document_title: Roy Orbison

question_text: what was roy orbison's first number one hit

question_tokens: what was roy orbison 's first number one hit

text: Roy Orbison

text: Early life[edit]

text: Roy Kelton Orbison was born in Vernon, Texas, the middle son of Orbie Lee Orbison (1913–1984), an oil well driller and car mechanic, and Nadine Vesta Shults (July 25, 1913 – May 28, 1992),[5] a nurse. Both of his parents were unemployed during the Great Depression and, searching for work, moved the family to Fort Worth in 1942. He attended Denver Avenue Elementary School until a polio scare prompted the family to return to Vernon. Later, in 1946, they moved to Wink, Texas. Orbison later described life in Wink as "football, oil fields, oil, grease and sand"[6] and expressed relief that he was able to leave the desolate town.[note 1][7] All the Orbison children were afflicted with poor eyesight; Roy used thick corrective lenses from an early age. He was not confident about his appearance and began dyeing his nearly-white hair black when he was still young.[8] He was quiet, self-effacing, and remarkably polite and obliging—a product, biographer Alan Clayson wrote, of his Southern upbringing.[9] He was readily available to sing, however, and often became the focus of attention when he did. He considered his voice memorable, if not great.[6]

text: On Roy's sixth birthday, his father gave him a guitar. He later recalled that by the age of seven, "I was finished, you know, for anything else"; music would be his life.[10] His major musical influence as a youth was country music. He was particularly moved by Lefty Frizzell's singing, with its slurred syllables.[11] (When he later joined the British-American supergroup the Traveling Wilburys, he adopted the name “Lefty” Wilbury). He also enjoyed Hank Williams and Jimmie Rodgers. One of the first musicians he heard in person was Ernest Tubb, who was playing on the back of a flatbed truck in Fort Worth. In West Texas, he was exposed to many forms of music: "sepia" (a euphemism for rhythm and blues), Tex-Mex, the orchestral arrangements of Mantovani, and cajun. The cajun favorite "Jole Blon" was one of the first songs he sang in public. At the age of eight, he began singing on a local radio show. By the late 1940s, he was the show's host.[12]

text: In high school, Orbison and some friends formed a band, the Wink Westerners. They played country standards and Glenn Miller songs at local honky-tonks and had a weekly radio show on KERB in Kermit.[13] When they were offered $400 to play at a dance, Orbison realized that he could make a living in music. After graduating from Wink High School, he enrolled at North Texas State College in Denton, planning to study geology so that he could secure work in the oil fields if music did not pay.[14] Orbison heard that his North Texas State schoolmate Pat Boone had signed a record deal, which further strengthened his resolve to become a professional musician. While at North Texas State College Roy heard a song called "Ooby Dooby," composed by Dick Penner and Wade Moore in mere minutes atop a fraternity house at the college, and after his first year of college, he returned to Wink with "Ooby Dooby" in hand and continued performing with the Wink Westerners.[15] Orbison moved to Odessa, Texas, and enrolled in Odessa Junior College. As two members of the band quit, one to attend school elsewhere and one to join the Navy, two new members were added to the group,[15] who won a talent contest and obtained their own television show on KMID-TV in Midland, Texas.[15] The Wink Westerners kept performing on local TV, played dances on the weekends, and attended college during the day.

text: While living in Odessa, Orbison saw a performance by Elvis Presley, who was only a year older and a rising star.[16] Johnny Cash toured the area in 1955 and 1956,[15] appearing on the same local TV show as the Wink Westerners,[15] and suggested that Orbison approach Sam Phillips at Sun Records, the home of rockabilly artists Presley, Carl Perkins, Jerry Lee Lewis (in late 1956), and Cash. Orbison telephoned Phillips and during their conversation was curtly told, "Johnny Cash doesn't run my record company!"[note 2] The success of their KMID television show got them another show on KOSA-TV, and they changed their name to the Teen Kings,[17] as they were appealing more and more to a younger audience.[18] Due to the initial rejection from Sam Phillips, the Teen Kings recorded "Ooby Dooby" for the Odessa-based Je–Wel label.[6] According to the official Roy Orbison discography by Marcel Riesco[19], this was the first release by Orbison in March 1956. Phillips was impressed with the song, after the local record store owner Poppa Holifield played it for him over the telephone, and offered the Teen Kings a contract in 1956.[18]

