document_title: Juventus F.C. in European football

question_text: when was the last time juventus won champions league

text: Juventus F.C. in European football

text: UEFA-organised seasonal competitions[edit]

text: Juventus' score listed first.

text: European Cup and Champions League[edit]

text:
Season
Round
Opposition
Home
Away
Aggregate
Reference

1958–59
Preliminary Round
 Wiener Sport-Club
3–1
0–7
3–8
[15]

1960–61
Preliminary Round
 CSKA Sofia
2–0
1–4
3–4
[16]

1961–62
Preliminary Round
 Panathinaikos
2–1
1–1
3–2
[17]

First Round
 Partizan Belgrade
5–0
2–1
7–1

Quarter Final
 Real Madrid
1–0
0–1
2–4 (po 1–3)

1967–68
First Round
 Olympiacos
2–0
0–0
2–0
[18]

Second Round
 Rapid Bucurest
1–0
0–0
1–0

Quarter-Final
 Eintracht Braunschweig
1–0
2–3
4–3 (po 1–0)

Semi-Final
 Benfica
0–1
0–2
0–3

1972–73
First Round
 Marseille
3–0
0–1
3–1
[19]

Second Round
 Magdeburg
1–0
1–0
2–0

Quarter-Final
 Újpest Dózsa
0–0
2–2
2–2 (a)

Semi-Final
 Derby County
3–1
0–0
3–1

Final
 Ajax
0–1 (N)

1973–74
First Round
 Dynamo Dresden
3–2
0–2
3–4
[20]

1975–76
First Round
 CSKA Sofia
2–0
1–2
3–2
[21]

Second Round
 Borussia Mönchengladbach
2–2
0–2
2–4

1977–78
First Round
 Omonia
2–0
3–0
5–0
[22]

Second Round
 Glentoran
5–0
1–0
6–0

Quarter-Final
 Ajax
1–1
1–1
1–1, 3–0 (p)

Semi-Final
 Club Brugge
1–0
0–2
1–2

1978–79
First Round
 Rangers
1–0
0–2
1–2
[23]

1981–82
First Round
 Celtic
2–0
0–1
2–1
[24]

Second Round
 Anderlecht
1–1
1–3
2–4

1982–83
First Round
 Hvidovre
3–3
4–1
7–4
[25]

Second Round
 Standard Liège
2–0
1–1
3–1

Quarter-Final
 Aston Villa
3–1
2–1
5–2

Semi-Final
 Widzew Łódź
2–0
2–2
4–2

Final
 Hamburg
0–1 (N)

1984–85
First Round
 Tampere United
2–1
4–0
6–1
[26]

Second Round
 Grasshopper Zürich
2–0
4–2
6–2

Quarter-Final
 Sparta Prague
3–0
0–1
3–1

Semi-Final
 Bordeaux
3–0
0–2
3–2

Final
 Liverpool
1–0 (N)

1985–86
First Round
 Jeunesse Esch
4–1
5–0
9–1
[27]

Second Round
 Hellas Verona
2–0
0–0
2–0

Quarter-Final
 Barcelona
1–1
0–1
1–2

1986–87
First Round
 Valur
7–0
4–0
11–0
[28]

Second Round
 Real Madrid
1–0
0–1
1–1, 1–3 (p)

1995–96
Group C
 Borussia Dortmund
1–2
3–1
1st
[29]

 Steaua Bucurest
3–0
0–0

 Rangers
4–1
4–0

Quarter-Final
 Real Madrid
2–0
0–1
2–1

Semi-Final
 Nantes
2–0
2–3
4–3

Final
 Ajax
1–1, 4–2 (p) (N)

1996–97
Group C
 Manchester United
1–0
0–1
1st
[30]

 Fenerbahçe
2–0
1–0

 Rapid Vienna
5–0
1–1

Quarter-Final
 Rosenborg
2–0
1–1
3–1

Semi-Final
 Ajax
4–1
2–1
6–2

Final
 Borussia Dortmund
1–3 (N)

1997–98
Group B
 Feyenoord
5–1
0–2
2nd
[31]

 Manchester United
1–0
2–3

 Košice
3–2
1–0

Quarter-Final
 Dynamo Kiev
1–1
4–1
5–2

Semi-Final
 Monaco
4–1
2–3
6–4

Final
 Real Madrid
0–1 (N)

1998–99
Group B
 Galatasaray
1–1
2–2
1st
[32]

 Rosenborg
2–0
1–1

 Athletic Bilbao
1–1
0–0

Quarter-Final
 Olympiacos
2–1
1–1
3–2

Semi-Final
 Manchester United
2–3
1–1
3–4

2000–01
Group E
 Hamburg
1–3
4–4
4th
[33]

 Panathinaikos
2–1
1–3

 Deportivo La Coruña
0–0
1–1

2001–02
Group E
 Celtic
3–2
3–4
1st
[34]

 Rosenborg
1–0
1–1

 Porto
3–1
0–0

Group D Second Round
 Bayer Leverkusen
4–0
1–3
4th

 Arsenal
1–0
1–3

 Deportivo La Coruña
0–0
0–2

2002–03
Group E
 Feyenoord
2–0
1–1
1st
[35]

 Dynamo Kiev
5–0
2–1

 Newcastle United
2–0
0–1

Group D Second Round
 Deportivo La Coruña
3–2
2–2
2nd

 Basel
4–0
1–2

 Manchester United
0–3
1–2

Quarter-Final
 Barcelona
1–1
2–1
3–2

Semi-Final
 Real Madrid
3–1
1–2
4–3

Final
 Milan
0–0, 2–3 (p) (N)

2003–04
Group D
 Galatasaray
2–1
0–2 (N)
1st
[36]

 Olympiacos
7–0
2–1

 Real Sociedad
4–2
0–0

Round of 16
 Deportivo La Coruña
0–1
0–1
0–2

2004–05
Third Qualifying Round
 Djurgården
2–2
4–1
6–3
[37]

Group C
 Ajax
1–0
1–0
1st

 Maccabi Tel Aviv
1–0
1–1

 Bayern Munich
1–0
1–0

Round of 16
 Real Madrid
2–0
0–1
2–1

Quarter-Final
 Liverpool
0–0
1–2
1–2

2005–06
Group A
 Club Brugge
1–0
2–1
1st
[38]

 Rapid Wien
3–0
3–1

 Bayern Munich
2–1
1–2

Round of 16
 Werder Bremen
2–1
2–3
4–4 (a)

Quarter-Final
 Arsenal
0–0
0–2
0–2

2008–09
Third Qualifying Round
 Artmedia Bratislava
4–0
1–1
5–1
[39]

Group H
 Zenit St. Petersburg
1–0
0–0
1st

 BATE Borisov
0–0
2–2

 Real Madrid
2–1
2–0

Round of 16
 Chelsea
2–2
0–1
2–3

2009–10
Group A
 Bordeaux
1–1
0–2
3rd
[40]

 Bayern Munich
1–4
0–0

 Maccabi Haifa
1–0
1–0

2012–13
Group E
 Chelsea
3–0
2–2
1st
[41]

 Shakhtar Donetsk
1–1
1–0

 Nordsjælland
4–0
1–1

Round of 16
 Celtic
2–0
3–0
5–0

Quarter-finals
 Bayern Munich
0–2
0–2
0–4

2013–14
Group B
 Real Madrid
2–2
1–2
3rd
[42]

 Galatasaray
2–2
0–1

 København
3–1
1–1

2014–15
Group A
 Atletico Madrid
0–0
0–1
2nd
[43]

 Olympiakos
3–2
0–1

 Malmo
2–0
2–0

Round of 16
 Borussia Dortmund
2–1
3–0
5–1

Quarter-finals
 Monaco
1–0
0–0
1–0

Semi-finals
 Real Madrid
2–1
1–1
3–2

Final
 Barcelona
1–3 (N)

2015–16
Group D
 Manchester City
1–0
2–1
2nd
[44]

 Sevilla
2–0
0–1

 Borussia Mönchengladbach
0–0
1–1

Round of 16
 Bayern Munich
2–2
2–4 (a.e.t.)
4–6

2016–17
Group H
 Sevilla
0–0
3–1
1st
[45]

 Dinamo Zagreb
2–0
4–0

 Lyon
1–1
1–0

Round of 16
 Porto
1–0
2–0
3–0

Quarter-finals
 Barcelona
3–0
0–0
3–0

Semi-finals
 Monaco
2–1
2–0
4–1

Final
 Real Madrid
1–4 (N)

2017–18
Group D
 Barcelona
–
0–3
–
–

 Olympiacos
2–0
–

 Sporting
2–1
1–1

text: European Cup Winners' Cup[edit]

text:
Season
Round
Opposition
Home
Away
Aggregate
Reference

1965–66
First Round
 Liverpool
1–0
0–2
1–2
[46]

1979–80
First Round
 Győri
2–0
1–2
3–2
[47]

Second Round
 Beroe
3–0
0–1
3–1

Quarter-Final
 Rijeka
2–0
0–0
2–0

Semi-Final
 Arsenal
0–1
1–1
1–2

1983–84
First Round
 Lechia Gdańsk
7–0
3–2
10–2
[48]

Second Round
 Paris Saint-Germain
0–0
2–2
2–2 (a)

Quarter-Final
 Haka
1–0
1–0
2–0

Semi-Final
 Manchester United
2–1
1–1
3–2

Final
 Porto
2–1 (N)

1990–91
First Round
 Sliven
6–1
2–0
8–1
[49]

Second Round
 Austria Vienna
4–0
3–0
8–0

Quarter-Final
 Liège
3–0
3–1
6–1

Semi-Final
 Barcelona
1–0
1–3
2–3

text: UEFA Cup and Europa League[edit]

text:
Season
Round
Club
Home
Away
Aggregate
Reference

1971–72
First Round
 Marsa
5–0
6–0
11–0
[50]

Second Round
 Aberdeen
2–0
1–1
3–1

Third Round
 Rapid Wien
4–1
1–0
5–1

Quarter-Final
 Wolverhampton Wanderers
1–1
1–2
2–3

1974–75
First Round
 Vorwärts Frankfurt
3–0
1–2
4–2
[51]

Second Round
 Hibernian
4–0
4–2
8–2

Third Round
 Ajax
1–0
1–2
2–2 (a)

Quarter-Final
 Hamburger SV
2–0
0–0
2–0

Semi-Final
 FC Twente
0–1
1–3
1–4

1976–77
First Round
 Manchester City
2–0
0–1
2–1
[52]

