document_title: Death in Paradise (TV series)

question_text: where is the show death in paradise set

question_tokens: where is the show death in paradise set

text: Death in Paradise (TV series)

text: Synopsis[edit]

text: British detective Richard Poole (Ben Miller) is assigned to investigate the murder of a British police officer on the fictional Caribbean island of Saint Marie.[4] After he successfully finds the murderer, he is reluctantly required by his supervisors to replace the victim and stay on as the detective inspector (DI) of the island, solving new cases as they appear, and being the object of many fish-out-of-water jokes.[5] At the start of Series 3, Poole is killed and maladroit London detective Humphrey Goodman (Kris Marshall) arrives to investigate the death of his strait-laced predecessor. He then stays in the job as chief investigator on the island. However, in the second half of Series 6, he follows his heart and resigns so he can stay in London with his new girlfriend Martha Lloyd. His replacement on Saint Marie is DI Jack Mooney, played by Ardal O'Hanlon.

text: Episodes[edit]

text:
Series
Episodes
Originally aired
Average UK viewers
(in millions)[6][7]

First aired
Last aired

1
8
25 October 2011 (2011-10-25)
13 December 2011 (2011-12-13)
5.89

2
8
8 January 2013 (2013-01-08)
26 February 2013 (2013-02-26)
7.67

3
8
14 January 2014 (2014-01-14)
4 March 2014 (2014-03-04)
8.46

4
8
8 January 2015 (2015-01-08)
26 February 2015 (2015-02-26)
9.03

5
8
7 January 2016 (2016-01-07)
25 February 2016 (2016-02-25)
8.67

6
8
5 January 2017 (2017-01-05)
23 February 2017 (2017-02-23)
9.10

text: Format[edit]

text: While Death in Paradise has continued to be in the top three most popular programmes on British television, critics have called the crime drama "unremarkable" and "an undemanding detective show, with nice Caribbean scenery."[8] The show is known for its formulaic approach to its plots[9] with each episode roughly the same in both style and narrative structure.

text: Each episode begins with a pre-credits sequence showing the events leading up to a murder, and often the discovery of the body afterwards; this sequence also serves to introduce that particular episode's guest characters.[10] The police force of Saint Marie are subsequently informed of the murder, preliminary investigations and interviews take place to establish the suspects and photographs of the suspects and crime scene are placed on the whiteboard at police headquarters.[11]

text: Often towards the end, the lead DI will have a moment of realisation, perhaps brought on by something that someone says or does or by some occurrence. In this moment, the how, why, and who of the murder are comprehended by the DI, but are not revealed to the audience. The suspects are then all gathered together and the DI talks through the evidence; often, flashbacks are used to show what happened. The murderer and the motive are revealed in the denouement of the episode.[12]

text: Normally, each episode ends with a comedic scene or a celebratory trip by the police force to Catherine's bar.[13] The final episode of most series has included a subplot wherein the lead DI is tempted to return to the UK by the prospect of a job offer or personal relationship, but in the end, he decides to remain on the island. This format was subverted in the sixth series when the two-part storyline in the fifth and sixth episodes saw the team travel to London to follow up on a current case, resulting in then-lead detective Humphrey Goodman deciding to remain to be with his new girlfriend; D.I. Jack Mooney travelled back to Saint-Marie, initially as a holiday, but decided to remain as the new detective inspector of the island in the series finale.

text: Setting[edit]

text: Saint Marie[edit]

text: Death in Paradise is set on the fictional Caribbean island of Saint Marie, described in Episode 3.3 as a "pretty island" that is "situated in the Eastern Caribbean Sea" and "one-tenth the size of its north-west neighbour Guadeloupe"; this would make Saint Marie about 63 square miles (160 km2) in size. Saint Marie is a British Overseas Territory, but about 30% of its people are of French culture due to previous history, with the language still widely spoken.

text: The back-story appears to be a blend of two real-world islands near to Guadeloupe, with size and location aligning with Marie-Galante and history and language aligning with Dominica.

text: In the TV show, the fictional Saint Marie island has a volcano, rainforest, sugar plantations, a fishing harbour, an airport, a university, a convent, approximately 100 public beaches and a Crown Court. It also has its own newspaper, The Saint Marie Times. Honoré, the main town, has a leisure/commercial marina, market, bars, and restaurants as well as the police station. The neighbouring town to Honoré is named as Port Royal. Saint Marie's main economic ties are to Guadeloupe, the UK, and France. The island's main religions are Catholicism and Voodoo, with several religious festivals featuring in the programme, including the Saint Ursula Festival (in reality, a major festival of the Virgin Islands) and some Voodoo festivals.

text: Other locations[edit]

text: Episode 3.7 is largely set on an islet just off Saint Marie; it is privately owned and relatively small. This episode was actually filmed on the island of Kahouanne, around 1.2 miles (1.9 km) off the north-west coast of Guadeloupe where the series is normally filmed. It can often be seen in the background from a beach on Saint Marie.

text: Characters[edit]

text: Main[edit]

text:
Character
Actor
Position
Series

1
2
3
4
5
6

Richard Poole
Ben Miller
DI
Main
Guest

Camille Bordey
Sara Martins
DS
Main

Dwayne Myers
Danny John-Jules
Officer
Main

Fidel Best
Gary Carr
Officer/Sergeant
Main

Selwyn Patterson
Don Warrington
Commissioner
Main

Catherine Bordey
Élizabeth Bourgine

Recurring
Main

Humphrey Goodman
Kris Marshall
DI

Main

Florence Cassel
Joséphine Jobert
Sergeant/DS

Main

JP Hooper
Tobi Bakare
Officer

Main

Martha Lloyd
Sally Bretton

Guest
Main

Jack Mooney
Ardal O'Hanlon
DI

Main

text: Recurring[edit]

text:
Character
Actor
Years
Series

Rosey Hooper (née Fabrice)
Fola Evans-Akingbola[14][15]
2016
5.3, 5.5–5.6, 5.8

Siobhan Mooney
Grace Stone
2017
6.6–6.8

text: Production[edit]

text: The series is filmed on the French island of Guadeloupe in the Lesser Antilles, mainly in the commune of Deshaies (which doubles for the town of Honoré on the fictional island of Saint Marie), with the help of the Bureau d’accueil des tournages de la Région Guadeloupe.[16] The site of the Honoré police station is a church hall in Deshaies with the priest's office appearing as the incident room.[17]

text: Miller left the series at the start of series 3, as he felt he was spending too much time away from his family since his wife was unable to join him on the island during production. Marshall's family joined him on the island during his first three six-month shoots and his son Thomas enrolled at a local school. When his family did not join him during the filming of the sixth season, following the birth of his baby daughter Elsie, it left him feeling "bereft and empty" and he quit the show.[18] From episode 7 of the sixth season the lead role was taken by Ardal O'Hanlon playing DI Jack Mooney, a London colleague.[19]

text: Reception[edit]

text: Viewing figures[edit]

text: Regarding British TV ratings, Death in Paradise has gained in popularity over time.

text: Series 1 (2011) has been the least-watched to date, averaging at 5.89 million viewers, with the 5.3 million viewers for the sixth episode, “An Unhelpful Aid” the lowest the show has had. Even so, each episode was among the top five most-watched programmes of the day, and in the top forty most-watched programmes of the week.

text: Series 2 (2013) averaged at 7.67 million viewers, almost 2 million more than the previous series. Each episode was among the top two most-watched programmes of the day, and in the top fifteen most-watched programmes of the week.

