cornelia Avert (1939), Betty Thompson (2012)
2nd runners-up: Mary Nancy Denner (1958), Anita Bryant (1959), Lori Kelley (1989), Casey Preslar (2003), Alicia Clifton (2013), Kelsey Griswold (2014)
3rd runners-up: N/A
4th runners-up: Donna Briggs (1948), Louise O'Brien (1951), Ann Campbell (1956), Nancy Chapman (1983), DuSharme Carter (1993), Emoly West (2011)
Top 5: Virginia Howard (1927)**
Top 10: Willie Mae Stockton (1924)*, Bobby Jene Simmons (1952), Judy Adams (1971), Andrea Hanson (1974), Tamara Marler (1990), Cynthia White (1991), Julie Payne (1999), Kelley Scott (2004), Elizabeth Kinney (2005), Alexandra Eppler (2015), Georgia Frazier (2016)
Top 12: Taylor Treat (2010), Sarah Klein (2017)
Top 15: Ada Martyne Wood (1940), Mifaunwy Dolores Shunatona (1941), Ashley Thompson (2019)
Top 20: Kaci Hundley (2002)
Top 23: Mary Dean Overly (1923)*, Catherine Crosby (1923)**

text: Awards[edit]

text: Preliminary awards[edit]

text:
Preliminary Lifestyle and Fitness: Norma Smallwood (1926)**, Ann Campbell (1956), Lauren Nelson (2007), Emoly West (2011), Kelsey Griswold (2014), Alexandra Eppler (2015)
Preliminary Talent: Jane Anne Jayroe (1967), Judy Adams (1971), Susan Powell (1981) (tie), Lori Kelley (1989), Tamara Marler (1990), Julie Payne (1999), Casey Preslar (2003), Jennifer Berry (2006), Betty Thompson (2012), Alicia Clifton (2013)

text: Non-finalist awards[edit]

text: Non-finalist Talent: Mary Ann Hazelton (1960), Jill Elmore (1980), Mignon Merchant (1987), Leesa Cornett (1988), Amy Duncan (1997), Kelli Masters (1998), Kristin Steveson (2001)

text: Other awards[edit]

text:
Miss Congeniality: Mifaunwy Dolores Shunatona (1941), Shirley Barbour (1953)
America's Choice: Taylor Treat (2010), Betty Thompson (2012)
Quality of Life Award Winners: Taylor Treat (2010)
Quality of Life Award 1st Runners-up: Jennifer Berry (2006)
Quality of Life Award Finalists: Alexandra Eppler (2015), Sarah Klein (2017)
Special Judges' Award: Susan Supernaw (1972)

text:
* Competed as Miss Oklahoma City
** Competed as Miss Tulsa

text: Winners[edit]

text:
Year

Name

Hometown

Age

Local Title

Miss America Talent

Placement at Miss America

Special scholarships at Miss America

Notes

2018

Ashley Thompson[1]

Oklahoma City

23

Miss Edmond LibertyFest

Tap Dance, "Like That"

Top 15[2]

2017

Triana Browne[3]

Tulsa

24

Miss Oklahoma City

Vocal, "Summertime"

Later Miss Oklahoma USA 2019[4]

2016

Sarah Klein[5]

Tulsa

24

Miss Tulsa

Piano

Top 12

Quality of Life Award Finalist[6]

2nd runner up at National Sweetheart 2015 pageant

2015

Georgia Frazier[7]

Tulsa

23

Miss Ada

Vocal, “Happy Days Are Here Again"

Top 10

Previously Miss Oklahoma's Outstanding Teen 2009[8]Top 16 at National Sweetheart 2014 pageant

2014

Alexandra Eppler

Edmond

24

Miss Enid

Dance, “Titanium"

Top 10

Preliminary Lifestyle & Fitness Award[9] Quality of Life Award Finalist

2013

Kelsey Griswold

Tulsa

20

Miss Bricktown

Vocal, "Everybody Says Don't" from Anyone Can Whistle

2nd runner-up

Preliminary Lifestyle & Fitness Award

2012

Alicia Clifton[10]

Oklahoma City

20

Miss Edmond LibertyFest

Tap Dance, "Can't Buy Me Love"

2nd runner-up

Preliminary Talent Award

Previously Miss Oklahoma's Outstanding Teen 2008[11]Top 10 at Miss America's Outstanding Teen 2009[11]

2011

Betty Thompson[12]