Second Round
 Manchester United
3–0
0–1
3–1

Third Round
 Shakhtar Donetsk
3–0
0–1
3–1

Quarter-Final
 Magdeburg
1–0
3–1
4–1

Semi-Final
 AEK FC
4–1
1–0
5–1

Final
 Athletic Bilbao
1–0
1–2
2–2 (a)

1980–81
First Round
 Panathinaikos
4–0
2–4
6–4
[53]

Second Round
 Widzew Łódź
3–1
1–3
4–4, 1–4 (p)

1987–88
First Round
 Valletta
3–0
4–0
7–0
[54]

Second Round
 Panathinaikos
3–2
0–1
3–3 (a)

1988–89
First Round
 Oţelul Galaţi
5–0
0–1
5–1
[55]

Second Round
 Athletic Bilbao
5–1
2–3
7–4

Third Round
 Liège
1–0
1–0
2–0

Quarter-Final
 Napoli
2–0
0–3 (a.e.t.)
2–3

1989–90
First Round
 Górnik Zabrze
4–2
1–0
5–2
[56]

Second Round
 Paris Saint-Germain
2–1
1–0
3–1

Third Round
 FC Karl-Marx-Stadt
2–1
1–0
3–1

Quarter-Final
 Hamburger SV
1–2
2–0
3–2

Semi-Final
 Köln
3–2
0–0
3–2

Final
 Fiorentina
3–1
0–0
3–1

1992–93
First Round
 Anorthosis Famagusta
6–1
4–0
10–1
[57]

Second Round
 Panathinaikos
0–0
1–0
1–0

Third Round
 Sigma Olomouc
5–0
2–1
7–1

Quarter-Final
 Benfica
3–0
1–2
4–2

Semi-Final
 Paris Saint-Germain
2–1
1–0
3–1

Final
 Borussia Dortmund
3–0
3–1
6–1

1993–94
First Round
 Lokomotiv Moscow
3–0
1–0
4–0
[58]

Second Round
 Kongsvinger
2–0
1–1
3–1

Third Round
 Tenerife
3–0
1–2
4–2

Quarter-Final
 Cagliari
1–2
0–1
1–3

1994–95
First Round
 CSKA Sofia
5–1
3–0
8–1
[59]

Second Round
 Marítimo
2–1
1–0
3–1

Third Round
 Admira Wacker
2–1
3–1
5–2

Quarter-Final
 Eintracht Frankfurt
3–0
1–1
4–1

Semi-Final
 Borussia Dortmund
2–2
2–1
4–3

Final
 Parma
1–1
0–1
1–2

1999–2000
First Round
 AC Omonia
5–0
5–2
10–2
[60]

Second Round
 Levski Sofia
1–1
3–1
4–2

Third Round
 Olympiacos
1–2
3–1
4–3

Fourth Round
 Celta Vigo
1–0
0–4
1–4

2009–10
Round of 32
 Ajax
0–0
2–1
2–1
[61]

Round of 16
 Fulham
3–1
1–4
4–5

2010–11
Third Qualifying Round
 Shamrock Rovers
1–0
2–0
3–0
[62]

Play-off Round
 Sturm Graz
1–0
2–1
3–1

Group A
 Lech Poznań
3–3
1–1
3rd

 Manchester City
1–1
1–1

 Red Bull Salzburg
0–0
1–1

2013–14
Round of 32
 Trabzonspor
2–0
2–0
4–0
[63]

Round of 16
 Fiorentina
1–1
1–0
2–1

Quarter-final
 Lyon
2–1
1–0
3–1

Semi-final
 Benfica
0–0
1–2
1–2

text: UEFA Intertoto Cup[edit]

text:
Season
Round
Opposition
Home
Away
Aggregate
Reference

1999
Third Round
 Ceahlăul Piatra Neamţ
0–0
1–1
1–1 (a)
[64]

Semi–Final
 Rostov
5–1
4–0
9–1

Final
 Stade Rennais
2–0
2–2
4–2

text: European Super Cup and UEFA Super Cup[edit]

text:
Season
Opposition
Home
Away
Aggregate
Reference

1984
 Liverpool
2–0
[65]

1996
 Paris Saint-Germain
3–1
6–1
9–2
[66]

text: FIFA Competitions[edit]

text: Intercontinental Cup[edit]

text:
Season
Round
Opposition
Score

1973
Final
 Independiente
0–1

1985
Final
 Argentinos Juniors
2–2, 4–2 (p)

1996
Final
 River Plate
1–0

text: UEFA-non organised seasonal competitions[edit]

text: Inter-Cities Fairs Cup[edit]

text:
Season
Round
Opposition
Home
Away
Aggregate

1963–64
First Round
 OFK Beograd
2–1
1–2
3–3 (po 1–0)

Second Round
 Atlético Madrid
1–0
2–1
3–1

Quarter-Final
 Real Zaragoza
0–0
2–3
2–3

1964–65
First Round
 R. Union Saint-Gilloise
1–0
1–0
2–0

Second Round
 Stade Français
1–0
0–0
1–0

Third Round
 Lokomotiv Plovdiv
1–1
1–1
4–3 (po 2–1)

Quarter-Final
Given bye

Semi-Final
 Atlético Madrid
3–1
1–3
7–5 (po 3–1)

Final
 Ferencváros
0–1

1966–67
First Round
 Aris Thessaloniki
5–0
2–0
7–0

Second Round
 Vitória
3–1
2–0
5–1

Third Round
 Dundee United
3–0
0–1
3–1

Quarter-Final
 Dinamo Zagreb
2–2
0–3
2–5

1968–69
First Round
 FC Lausanne-Sport
2–0
2–0
4–0

Second Round
 Eintracht Frankfurt
0–0
0–1 (a.e.t.)
0–1

1969–70
First Round
 Lokomotiv Plovdiv
3–1
2–1
5–2

Second Round
 Hertha BSC
0–0
1–3
1–3

1970–71
First Round
 US Rumelange
7–0
4–0
11–0

Second Round
 Barcelona
2–1
2–1
4–2

Third Round
 Pécsi MFC
2–0
1–0
3–0

Quarter-Final
 FC Twente
2–0
2–2 (a.e.t.)
4–2

Semi-Final
 1. FC Köln
2–0
1–1
3–1

Final
 Leeds United
2–2
1–1
3–3 (a)

text: Overall record[edit]

text: By competition[edit]

text: UEFA competitions includes European Champions' Cup and Champions League, UEFA Cup Winners' Cup, UEFA Cup and Europa League, UEFA Intertoto Cup, UEFA Super Cup and Intercontinental Cup.

text:
Competition
Played
Won
Drew
Lost
GF
GA
GD
Win%

European Champions' Cup/UEFA Champions League
7002255000000000000♠255
7002127000000000000♠127
7001650000000000000♠65
7001630000000000000♠63
7002404000000000000♠404
7002248000000000000♠248
+156
07001498000000000000♠49.80

Cup Winners' Cup
7001270000000000000♠27
7001170000000000000♠17
7000500000000000000♠5
7000500000000000000♠5
7001530000000000000♠53
7001190000000000000♠19
+34
07001629600000000000♠62.96

UEFA Cup/Europa League
7002120000000000000♠120
7001750000000000000♠75
7001200000000000000♠20
7001250000000000000♠25
7002229000000000000♠229
7002101000000000000♠101
+128
07001625000000000000♠62.50

Super Cup
7000300000000000000♠3
7000300000000000000♠3
5000000000000000000♠0
5000000000000000000♠0
7001110000000000000♠11
7000200000000000000♠2
+9
7002100000000000000♠100.00

UEFA Intertoto Cup
7000600000000000000♠6
7000300000000000000♠3
7000300000000000000♠3
5000000000000000000♠0
7001140000000000000♠14
7000400000000000000♠4
+10
07001500000000000000♠50.00

Intercontinental Cup
7000300000000000000♠3
7000100000000000000♠1
7000100000000000000♠1
7000100000000000000♠1
7000300000000000000♠3
7000300000000000000♠3
+0
07001333300000000000♠33.33

Total
7002414000000000000♠414
7002226000000000000♠226
7001940000000000000♠94
7001940000000000000♠94
7002712000000000000♠712
7002379000000000000♠379
+333
07001545900000000000♠54.59

text:
Source: UEFA.com
Pld = Matches played; W = Matches won; D = Matches drawn; L = Matches lost; GF = Goals for; GA = Goals against; GD = Goal Difference.

text: By country[edit]

text: As of 31 October 2017[67]

text:
Country
Pld
W
D
L
GF
GA
GD
Win%

 Argentina
7000300000000000000♠3
7000100000000000000♠1
7000100000000000000♠1
7000100000000000000♠1
7000300000000000000♠3
7000300000000000000♠3
+0
07001333300000000000♠33.33

 Austria
7001200000000000000♠20
7001130000000000000♠13
7000400000000000000♠4
7000300000000000000♠3
7001410000000000000♠41
7001230000000000000♠23
+18
07001650000000000000♠65.00

 Belarus
7000200000000000000♠2
5000000000000000000♠0
7000200000000000000♠2
5000000000000000000♠0
7000200000000000000♠2
7000200000000000000♠2
+0
005000000000000000000♠0.00

 Belgium
7001140000000000000♠14
7001100000000000000♠10
7000200000000000000♠2
7000200000000000000♠2
7001190000000000000♠19
7000900000000000000♠9
+10
07001714300000000000♠71.43

 Bulgaria
7001170000000000000♠17
7001110000000000000♠11
7000300000000000000♠3
7000300000000000000♠3
7001380000000000000♠38
7001160000000000000♠16
+22
07001647099999999999♠64.71

 Croatia
7000800000000000000♠8
7000400000000000000♠4
7000200000000000000♠2
7000200000000000000♠2
7001150000000000000♠15
7000800000000000000♠8
+7
07001500000000000000♠50.00

 Cyprus
7000600000000000000♠6
7000600000000000000♠6
5000000000000000000♠0
5000000000000000000♠0
7001250000000000000♠25
7000300000000000000♠3
+22
7002100000000000000♠100.00

 Czech Republic / Czechoslovakia
7001220000000000000♠22
7001130000000000000♠13
7000100000000000000♠1
7000800000000000000♠8
7001430000000000000♠43
7001350000000000000♠35
+8
07001590900000000000♠59.09

 Denmark
7000600000000000000♠6
7000300000000000000♠3
7000300000000000000♠3
5000000000000000000♠0
7001160000000000000♠16
7000700000000000000♠7
+9
07001500000000000000♠50.00