text: Series 3 (2014) averaged at 8.46 million viewers. Each episode was among the top two most-watched programmes of the day, and in the top ten most-watched programmes of the week.

text: Season 4 (2015) averaged at 9.03 million viewers. Based on consolidated figures, each episode was among the top three most-watched programmes of the day, and in the top ten most-watched programmes of the week.

text: Season 5 (2016) averaged at 8.67 million viewers. Based on consolidated figures, each episode was the most-watched programme of the day, and in the top four most-watched programmes of the week.

text: Season 6 (2017) has been the most-watched so far, averaging at 9.1 million viewers. The season premiere, “Erupting in Murder” is the most-watched episode of the show to date with 9.81 million viewers. Based on consolidated figures, each episode of Series 6 was the most-watched programme of the day, and in the top four most-watched programmes of the week.[20]

text: Critical response[edit]

text: The series has received mixed reviews from critics, with most criticism (as noted above) directed towards its formulaic structure. The first series was praised for its refreshing style and setting. Kris Marshall's introduction at the start of series 3 was particularly well received, with Rebecca Smith of The Daily Telegraph citing Marshall as a "winning addition" to the cast.[21] The series 4 premiere was described as "a little piece of escapism" and was generally praised. Mark Monahan of The Daily Telegraph criticised the laid-back tone of the series, calling it too methodical with nothing unique about it besides the setting.[22]

text: Awards[edit]

text: Red Planet Pictures was nominated for, and won, the "Diversity in a Drama Production Award" for Death In Paradise. Sara Martins, Danny John-Jules, Don Warrington and Tobi Bakare collected the award at a ceremony supported by the BBC and ITV that took place on 15 February 2015.[23]

text: DVD release[edit]

text:
Series
Region 2
Region 1
Discs
Extras

1
8 October 2012[24]
17 June 2014[25]
2
N/A

2
4 March 2013
16 September 2014[26]
3
N/A

3
10 March 2014
5 May 2015[27]
3
The Making of Death in Paradise on disc three. Seven short insights into the making of Death in Paradise.

4
2 March 2015[28]
N/A
3
N/A

5
29 February 2016
N/A
3
The Making Of Death In Paradise
Creating The Puzzle
Harry The Lizzard
Tour Of Honoré Police Station
The Vehicles

1–5
29 February 2016
N/A
14
same extras that were on series 3 and 5 (no extra were made for series 1–2 and 4)

6
27 February 2017
N/A
3
N/A

text: Broadcast[edit]

text: In the U.K., all series were shown on BBC One. The first series was broadcast in late 2011. The second series was broadcast in January 2013, with subsequent series filling the same January slot; all series were shown in a 9:00–10:00 pm slot.[a] The series has also been shown on repeat on the Alibi channel, although with each episode missing the pre-intro sequence and a few expendable scenes due to the need for adverts on Alibi.

text: In France the programme is broadcast on France 2.

text: In the U.S., many, but not all, member stations of PBS broadcast Death In Paradise. Series 1 and 2 were broadcast in the San Francisco Bay Area on KQED Mystery Night in 2013.[29] Series 1 aired in January and February 2013 and series 2 aired in April and May 2013.

text: In the New England area, WGBH-TV started airing Series 1 and 2 in 2013. Other PBS stations that air the programme as of 2016 include WPBA, WLIW, WTTW, KAET, KUAT and WNED, among others. In Seattle-Tacoma, WA area broadcast on KBTC TV (PBS), Seasons 1-6.

text: All episodes of series 1–4 are available on Netflix for online streaming in the UK.

text: In Australia, recent series have aired nationally on Foxtel within a few hours of their UK release. Series 1–3 were broadcast on ABC One a few months behind original broadcast in the U.K. Generally, this was shown in a 7:30pm Saturday timeslot.

text: In Canada, all series have been broadcast on BBC Canada on Thursdays at 9:00 pm. The last two series have been shown about a month after the BBC One showing.

text: Music[edit]

text: Theme music[edit]

text: The theme music is an instrumental version of a Jamaican song from the 1960s, "You're Wondering Now," written by Coxsone Dodd, originally recorded by Andy & Joey in Jamaica. It was later made famous by The Skatalites and in Europe by ska band The Specials and later still by Amy Winehouse as featured on some editions of the deluxe version of her album Back to Black. In the first episode of the third series, the cover version recorded by The Skatalites in 1994 is played at the bar. It appeared on the official Death in Paradise soundtrack, released in January 2015, alongside other music from all four series. In the French version, the opening song is "Sunday Shining" by Finley Quaye.

text: Soundtrack[edit]

text: In January 2015, an official soundtrack compiling 26 songs from the first four series of the show was released by the BBC. It contains original music for Death in Paradise and already extant tunes, though it does not include the theme music from the show.

text: Novels[edit]

text: The creator of the show, Robert Thorogood, signed a three-book deal to write Death in Paradise novels featuring the original characters (D.I. Richard Poole, D.S. Camille Bordey, Officer Dwayne Myers, Sergeant Fidel Best and Comm. Selwyn Patterson). The first of these, A Meditation on Murder (A Death in Paradise novel),[30] was published in January 2015. Early reviews were generally favourable, with the Daily Express in particular being complimentary, giving it four stars.[31] The second book was released in 2016 with the title The Killing of Polly Carter.

text: Notes[edit]

text: Jump up ^ Series 4, episode 7 was shown in an earlier timeslot of 8.25 pm-9.25 pm due to EastEnders Live 30th anniversary celebrations.


document_title: Paradox (literature)

question_text: which poem of john donne is cited by cleanth brooks as a sufficiently extreme instanceof paradox

root

text: Paradox (literature)

text: Cleanth Brooks' "Language of Paradox"[edit]

text: Cleanth Brooks, an active member of the New Critical movement, outlines the use of reading poems through paradox as a method of critical interpretation. Paradox in poetry means that tension at the surface of a verse can lead to apparent contradictions and hypocrisies. Brooks' seminal essay, The Language of Paradox, lays out his argument for the centrality of paradox by demonstrating that paradox is "the language appropriate and inevitable to poetry."[3] The argument is based on the contention that referential language is too vague for the specific message a poet expresses; he must "make up his language as he goes." This, Brooks argues, is because words are mutable and meaning shifts when words are placed in relation to one another.[4]

tag: p

text: In the writing of poems, paradox is used as a method by which unlikely comparisons can be drawn and meaning can be extracted from poems both straightforward and enigmatic.

text: Brooks points to William Wordsworth's poem It is a beauteous evening, calm and free.[5] He begins by outlining the initial and surface conflict, which is that the speaker is filled with worship, while his female companion does not seem to be. The paradox, discovered by the poem's end, is that the girl is more full of worship than the speaker precisely because she is always consumed with sympathy for nature and not – as is the speaker – in tune with nature while immersed in it.

text: In his reading of Wordsworth's poem, "Composed upon Westminster Bridge", Brooks contends that the poem offers paradox not in its details, but in the situation the speaker creates. Though London is a man-made marvel, and in many respects in opposition to nature, the speaker does not view London as a mechanical and artificial landscape but as a landscape composed entirely of nature. Since London was created by man, and man is a part of nature, London is thus too a part of nature. It is this reason that gives the speaker the opportunity to remark upon the beauty of London as he would a natural phenomenon, and, as Brooks points out, can call the houses "sleeping" rather than "dead" because they too are vivified with the natural spark of life, granted to them by the men that built them.