text: 1956–59: Sun Records and Acuff-Rose[edit]

text: The Teen Kings went to Sun Studio in Memphis, where Phillips wanted to record "Ooby Dooby" again, in his studio. The song was released on Sun 242 in May 1956[18] and broke into the Billboard Hot 100, peaking at number 59 and selling 200,000 copies.[6] The Teen Kings toured with Sonny James, Johnny Horton, Carl Perkins, and Cash. Much influenced by Elvis Presley, Orbison performed frenetically, doing "everything we could to get applause because we had only one hit record".[20] The Teen Kings also began writing songs in a rockabilly style, including "Go! Go! Go!" and "Rockhouse". The band ultimately split over disputed writing credits and royalties, but Orbison stayed in Memphis and asked his 16-year-old girlfriend, Claudette Frady, to join him there.[note 3] They stayed in Phillips's home, sleeping in separate rooms. In the studio, Orbison concentrated on the mechanics of recording. Phillips remembered being much more impressed with Orbison's mastery of the guitar than with his voice.[21] A ballad Orbison wrote, "The Clown", met with a lukewarm response; after hearing it, Sun Records producer Jack Clement told Orbison that he would never make it as a ballad singer.[22]

text: Orbison had some success at Sun Records, however, and was introduced to Elvis Presley's social circle, once going to pick up a date for Presley in his purple Cadillac. Orbison wrote "Claudette"—about Claudette Frady whom he married in 1957—and the Everly Brothers recorded it for their subsequent release as the B-side of their smash hit "All I Have to Do Is Dream". The first, and perhaps only, royalties Orbison earned from Sun Records enabled him to make a down-payment on his own Cadillac. Increasingly frustrated at Sun, he gradually stopped recording. He toured music circuits around Texas and then quit performing for seven months in 1958[23] not before touring with Patsy Cline [24], Eddie Cochran and Gene Vincent.

text: For a brief period in the late 1950s, Orbison made his living at Acuff-Rose, a songwriting firm concentrating mainly on country music. After spending an entire day writing a song, he would make several demo tapes at a time and send them to Wesley Rose, who would try to find musical acts to record them. Orbison attempted to sell to RCA Victor his recordings of songs by other writers, working with and being in awe of Chet Atkins, who had played guitar with Presley. One song he tried was "Seems to Me", by Boudleaux Bryant. Bryant's impression of Orbison was of "a timid, shy kid who seemed to be rather befuddled by the whole music scene. I remember the way he sang then—softly, prettily but almost bashfully, as if someone might be disturbed by his efforts and reprimand him."[25]

text: Playing shows late into the night and living with his wife and young child in his tiny apartment, Orbison often sought refuge by taking his guitar to his car and writing songs there. The songwriter Joe Melson, an acquaintance of Orbison's, tapped on his car window one day in Texas in 1958, and the two decided to try to write some songs together.[26] In three recording sessions in 1958 and 1959, Orbison recorded seven songs at RCA Nashville, with Atkins producing, but only two singles were judged worthy of release by RCA;[27] Wesley Rose brought Orbison to the attention of the producer Fred Foster at Monument Records.

text: 1960–64: Monument Records[edit]

text: Early singles[edit]

text: Orbison was one of the first recording artists to popularize the "Nashville sound", doing so with a group of session musicians known as the A-Team: guitarists Grady Martin, Harold Bradley, Fred Carter, Jr., and Ray Edenton; bassist Bob Moore; pianists Floyd Cramer or Hargus "Pig" Robbins; drummer Buddy Harman; and backup vocals by the Jordanaires or the Anita Kerr Singers. The Nashville sound was developed by producers Chet Atkins, Owen Bradley (who worked closely with Patsy Cline), Sam Phillips and Fred Foster.[28][29] In his first session for Monument in Nashville, Orbison recorded a song that RCA had refused, "Paper Boy", backed by "With the Bug", but neither charted.[30]