Davenport

22

Miss Oklahoma State University

Irish Step Dance, "Warriors" by Ronan Hardiman

1st runner-up

America's ChoicePreliminary Talent Award

2010

Emoly West

Edmond

24

Miss Edmond LibertyFest

Ballet en Pointe, "Time" by Billy Porter

4th runner up

Preliminary Lifestyle & Fitness Award

2009

Taylor Treat

Ada

22

Miss University of Oklahoma

Ballet en Pointe, "Palladio"

Top 12

America's ChoiceQuality of Life Award Winner

2008

Kelsey Cartwright[13]

Collinsville

21

Miss Keystone Lake

Lyrical Dance

2007

Makenna Smith

Oklahoma City

24

Miss Oklahoma City University

Vocal, "Wheels of a Dream" from Ragtime

2006

Lindsey Miller

Miss Grand Lake

Jazz Vocal

N/A

1st runner-up at Miss Oklahoma 2006, assumed title when Lauren Nelson won Miss America 2007

Lauren Nelson[14]

Lawton

20

Miss Oklahoma State Fair

Vocal, "You'll Be in My Heart"

Winner [15]

Preliminary Lifestyle & Fitness Award[9]

Previously Miss Oklahoma's Outstanding Teen 2004[16]

2005

Jennifer Warren

21

Miss Green Country

Vocal

N/A

1st runner-up at Miss Oklahoma 2005, assumed title when Jennifer Berry won Miss America 2006

Jennifer Berry

Tulsa

22

Miss Grand Lake

Ballet en Pointe, "Within"

Winner[17]

Preliminary Talent AwardQuality of Life Award 1st runner-up

2004

Elizabeth Kinney

Mooreland

22

Miss Oklahoma State Fair

Tap Dance, "Crazy Little Thing Called Love"

Top 10

2003

Kelley Scott

Owasso

23

Miss Oklahoma State Fair

Vocal, "Son of a Preacher Man"

Top 10

2002

Casey Preslar

Tulsa

22

Miss Grand Lake

Jazz Vocal, "You'll Have to Swing It (Mr. Paganini)"

2nd runner-up

Preliminary Talent Award

2001

Kaci Hundley

Enid

21

Miss Oklahoma State Fair

Vocal, "Crying"

Top 20

2000

Kristin Steveson

Broken Arrow

23

Miss Tulsa State Fair

Classical Vocal, "Sempre Libera" from La traviata

Non-finalist Talent Award

1999

Daneka Allen

Oklahoma City

23

Miss Stroud

Vocal, "Respect"

1998

Julie Payne

Grandfield

23

Miss Collinsville

Tap Dance, "Hound Dog"

Top 10

Preliminary Talent Award

1997

Kelli Masters

Midwest City

24

Miss Oklahoma City University

Baton Twirling, "Gonna Fly Now"

Non-finalist Talent Award

1996

Amy Duncan

Oklahoma City

23

Miss University of Oklahoma

Dramatic Vocal, "A Piece of Sky"

Non-finalist Talent Award

1995

Meighen Bradfield

N/A

Assumed title when Shawntel Smith won Miss America 1996

Shawntel Smith

Muldrow

24

Miss Tulsa State Fair

Vocal, "The Woman in the Moon" from A Star Is Born

Winner

1994

Tiffany Craig

Norman

24

Miss Norman

Vocal, "If Only"

1993

Elizabeth Moseley

Norman

22

Miss Shawnee

Flute Solo, "Dueling Banjos"

1992

DuSharme Carter

Oklahoma City

21

Miss Oklahoma City University

Vocal, "Keepin' Out of Mischief Now"

4th runner-up

Later Miss Oklahoma USA 1995Top 12 at Miss USA 1995 pageant

1991

Gina Lynne Smith

Stillwater

21

Miss Stroud

Vocal Medley, "Somewhere"

1990

Cynthia White

Oklahoma City

24

Miss Stroud

Piano Solo, "Rhapsody on a Theme of Paganini"

Top 10

1989

Tamara Marler

Tulsa

26

Miss Norman

Vocal, "Since I Fell for You"

Top 10

Preliminary Talent Award

1988

Lori Kelley

Clinton

23

Miss Norman

Classical Vocal, "Una Voce Poco Fa" from The Barber of Seville

2nd runner-up

Preliminary Talent Award

1987

Leesa Cornett

Newcastle

20

Miss Norman

Vocal, "If He Walked Into My Life" from Mame

Non-finalist Talent Award

1986

Mignon Merchant

Oklahoma City

25

Miss Lake Hudson

Stand-up Comedy

Non-finalist Talent Award

Previously Miss Oklahoma USA 1983 Top 10 at Miss USA 1983 pageant

1985

Felicia Ferguson

Oklahoma City

24

Miss Grand Lake

Vocal, "You Don't Know Me"