text: Brooks ends his essay with a reading of John Donne's poem The Canonization, which uses a paradox as its underlying metaphor. Using a charged religious term to describe the speaker's physical love as saintly, Donne effectively argues that in rejecting the material world and withdrawing to a world of each other, the two lovers are appropriate candidates for canonization. This seems to parody both love and religion, but in fact it combines them, pairing unlikely circumstances and demonstrating their resulting complex meaning. Brooks points also to secondary paradoxes in the poem: the simultaneous duality and singleness of love, and the double and contradictory meanings of "die" in Metaphysical poetry (used here as both sexual union and literal death). He contends that these several meanings are impossible to convey at the right depth and emotion in any language but that of paradox. A similar paradox is used in Shakespeare's Romeo and Juliet, when Juliet says, "For saints have hands that pilgrims' hands do touch and palm to palm is holy palmer's kiss."

text: Brooks' contemporaries in the sciences were, in the 1940s and 50's, reorganizing university science curricula into codified disciplines. The study of English, however, remained less defined and it became a goal of the New Critical movement to justify literature in an age of science by separating the work from its author and critic (see Wimsatt and Beardsley's Intentional fallacy and Affective fallacy) and by examining it as a self-sufficient artifact. In Brooks's use of the paradox as a tool for analysis, however, he develops a logical case as a literary technique with strong emotional effect. His reading of "The Canonization" in The Language of Paradox, where paradox becomes central to expressing complicated ideas of sacred and secular love, provides an example of this development.[4]

text: Paradox and irony[edit]

text: Although paradox and irony as New Critical tools for reading poetry are often conflated, they are independent poetical devices. Irony for Brooks is "the obvious warping of a statement by the context"[6] whereas paradox is later glossed as a special kind of qualification that "involves the resolution of opposites."[7]

text: Irony functions as a presence in the text – the overriding context of the surrounding words that make up the poem. Only sentences such as 2 + 2 = 4 are free from irony; most other statements are prey to their immediate context and are altered by it (take, as an example, the following joke. "A woman walks into a bar and asks for a double entendre. The bartender gives it to her." This last statement, perfectly acceptable elsewhere, is transformed by its context in the joke to an innuendo). Irony is the key to validating the poem because a test of any statement grows from the context – validating a statement demands examining the statement in the context of the poem and determining whether it is appropriate to that context.[6]

text: Paradox, however, is essential to the structure and being of the poem. In The Well Wrought Urn Brooks shows that paradox was so essential to poetic meaning that paradox was almost identical to poetry. According to literary theorist Leroy Searle, Brooks' use of paradox emphasized the indeterminate lines between form and content.  "The form of the poem uniquely embodies its meaning," and the language of the poem "affects the reconciliation of opposites or contraries." While irony functions within the poem, paradox often refers to the meaning and structure of the poem and is thus inclusive of irony.[8] This existence of opposites or contraries and the reconciliation thereof is poetry and the meaning of the poem.

text: Criticism[edit]

text: R.S. Crane, in his essay The Critical Monism of Cleanth Brooks, argues strongly against Brooks' centrality of paradox. For one, Brooks believes that the very structure of poetry is paradox, and ignores the other subtleties of imagination and power that poets bring to their poems. Brooks simply believed that, "'Imagination' reveals itself in the balance or reconciliation of opposite or discordant qualities."[7]  Brooks, in leaning on the crutch of paradox, only discusses the truth poetry can reveal, and speaks nothing about the pleasure it can give. (231) Also, by defining poetry as uniquely having a structure of paradox, Brooks ignores the power of paradox in everyday conversation and discourse, including scientific discourse, which Brooks claimed was opposed to poetry. Crane claims that, using Brooks' definition of poetry, the most powerful paradoxical poem in modern history is Einstein's formula E = mc2, which is a profound paradox in that matter and energy are the same thing. The argument for the centrality of paradox (and irony) becomes a reductio ad absurdum and is therefore void (or at least ineffective) for literary analysis.


document_title: Wet bar

question_text: what is a wet bar in an apartment

question_tokens: what is a wet bar in an apartment

text: Wet bar

text: A wet bar is a small bar used for mixing alcoholic beverages, which differs from a regular bar in that it includes a sink with running water. A wet bar can increase the rate at which drinks are served because of the sink, which allows for glasses to be cleaned immediately. The sink may also be used for adding water to drinks.

text: Wet bars are found in homes for entertainment purposes. A finished basement is a typical location for a wet bar. Wet bars are relatively simple to build, and, thus, many homeowners have turned the wet bar into a do-it-yourself project. Recently,[when?] hotels have been incorporating wet bars into rooms, in which case the customer must pay to use the wet bar per drink.[citation needed] Including a refrigerator beneath the bar or cabinet is a popular option. This is useful for making chilled drinks and preserving previously made mixtures.


document_title: Social learning theory

question_text: who is credited as the leading contributor to social learning theory

text: Social learning theory

text: History and theoretical background[edit]

text: In the 1940s, B.F. Skinner delivered a series of lectures in Sunyani Fiapre, Ghana on verbal behavior, putting forth a more empirical approach to the subject than existed in psychology at the time.[4] In them, he proposed the use of stimulus-response theories to describe language use and development, and that all verbal behavior was underpinned by operant conditioning. He did however mention that some forms of speech derived from words and sounds that had previously been heard (echoic response), and that reinforcement from parents allowed these 'echoic responses' to be pared down to that of understandable speech. While he denied that there was any "instinct or faculty of imitation",[4] Skinner's behaviorist theories formed a basis for redevelopment into social learning theory.

text: At around the same time, Clark Lewis Hull, an American psychologist, was a strong proponent of behaviorist stimulus-response theories,[5] and headed a group at Yale University's Institute of Human Relations. Under him, Neil Miller and John Dollard aimed to come up with a reinterpretation of psychoanalytic theory in terms of stimulus-response. This led to their book, Social Learning Theory, published in 1941, which posited that personality consisted of learned habits. They used Hull's drive theory, where a drive is a need that stimulates a behavioral response, crucially conceiving a drive of imitation, which was positively reinforced by social interaction and widespread as a result.[6]

text: Julian B. Rotter, a professor at Ohio State University published his book, Social Learning and Clinical Psychology in 1954.[7] His theories moved away from the strictly behaviorist learning of the past, and considered instead the holistic interaction between the individual and the environment. In his theory, the social environment and individual personality created probabilities of behavior, and the reinforcement of these behaviors led to learning.He emphasized the subjective nature of the responses and effectiveness of reinforcement types.[7] While his theory used vocabulary common to that of behaviorism, the focus on internal functioning and traits differentiated his theories, and can be seen as a precursor to more cognitive approaches to learning.[6]

text: In 1959, Noam Chomsky published his criticism[8] of Skinner's book Verbal Behavior, an extension of Skinner's initial lectures.[9] In his review, Chomsky stated that pure stimulus-response theories of behavior could not account for the process of language acquisition, an argument that contributed significantly to psychology's cognitive revolution. He theorized that "human beings are somehow specially designed to" understand and acquire language, ascribing a definite but unknown cognitive mechanism to it.[8]

text: Within this context, Albert Bandura studied learning processes that occurred in interpersonal contexts and were not adequately explained by theories of operant conditioning or existing models of social learning.[2] Specifically, Bandura argued that "the weaknesses of learning approaches that discount the influence of social variables are nowhere more clearly revealed than in their treatment of the acquisition of novel responses."[2] Skinner's explanation of the acquisition of new responses relied on the process of successive approximation, which required multiple trials, reinforcement for components of behavior, and gradual change.[10] Rotter's theory proposed that the likelihood of a behavior occurring was a function of the subjective expectancy and value of the reinforcement.[11] This model assumed a hierarchy of existing responses and thus did not (according to Bandura[2]) account for a response that had not yet been learned. Bandura began to conduct studies of the rapid acquisition of novel behaviors via social observation, the most famous of which were the Bobo doll experiments.