 England
7001460000000000000♠46
7001180000000000000♠18
7001130000000000000♠13
7001150000000000000♠15
7001560000000000000♠56
7001500000000000000♠50
+6
07001391300000000000♠39.13

 Finland
7000400000000000000♠4
7000400000000000000♠4
5000000000000000000♠0
5000000000000000000♠0
7000800000000000000♠8
7000100000000000000♠1
+7
7002100000000000000♠100.00

 France
7001300000000000000♠30
7001180000000000000♠18
7000700000000000000♠7
7000500000000000000♠5
7001490000000000000♠49
7001240000000000000♠24
+25
07001600000000000000♠60.00

 Germany / West Germany
7001570000000000000♠57
7001260000000000000♠26
7001130000000000000♠13
7001180000000000000♠18
7001830000000000000♠83
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7001160000000000000♠16
7000400000000000000♠4
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7001140000000000000♠14
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07001833300000000000♠83.33

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7001140000000000000♠14
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07001687500000000000♠68.75

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07001625000000000000♠62.50


document_title: Break On Through (To the Other Side)

question_text: who sings break on through to the other side

root

text: Break On Through (To the Other Side)

text: Overview[edit]

text: The song appears as track one on the band's debut album. Elektra Records edited the line "she gets high," expecting that a drug reference would discourage airplay. The original album version and all re-issues until the 1990s have the word "high" deleted, with Morrison singing "she gets" four times before a final wail. Live versions and more recent remastered releases have the full line restored. Regardless, classic rock radio stations, the iTunes release and most compilations continue to use the censored version, as it is the version most familiar to listeners.

tag: p

text: Musical structure and composition[edit]

text: The song is in 4/4 time and quite fast-paced.

text: It begins with a bossa nova drum groove in which a clave pattern is played as a rim click underneath a driving ride cymbal pattern. John Densmore appreciated the new bossa nova craze coming from Brazil at the time, and decided to use it in the song.[3] Robby Krieger has stated that the guitar riff he played was inspired by the one in Paul Butterfield's version of the song "Shake Your Moneymaker" (originally by blues guitarist Elmore James).[3]

text: Later, a disjointed quirky organ solo is played quite similar to the introduction of Ray Charles' "What'd I Say",[4] which has a few intentionally misplaced notes in it. The bass line, similar to a typical bass line used in bossa nova, continues almost all of the way through the song.

text: Personnel[edit]

text:
Jim Morrison – lead vocals
Ray Manzarek – Vox Continental organ, Fender Rhodes piano bass
Robby Krieger – electric guitar
John Densmore – drums

tag: ul

text: Covers[edit]

text: Stone Temple Pilots covered the song for The Doors tribute album Stoned Immaculate. Mexican hard rock band La Cuca has done a cover as a hidden track in their album La Racha. Heavy metal supergroup Adrenaline Mob also covered it on their EP Coverta.

text: When The Doors were featured on an episode of VH1 Storytellers, various guest singers filled in for Jim Morrison. Stone Temple Pilots lead singer Scott Weiland filled in and sang "Break On Through", along with the song he said inspired him to rock, "Five to One".

text: Serbian rock band Night Shift covered the song in 2002 on their debut album Undercovers.

text: American new wave band Blondie performed the song several times during their 1997–1999 comeback tours. They used it as opener of their first two comeback shows.[5]

text: British rock band Bush covered the song as a studio version but was never released officially.

text: Bono sang the chorus of the song during the bridge of U2's The Electric Co. while being held by an overweight shirtless man during a concert in Paris in 1987. This version can be heard on the album Live from Paris.

text: Marc Ribot's three man jazz punk combo Ceramic Dog covered it on their album Party Intellectuals.

text: In 2014, Noise-Pop duo The Raveonettes sampled the song on the opening track "Endless Sleeper" from the album Pe'ahi.[6]

text: Most recently, Alice Cooper covered the song with his supergroup Hollywood Vampires on their debut album, released September 11, 2015.

text: In popular culture[edit]

text:
In the Oliver Stone film, The Doors, the song is performed three times; first in Ray Manzarek's home, then it's performed live during the band's early days at the London Fog, and later in the film at the infamous Miami concert, immediately after Jim exposes himself to the audience and is parading through the crowd to evade the police. The third and final performance is paired with "Dead Cats, Dead Rats", which was often coupled with the song when the band performed it live.
The song is heard in the 1994 film Forrest Gump (along with "Hello, I Love You" and "People Are Strange") as Forrest takes up ping pong during his tour in Vietnam. "Love Her Madly" and "Soul Kitchen" are also featured in the movie
The song is used in an episode of Miami Vice called "Back in the World".
Appears in the video game Tony Hawk's Underground 2.[7]
Featured on one of the trailers for Disney/Pixar's film Monsters, Inc.
Featured in the TV spot for the 2007 film Game Over
Featured in the trailer for the 2008 film 21.
A remixed version of the song is featured in the video game Burnout Revenge. It was remixed by BT and it is 7:08 long.
Featured in the 2005 film Jarhead.
Featured on The Simpsons during a 4th Season episode when Krusty sings during a flashback to 1973.
The song is used in the music/rhythm game Rock Band 3, with the song being featured in the opening cinematic.
Performed by artist Travis Meeks in November 2002. He had performed with The Doors on Stoned Immaculate: The Music of the Doors (contributing vocals to "L.A. Woman" and "The End").
The song was used in a mashup as a runway soundtrack for the 2012 Victoria's Secret Fashion Show.
The song is used as part of a possessed woman's ranting in the 2014 horror film Deliver Us from Evil.
The song is heard in the 2015 film Minions when the minions are coming to Villain-Con.
The song is mentioned on the fourth episode of the second season of SyFy's 12 Monkeys series where Jones (Barbara Sukowa) cites the song's hook only for Jennifer (Emily Hampshire) to confront her for quoting Jim Morrison, adding the fact he is a 'Primary'


document_title: Basking in reflected glory

question_text: the notion of basking in reflected glory was proposed by

text: Basking in reflected glory

text: Empirical findings[edit]

text: One of the most influential studies of this phenomenon was done by Robert Cialdini in 1976 known as The Three (Football) Field Study.[3] He discovered that the students sought to have the success of their football team linked to them by wearing school-identified apparel. These students associated themselves with a success, even though they in no way affected or caused the success. Through three different experiments, Cialdini was able to demonstrate the BIRGing phenomenon. The first experiment demonstrated BIRGing by showing that students have a greater tendency to wear apparel with the university's colors and name after the football team had won a game. In the second experiment, subjects used the pronoun "we" to associate themselves more with a positive than a negative source. This was shown most prominently when their public reputation was at risk. When the subjects failed a task, they had a greater tendency to affiliate themselves with a winner, and less of a tendency to associate themselves with a loser. The third experiment replicated the finding that students used the pronoun "we" more when describing a victory compared to a non-victory by their school's football team. The researchers found that BIRGing is an attempt to enhance one's public image. The tendency to proclaim a connection with a positive source was strongest when one's public image was threatened. Thus, people bask in reflected glory to boost their self-esteem by associating themselves with a positive source.

text: A feeling of involvement is also necessary for BIRGing to occur. It is frequently seen as a cognitive process that affects behavior. In Bernhardt's et al. (1998) study, researchers examined physiological processes related to Basking in Reflected Glory, specifically, changes in the production of endocrine hormones. Endocrine system Fans watched their favorite sports teams (basketball and soccer) win or lose. The men's testosterone levels increased while watching their team win, but decreased while watching their team lose. Thus, this study shows that physiological processes may be involved with BIRGing, in addition to the known changes in self-esteem and cognition.

text: The opposite of BIRGing is cutting off reflected failure (CORFing). This is the idea that people tend to disassociate themselves from lower-status individuals because they do not want their reputations affected by associating with the people who are considered failures. Boen et al. (2002) demonstrate this effect in a political context. They examined houses with at least a poster or lawn sign supporting a political candidate days before elections in Belgium. The houses that showed support for the winning candidate displayed their posters and lawn signs for a longer period after the elections than did those who supported the loser. CORFing behavior was studied in basketball fans after a defeat (Bizman & Yinzon, 2002), where the fans refuse to take a team poster, removed their posters or paraphernalia, avoided other fans and stayed in a bad mood after a defeat. Thus, the tendency for individuals to display their association with a successful source and a tendency for individuals to conceal their association with a losing team was empirically supported.

text: These empirical studies show how even in controlled situations, people unconsciously seek acceptance by associating themselves with successful individuals. Whether this is accomplished by wearing brand names or parents covering their car with stickers about how talented their child is, basking in reflected glory has been found in both the naturalistic and experimental setting.

text: Major theoretical approaches[edit]

text: Although Cialdini's studies introduced the concept of BIRGing to the public and its relevance to social psychology, an operational definition is quite difficult to form. With such a wide range of possible examples, there is no set criteria by which to clearly recognize BIRGing. Rather, by a classical definition, it is more described as a subjective feeling possessed by one individual who seeks to gain acceptance or respect by associating themselves with the successes of others. However, over recent years, advances in technology (among other domains) have challenged the classic definition of BIRGing. For example, when Apple Computers became very successful, many individuals not only purchased Apple products, but many more sought jobs or other associations with the company.[4] Contemporary BIRGing in today's world can be seen by individuals not only associating themselves with the success of other people or groups, as was originally thought by Cialdini among others; Rather, BIRGing is the association of oneself to any company, business, or activity which is popular or highly regarded.

text: Facebook, Twitter, and other social networking sites have increased BIRGing with popular brands, as it allows everyone to post their affinity for or their associations with popular companies, media, businesses, etc. Furthermore, the ability for everyone to follow their favorite athletes, actors, etc. on Facebook or Twitter allows for a closer connection to and knowledge of these celebrities, therefore leading to more BIRGing. Thus, the spread of technology has not only increased the realms under which BIRGing may fall, but also increased the ease with which individuals may partake in BIRGing.

text: Psychological approaches to BIRGing would include Ludwig Lewisohn's behavioral approach, Charles Darwin's evolutionary approach, and to some extent even Sigmund Freud's psychodynamic approach. The behavioral approach is relevant to BIRGing as it analyzes the behavior and success of others. If one partakes in observing this behavior, they can learn which actions and people are successful or popular and can then engage in BIRGing by associating themselves with these actions or people. Darwin's evolutionary approach can also be used to analyze BIRGing due to the idea behind survival of the fittest. In contemporary psychology, survival of the fittest applies to achieving the greatest successes possible in order to ensure the passage of one's genes into future generations. From this biological perspective, it is favorable to be popular and respected, as more mating opportunities will present themselves. This can be seen in BIRGing as individuals associate themselves with popular, attractive, or respected actions and people in order to be perceived as having more successes. Freud's psychodynamic theory can be applied to BIRGing in terms of the super ego's relationship to the ego. The super ego refers to the ideal self-image; it constitutes a view of one's self as perfect. The ego refers to the real self, meaning our consciousness and perceptions of our current selves. Thus, if an individual seeks to gain more respect or popularity, the super ego may lead to BIRGing, as that individual will associate themselves with popular and respected entities in order to increase that individual's notion of ego.