1984

Julie Sunday

Owasso

21

Miss Owasso

Piano

1983

Trelynda Kerr

Moore

21

Miss Grand Lake

Country Vocal Medley, "Stand by Your Man"

1982

Nancy Chapman

Altus

21

Miss Oklahoma City

Piano Solo, "Fireworks by Debussy"

4th runner-up

1981

April Clayton

Cameron

22

Miss Tulsa State Fair

Ballet en Pointe, "The Blue Danube"

Toured with Miss America USO Troupe

1980

Kathleen Allin

N/A

2nd runner-up at Miss Oklahoma 1980, assumed title when Susan Powell won Miss America 1981

Susan Powell

Elk City

21

Miss Oklahoma City

Classical Vocal, "The Telephone Aria"

Winner

Preliminary Talent Award (tie)

1979

Jill Elmore

Tulsa

23

Miss Grand Lake

Classical Vocal, "Art Is Calling For Me" from The Enchantress by Victor Herbert

Non-finalist Talent Award

1978

Kendi Brown

Oklahoma City

21

Miss Warr Acres

Tap Dance, Medley of songs by Cole Porter

1977

Ellen Wight

Tulsa

22

Miss Oklahoma City University

Classical Vocal, "The Jewel Song" from Faust

Died in December 1979[18]

1976

Lucia Miller

Buffalo

21

Miss Tulsa State Fair

Trumpet Solo, "Won't You Come Home Bill Bailey"

1975

Lisa Reagan

Oklahoma City

19

Miss Warr Acres

Vocal Medley, "As Time Goes By" & "I Got Love"

Former wife of former congressman, Mickey Edwards[citation needed]

1974

Debbie Knight

Warr Acres

22

Miss Warr Acres

Piano Solo, "Minuet in G Major"

1973

Andrea Hanson

Tahlequah

21

Miss Tulsa State Fair

Piano / Vocal, "The Homeland Aria" from Die Fledermaus

Top 10

1972

Debbie Giannopoulos

Oklahoma City

20

Miss Warr Acres

Classical vocal from Carmen

Contestant at Miss Teenage America 1968 pageant

1971

Susan Supernaw

Tulsa

20

Miss Phillips University

Acrobatic Jazz Ballet

Special Judges' Award

1970

Judy Adams

Cushing

20

Miss Oklahoma State University

Violin, "The Hot Canary" arranged by Florian ZaBach

Top 10

Preliminary Talent Award

1969

Jeanne Gambrell

Tulsa

22

Miss University of Tulsa

Ballet / Jazz Dance, "Hair" & "Aquarius" from Hair

1968

Beverly Drew

Harrah

22

Miss Shawnee

Vocal, "Step to the Rear"

1967

Carolyn Denton

Muskogee

19

Miss Oklahoma State University

Vocal, "Sunshine, Lollipops, and Rainbows"

1966

Sandy Ferguson

Miss Lawton

N/A

Assumed title when Jayroe won Miss America 1967

Jane Anne Jayroe

Laverne

19

Miss Oklahoma City

Vocal / Orchestra Conducting, "1-2-3"

Winner

Preliminary Talent Award

1965

Sandra Curtis

Tulsa

20

Miss Tulsa

Dramatic Reading, "Sorry Wrong Number"

1964

Jane Hitch

Guymon

18

Miss Guymon

Dance

1963

Cheryl Semrad Hassman

Waukomis

Miss Okeene

Speech, "May I Teach Others to Live"

1962

Billi Kay Smith

Stroud

19

Miss Stroud

Dramatic Reading

1961

Dana Darlene Reno

Stigler

20

Miss Stigler

Oration with Indian Sign Language

1960

Donna Kay Creed

Enid

20

Miss Enid

Vocal, "The Sound of Music"

1959

Mary Ann Hazelton

Tulsa

19

Piano

Non-finalist Talent Award

1958

Anita Bryant

Tulsa

18

Vocal, "When the Boys Talk About the Girls"