text: Theory[edit]

text: Social learning theory integrated behavioral and cognitive theories of learning in order to provide a comprehensive model that could account for the wide range of learning experiences that occur in the real world. As initially outlined by Bandura and Walters in 1963[2] and further detailed in 1977,[12] key tenets of social learning theory are as follows:[13]

text:
Learning is not purely behavioral; rather, it is a cognitive process that takes place in a social context.
Learning can occur by observing a behavior and by observing the consequences of the behavior (vicarious reinforcement).
Learning involves observation, extraction of information from those observations, and making decisions about the performance of the behavior (observational learning or modeling). Thus, learning can occur without an observable change in behavior.
Reinforcement plays a role in learning but is not entirely responsible for learning.
The learner is not a passive recipient of information. Cognition, environment, and behavior all mutually influence each other (reciprocal determinism).

tag: ol

text: Observation and direct experience[edit]

text: Typical stimulus-response theories rely entirely upon direct experience (of the stimulus) to inform behavior. Bandura opens up the scope of learning mechanisms by introducing observation as a possibility.[1] He adds to this the ability of modeling – a means by which humans "represent actual outcomes symbolically".[1] These models, cognitively mediated, allow future consequences to have as much of an impact as actual consequences would in a typical S-R theory. An important factor in social learning theory is the concept of reciprocal determinism. This notion states that just as an individual's behavior is influenced by the environment, the environment is also influenced by the individual's behavior.[12] In other words, a person's behavior, environment, and personal qualities all reciprocally influence each other. For example, a child who plays violent video games will likely influence their peers to play as well, which then encourages the child to play more often. This could lead to the child becoming desensitized to violence, which in turn will likely affect the child's real life behaviors.[citation needed]

text: Modeling and underlying cognitive processes[edit]

text: Social learning theory draws heavily on the concept of modeling as described above. Bandura outlined three types of modeling stimuli:

text:
Live models, where a person is demonstrating the desired behavior
Verbal instruction, in which an individual describes the desired behavior in detail and instructs the participant in how to engage in the behavior
Symbolic, in which modeling occurs by means of the media, including movies, television, Internet, literature, and radio. Stimuli can be either real or fictional characters.

text: Exactly what information is gleaned from observation is influenced by the type of model, as well as a series of cognitive and behavioral processes, including:[14]

text:
Attention – in order to learn, observers must attend to the modeled behavior. Experimental studies[15] have found that awareness of what is being learned and the mechanisms of reinforcement greatly boosts learning outcomes. Attention is impacted by characteristics of the observer (e.g., perceptual abilities, cognitive abilities, arousal, past performance) and characteristics of the behavior or event (e.g., relevance, novelty, affective valence, and functional value). In this way, social factors contribute to attention – the prestige of different models affects the relevance and functional value of observation and therefore modulates  attention.
Retention – In order to reproduce an observed behavior, observers must be able to remember features of the behavior. Again, this process is influenced by observer characteristics (cognitive capabilities, cognitive rehearsal) and event characteristics (complexity). The cognitive processes underlying retention are described by Bandura as visual and verbal, where verbal descriptions of models are used in more complex scenarios.
Reproduction – By reproduction, Bandura refers not to the propagation of the model but the implementation of it. This requires a degree of cognitive skill, and may in some cases require sensorimotor capabilities.[6] Reproduction can be difficult because in the case of behaviors that are reinforced through self-observation (he cites improvement in sports), it can be difficult to observe behavior well. This can require the input of others to provide self-correcting feedback. Newer studies on feedback[16] support this idea by suggesting effective feedback, which would help with observation and correction improves the performance on participants on tasks.
Motivation – The decision to reproduce (or refrain from reproducing) an observed behavior is dependent on the motivations and expectations of the observer, including anticipated consequences and internal standards. Bandura's description of motivation is also fundamentally based on environmental and thus social factors, since motivational factors are driven by the functional value of different behaviors in a given environment.

tag: ul

text: Evolution and cultural intelligence[edit]

text: Social learning theory has more recently applied alongside and been used to justify the theory of cultural intelligence.[17] The cultural intelligence hypothesis argues that humans possess a set of specific behaviors and skills that allow them to exchange information culturally.[18] This hinges on a model of human learning where social learning is key, and that humans have selected for traits that maximize opportunities for social learning. The theory builds on extant social theory by suggesting that social learning abilities, like Bandura's cognitive processes required for modeling, correlate with other forms of intelligence and learning.[17] Experimental evidence has shown that humans overimitate behavior compared to chimpanzees, lending credence to the idea that we have selected for methods of social learning.[19] Some academics have suggested that our ability to learn socially and culturally have led to our success as a species.[20]

text: Social learning in neuroscience[edit]

text: Recent research in neuroscience has implicated mirror neurons as a neurophysiology basis for social learning, observational learning, motor cognition and social cognition.[21] Mirror neurons have been heavily linked to social learning in humans. Mirror neurons were first discovered in primates in studies which involved teaching the monkey motor activity tasks. One such study, focused on teaching primates to crack nuts with a hammer. When the primate witnessed another individual cracking nuts with a hammer, the mirror neuron systems became activated as the primate learned to use the hammer to crack nuts. However, when the primate was not presented with a social learning opportunity, the mirror neuron systems did not activate and learning did not occur.[22] Similar studies with humans also show similar evidence to the human mirror neuron system activating when observing another person perform a physical task. The activation of the mirror neuron system is thought to be critical for the understanding of goal directed behaviors and understanding their intention. Although still controversial, this provides a direct neurological link to understanding social cognition.[23]

text: Applications[edit]

text: Criminology[edit]

text: Social learning theory has been used to explain the emergence and maintenance of deviant behavior, especially aggression. Criminologists Ronald Akers and Robert Burgess integrated the principles of social learning theory and operant conditioning with Edwin Sutherland's Differential Association Theory to create a comprehensive theory of criminal behavior.[24][25] Burgess and Akers emphasized that criminal behavior is learned in both social and nonsocial situations through combinations of direct reinforcement, vicarious reinforcement, explicit instruction, and observation. Both the probability of being exposed to certain behaviors and the nature of the reinforcement are dependent on group norms.