text: According to musician and author Albin Zak, the studio (with sound engineer Bill Porter, who experimented with close miking the doo-wop backing singers), the production by Foster, and the accompanying musicians gave Orbison's music a "polished, professional sound ... finally allow[ing] Orbison's stylistic inclinations free rein".[27] To augment the Nashville sound, Orbison requested a string section in the studio. With this combination, he recorded three new songs, the most notable of which was "Uptown", written with Joe Melson.[31] Impressed with the results, Melson later recalled, "We stood in the studio, listening to the playbacks, and thought it was the most beautiful sound in the world."[6][32] The Rolling Stone Illustrated History of Rock and Roll states that the music Orbison made in Nashville "brought a new splendor to rock", and compared the melodramatic effects of the orchestral accompaniment to the musical productions of Phil Spector.[33]

text: "Uptown" reached only number 72 on the Billboard Top 100, and Orbison set his sights on negotiating a contract with an upscale nightclub somewhere. His initial success came just as the 50s rock-and-roll era was winding down. Elvis Presley was serving in the US Army, Jerry Lee Lewis had become disgraced after marrying his 13-year-old cousin, and Buddy Holly had died in a plane crash. Starting in 1960, the charts in the United States came to be dominated by teen idols, novelty acts, and Motown girl groups.[34]

text: Top 10 hits[edit]

text: Experimenting with a new sound, Orbison and Joe Melson wrote a song in early 1960 which, using elements from "Uptown", and another song they had written called "Come Back to Me (My Love)", employed strings and the Anita Kerr doo-wop backing singers.[35] It also featured a note hit by Orbison in falsetto that showcased a powerful voice which, according to biographer Clayson, "came not from his throat but deeper within".[36] The song was "Only the Lonely". Orbison and Melson tried to pitch it to Elvis Presley and the Everly Brothers but were turned down.[37] They instead recorded the song at RCA's Nashville studio, with sound engineer Bill Porter trying a completely new strategy: building the mix from the top down rather than from the bottom up, beginning with close-miked backing vocals in the foreground, and ending with the rhythm section soft in the background.[31][38] This combination became Orbison's trademark sound.[35]

text: "Only the Lonely" shot to number two on the Billboard Hot 100 and hit number one in the UK and Australia. According to Orbison, the subsequent songs he wrote with Melson during this period were constructed with his voice in mind, specifically to showcase its range and power. He told Rolling Stone in 1988, "I liked the sound of [my voice]. I liked making it sing, making the voice ring, and I just kept doing it. And I think that somewhere between the time of "Ooby Dooby" and "Only the Lonely", it kind of turned into a good voice."[39] Its success transformed Orbison into an overnight star and appeared on Dick Clark's Saturday Night Beechnut Show out of New York City[40]. When Presley heard "Only the Lonely" for the first time, he bought a box of copies to pass to his friends.[41] Melson and Orbison followed it with the more complex "Blue Angel", which peaked at #9 in the US and #11 in the UK. "I'm Hurtin'", with "I Can't Stop Loving You" as the B-side, rose to #27 in the US but failed to chart in the UK.[42]

text:
"Running Scared" (1961)

The ending of "Running Scared" features Orbison's natural voice hitting high A natural.

Problems playing this file? See media help.

text: Orbison was now able to move to Nashville permanently with his wife Claudette and two sons Roy DeWayne and Anthony King.[43] Back in the studio, seeking a change from the pop sound of "Only the Lonely" and "I'm Hurtin'", Orbison worked on a new song, "Running Scared", based loosely on the rhythm of Ravel's Boléro; the song was about a man on the lookout for his girlfriend's previous boyfriend, who he feared would try to take her away. Orbison encountered difficulty when he found himself unable to hit the song's highest note without his voice breaking. He was backed by an orchestra in the studio and Porter told him he would have to sing louder than his accompaniment because the orchestra was unable to be softer than his voice.[44] Fred Foster then put Orbison in the corner of the studio and surrounded him with coat racks forming an improvised isolation booth to emphasize his voice. Orbison was unhappy with the first two takes. In the third, however, he abandoned the idea of using falsetto and sang the final high 'A' naturally, so astonishing everyone present that the accompanying musicians stopped playing.[33] On that third take, "Running Scared" was completed. Fred Foster later recalled, "He did it, and everybody looked around in amazement. Nobody had heard anything like it before."[6] Just weeks later "Running Scared" reached number 1 on the Billboard Hot 100 chart and number 9 in the UK. The composition of Orbison's following hits reflected "Running Scared": a story about an emotionally vulnerable man facing loss or grief, with a crescendo culminating in a surprise climax that employed Orbison's dynamic voice.[42]