2nd runner-up

1957

Mary Nancy Denner

Alva

Poetry Recitation, "The Ballad of the Harp-Weaver" by Edna St. Vincent Millay

2nd runner-up

1956

LaDonna Kramer

Loyal

Piano

1955

Ann Campbell

Oklahoma City

Speech & Furniture Design Display

4th runner-up

Preliminary Lifestyle & Fitness Award

1954

Charlavan Baker

Oklahoma City

Dress Design

1953

Lorene Washburn

Tulsa

Vocal

1952

Shirley Barbour

Tulsa

Drama

Miss Congeniality

1951

Bobby Jene Simmons

Oklahoma City

Classical Vocal, "Je Veux Vivre" from Roméo et Juliette

Top 10

1950

Louise O'Brien

Tulsa

Vocal, "Twas Only An Irishman's Dream"

4th runner-up

1949

Georgine R. Leeka

Tulsa

Vocal

1948

Donna Briggs

Tulsa

Painting Display

4th runner-up

1947

No Oklahoma representative at Miss America pageant

1946

1945

1944

1943

Joan Marceille Hawk

Oklahoma City

1942

No Oklahoma representative at Miss America pageant

1941

Mifaunwy Dolores Shunatona[19]

Tulsa

Top 15

Miss Congeniality

1940

Ada Martyne Wood

Oklahoma City

Top 15

1939

Bettye Cornelia Avert

Oklahoma City

Original Piano & Vocal, "Wondering & Dreaming"

1st runner-up

1938

Marjorie Ann Adams

Ada

1937

No Oklahoma representative at Miss America pageant

1936

1935

1934

No pageant was held

1933

Joanne Alcorn

16

N/A

Withdrew from the competition due to appendicitis

1932

No pageant was held

1931

No Oklahoma representative at Miss America pageants

1930

1929

1928

1927

Virginia Howard

Tulsa

Miss Tulsa

Top 5

Competed under local title at Miss America pageant

1926

Norma Smallwood

Tulsa

17

Miss Tulsa

Winner

Swimsuit & Evening Gown

First Native American to win Miss America[citation needed]Competed under local title at Miss America pageant

1925

Fern Marlow

Oklahoma City

Miss Oklahoma City

Multiple Oklahoma representativesContestants competed under local title at Miss America pageant

Sue Starkey

Tulsa

Miss Tulsa

1924

Willie Mae Stockton

Oklahoma City

Miss Oklahoma City

Top 10

Multiple Oklahoma representativesContestants competed under local title at Miss America pageant

Rose Everett

Tulsa

Miss Tulsa

1923

Mary Dean Overly

Oklahoma City

Miss Oklahoma City

Top 23

Multiple Oklahoma representativesContestants competed under local title at Miss America pageant

Catherine Crosby

Tulsa

Miss Tulsa

Top 23

1922

No Oklahoma representative at Miss America pageants

1921

text: Venue[edit]

text: 2007-Mabee Center[1]


document_title: Going in Style (2017 film)

question_text: where was the movie going in style filmed

text: Going in Style (2017 film)

text: Plot[edit]

text: Joe, Willie, and Albert are senior citizens and lifelong friends living in New York. During an unpleasant appointment at the bank, Joe is one of the victims to witness a robbery in progress carried out by three individuals wearing black masks. During the robbery, he notices the leader bearing a Mongol warrior tattoo on his neck as the only lead that could help the police identify the culprit. However, the leader sympathizes with Joe when he finds out about his current financial situation brought up by the bank. Then, the robbers manage to escape with over $1.6 million.

text: When the company they worked for is bought out, their pensions become a casualty of the restructuring. Joe is hit particularly hard and finds out that he, his daughter, Rachel, and granddaughter, Brooklyn, will be homeless in fewer than 30 days. Willie finds out he's gravely ill from kidney failure and needs a transplant and is even more frustrated because his financial situation forces him into a long-distance relationship with his daughter and granddaughter. Desperate, the three friends decide to rob the bank that is going to restructure their pension funds and take back what is rightfully theirs.

text: Inspired by his experience of the robbery, Joe originates the idea; at first Albert and Willie are appalled, but eventually agree when they later learn that their bank intends to steal their pensions. Trying to shoplift some items from a grocery store, where Al's love interest, Annie, works, results in a comic disaster, so the trio turn to Joe's former son-in-law, Murphy, and a criminal working as a pet store owner named Jesus to teach them the ropes. They plan an alibi using their lodge's carnival as a cover.