text: Developmental psychology[edit]

text: In her book Theories of Developmental Psychology, Patricia H. Miller lists both moral development and gender-role development as important areas of research within social learning theory.[26] Social learning theorists emphasize observable behavior regarding the acquisition of these two skills.  For gender-role development, the same-sex parent provides only one of many models from which the individual learns gender-roles.  Social learning theory also emphasizes the variable nature of moral development due to the changing social circumstances of each decision: "The particular factors the child thinks are important vary from situation to situation, depending on variables such as which situational factors are operating, which causes are most salient, and what the child processes cognitively.  Moral judgments involve a complex process of considering and weighing various criteria in a given social situation."[26]

text: For social learning theory, gender development has to do with the interactions of numerous social factors, involving all the interactions the individual encounters.  For social learning theory, biological factors are important but take a back seat to the importance of learned, observable behavior.  Because of the highly gendered society in which an individual might develop, individuals begin to distinguish people by gender even as infants. Bandura's account of gender allows for more than cognitive factors in predicting gendered behavior: for Bandura, motivational factors and a broad network of social influences determine if, when, and where gender knowledge is expressed.[26]

text: Management[edit]

text: Social Learning theory proposes that rewards aren't the sole force behind creating motivation.  Thoughts, beliefs, morals, and feedback all help to motivate us.  Three other ways in which we learn are vicarious experience, verbal persuasion, and physiological states.  Modeling, or the scenario in which we see someone's behaviors and adopt them as our own, aide the learning process as well as mental states and the cognitive process.(citation? more description)

text: Media violence[edit]

text: Principles of social learning theory have been applied extensively to the study of media violence. Akers and Burgess hypothesized that observed or experienced positive rewards and lack of punishment for aggressive behaviors reinforces aggression. Many research studies have discovered significant correlations between viewing violent television and aggression later in life and many have not, as well as playing violent video games and aggressive behaviors.[27][28] The role of observational learning has also been cited as an important factor in the rise of rating systems for TV, movies, and video games.

text: Creating social change with media[edit]

text: Entertainment-education in the form of a telenovela or soap opera can help viewers learn socially desired behaviors in a positive way from models portrayed in these programs.[29]  The telenovela format allows the creators to incorporate elements that can bring a desired response.[30]  These elements may include music, actors, melodrama, props or costumes.[30]  Entertainment education is symbolic modeling and has a formula with three sets of characters with the cultural value that is to be examined is determined ahead of time:

text:
Characters that support a value (positive role models)
Characters who reject the value (negative role models)
Characters who have doubts about the value (undecided)[30]

text: Within this formula there are at least three doubters that represent the demographic group within the target population.[30]  One of these doubters will accept the value less than halfway through, the second will accept the value two-thirds of the way through and the third doubter does not accept the value and is seriously punished.  This doubter is usually killed.[30] Positive social behaviors are reinforced with rewards and negative social behaviors are reinforced with punishment. At the end of the episode a short epilog done by a recognizable figure summarizes the educational content and within the program viewers are given resources in their community.[29]

text: Applications for Social Change[edit]

text: Through observational learning a model can bring forth new ways of thinking and behaving.[31]  With a modeled emotional experience, the observer shows an affinity towards people, places and objects.[29]  They dislike what the models do not like and like what the models care about.[31]  Television helps contribute to how viewers see their social reality.[29]  "Media representations gain influence because people's social constructions of reality depend heavily on what they see, hear and read rather than what they experience directly".[29]  Any effort to change beliefs must be directed towards the sociocultural norms and practices at the social system level.[29]  Before a drama is developed, extensive research is done through focus groups that represent the different sectors within a culture.  Participants are asked what problems in society concern them most and what obstacles they face, giving creators of the drama culturally relevant information to incorporate into the show.[29]

text: The pioneer of entertainment-education is Miguel Sabido a creative writer/producer/director in the 1970s at the Mexican national television system, Televisa.  Sabido spent 8 years working on a method that would create social change and is known as the Sabido Method.[30] He credits Albert Bandura's social learning theory, the drama theory of Eric Bentley, Carl Jung's theory of archetypes, MacLean's triune brain theory and Sabido's own soap opera theory for influences his method.[32] Sabido's method has been used worldwide to address social issues such as national literacy, population growth and health concerns such as HIV.[29]

text: Psychotherapy[edit]

text:
Another important application of social learning theory has been in the treatment and conceptualization of anxiety disorders. The classical conditioning approach to anxiety disorders, which spurred the development of behavioral therapy and is considered by some to be the first modern theory of anxiety,[33] began to lose steam in the late 1970s as researchers began to question its underlying assumptions. For example, the classical conditioning approach holds that pathological fear and anxiety are developed through direct learning; however, many people with anxiety disorders cannot recall a traumatic conditioning event, in which the feared stimulus was experienced in close temporal and spatial contiguity with an intrinsically aversive stimulus.[34][35]
Social learning theory helped salvage learning approaches to anxiety disorders by providing additional mechanisms beyond classical conditioning that could account for the acquisition of fear. For example, social learning theory suggests that a child could acquire a fear of snakes by observing a family member express fear in response to snakes. Alternatively, the child could learn the associations between snakes and unpleasant bites through direct experience, without developing excessive fear, but could later learn from others that snakes can have deadly venom, leading to a re-evaluation of the dangerousness of snake bites, and accordingly, a more exaggerated fear response to snakes.[36]

text: School psychology[edit]

text: Many classroom and teaching strategies draw on principles of social learning to enhance students' knowledge acquisition and retention. For example, using the technique of guided participation, a teacher says a phrase and asks the class to repeat the phrase. Thus, students both imitate and reproduce the teacher's action, aiding retention. An extension of guided participation is reciprocal learning, in which both student and teacher share responsibility in leading discussions.[37] Additionally, teachers can shape the classroom behavior of students by modelling appropriate behavior and visibly rewarding students for good behavior. By emphasizing the teacher's role as model and encouraging the students to adopt the position of observer, the teacher can make knowledge and practices explicit to students, enhancing their learning outcomes.[38]

text: Social learning algorithm for computer optimization[edit]

text: In modern field of computational intelligence, the social learning theory is adopted to develop a new computer optimization algorithm, the social learning algorithm.[39] Emulating the observational learning and reinforcement behaviors, a virtual society deployed in the algorithm seeks the strongest behavioral patterns with the best outcome. This corresponds to searching for the best solution in solving optimization problems. Compared with other bio-inspired global optimization algorithms that mimic natural evolution or animal behaviors, the social learning algorithm has its prominent advantages. First, since the self-improvement through learning is more direct and rapid than the evolution process, the social learning algorithm can improve the efficiency of the algorithms mimicking natural evolution. Second, compared with the interaction and learning behaviors in animal groups, the social learning process of human beings exhibits a higher level of intelligence. By emulating human learning behaviors, it is possible to arrive at more effective optimizers than existing swarm intelligence algorithms. Experimental results have demonstrated the effectiveness and efficiency of the social learning algorithm, which has in turn also verified through computer simulations the outcomes of the social learning behavior in human society.[39]

text: Another example is the social cognitive optimization, which is a population-based metaheuristic optimization algorithm. This algorithm is based on the social cognitive theory, simulating the process of individual learning of a set of agents with their own memory and their social learning with the knowledge in the social sharing library. It has been used for solving continuous optimization, integer programming, and combinatorial optimization problems.

text: There also several mathematical models of social learning which try to model this phenomenon using probabilistic tools.


document_title: The Adventures of the Wilderness Family

question_text: what is the dog's name in the wilderness family

question_tokens: what is the dog 's name in the wilderness family

text: The Adventures of the Wilderness Family

text: Plot[edit]

text: Skip Robinson is a construction worker who lives with his family in Los Angeles, California. Concerned about his daughter's health and the welfare of his family, as well as despising his job, Skip grows tired of the city life and decides to move his family to the Rocky Mountains with no plans to ever return due to the smog and congestion. After moving his wife Pat and two children, eleven-year-old Jennifer and seven-year-old Toby to the wilderness and then building their own cabin near a large lake, they settle in to find out that their new environment isn't always as peaceful as it may appear.