text: Role of deindividuation[edit]

text: Another equally important contributing influence is deindividuation, a psychological state characterized by partial or complete loss of self-awareness, diffused responsibility, and decreased concern about our own behavior resulting in the abandonment of norms, restraints and inhibitions due to the involvement in a group.( Diener, E., Fraser, S. C., Beaman, A. L., & Kelem, R. T. (1976)) The individual loses their sense of self as they participate in the group's activities and choices. Deindividuation involves a loss of self-awareness which is essentially the degree to which one's attention is focused on the self, resulting in comparisons against meaningful standards. When spectators become deindividuated, their self-awareness decreases and they cease to compare their behavior against these social norms. The group's norms become their only focus, and therefore the social norms. Consequentially, situational forces are more influential. Without the comparison process of self-awareness, behavior is more likely to be inconsistent with attitude.

text: Applications[edit]

text: BIRGing is a common aspect of everyday life. Anecdotal evidence explains how people make connections with highly positive or successful people. States and cities list the names of famous entertainers, political candidates, beauty contest winners, etc. who were born there. In encounters with a successful individual or famous celebrity one may recount the story several times in order to bask in the glory because one has a sense of pride after meeting such an individual. People associate with certain companies and schools in order to have a connection to a famous individual who represents these organizations. Humans are always trying to boost their self-esteem, so they continually attempt to bask in reflected glory.

text: Extra real-world examples:

text:
Bragging about a famous relative (ex: "my great, great, great grandfather was U.S. President Abraham Lincoln's cousin")
School/Accomplishment car decal in terms of adding a "bumper sticker" (ex: Vanderbilt University or My son is an Eagle Scout)
Wearing a team jersey after they win (ex: Wearing a Green Bay Packers jersey after the 2011 Super Bowl or wearing Seahawks paraphernalia during and after they win a game)

text: Controversies[edit]

text: Most psychologists hold this theory to be true based on substantial research and evidence.[vague] However, it is difficult to define and operationalize basking in reflected glory (discussed in "Major Theoretical Approaches"). Because examples of BIRGing are so different and unique, there is no set criterion. The classical definition of BIRGing describes it as a subjective feeling possessed by one individual who seeks to gain acceptance or respect by associating themselves with the successes of others. However, in recent years changes in culture and industry have challenged this classic definition. With these changes people are not only associating with other people, but with companies, brands, and organizations. This ability to associate with more than just the public to gain status has created the need for a new definition of Basking in Reflected Glory.

text: Limitations[edit]

text: Limitations that apply to both CORFing and BIRGing are perceptions and expectations about performance and how they have an impact. Many scholars have found that the confirmation and disconfirmation of the expected victory or loss has a significant effect on BIRGing and CORFing. For example, if one predicts that one's favorite team is going to lose, one is less likely to be afraid to associate with that team because they predicted the loss. This supports that a person is more likely to participate in BIRGing or CORFing if their public image is being highly threatened. In addition, most studies only test for the identification with one favorite team, there haven't been many studies on the effects of having multiple favorite teams. In one article it suggests that, "some sport fans have more than one 'favorite team' and choose to identify with a winning team to afford more opportunities to BIRG" (Spinda, 2011). This suggestion could impact the occurrences of BIRGing and CORFing and therefore needs to be investigated further.

text: A study done by Spinda (2011), found significant differences between male and female BIRGing and CORFing constructs.

text: Conclusion[edit]

text: Basking in Reflected Glory is most often noted through the act of BIRGing. Whether it is the sticker on a parent's van that says "Proud parent of an Honor Roll student" or having jerseys/posters of one's favorite sports team, humans attempt to improve their self-esteem and self-worth through basking in other's triumphs and broadcasting their association with powerful/successful people. Basking in reflected glory has the potential to create self glory and is connected with social identity theory.

text: There have been psychological studies done that confirm the ideas and theories of basking in reflected glory. The first major study was done by Cialdini as he researched BIRGing in winning/losing football fans. Research by Boen et al. has also confirmed the opposite of BIRGing, cutting off reflected failure (the idea that people tend to disassociate themselves with people of lower status). Basking in reflected glory is not necessarily negative unless it is taken to the extreme and a person only views himself in terms of his affiliations with his BIRGing group. Increases in technology have led to an increase in the ability to bask in reflected glory; a person can now advertise their associations on Facebook, Twitter, and other social networking sites.


document_title: 40-yard dash

question_text: who has the fastest 40 yard dash in the nfl combine

text: 40-yard dash

text: Timing method and track comparisons[edit]

text: In terms of judging a person's speed, the best method of timing is through lasers which start and stop the times when passed through. A laser start (from a stationary position) is more accurate for measuring pure speed as it does not register a runner's reaction time. However, the method of timing a 40-yard dash can affect the accuracy by as much 0.5 seconds (with the manual stopwatch method). The National Football League (NFL) did not begin using partial electronic timing (started by hand, stopped electronically) at the NFL Scouting Combine until 1999.[2] [3] For purposes of measurement at the Combine, the run is made along the lower sideline from the 40 yard-line to the end zone, which has built-in rundown space.

text: In track and field races, the runner must react to the starting gun, which takes approximately 0.24 seconds, based on FAT timing. A runner with a reaction time less than .100 is subject to disqualification as that is deemed too fast of a reaction time. In contrast, for electronically timed 40-yard dashes, the runner is allowed to start when he wishes, and a timer hand-starts the clock. This aspect means that comparisons with track times are impossible given that a reaction time is not factored in. Furthermore, the use of hand-timing in the 40-yard dash can considerably alter a runner's time; the methods are not comparable to the rigorous electronic timing used in track and field.

text: Jacoby Ford, who ran a 4.28 s in the 2010 NFL Combine, had a collegiate best of 6.51 s in the 60-meter dash (outside the top-40 of the all-time lists).[4] This highlights the difficulties in comparing track running times to football 40-yard times due to the different timing methods.[5]

text: Records[edit]

text: Auburn's Bo Jackson claims to have run a 40-yard dash with a time of 4.13 s.[6][7] A time of 4.18 run by Jackson within the same week added some support to the legitimacy of the times.[8][9] Texas Tech's Jakeem Grant was hand-timed by a New Orleans Saints scout as running a 4.10 in 2016, potentially beating Jackson's record.[10] Deion Sanders ran a 4.27-second 40-yard dash in 1989.[11]

text: In 2013, Carlin Isles recorded a time of 4.22 at a Detroit Lions facility during a workout.[12]

text: In 2017 Olympic sprinter Christian Coleman ran a time of 4.12 seconds on turf in response to claims that NFL players are as fast as Usain Bolt.[13]

text: Records at the NFL Scouting Combine[edit]

text: This is a list of the official 40-yard dash results of 4.30 seconds or better recorded at the NFL Scouting combine since 1999, the first year electronic timing was implemented at the NFL Scouting Combine.[14][15]

text:
Time
Name
Height
Weight
Position
College
Year
Draft
R

4.22
John Ross
5 ft 11 in (180 cm)
190 lb (86 kg)
Wide receiver
Washington
2017
No. 9 overall by Cincinnati Bengals
[16]

4.24
Rondel Menendez
5 ft 9 in (175 cm)
192 lb (87 kg)
Wide receiver
Eastern Kentucky
1999
No. 247 overall by Atlanta Falcons

Chris Johnson
5 ft 11 in (180 cm)
192 lb (87 kg)
Running back
East Carolina
2008
No. 24 overall by Tennessee Titans

4.26
Jerome Mathis
5 ft 11 in (180 cm)
184 lb (83 kg)
Wide receiver
Hampton
2005
No. 114 overall by Houston Texans

Dri Archer
5 ft 8 in (173 cm)
173 lb (78 kg)
Running back
Kent State
2014
No. 97 overall by Pittsburgh Steelers

4.27
Stanford Routt
6 ft 2 in (188 cm)
193 lb (88 kg)
Cornerback
Houston
2005
No. 38 overall by Oakland Raiders

Marquise Goodwin
5 ft 10 in (178 cm)
181 lb (82 kg)
Wide receiver
Texas
2013
No. 78 overall by Buffalo Bills

4.28
Champ Bailey
6 ft 0 in (183 cm)
192 lb (87 kg)
Cornerback
Georgia
1999
No. 7 overall by Washington Redskins

Jacoby Ford
5 ft 9 in (175 cm)
190 lb (86 kg)
Wide receiver
Clemson
2010
No. 108 overall by Oakland Raiders

Jalen Myrick
5 ft 10 in (178 cm)
200 lb (91 kg)
Cornerback
Minnesota
2017
No. 222 overall by Jacksonville Jaguars
[17]

J. J. Nelson
5 ft 10 in (178 cm)
156 lb (71 kg)
Wide receiver
UAB
2015
No. 159 overall by Arizona Cardinals
[18]

DeMarcus Van Dyke
6 ft 1 in (185 cm)
187 lb (85 kg)
Cornerback
Miami
2011
No. 81 overall by Oakland Raiders

4.29
Fabian Washington
5 ft 11 in (180 cm)
188 lb (85 kg)
Cornerback
Nebraska
2005
No. 23 overall by Oakland Raiders

Dominique Rodgers-Cromartie
6 ft 2 in (188 cm)
184 lb (83 kg)
Cornerback
Tennessee State
2008
No. 16 overall by the Arizona Cardinals

Josh Robinson
5 ft 10 in (178 cm)
199 lb (90 kg)
Cornerback
UCF
2012
No. 66 overall by Minnesota Vikings

4.30
Darrent Williams
5 ft 9 in (175 cm)
176 lb (80 kg)
Cornerback
Oklahoma State
2005
No. 56 overall by Denver Broncos

Tye Hill
5 ft 10 in (178 cm)
185 lb (84 kg)
Cornerback
Clemson
2006
No. 15 overall by St. Louis Rams

Yamon Figurs
5 ft 11 in (180 cm)
174 lb (79 kg)
Wide receiver
Kansas State
2007
No. 74 overall by Baltimore Ravens