text: Joe, Willie, and Albert disguise themselves as "The Rat Pack" (Frank Sinatra, Dean Martin, and Sammy Davis, Jr.) and use guns with blanks so that no one gets hurt. The robbery almost goes awry when Willie collapses briefly and a child witness partially pulls off his mask to allow him to breathe better; she sees the wrist watch he wears with a picture of his granddaughter on it as he engages in a friendly conversation and sympathizes with her, so as not to let her feel intimidated about the robbery in progress and when the bank manager clumsily tries to fire shots at them; however, the three manage to get away with over 2.3 million dollars. They are soon arrested on suspicion by FBI Agent Hamer after the manager from the grocery store recognizes Al's walk from the video surveillance cameras, but they all stick to their alibis.

text: Hamer puts them along with other senior suspects into a police lineup, using the child witness who partially took off Willie's mask. She refuses to identify Willie, leaving Hamer with no case. Willie suffers total renal failure and is near death until Al agrees to donate a kidney. While part of the money is used to help the three friends with their financial situations, the rest is given to their families, friends, co-workers, and fellow members at the lodge. Joe finally gets his granddaughter a puppy he promised her if she got A's in every subject at school; courtesy of Jesus, who is later revealed to be the leader of the robbers from the robbery Joe witnessed and has laundered the money that they stole. The tattoo on his neck is also revealed to be a fake made of Henna, intended to throw the FBI and the police off the scent. The movie ends at Al and Annie's wedding as the three friends celebrate their good fortune.

text: Cast[edit]

text:
Morgan Freeman as Willie Davis, one of the three protagonists.
Michael Caine as Joe Harding, one of the three protagonists.
Alan Arkin as Albert Garner, one of the three protagonists.
Joey King as Brooklyn,[5][6] Joe's whip-smart granddaughter.
Maria Dizzia as Rachel Harding, Joe's daughter.
Ashley Aufderheide as Kanika, Willie's granddaughter.
Gillian Glasco as Maya Davis, Willie's daughter.
Matt Dillon as Special Agent Hamer, an FBI agent who investigates bank robberies.
Ann-Margret as Annie Santori, Albert’s love interest, Ezra's grandmother, and an employee at Value Town.
Jeremy Schinder as Ezra Bronkowski, Annie's grandson.
Anthony Chisholm as Paul, the Knights Grandmaster.
Christopher Lloyd as Milton Kupchak, the guys' senile lodge buddy.
Annabelle Chow as Lucy, the child witness.
Nancy Sun as Mandy, Lucy's mother.
Kenan Thompson as Keith Schonfield, a grocery store manager of Value Town.
Josh Pais as Chuck Lofton, the bank manager of Williamsburg Savings Bank who intends to take Joe's house in a month.
Siobhan Fallon Hogan as Mitzi, a waitress at Nat's Diner.
John Ortiz as Jesus Garcia, a man of unspecified credentials who agrees to show the guys the ropes, a pet store owner in Queens, and the leader of robbers at the beginning of the film.
Peter Serafinowicz as Murphy, Joe's former son-in-law, Rachel's former husband, and Brooklyn's estranged father.

text: Production[edit]

text: On October 12, 2012, it was announced that New Line Cinema and Warner Bros. were developing a remake of 1979 heist comedy film Going in Style, with Theodore Melfi set to write the script.[7] Donald De Line was on board to produce the film with Tony Bill, producer of the original film, as executive producer.[7] Melfi was approached by De Line and Andrew Haas about writing the screenplay for the remake, but Melfi insisted on changing the ending to something more upbeat. Melfi explained, "In this modern era, and even for me, I don’t want to see a movie where my heroes whom I’ve been fighting for and rooting for for two hours die or go to jail. I want to see them get ahead, and it’s perfect for them to get ahead these days because everyone hates banks now. So let’s have them put the perfect heist together, rob a bank, get away with it, and go off into the sunset. They said, 'Yes, let’s do that,' and that’s how that script was born."[8]

text: On January 9, 2013, Don Scardino was hired to direct the film.[9] On September 19, 2013, Melfi, who wrote the script was in talks to direct the film.[10] On November 19, 2014, it was revealed that Zach Braff was in talks with the studio to direct the film, but he was not officially offered yet.[11] On November 19, 2014, it was announced that Morgan Freeman and Michael Caine were cast in the film to play the lead roles, while Dustin Hoffman was in talks to join them.[12] On April 9, 2015, Alan Arkin joined the cast of the film to complete the lead cast of three.[13] On August 3, 2015, Joey King joined the cast of the film to play Caine's character's granddaughter.[6] On August 10, 2015, Matt Dillon was added to the cast to play an FBI agent named Hamer, pursuing the three elderly lifelong friends and robbers.[14] The same day, Ann-Margret was cast in the film for an unspecified role.[15]