text: From the start, the Robinson family seemed to be adjusting to their new life in the Canadian wilderness. A few days after finishing building their new cabin, Toby and Skip go out hunting one morning with their dog, Crust and succeed in catching a grouse for the family dinner. Later that day, while climbing along the rocky slopes of a large hill, Skip and his son almost get caught in a deadly landslide. They later find a pair of young grizzly bear cubs who have lost their mother to the same landslide they got caught in. The cubs are quickly adopted into the Robinson family, but Pat and Skip tell their children that sooner or later the cubs would have to be released back into the wild when they are fully grown.

text: During the next few weeks, the Robinson family slowly adapt to their new life in the mountains. In addition to the two young bear cubs and their family dog, Skip and his family also befriend a raccoon that they find living near their cabin and name him Bandito. While Jenny and Toby are collecting flowers, they encounter cougar cubs near their den. The family receive numerous letters and packages from friends and family back in Los Angeles. Pat receives several letters from her mother and Jenny and Toby are given numerous schoolbooks from the Los Angeles schoolboard. Skip continues hunting for small game and fishing in the nearest creek to provide food for his family, while his wife works around the house and their two children work on their schoolwork.

text: One day, while fishing for some trout down by the creek with the two grizzly cubs, Skip and the cubs are scared by a large black bear that was roaming along the creekbed. Jenny and Toby had gone out for a walk with their dog Crust, to which they later encounter the same bear that their dad saw down by the creek. While Toby heads back to the cabin to get his parents, Jenny goes after Crust, who has managed to scare the bear away. Skip is informed by Toby of what happened, and he heads out with his rifle to find his daughter.

text: While trying to find their way back to the cabin, Jenny and Crust are attacked by a pack of gray wolves who chase them down to a nearby lake and almost attack Jenny. Crust is able to fend the wolves off long enough for Skip to arrive in the nick of time and drive the pack away. Despite this frightening encounter, Jenny quickly recovers from the shock of what had happened and is brought home safe and sound.

text: The next day, Skip and his family meet a friendly aging mountain man who introduces himself as Boomer. Boomer informs them that he had been a longtime partner and friend to Ol' Jake, Skip's uncle who lived in the same area where the Robinsons had built their cabin. Ol' Jake had been known to take extremely good care of the local wildlife in the area, including a large black bear named Samson that was the same black bear that Skip and his family had encountered a few times before. Boomer also warns Skip and his family to keep a watchful eye for Three-Toes, a locally notorious grizzly bear that has been known to invade the properties of humans who are living in the mountains. Boomer is then forced to leave when the two bear cubs accidentally frighten away Boomer's mule Flora.

text: One day, while Pat and Jenny are picking berries, they encounter Three-Toes; Crust manages to fend off Three-Toes while Pat retrieves Jenny, who suffered a massive shock. Skip goes to find Crust while tracking down Three-Toes. The following morning, Jenny's condition has gotten worse, Skip tries to call for help but the radio's batteries are dead, so he has to walk to get help. During a windstorm, Three-Toes tries to break into the cabin, but Pat tries to fend him off. Samson comes to fight off Three-Toes and Pat manages to kill him. Skip returns with a doctor, saying that Jenny's health is improving. Pat is still hesitant about staying but she tries to adapt. Boomer then shows up and loses his animals.

text: Main cast[edit]

text:
Robert Logan ... Skip Robinson
Susan Damante-Shaw ... Pat Robinson
Hollye Holmes ... Jenny Robinson
Ham Larsen ... Toby Robinson
George Buck Flower ... Boomer

text: Production[edit]

text: Parts of the film were shot in Summit County, Utah.[2]

text: DVD details[edit]

text:
Release date: January 1, 2003
Full Screen
Region: 1
Aspect Ratio: 1.33:1
Audio tracks: English
Subtitles: English, Spanish
Running time: 100 minutes


document_title: Across the Universe

question_text: who sings nothings gonna change my world samsung advert

question_tokens: who sings nothings gon na change my world samsung advert

text: Across the Universe

text: Composition[edit]

text: One night in 1967, the phrase "words are flowing out like endless rain into a paper cup" came to Lennon after hearing his then-wife Cynthia, according to Lennon, "going on and on about something". Later, after "she'd gone to sleep – and I kept hearing these words over and over, flowing like an endless stream", Lennon went downstairs and turned it into a song. He began to write the rest of the lyrics and when he was done, he went to bed and forgot about them.

text: I was lying next to my first wife in bed, you know, and I was irritated, and I was thinking. She must have been going on and on about something and she'd gone to sleep and I kept hearing these words over and over, flowing like an endless stream. I went downstairs and it turned into a sort of cosmic song rather than an irritated song, rather than a "Why are you always mouthing off at me?"[1] [The words] were purely inspirational and were given to me as boom! I don't own it you know; it came through like that.[2]

text: The flavour of the song was heavily influenced by Lennon's and the Beatles' interest in Transcendental Meditation in late 1967 – early 1968, when the song was composed. Based on this, he added the mantra "Jai guru deva om" (Sanskrit: जय गुरुदेव ॐ) to the piece, which became the link to the chorus. The Sanskrit phrase is a sentence fragment whose words could have many meanings. Literally it approximates as "glory to the shining remover of darkness"[3] and can be paraphrased as "Victory to God divine", "Hail to the divine guru", or the phrase commonly invoked by the late Maharishi Mahesh Yogi in referring to his spiritual teacher, "All glory to Guru Dev".[4]

text: The song's lyrical structure is straightforward: three repetitions of a unit consisting of a verse, the line "Jai guru deva om" and the line "Nothing's gonna change my world" repeated four times. The lyrics are highly image-based, with abstract concepts reified with phrases like thoughts "meandering", words "slithering", and undying love "shining". The title phrase "across the universe" appears at intervals to finish lines, although it never cadences, always appearing as a rising figure, melodically unresolved. It finishes on the leading note; to the Western musical ear, the next musical note would be the tonic and would therefore sound complete.

text: In his 1970 interview with Rolling Stone, Lennon referred to the song as perhaps the best, most poetic lyric he ever wrote: "It's one of the best lyrics I've written. In fact, it could be the best. It's good poetry, or whatever you call it, without chewin' it. See, the ones I like are the ones that stand as words, without melody. They don't have to have any melody, like a poem, you can read them."[5]

text: Musical structure[edit]

text: On a standard-tuned guitar (EADGBE) the song is played in the key of D; however, the recording was slowed electronically, resulting in a lower C# tuning to the ear. The verse beginning "Words are flowing out" (I (D) chord) is notable for a prolonged vi (Bm)–iii (F#m) to ii7 (Em7) minor drop to the dominant chord V7 (A7) on "across the universe" in the 4th bar.[6] On the repeat of this chord sequence a turn following the ii7 (Em7) through a iv minor (Gm) brings the verse to a close before moving on directly to the tonic on the "Jai Guru Deva Om" refrain. The vi–ii minor drop leading to V had been used earlier in "I Will" (on "how long I've loved you") and George Harrison utilised a shorter vi–iii minor alternation to delay getting back to the dominant (V) in "I Need You".[6] The verse beginning "Words are flowing out like endless rain …" is also notable for the suitably breathless phrasing and almost constant 8th-note rhythm (initially four D melody notes, then C#, B, A, B).[7]

text: Recording and version history[edit]

text:
Complete recording and mixing history

Date
Activity

4 February 1968
Takes one–two and four–seven recorded. Overdub onto take seven. Reduction into take eight. Overdub onto take eight. Sound effects on takes one–three.[8]