Darrius Heyward-Bey
6 ft 2 in (188 cm)
210 lb (95 kg)
Wide receiver
Maryland
2009
No. 7 overall by Oakland Raiders
[19]

tag: table

text: Average time by position[edit]

text: According to a five-year NFL combine report, wide receivers and cornerbacks had the fastest average times at 4.55, followed by running backs at 4.59. The following average times were measured between 2008 and 2012 at the NFL combine.[20]

text:
Position
Time

Wide receiver
4.55

Cornerback
4.55

Running back
4.59

Safety
4.62

Outside linebacker
4.74

Tight end
4.77

Fullback
4.80

Inside linebacker
4.80

Quarterback
4.87

Defensive end
4.88

Defensive tackle
5.13

Center
5.30

Offensive tackle
5.32

Offensive guard
5.36


document_title: Blackwater (Game of Thrones)

question_text: who dies in season 2 episode 9 game of thrones

text: Blackwater (Game of Thrones)

text: Plot[edit]

text: In King's Landing[edit]

text: Ser Davos Seaworth leads Lord Stannis Baratheon's fleet into Blackwater Bay. Before their arrival, Tyrion and Shae discuss the possibility of the Lannister defeat. Queen Regent Cersei is given a powerful poison by Grand Maester Pycelle to be used should the city fall, since she believes a victorious Stannis will eliminate the Lannister nobility. Outside the Red Keep, Bronn drinks and sings with his men, but the mood is soured by the arrival of Sandor "the Hound" Clegane. Tensions rise between Bronn and the Hound, but before they can fight, the bells ring, indicating Stannis' fleet has been spotted. Lord Varys brings Tyrion a map of the tunnels beneath King's Landing, as requested. Varys is unnerved by Stannis' associations with the dark arts, having heard he has begun a relationship with a Red Priestess. King Joffrey jubilantly leads the defending forces from the Red Keep, and orders his betrothed, Sansa Stark, to kiss his sword, vowing that he will use it to slay her brother Robb one day. The noble ladies and children are interned at Maegor's Holdfast and kept under watch by Ser Ilyn Payne, the royal executioner, who Cersei claims is present for their protection. Becoming drunk, Cersei has several pointed conversations with Sansa, mocking her innocence and warning her to expect to be raped should the city fall.

text: As Stannis's fleet closes in, they are confronted by a single ship from King's Landing heading for them, seemingly abandoned and unmanned. Davos realizes too late that it is a trap; the unmanned ship is rigged with the explosive chemical "wildfire" and explodes as Bronn fires a flaming arrow at the bay. Several ships are instantly destroyed, killing scores of Stannis' men, seemingly including Davos and his son Matthos. Stannis nevertheless orders his surviving army to beach via rowboat and begin the assault on the city's vulnerable Mud Gate. Tyrion orders the Hound to lead a counterstrike. The defenders are routed in the melee. Lancel is injured and flees back to Maegor's Holdfast, while the Hound, succumbing to his childhood fear of fire, deserts altogether after watching a charging soldier burn alive. Stannis himself storms the city battlements and is first up the ladder into the city. Almost unopposed, Stannis's men attack the Mud Gate with a battering ram. At the holdfast, Cersei attempts to interrogate Shae and nearly learns of her true origins, while Sansa learns of Ser Ilyn's true purpose in the hold: kill the holdfast's residents should Stannis take the city.

text: Lancel arrives at the holdfast and informs Queen Cersei that Stannis's men are at the gates. Cersei responds by ordering Lancel to bring Joffrey back from the battlements and into the safety of the Red Keep. Frightened, Joffrey agrees to leave the battlefield and orders one of the Kingsguard, Ser Mandon Moore, to represent him in his stead, sending morale plummeting amongst the defenders. Tyrion takes charge of the remaining men, rousing them with a speech and leading them through one of the tunnels from Varys' map, allowing them to flank the Baratheons. Lancel returns to the holdfast and demands that the king return to battle, causing Cersei to assault him and depart from the hold with her son Prince Tommen, leaving the other noble ladies alone with Ser Ilyn. Sansa rallies the panicking ladies with prayer but is convinced by Shae to flee from the hold to her quarters. When Sansa arrives at her chambers, she is startled by the Hound, who is fleeing the city and offers to take her north with him. Sansa initially declines his offer, although her final decision remains unclear.

text: Tyrion, having led his men through the tunnel, attacks the surprised Baratheon men from behind, defeating them with ease. They stop to celebrate their victory, but soon return to fighting as a larger group of Stannis's men arrive from nearby. As Tyrion fights, he is unexpectedly attacked by Ser Mandon and slashed across his face. Before Tyrion can be killed, his squire, Podrick Payne, kills Ser Mandon. Simultaneously Cersei is in the great hall with prince Tommen sitting on the Iron Throne and comforting him as the battle rages on at the city walls. She tells him a story about “The mother lion and her little cub” lion being the banner of House Lannister symbolizing her relationship with her children and all the other banners such as stags, wolves and bears as their enemies quoting the iconic “You are a lion my son, you mustn't be afraid”. As Tyrion slips into unconsciousness, he witnesses Stannis' army being suddenly struck by a surprise assault from a cavalry force led by Tywin Lannister. Stannis is seen cursing at his men to stand their ground, even as he is pulled away to safety. Cersei, having fled to the great hall with Prince Tommen, is about to give him the poison, when she is startled by the arrival of Ser Loras Tyrell (who is dressed in the armor of Renly Baratheon), and her father, Lord Tywin Lannister, who declares that they have won the battle.

text: Production[edit]

text: The DVD and Blu-ray box sets of Game of Thrones's second season contain a 30-minute feature covering the production of the episode.[1]

text: Conception and development[edit]

text: "Blackwater" depicts the series' first large-scale war sequence, the confrontation between the Baratheons and the Lannisters towards which the whole season builds. In the episode's first drafts, the battle took place offscreen for budgetary reasons, and viewers would have experienced it mostly through the eyes of Cersei Lannister and Sansa Stark, ensconced in Maegor's Holdfast while the battle rages outside. Eventually, showrunners David Benioff and D. B. Weiss convinced HBO to approve a "considerable" increase in the series's budget in order to stage the battle on screen.[2]

text: With their still-limited resources, the show's producers decided not to attempt to create spectacular mass scenes similar to that of The Lord of the Rings's Battle of Helm's Deep, but rather to focus on the infantryman's perspective, hampered as he is by the fog of war. They said that this also allows the series to draw on its viewers' empathy for the battle's participants, with whom viewers are already much more familiar than the audience of a typical two-hour movie. They resisted pressure to stage the battle exclusively on land, avoiding the problems of shooting on water, because they considered the naval confrontation to be essential to the series's principal storyline.[2]

text: Writing[edit]

text: The episode was written by George R. R. Martin, the author of the A Song of Ice and Fire novels on which the series is based. For this episode Martin adapted material from chapters 58 to 63 (Sansa V, Davos III, Tyrion XIII, Sansa VI, Tyrion XIV, and Sansa VII) of his novel A Clash of Kings.[3] Martin said that "Blackwater" was much harder to write than the episode he wrote for the show's first season, "The Pointy End", because he was forced to weigh budget restrictions against the huge scope of the battle he described in the novels.[4][5]

text: Filming[edit]

text: English director Neil Marshall was aware of Game of Thrones from trailers and, given his experience with action and horror films, had unsuccessfully sought a directing role.[6] About a week before shooting was to start, the episode's planned director had to leave the production because of a personal emergency, and a replacement had to be found quickly. Benioff and Weiss settled on Marshall on the basis of his work on Centurion and Dog Soldiers, where he created intensive action sequences on a limited budget.[2] Marshall began filming after two weeks of preparation, which included watching the show's first season. He avoided watching the Battle of Helm's Deep in The Lord of the Rings: The Two Towers as it was, according to Marshall, "an obvious comparison." He did, however, study such films as The Vikings and Kingdom of Heaven.[6]

text: Benioff and Weiss described the episode's filming as "pretty much a month straight of night shoots." The cold and wet climate of Belfast was so uncomfortable for actors and extras, they said that their exhaustion from battle was no act, and weather machines were not required to simulate the wind and rain. The episode also has far more visual effects shots than any other.[2] The special-effects department developed a catapult that fired bags of burning green napalm for the wildfire explosion, but decided to instead color regular fire green in post-production. Marshall took credit for many scenes of gore during the battle that the script did not describe in detail.[6]

text: Music[edit]

text: The song sung by the Lannister soldiers before the battle and played over the end credits, "The Rains of Castamere", was adapted from the A Song of Ice and Fire novels by the series's composer Ramin Djawadi. The end credits version was performed by the American indie rock band The National, and sung by their vocalist Matt Berninger.[7] The song also appeared in at least two earlier episodes, in which Tyrion can be heard whistling the melody.[8]

text: According to the novels, the song is about Tywin Lannister's victory over vassals led by House Reyne of Castamere, who had rebelled against House Lannister, about 40 years before the events of the novels. The stanza of the song that was adapted for the series tells of the vassals' defiance-–"And who are you, the proud lord said / That I must bow so low?"–-and the subsequent obliteration of their houses: "But now the rains weep o'er his hall / With no one there to hear."