text: Principal photography on the film began in Brooklyn, New York City on August 3, 2015.[13][16] Filming also took place in Astoria, Queens.[17][18]

text: Release[edit]

text: Going in Style was released on April 7, 2017,[19] which Warner Bros moved from an original May 6, 2016 date.[20]

text: Box office[edit]

text: Going in Style grossed $45 million in the United States and Canada and $39.6 million in other territories for a worldwide gross of $84.6 million, against a production budget of $25 million.[4]

text: In North America, the film opened alongside Smurfs: The Lost Village and The Case for Christ, and was projected to gross around $8 million from 3,061 theaters in its opening weekend.[21] It grossed $4.2 million on its first day and $11.9 million over the weekend, finishing above expectations and 4th at the box office.[22] In its second weekend the film grossed $6.3 million (a drop of 47%), finishing 5th at the box office.[23]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has an approval rating of 46% based on 134 reviews, with an average rating of 5.3/10. The site's critical consensus reads, "Despite the considerable talent of its leads, Going in Style is light on laughs and plays it safe far too often."[24] On Metacritic, which assigns a normalized rating, the film has a score 50 out of 100, based on 31 critics, indicating "mixed or average reviews".[25] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[26]


document_title: Annie, I'm Not Your Daddy

question_text: who sang annie i'm not your daddy

question_tokens: who sang annie i 'm not your daddy

text: Annie, I'm Not Your Daddy

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

text:
"Annie, I'm Not Your Daddy"

Single by Kid Creole & The Coconuts

from the album Tropical Gangsters

B-side
"You Had No Intention"

Released
1982

Format
7",12"

Genre
Pop, Calypso

Length
3:52, 6:26

Label
ZE Records, Island Records

Songwriter(s)
August Darnell

Kid Creole & The Coconuts singles chronology

"Stool Pigeon"
(1982)
"Annie, I'm Not Your Daddy"
(1982)
"Dear Addy"
(1982)

"Stool Pigeon"
(1982)
"Annie, I'm Not Your Daddy
"
(1982)

"Dear Addy"
(1982)

text: Annie, I'm Not Your Daddy is a song written by August Darnell and first recorded by his band Kid Creole and the Coconuts. It was released in 1982 as the 3rd and last single from their album Tropical Gangsters. It is Kid Creole & The Coconuts highest charting single on the UK Singles Chart reaching a peak of no. 2. It also reached no. 18 on the U.S. Club Play Chart. It has been sampled in songs such as Bob Sinclair & Eddie Amador's 'Do It!' from 2000 & Africanism's 'Summer Moon' from 2005.

text: Charts[edit]

text:
Chart
Peak
Position

German
45

Ireland
4

Netherlands
4

New Zealand
13

UK
2

US Club Play
18

text:
[hide]

v
t
e

Kid Creole and the Coconuts

August Darnell

Coati Mundi
Fonda Rae
Cory Daye
Cheryl Poirier
Adriana Kaegi
Taryn Hagey
Eva Tudor-Jones
Jimmy Ripp (Rippetoe)
Mark Anthony Jones
Scott Johnson
Peter Schott
Carol Coleman
Winston Grennan
Andrew Lloyd
"Bongo" Eddie Folk
Simon "Franco" Frost

Studio albums

Off the Coast of Me
Fresh Fruit in Foreign Places
Tropical Gangsters
Doppelganger
In Praise of Older Women... and Other Crimes
I, Too, Have Seen the Woods
Private Waters in the Great Divide
You Shoulda Told Me You Were...
KC2 Plays K2C
To Travel Sideways
Kiss Me Before the Light Changes
The Conquest of You
Too Cool to Conga!
I Wake Up Screaming

Other albums

Oh! What a Night
Cre~Olé: The Best of Kid Creole & the Coconuts
Kid Creole Redux

Singles

"I'm A Wonderful Thing, Baby"
"Stool Pigeon"
"Annie, I'm Not Your Daddy"

Related articles

Discography

text: 1982 songs1982 singlesKid Creole and the Coconuts songsSongs written by August Darnell

text: Articles lacking sources from October 2016All articles lacking sourcesArticles with hAudio microformats