8 February 1968
Overdub onto take eight. Mono mixing from take eight.[9]

January 1969
Overdubs onto take eight. Mono mixing from take eight. Version planned for the album No One's Gonna Change Our World.[10]

2 October 1969
Overdubs onto take eight. Stereo mixing from take eight. Version released on the album No One's Gonna Change Our World and later on Past Masters.[11]

5 January 1970
Stereo mixing from take eight. Version to have been released on 5 January Get Back album.[12]

23 March 1970
Stereo mixing from take eight.[13]

1 April 1970
Reduction into take nine. Overdub onto take nine.[14]

2 April 1970
Stereo mixing from take nine. Version released on the Let It Be album.[14]

tag: table

text: February 1968 recordings[edit]

text: In February 1968, the Beatles convened at the EMI Abbey Road studios to record a single for release during their absence on their forthcoming trip to India. Paul McCartney had written "Lady Madonna", and Lennon had "Across the Universe". Both tracks were recorded along with Lennon's "Hey Bulldog" and the vocal track for Harrison's "The Inner Light" between 3 and 11 February.

text: The basic track was taped on 4 February. Along with acoustic guitar, percussion and tambura, it featured an overdubbed sitar introduction by Harrison. Two teenage fans, Lizzie Bravo and Gayleen Pease, were invited in off the street to provide backup vocals.

text: Lennon was still not satisfied with the feel of the track, and several sound effects were taped, including 15 seconds of humming and a guitar and a harp-like sound, both to be played backwards; however, none of these were used on the released version. The track was mixed to mono and put aside as the group had decided to release "Lady Madonna" and "The Inner Light" as the single. On their return from India, the group set about recording the many songs they had written there, and "Across the Universe" remained on the shelf. In the autumn of 1968, the Beatles seriously considered releasing an EP including most of the songs for the Yellow Submarine album and "Across the Universe", and went as far as having the EP mastered.

text: World Wildlife Fund version[edit]

text: During the February 1968 recording sessions, Spike Milligan dropped into the studio and, on hearing the song, suggested the track would be ideal for release on a charity album he was organising for the World Wildlife Fund. At some point in 1968, the Beatles agreed to this proposal. In January 1969, the best mono mix was remixed for the charity album.[10] In keeping with the "wildlife" theme of the album, sound effects of birds were added to the beginning and end.[15] The original (mono) mix from February 1968 is 3:37 in length. After the effects were added, the track was speeded up so that even with 20 seconds of effects, it is only 3:49. Speeding up the recording also raised the key to E-flat.[15] By October 1969, it was decided that the song needed to be remixed into stereo. This was done by Geoff Emerick immediately prior to the banding of the album. "Across the Universe" was first released in this version on the Regal Starline SRS 5013 album No One's Gonna Change Our World in December 1969. The January 1969 mono mix was also considered for an aborted "Yellow Submarine" EP and was finally released as part of "The Beatles in Mono" box set in 2009.

text: This version was issued on four Beatles compilation albums: the British version of Rarities, the different American version of Rarities, The Beatles Ballads, and the second disc of the two-CD Past Masters album.

text: Let It Be version[edit]

text: The Beatles took the song up again during the Get Back/Let It Be rehearsal sessions of January 1969; footage of Lennon playing the song appeared in the Let It Be movie. Bootleg recordings from the sessions include numerous full group performances of the song, usually with Lennon–McCartney harmonies on the chorus. To ensure the album tied in with the film, it was decided that the song must be included on what by January 1970 had become the Let It Be album. Also, Lennon's contributions to the sessions were sparse, and this unreleased piece was seen as a way to fill the gap.[citation needed]

text: Although the song was extensively rehearsed on the Twickenham Studios soundstage, the only recordings were mono transcriptions for use in the film soundtrack. No multitrack recordings were made after the group's move to Apple Studios. Thus in early January 1970 Glyn Johns remixed the February 1968 recording. The new mix omitted the teenage girls' vocals and the bird sound effects of the World Wildlife Fund version. As neither of the Glyn Johns Get Back albums were officially released, the version most are familiar with came from Phil Spector, who in late March and early April 1970 remixed the February 1968 recording yet again and added orchestral and choral overdubs. Spector also slowed the track to 3:47, close to its original duration. According to Lennon, "Spector took the tape and did a damn good job with it".[16]

text: Other versions[edit]

text: A previously unreleased February 1968 alternate take of the song (recorded before the master), without heavy production, appeared on Anthology 2 in 1996.[17] This is often referred to as the "psychedelic" recording because of the strong Indian sitar and tambura sound, and illustrates the band's original uncertainty over the best treatment for the song.

text: The February 1968 master was remixed again for inclusion on Let It Be... Naked in 2003, at the correct speed but stripped of most of the instrumentation and digitally processed to correct tuning issues.

text: Critical reception and legacy[edit]

text: Music critic Richie Unterberger of AllMusic said the song was "one of the group's most delicate and cosmic ballads" and "one of the highlights of the Let It Be album".[18] Music critic Ian MacDonald was critical of the song, calling it a "plaintively babyish incantation" and saying "its vague pretensions and listless melody are rather too obviously the products of acid grandiosity rendered gentle by sheer exhaustion".[19]

text: Lennon himself was unhappy with the song as it was recorded. In his 1980 Playboy interview Lennon says that the Beatles "didn't make a good record of it" and says of the Let It Be version that "the guitars are out of tune and I'm singing out of tune...and nobody's supporting me or helping me with it and the song was never done properly".[20] He further accused McCartney of ruining the song:

text:
“
Paul would … sort of subconsciously try and destroy a great song … usually we'd spend hours doing little detailed cleaning-ups of Paul's songs; when it came to mine … somehow this atmosphere of looseness and casualness and experimentation would creep in. Subconscious sabotage.[21]
”

text: On 4 February 2008, at 00:00 UTC, NASA transmitted the Interstellar Message "Across the Universe"[22] in the direction of the star Polaris, 431 light years from Earth.[23] The transmission was made using a 70m antenna in the Deep Space Network's Madrid Deep Space Communication Complex, located outside of Madrid, Spain. It was done with an "X band" transmitter, radiating into the antenna at 18 kW. This was done to celebrate the 40th anniversary of the song's recording, the 45th anniversary of the Deep Space Network (DSN), and the 50th anniversary of NASA. The idea was hatched by Beatles historian Martin Lewis, who encouraged all Beatles fans to play the track as it was beamed to the distant star. The event marked the first time a song had ever been intentionally transmitted into deep space, and was approved by McCartney, Yoko Ono, and Apple Corps.[24] (The first musical interstellar message was "1st Theremin Concert to Aliens", section 2 of the Teen Age Message, in 2001.)