text: Reception[edit]

text: Ratings[edit]

text: In its premiere night, the episode had 3.38 million viewers for its first airing at 9:00 pm, and an additional 0.83 million viewers for the repeat at 11:00. Viewer shares among the 18–49 demographic were 1.6 and 0.4 respectively.[9] This represented a decrease of a 13% from the series record viewership figures reached by the previous week's episode, "The Prince of Winterfell". James Hibberd of Entertainment Weekly attributed this to the premiere's coincidence with the Memorial Day holiday, which often reduces TV viewership by about 20%.[10] In the United Kingdom, the episode was viewed by 1.035 million viewers, making it the highest-rated broadcast that week.[11]

text: Critical reception[edit]

text: "Blackwater" was very well received by critics and is generally cited as one of the best in the series. Review aggregator Rotten Tomatoes surveyed 13 reviews of the episode and judged 100% of them to be positive, with an average score of 9.3 out of 10. The website's critical consensus reading, "GoT delivers a thrilling tour de force in 'Blackwater,' an epic hour of blockbuster television full of spectacular battle sequences and equally powerful drama." [12] Many reviewers used superlatives: for Time's reviewer, the episode was "possibly the best hour of TV" of the year,[13] for Rolling Stone it was "the show's best episode yet",[14] and Entertainment Weekly described it as "arguably the best battle sequence ever produced for television", surpassing those in HBO's World War II series Band of Brothers and The Pacific.[15]

text: IGN's Matt Fowler gave the episode a perfect 10 out of 10, calling it a masterpiece.[16] Alan Sepinwall, who reviewed the episode for HitFix, called it "an epic battle, and an intimate hour" and continued "but what ultimately made Blackwater so impressive wasn't the scope, but the focus."[17] Ed Cumming's review for The Daily Telegraph praised the episode as "an emerald inferno, as lethal as it was beautiful to watch."[18]

text: Commentators praised the battle's emotional impact and epic scale. Although much reduced compared to its description in A Clash of Kings, it still went beyond anything attempted by any other regular series, according to Todd VanDerWerff in The A.V. Club.[19] Lena Headey's performance as the increasingly cynical, drunk, and desperate Queen Regent Cersei was particularly noted. Sean Collins of Rolling Stone commented that the episode "gave actress Lena Headey her finest hour on the show so far."[14] Sarah Hughes writing for The Guardian described the performances of both Headey and costar Peter Dinklage as "wonderful", going on to say of Headey's Cersei that she "displayed a terrifying strength" and that her final scene with Tommen was "gut-wrenching." [20] The episode also received praise for its unsentimental depiction of warfare as a harrowing and costly enterprise, interpreted also as a critique of "the sorts of political systems that perpetuate it".[19]

text: The episode's director Neil Marshall called the fan and critical reaction to the episode "overwhelming...I've never seen anything like it for a TV episode."[6]

text: Accolades[edit]

text: The episode won the Hugo Award for Best Dramatic Presentation — Short Form.

text: Due to his nomination, Peter Dinklage submitted this episode for consideration for the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series for the 64th Primetime Emmy Awards.[21]

text: At the 64th Primetime Creative Arts Emmy Awards, the episode won Outstanding Sound Editing for a Series and Outstanding Sound Mixing for a Comedy or Drama Series (One Hour).[22]

text: Awards and nominations[edit]

text:
Year
Award
Category
Nominee(s)
Result

2012
Primetime Emmy Awards
Outstanding Supporting Actor in a Drama Series
Peter Dinklage as Tyrion Lannister
Nominated

Primetime Creative Arts Emmy Awards
Outstanding Sound Editing for a Series
Peter Brown, Kira Roessler, Tim Hands, Paul Aulicino, Stephen P. Robinson,
Vanessa Lapato, Brett Voss, James Moriana, Jeffrey Wilhoit, and David Klotz
Won

Outstanding Sound Mixing for a Drama Series (1 hour)
Matthew Waters, Onnalee Blank, Ronan Hill, and Mervyn Moore
Won

British Society of Cinematographers
Best Cinematography in a Television Drama
Sam McCurdy
Nominated

IGN Awards
Best TV Episode

Won

IGN People's Choice Award
Best TV Episode

Won

2013
Cinema Audio Society Awards
Outstanding Achievement in Sound Mixing - Television Series – One Hour
Ronan Hill, Onnalee Blank, Mathew Waters, and Brett Voss
Nominated

Golden Reel Awards
Best Sound Editing — Short Form Dialogue and ADR in Television

Nominated

Best Sound Editing — Short Form Music in Television

Nominated

Best Sound Editing — Short Form Sound Effects and Foley in Television

Nominated

Hugo Awards
Best Dramatic Presentation, Short Form
Neil Marshall (director) and George R. R. Martin (writer)
Won


document_title: Airspeed indicator

question_text: what does the lower limit of the green arc on an airspeed indicator represent

text: Airspeed indicator

text: Use[edit]

text: The airspeed indicator (ASI) is used by the pilot during all phases of flight, from take-off, climb, cruise, descent and landing in order to maintain airspeeds specific to the aircraft type and operating conditions as specified in the Operating Manual.

text: During instrument flight, the airspeed indicator is used in addition to the attitude indicator (artificial horizon) as an instrument of reference for pitch control during climbs, descents and turns.

text: The airspeed indicator is also used in dead reckoning, where time, speed, and bearing are used for navigation in the absence of aids such as NDBs, VORs or GPS.

text: On light aircraft[edit]

text: Airspeed indicators in many Light and Recreational aircraft can only show the pilot Indicated Airspeed (IAS). For True Airspeed (TAS) other components would have to be added by the manufacturer. Airspeed Indicator markings use a set of standardized coloured bands and lines on the face of the instrument. The white range is the normal range of operating speeds for the aircraft with the flaps extended as for landing or takeoff. The green range is the normal range of operating speeds for the aircraft without flaps extended. The yellow range is the range in which the aircraft may be operated in smooth air, and then only with caution to avoid abrupt control movement.

text: A redline mark indicates VNE, or velocity (never exceed). This is the maximum demonstrated safe airspeed that the aircraft must not exceed under any circumstances. The red line is preceded by a yellow band which is the caution area, which runs from VNO (maximum structural cruise speed) to VNE. A green band runs from VS1 to VNO. VS1 is the stall speed with flaps and landing gear retracted. A white band runs from VSO to VFE. VSO is the stall speed with flaps extended, and VFE is the highest speed at which flaps can be extended. Airspeed indicators in multi-engine aircraft show a short radial red line near to the bottom of green arc for Vmc, the minimum indicated airspeed at which the aircraft can be controlled with the critical engine inoperative and a blue line for VYSE, the speed for best rate of climb with the critical engine inoperative.

text: On large aircraft[edit]

text: The airspeed indicator is especially important for monitoring V-Speeds while operating an aircraft. However, in large aircraft, V-speeds can vary considerably depending on airfield elevation, temperature and aircraft weight. For this reason the coloured ranges found on the ASIs of light aircraft are not used - instead the instrument has a number of moveable pointers known as bugs which may be preset by the pilot to indicate appropriate V-speeds for the current conditions.

text: Jet aircraft do not have VNO and VNE like piston-engined aircraft, but instead have a maximum operating IAS, VMO and maximum Mach number, MMO. To observe both limits, the pilot of a jet airplane needs both an airspeed indicator and a Machmeter, each with appropriate red lines. In some general aviation jet airplanes, the Machmeter is combined into a single instrument that contains a pair of concentric indicators, one for the indicated airspeed and the other for indicated Mach number.

text: An alternative single instrument is the "maximum allowable airspeed indicator." It has a movable pointer that indicates the maximum operating limit (Vmo or Mmo). The movable pointer moves with altitude and temperature so that it always indicates the maximum allowable speed of the aircraft. The pointer is usually red-and-white striped, and thus known as a "barber pole". As the aircraft climbs to high altitude, such that MMO rather than VMO becomes the limiting speed, the barber pole moves to lower IAS values.

text: Modern aircraft employing glass cockpit instrument systems employ two airspeed indicators: an electronic indicator on the primary flight data panel and a traditional mechanical instrument for use if the electronic panels fail. The airspeed is typically presented in the form of a "tape strip" that moves up and down, with the current airspeed in the middle. The same colour scheme is used as on a mechanical airspeed indicator to represent the V speeds.

text: Operation[edit]

text: Along with the altimeter and vertical speed indicator, the airspeed indicator is a member of the pitot-static system of aviation instruments, so named because they operate by measuring pressure in the pitot and static circuits.

text: Airspeed indicators work by measuring the difference between static pressure, captured through one or more static ports; and stagnation pressure due to "ram air", captured through a pitot tube. This difference in pressure due to ram air is called impact pressure.[1]

text: The static ports are located on the exterior of the aircraft, at a location chosen to detect the prevailing atmospheric pressure as accurately as possible, that is, with minimum disturbance from the presence of the aircraft. Some aircraft have static ports on both sides of the fuselage or empennage, in order to more accurately measure static pressure during slips and skids. Aerodynamic slips and skids cause either or both static ports and pitot tube(s) to present themselves to the relative wind in other than basic forward motion. Thus, the alternative placements on some aircraft.

text: Icing is a problem for pitot tubes when the air temperature is below freezing and visible moisture is present in the atmosphere, as when flying through cloud or precipitation. Electrically heated pitot tubes are used to prevent ice forming over the tube.

text: The airspeed indicator and altimeter will be rendered inoperative by blockage in the static system. To avoid this problem, most aircraft intended for use in instrument meteorological conditions are equipped with an alternate source of static pressure. In unpressurised aircraft, the alternate static source is usually achieved by opening the static pressure system to the air in the cabin. This is less accurate, but is still workable. In pressurised aircraft, the alternate static source is a second set of static ports on the skin of the aircraft, but at a different location to the primary source.[2]

text: Variations[edit]

text: The Lift Reserve Indicator (LRI) has been proposed as an alternative or backup to the Airspeed Indicator (ASI) during critical stages of flight. This is an elegant device, but is rarely found in light aircraft or even transport jets. The conventional airspeed Indicator is less sensitive and less accurate as airspeed diminishes, thus providing less reliable information to the pilot as the aircraft slows towards the stall. The actual stall speed of an aircraft also varies with flight conditions, particularly changes in gross weight and wing loading during maneuvers. The ASI does not show the pilot directly how the stall is being approached during these maneuvers, whereas the LRI does.

text: The LRI shows the pilot directly the Potential of Wing Lift (POWL) above the stall at all times and at any airspeed, so it is more descriptive and easier for the pilot to use. The LRI uses dynamic differential pressure and Angle of Attack to operate. It is very fast acting and extremely accurate at low airspeeds, thus providing more reliable information to the pilot as airspeed diminishes and becomes critical.

text: The LRI uses a three zone, red-white-green display. During flight, the green zone is well above the stall where flight controls are firm, angle of attack is low, and the unused POWL is high. The white zone is near the stall where flight controls soften, angle of attack is high, and the unused POWL is diminished. The top of the red zone defines the beginning of the stall. The severity of stall increases as the needle travels deeper into the red. During the takeoff, the LRI uses dynamic pressure to operate and will not lift the needle above the red zone until enough airspeed energy is available to fly.

text: The pilot adjusts the instrument to indicate the edge of the red-white zone during minimum airspeed practice at altitude, indicating the aircraft has zero POWL beyond that point. Since the wing will stall at the same angle of attack at any airspeed, once properly adjusted the LRI will indicate the red-white edge anytime the stall is approached. This includes landing stalls, climbing stalls, and accelerated stalls. After adjustment, the black line in the center of the white indicates maximum angle of climb and maximum angle of descent with enough reserve lift for the landing flare. With practice, the pilot can use the LRI to determine the exact moment for liftoff with minimum ground roll and maximum angle of climb combined.

text: The LRI has been well received by STOL pilots and pilots of experimental or home-built aircraft. The LRI is very useful for short field landings, short field takeoffs, and slow speed maneuvers such as steep turns, steep climbs, and steep descents, and also allows pilots of fast or "slippery" aircraft to land with little or no float very reliably. Since the LRI is so useful at the critical lower end of the flight envelope, most pilots will use the LRI as a complement to the ASI, using the LRI for slow speed work and the ASI for cruising and navigational work.

text: Types of airspeed measurements[edit]

text: This section may require cleanup to meet Wikipedia's quality standards. No cleanup reason has been specified. Please help improve this section if you can. (July 2009) (Learn how and when to remove this template message)

text: Memory aid: "ICE-T" (iced tea), or Indicated->Calibrated->Equivalent->True.

text: Another memory aid: This is a Pretty Cool Drink, giving the errors compensated for between the speeds Position/Pressure, Compression, and Density.

text: At increased altitude (more accurately, density altitude), for the same given indicated airspeed (IAS) the aircraft's true airspeed (TAS) will be higher, but the same indicated airspeed limits apply. Likewise, most efficient cruise speed, total drag, available lift, stall speed, and other aerodynamic information depend on calibrated, not true airspeed. Most aircraft exhibit a small difference between the airspeed actually shown on the instrument (indicated airspeed, or IAS) and the speed the instrument should theoretically show (calibrated airspeed or CAS). This difference, called position error, is mainly due to inaccurate sensing of static pressure. It is usually not possible to find a position for the static ports which, at all angles of attack, accurately senses the atmospheric pressure at the altitude at which the aircraft is flying.

text: Bernoulli's principle states that total pressure is constant along a streamline. Pitot pressure is equal to total pressure so pitot pressure is constant all around the aircraft and does not suffer position error. (However, pitot pressure can suffer alignment error if the pitot tube is not aligned directly into the oncoming airflow.)

text: The position of static ports must be selected carefully by an aircraft designer because position error must be small at all speeds within the operating range of the aircraft. A calibration chart specific to the type of aircraft is usually provided.

text: At high speeds and altitudes, calibrated airspeed must be further corrected for compressibility error to give equivalent airspeed (EAS). Compressibility error arises because the impact pressure will cause the air to compress in the pitot tube. The calibration equation (see calibrated airspeed) accounts for compressibility, but only at standard sea level pressure. At other altitudes compressibility error correction may be obtained from a chart. In practice compressibility error is negligible below about 3,000 m / 10,000 feet and 100 m/s / 200 knots CAS.

text: The true airspeed can be calculated as a function of equivalent airspeed and local air density, (or temperature and pressure altitude which determine density). Some airspeed indicators incorporate a slide rule mechanism to perform this calculation. Otherwise, it can be performed with a calculator such as the E6B handheld circular slide rule. For a quick approximation of TAS add 2% per 300m / 1000 feet of altitude to IAS (or CAS). e.g. IAS = 52 m/s /100 Knots. At 3000 m / 10,000' Above Sea Level, TAS is 62 m/s / 120 Knots.


document_title: Chicken Little (2005 film)

question_text: what is the ducks name on chicken little

text: Chicken Little (2005 film)

text: Plot

text: In the small town of Oakey Oaks, Chicken Little rings the school bell and warns everyone to run for their lives. This sends the whole town into a frenzy. Eventually, the Head of the Fire Department calms down enough to ask him what is happening. Chicken Little says that a piece of the sky shaped like a stop sign had fallen on his head, but he is unable to find the piece. His father, Buck Cluck, assumes that this "piece of sky" was just an acorn that had fallen from the tree, making Chicken Little the laughingstock of the town.

text: A year later, Chicken Little remains ostracized and unhappy. Trying to help, his friend Abby Mallard encourages Chicken Little to talk to his father, but he really only wants to make his dad proud of him. As a result, he joins his school's baseball team in an attempt to recover his reputation and his father's pride, but is benched until the ninth inning of the last game, when he miraculously makes a home run and is hailed as a hero for winning the pennant.

text: Later that night, he is hit on the head by the same "piece of the sky" — only to find out that it is not really a piece of the sky, but rather a device that blends into its surroundings. He calls his friends over to help figure out what the device is. When one of them pushes a button on the back of the hexagon, it flies into the sky and turns out to be part of the camouflage of an invisible UFO.

text: Chicken Little manages to ring the bell to warn everyone, but the aliens see the crowds coming and escape, accidentally leaving behind a small orange alien. The town does not believe the story of the alien invasion and thinks it is a repeat of the acorn incident, and Chicken Little is ridiculed yet again. He and his friends discover the orange alien, and a few minutes later a whole fleet of alien ships descends on the town and start what appears to be an invasion. As the aliens rampage throughout Oakey Oaks, vaporizing everything in their path, Little realizes he must return the alien to its parents to save the planet. First, though, he confronts his father and regains his trust.

text: In the invasion, Buck defends Little from the aliens until they are vaporized. It is then discovered that the aliens were not vaporizing people, but the ray guns teleported them aboard the UFO. The invasion was a misunderstanding, as the two aliens were looking for their lost child and attacked only out of concern. Little returns the child, and the aliens return everything to normal; as they depart they note a loose tile on their ship. Everyone is grateful for Chicken Little's efforts to save the town.

text: Cast

text:
Zach Braff as Chicken Little, a young and diminutive rooster who suffers under the reputation for being crazy since he caused a panic saying the sky was falling.
Joan Cusack as Abigail "Abby" Mallard (also known as the Ugly Duckling), a female duck (implied swan) with buckteeth. She takes a generally optimistic approach to life. Unfortunately, she is often teased by Foxy for her appearance. She is Chicken Little's best friend, and by the end, his girlfriend.
Dan Molina as Fish Out of Water, a goldfish with a scuba helmet filled with water who lives on the surface. He makes gurgling sounds, cannot speak properly and acting out what he feels. He is not very shy around others and he will perform brave stunts without fear.
Steve Zahn as Runt of the Litter, a large pig with a huge heart who is much larger than the other children, but is far smaller than the other massive members of his family. Runt is easily frightened, anxious, and prone to panic.
Garry Marshall as Buck "Ace" Cluck, Chicken Little's widowed father and a former high school baseball star.
Amy Sedaris as Foxy Loxy, a mean, young fox who is a baseball star and the "hometown hero". She is also a tomboy and one of the "popular kids" at school. In the original fable as well as the 1943 short film, Foxy is a male fox.
Mark Walton as Goosey Loosey, a dim-witted goose and Foxy Loxy's best friend and henchwoman.
Don Knotts as Turkey Lurkey, a turkey and the mayor of Oakey Oaks, who is friendly and sensible, but not very bright.
Sean Elmore, Matthew Michael Joston, and Evan Dunn as Kirby, an energetic and hyper alien child.
Fred Willard as Melvin, Kirby's father and Tina's husband.
Catherine O'Hara as Tina, Kirby's mother and Melvin's wife.
Mark Dindal as Morkubine Porcupine, one of the cool kids. Dindal also provides the voice of Coach in the film.
Patrick Stewart as Mr. Woolensworth, the class' sheep language teacher.
Wallace Shawn as Principal Fetchit, the school's principal.
Patrick Warburton as Alien Cop
Adam West as Ace - Hollywood Chicken Little
Harry Shearer as Dog Announcer, the baseball announcer at Chicken Little's school and a news reporter for Oakey Oaks.

text: Production

text: Writing

text: In September 2001, director Mark Dindal developed the idea for Chicken Little, with its title character envisioned as an overreacting, doom and gloomy female chicken, that went to summer camp to build confidence so she wouldn't overreact, as well as repair her relationship with her father. At the summer camp, she would uncover a nefarious plot that her camp counselor, who was to be voiced by Penn Jillette, was planning against her hometown.[7] Dindal would later pitch his idea to Michael Eisner who suggested it would be better to change Chicken Little into a male because as Dindal recalled, "if you're a boy and you're short, you get picked on."[8]

text: In January 2003, when David Stainton became Disney's new president of Walt Disney Feature Animation, he decided the story needed a different approach, and told the director the script had to be revised, and during the next three months, it was rewritten into a tale of a boy, trying to save his town from space aliens.[9]

text: During the rewriting process, Dindal, along with three credited writers and nine others, threw out twenty-five scenes to improve the character development and add more emotional resonance with the parent-child relationship. Dindal admitted that "It took us about 2½ years to pretty much get back to where we started... But in the course of that, the story got stronger, more emotional, and funnier, too."[9][10]

text: Casting

text: When originally envisioned as a female character, Holly Hunter provided the voice for the title character for eight months, until it was decided for Chicken Little to be a male.[7] Against forty actors competing for the title role, Zach Braff auditioned where Dindal noted he "pitched his voice slightly to sound like a junior high kid. Right there, that was really unique — and then he had such great energy."[11]

text: In April 2002, Variety reported that Sean Hayes was to voice a character named the Ugly Duckling,[12] but the character was rewritten into a female.[13] Now conceived as Abby Mallard, Hunter, Jamie Lee Curtis, Sarah Jessica Parker, Jodie Foster, Geena Davis, and Madonna were considered, but Joan Cusack won the role for her natural comedy.[14] In December 2003, it was announced Braff and Cusack were cast, along with other cast members including Steve Zahn, Amy Sedaris, Don Knotts, Katie Finneran, and Garry Marshall.[15]

text: Marshall was asked to provide a voice for Kingdom of the Sun, which was re-conceived into The Emperor's New Groove and directed by Dindal, but was removed from the project for being "too New York".[10] When he was approached to provide the voice for Buck Cluck, Marshall claimed "I said I don't do voices. You want a chicken that talks like me, fine. So they hired me and they didn't fire me, and it was like a closure on animation."[16]

text: Animation

text: To visualize this story, Disney selected 50 percent of its new CGI animation team from its 2D animation staff, and placed them through a rigorous eighteen-month training program, which included an introductory to Alias's Maya that would serve as the main 3D animation software used on the project. As some of the animators had worked on Dinosaur (2000), which used live-action backgrounds,[17] the animation team took inspiration for its staging, coloring, and theatrical lighting from Mary Blair's background designs featured in Peter Pan (1953), and Alice in Wonderland (1951).