text: The name of Arjen Anthony Lucassen's first solo album Pools of Sorrow, Waves of Joy, released in 1996, comes from a quote of "Across the Universe", which is one of Lucassen's favourite songs.[25] In David Mitchell's novel number9dream (named after another Lennon song), the phrase "words are flowing out like endless rain into a paper cup" is used to express the incoherence of the character Eiji Mitake's words.[26]

text: Personnel[edit]

text: No One's Gonna Change Our World/Past Masters version:

text:
John Lennon – vocals, acoustic guitar, electric Leslie-speaker guitar
Paul McCartney – piano[27], backing vocals
George Harrison – tambura, electric guitar
Ringo Starr – maracas, swarmandal, tom-tom drum[28]
Lizzie Bravo – backing vocals
Gayleen Pease – backing vocals

text: Let It Be version:

text:
John Lennon – lead vocal, acoustic guitar
George Harrison – tambura, sitar
Ringo Starr – maracas, drums
Phil Spector – strings and choir

text: Let It Be... Naked version:

text:
John Lennon – lead vocal, acoustic guitar, electric Leslie-speaker guitar
George Harrison – tambura
Ringo Starr – tom-tom drum, maracas[28]

text:
George Martin – Hammond organ, producer (original 1968 version)
Phil Spector – producer (1970 version)
Ken Scott, Martin Benge – engineers (original 1968 version)
Jeff Jarratt – remix engineer (1969 No One's Gonna Change Our World version)
Peter Bown, Mike Sheady – recording & remix engineers (1970 Let It Be version)

text: Elements of the performance recorded on 8 February 1968 were replaced by an orchestra and choir recorded on 1 April 1970.[30]

text: Covers[edit]

text: There have been several recordings of "Across the Universe" released by the Beatles as well as covers by other artists.[31]

text:
Artist
Release Date
Album Title
Notes

Cilla Black
000000001970-07-03-00003 July 1970
Sweet Inspiration
Produced by George Martin

David Bowie
000000001975-03-07-00007 March 1975
Young Americans
Backing vocals and guitar by John Lennon

Roger Waters
000000001985-06-12-000012 June 1985
-
With Andy Fairweather Low; from a television tribute to John Lennon

Vadim Brodski
000000001986-01-01-00001986
Beatles Symphony

Cyndi Lauper
000000001989-01-01-00001989/000000002009-01-01-00002009
Unreleased / Across the Universe
2009 Version w/ Jake Shimabukuro

Lana Lane
000000001988-11-21-000021 November 1988
Ballad Collection, Vol. 1

Laibach
000000001988-01-01-00001988
Let It Be
Vocals by Anja Rupel

Worlds Apart
000000001994-01-01-00001994
Unreleased
Recorded for their debut album Together, but never released

10cc
000000001995-01-01-00001995
10cc Alive

Nikolay Rastorguyev
000000001996-01-01-00001996/000000002007-01-01-00002007
Четыре ночи в Москве / Birthday (With Love)

Aine Minogue
000000001997-07-15-000015 July 1997
Between the Worlds
Celtic version

Fiona Apple
000000001998-10-13-000013 October 1998
Pleasantville Soundtrack

Rufus Wainwright
000000002002-02-12-000012 February 2002
Poses
US Edition bonus track, part of the soundtrack of the film I Am Sam, also played in episode 6 of the science fiction TV series "FlashForward" Used in 2017 on a television advertisement for a Samsung mobile phone.

Verdena
000000002003-06-05-00005 June 2003

B-side

Ben Allison & Medicine Wheel
000000002004-05-24-000024 May 2004
Buzz

Kingdom Come
000000002006-12-20-000020 December 2006
Ain't Crying for the Moon

Jim Sturgess & Joe Anderson
000000002007-09-18-000018 September 2007
Across the Universe Soundtrack
From the Julie Taymor musical based on Beatles songs. Also the title for the film.

John Butler Trio
000000002004-08-24-000024 August 2004
What You Want

Seether
000000002008-08-05-00005 August 2008
iTunes Originals – Seether

Justin Mauriello
000000002010-02-06-00006 February 2010
Justin Sings the Hits

Brian Molko
000000002010-07-03-00003 July 2010
Belgium Presidency of European Union

Beady Eye
000000002011-04-04-00004 April 2011
Proceeds go to Japanese Tsunami Relief
Recorded at RAK studios on 2 April 2011, performed live at the Japan Disaster Benefit concert on 3 April 2011, and released as a digital download on 4 April 2011 – all proceeds go to the charity.

Bill Frisell
000000002011-09-27-000027 September 2011
All We Are Saying
Released on Savoy Jazz records.

Scorpions
000000002011-11-04-00004 November 2011
Comeblack

Denise Ho
000000002012-12-06-00006 December 2012
無臉人演唱會

Hikaru Utada
000000002010-12-09-00009 December 2010
Wild Life (concert)
Performed during her final concert aka "Wild Life" followed by her hiatus. Although the song was not officially recorded, it was included on her Wild Life DVD and Blu-ray release on 3 February 2011.

Chris Hadfield and the Wexford Gleeks
000000002013-12-06-00006 December 2013
CBC Sounds of the Season
Live performance on CBC Toronto News

Curved Air
000000002014-03-17-000017 March 2014
North Star

Andrew Huang
20 Nov 2014
Comet
Made using sounds from Comet 67P/Churyumov–Gerasimenko

text: In 2007, Jackson Browne and Robby Krieger of The Doors also recorded and released a version of the song.

text: Additionally, according to the IMDB website, the American band Velvet Revolver, with Slash playing a 12-string Gibson Les Paul, along with other artists, Bono, Norah Jones, Alicia Keys, Tim McGraw, Steven Tyler, Brian Wilson, Alison Krauss on fiddle, Billie Joe Armstrong, and Stevie Wonder, on lead vocals and harmonica, covered the song live as a tribute to the Tsunami Victims at the 2005 Grammy Awards. According to the 5 March 2005 Billboard magazine, the all-star Grammy recording debuted at no. 22 on the Billboard Hot 100 chart as a digital download.

text: On 3 July 2010 Placebo singer Brian Molko performed this song with a full orchestra in Brussels to celebrate the Belgium Presidency of European Union[32] British band Beady Eye covered the track in 2011 for the British Red Cross Japanese Tsunami Appeal. All profits from the track were donated to the appeal. During their 1981/1982 Time Tour, Electric Light Orchestra covered "Across the Universe" together with "Imagine" and "A Day in the Life" as part of their tribute to John Lennon. Band leader Jeff Lynne had gained most of his inspiration to make Electric Light Orchestra from the works of Lennon both with The Beatles and his solo career and would later produce new songs for The Beatles Anthology albums.[citation needed] Barbara Dickson recorded Across The Universe in 2006 for her album Nothing's Gonna Change My World, a modern approach to Beatles songs. Barbara often closes her concerts with this song and a live version can be heard on her 2017 live album, In Good Company, a live recording of her 2017 concert tour

text: Notes[edit]

text:
Jump up ^ Sheff p. 265 by David Sheff
Jump up ^ Sheff p. 267
Jump up ^ "Learn Vedic Meditation". Introtomeditation.com. 15 February 2007. Archived from the original on 22 July 2011. Retrieved 20 August 2011.
Jump up ^ Woo, Elaine (6 February 2008). "Maharishi Mahesh Yogi; founded Transcendental Meditation movement". Los Angeles Times. Retrieved 24 June 2012.
Jump up ^ "Across The Universe". The Beatles Bible. The Beatles Bible. Archived from the original on 8 August 2010. Retrieved 16 August 2010.
^ Jump up to: a b Dominic Pedler. The Songwriting Secrets of the Beatles. Music Sales Limited. Omnibus Press. NY. 2003. p. 76.
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Jump up ^ "Brian Molko – "Across The Universe" live [Lyrics Subbed]". YouTube. Retrieved 3 October 2011.