text: For the aesthetics in the background designs, the background layout artists sparingly use digital matte paintings to render out the naturalistic elements, including the trees and the baseball diamond, but they were retouched using Adobe Photoshop as background cards featured in the film.[18] The lighting department would utilize the "Lumiere" software to enhance virtual lighting for the shading form and depth and geometric rendering for the characters' shadows,[19] as well as use real lighting to create cucaloris.[18]

text: For the characters' designs and animation style, Dindal sought to capture the "roundness" as seen in the Disney animated works from the 1940s to 1950s,[18] by which the characters' fluidity of motion was inspired from the Goofy cartoon How to Play Baseball (1942).[18] Under visual effects supervisor Steve Goldberg who spearheaded the department, the Maya software included the software program "Shelf Control" that provided an outline of characters that can be viewed on screen and provided a direct link to the controls for specific autonomy, as well as new electronic tablet screens were produced that allowed for the artists to draw digital sketches of the characters to rough out their movements, which was then transferred to the 3D characters.[19]

text: All of the characters were constructed using geometric polygons.[18] For the title character, there was approximately fourteen to fifteen character designs before settling the design composed of an ovular egghead shape with oversized glasses. The final character was constructed of 5,600 polygons, 700 muscles, and more than 76,000 individual feathers, of which 55,000 are placed on his head.[16]

text: Following the casting of Braff, supervising animator Jason Ryan adapted Braff's facial features during recording sessions to better combine the dorkiness and adorability the filmmakers desired. "He's got this really appealing face and eye expressions," Ryan said, adding that he was amazed by Braff's natural vocal abilities.[11] Next, the animators would utilize the software program "Chicken Wire", where digital wire deformers were provided for the animators to manipulate the basic geometric shapes to get their desired facial features. Lastly, a software development team constructed XGen, a computer software program for texturing the hair, cloth, feathers, and leaves.[19]

text: Release

text: The film was originally scheduled for release on July 1, 2005,[20] but on December 7, 2004, its release date was pushed back to November 4, 2005, the release date that was originally slated for Disney/Pixar's Cars.[21][22] The release date change was also the day before DreamWorks Animation changed the release date of Shrek the Third, from November 2006 to May 2007.[23] Cars was later released on June 9, 2006.

text: At the time of the release of Chicken Little, the co-production deal between Disney and Pixar was set to expire with the release of Cars in 2006. The end result of the contentious negotiations between Disney and Pixar was viewed to depend heavily on how Chicken Little performed at the box office. If successful, the film would have given Disney leverage in its negotiations for a new contract to distribute Pixar's films. A failure would have allowed Pixar to argue that Disney could not produce CGI films.[24]

text: On October 30, 2005, the film premiered at the El Capitan Theater, with the cast and filmmakers as attendees, which was followed with a ballroom bash at the Hollywood and Highland Center.[25][26] Along with its standard theatrical release, the film was the first Disney in-house release to be rendered in Disney Digital 3D, that was produced by Industrial Light & Magic, and exhibited via Dolby Digital Cinema servers at approximately 100 selected theaters in twenty five top markets.[27]

text: Marketing

text: Accompanied with the theatrical release, Disney Consumer Products released a series of plush items, toys, activity sets, keepsakes and apparel.[28]

text: Home video release

text: Chicken Little was first released on DVD on March 21, 2006, in a single disc edition.[29] The DVD contained the film accompanied with deleted scenes, three alternate openings, a making-of featurette, an interactive game, a karaoke sing along, two music videos, and animation test footage of the female Chicken Little.[30][31] The DVD sold over 2.7 million DVD units during its first week accumulating $48 million in consumer spending. Overall, consumer spending on its initial home video release grossed $142.6 million.[32] The film was released for the first time on Blu-ray on March 20, 2007, and contained new features not included on the DVD. A 3D Blu-ray version was released on November 8, 2011.[33]

text: A VHS version was also released, but only as a Disney Movie Club exclusive.

text: Reception

text: Box office

text: In its opening weekend, Chicken Little debuted at #1, being the first Disney animated film to do so since Dinosaur, taking $40 million and tying with The Lion King as the largest opener for a Disney animated film.[34] It also managed to claim #1 again in its second week of release, earning $31.7 million, beating Sony's sci-fi family film, Zathura.[35] The film grossed $135,386,665 in North America, and $179,046,172 in other countries, for a worldwide total of $314,432,837.[4]

text: This reversed the slump that the company had been facing since 2000, during which time it released several films that underperformed, most notably Treasure Planet (2002) and Home on the Range (2004). However, these films received better critical reception.[36][37]

text: Critical reaction

text: Critical response aggregator, Rotten Tomatoes, reports that 37% of 160 surveyed critics gave positive reviews; the average score is 5.5/10. The critical consensus states: "In its first non–Pixar CGI venture, Disney expends more effort in the technical presentation, than in crafting an original storyline."[38] Another review aggretator, Metacritic, gave the film an average score of 48 based on 32 critics, indicating "mixed or average reviews".[39] Audiences polled by CinemaScore gave the film an average grade of "A-" on an A+ to F scale.[40]

text: James Berardinelli, writing his review for ReelViews, gave the film two-and-a-half stars out of four lambasting that "It is bogged down by many of the problems that have plagued Disney's recent traditional animated features: anonymous voice work, poor plot structure, and the mistaken belief that the Disney brand will elevate anything to a "must see" level for viewers starved for family friendly fare."[41] On the syndicated television program Ebert & Roeper, critics Richard Roeper and Roger Ebert gave the film "Two Thumbs Down" with the former saying "I don't care whether the film is 2-D, 3-D, CGI, or hand-drawn, it all goes back to the story."[42]

text: In his print review featured in the Chicago Sun-Times, Roger Ebert stated the problem was the story, and wrote "As a general rule, if a movie is not about baseball or space aliens, and you have to use them, anyway, you should have started with a better premise." Ebert concluded his review with "The movie did make me smile. It didn't make me laugh, and it didn't involve my emotions, or the higher regions of my intellect, for that matter. It's a perfectly acceptable feature cartoon for kids up to a certain age, but it doesn't have the universal appeal of some of the best recent animation."[43]

text: Writing in The New York Times, film critic A.O. Scott stated the film is "a hectic, uninspired pastiche of catchphrases and clichés, with very little wit, inspiration or originality to bring its frantically moving images to genuine life."[44] Entertainment Weekly film reviewer Lisa Schwarzbaum, who graded the film a C, wrote that the "banality of the acorns dropped in this particular endeavor, another in a new breed of mass-market comedy that substitutes self-reference for original wit and pop songs for emotional content."[45]

text: However, Ty Burr of The Boston Globe gave the film a positive review saying the film was "shiny and peppy, with some solid laughs and dandy vocal performances".[46] The Hollywood Reporter film critic Michael Rechtshaffen opined that "While some half-hatched plotting prevents it from approaching the sublime levels of a Toy Story or The Incredibles, the picture zips along quite agreeably with a zany energy and vividly rendered, terrifically voiced, madcap characters.[47]

text: Angel Cohn of TV Guide gave the film 3 stars alluding the film that would "delight younger children with its bright colors and constant chaos, while adults are likely to be charmed by the witty banter, subtle one liners, and a sweet father son relationship."[48] Peter Rainer, writing in The Christian Science Monitor, graded the film with a A- applauding that the "visuals are irrepressibly witty and so is the script, which morphs from the classic fable into a spoof on War of the Worlds. I prefer this version to Spielberg's."[49]

text: Soundtrack

text:
Chicken LittleSoundtrack album by Various artistsReleased
November 1, 2005Genre
Rock, pop, R&B, film scoreLength
39:05Label
Walt DisneyProducer
John DebneyWalt Disney Animation Studios chronology

Home on the Range(2004)

Chicken Little(2005)

Meet the Robinsons(2007)

text: The soundtrack album contains original score composed and produced by John Debney, with a music by a wide range of artists, some musical veterans, such as Patti LaBelle and Diana Ross, as well as others.[50] Uniquely for a Disney animated film, several of the songs are covers of classic popular songs, such as Elton John and Kiki Dee's "Don't Go Breaking My Heart", Carole King's "It's Too Late", and the Spice Girls' signature hit "Wannabe". The soundtrack was released on November 1, 2005, by Walt Disney Records.[50]

text: Track listing

text: No.TitleArtistLength1."Stir It Up"Joss Stone and Patti LaBelle3:422."One Little Slip"Barenaked Ladies2:533."Shake a Tail Feather"The Cheetah Girls3:054."All I Know"Five for Fighting3:255."Ain't No Mountain High Enough"Diana Ross3:286."It's the End of the World as We Know It (And I Feel Fine)"R.E.M.4:047."We Are the Champions"Zach Braff0:388."Wannabe"Joan Cusack and Steve Zahn0:509."Don't Go Breaking My Heart"The Chicken Little Cast1:5310."The Sky Is Falling" (score)John Debney2:4911."The Big Game" (score)John Debney4:0412."Dad Apologizes" (score)John Debney3:1413."Chase to Cornfield" (score)John Debney2:0014."Dodgeball" (score)John Debney1:1515."Driving with Dad" (score)John Debney1:45Total length:39:05

text: Video games

text: Chicken Little spawned two video games. The first, Chicken Little, is an action-adventure video game released for Xbox on October 18, 2005 by Buena Vista Games. Two days later it was released for PlayStation 2, Nintendo GameCube and Game Boy Advance (October 20, 2005), and later Microsoft Windows (November 2, 2005). Chicken Little for Game Boy Advance was developed by A2M, while BVG's recently acquired development studio, Avalanche Software, developed the game for the consoles.[51]

text: The second video game, Disney's Chicken Little: Ace in Action, is a multi-platform video game, for the Wii, Nintendo DS, Xbox, and PlayStation 2 inspired by the "superhero movie within the movie" finale of the film. It features Ace, the superhero alter ego of Chicken Little, and the Hollywood versions of his misfit band of friends: Runt, Abby and Fish-Out-of-Water.

text: Chicken Little appears as a summon in the video game Kingdom Hearts II.[52]

text: Cancelled sequel

text: Disneytoon Studios originally planned to make a direct-to-video sequel to Chicken Little, tentatively titled Chicken Little 2: The Ugly Duckling Story.[53] Directed by Klay Hall, the story would involve Chicken Little in the middle of a love triangle between his childhood sweetheart, Abby Mallard, and a very attractive newcomer, Raffaela, a French sheep. Being at a great disadvantage, Abby would go to great lengths to give herself a makeover. According to Tod Carter, a story artist on the film, early screenings of the story reel were very well received, prompting Disney to think about increasing the budget, in order to match the production quality with the quality of the story.[54] Soon after 2006, when John Lasseter became Walt Disney Animation Studios' new chief creative officer, he called for all sequels and future sequels that Disneytoon had planned to be cancelled.[53] According to Carter, this was a reaction to the sales figures for current projects and the overall market, adding: "The executives didn't feel that the original film had a wide enough market to draw upon to support the sequel."[54]