text: "Crying" followed in July 1961 and reached number 2; it was coupled with an up-tempo R&B song, "Candy Man", written by Fred Neil and Beverley Ross, which reached the Billboard Top 30, staying on the charts for two months.[42] While Orbison was touring Australia in 1962, an Australian DJ referred to him affectionately as "The Big O", partly based on the big finishes to his dramatic ballads, and the moniker stuck with him thereafter. Orbison's second son was born the same year, and Orbison hit number four in the United States and number two in the UK with "Dream Baby (How Long Must I Dream)", an upbeat song by country songwriter Cindy Walker. (Orbison's producer would later form the Candymen quintet, which was Orbison's backing band from 1965 to 1970, while releasing a few singles and two albums of their own). Also in 1962, he charted with "The Crowd", "Leah", and "Workin' for the Man", which he wrote about working one summer in the oil fields near Wink.[4][45] His relationship with Joe Melson, however, was deteriorating over Melson's growing concerns that his own solo career would never get off the ground.[46]

text: Orbison eventually developed a persona and an image that did not reflect his personality. He had no publicist in the early 1960s, therefore he had little presence in fan magazines, and his single sleeves did not feature his picture. Life magazine called him an "anonymous celebrity".[48] After leaving his thick eyeglasses on an airplane in 1963, while on tour with the Beatles, Orbison was forced to wear his prescription Wayfarer sunglasses on stage and found that he preferred them. His biographers suggest that although he had a good sense of humor and was never morose, Orbison was very shy and suffered from severe stage fright; wearing sunglasses helped him hide somewhat from the attention. The ever-present sunglasses led some people to assume that the stationary performer was blind.[49] His black clothes and the desperation in his songs emanated the image of mystery and introversion.[6][50][51] His dark and brooding persona, combined with his tremulous voice in lovelorn ballads marketed to teenagers, made Orbison a star in the early 1960s. His string of top 40 hits continued with "In Dreams" (US number 7, UK number 6), "Falling" (US number 22, UK number 9), and "Mean Woman Blues" (US number 5, UK number 3) coupled with "Blue Bayou" (US number 29, UK number 3).[4][52] According to the official Roy Orbison U.S. discography by Marcel Riesco [53], a rare alternate version of "Blue Bayou" was released only in Italy. Orbison finished the year 1963 with a Christmas song written by Willie Nelson, "Pretty Paper" (US number 15 in 1963, UK number 6 in 1964).

text: As "In Dreams" was released in April 1963, Orbison was asked to replace the guitarist Duane Eddy on a tour of the UK in top billing with the Beatles, whose popularity was on the rise. When he arrived in Britain, however, he saw the amount of advertising devoted to the quartet and realized he was no longer the main draw. He had never heard of them and, annoyed, asked rhetorically, "What's a Beatle anyway?" to which John Lennon replied, after tapping his shoulder, "I am".[54] On the opening night, Orbison opted to go onstage first, although he was the more established act. Known for having raucous shows expressing an extraordinary amount of energy, Lennon, Paul McCartney, George Harrison, and Ringo Starr stood dumbfounded backstage as Orbison performed completely still and simply sang through 14 encores.[55] Finally, when the audience began chanting "We want Roy!" again, Lennon and McCartney prevented Orbison from going on again by physically holding him back.[56] Starr later said, "In Glasgow, we were all backstage listening to the tremendous applause he was getting. He was just standing there, not moving or anything."[55] Through the tour, however, the two acts quickly learned to get along, a process made easier by the fact that the Beatles admired his work.[57] Orbison felt a kinship with Lennon, but it was Harrison with whom he would later form a strong friendship.

text: Touring in 1963 took a toll on Orbison's personal life. His wife Claudette began having an affair with the contractor who built their home in Hendersonville, Tennessee. Friends and relatives attributed the breakdown of the marriage to her youth and her inability to withstand being alone and bored. When Orbison toured Britain again in the fall of 1963, she joined him.[58] He was immensely popular wherever he went, finishing the tour in Ireland and Canada. Almost immediately he toured Australia and New Zealand with the Beach Boys and returned again to Britain and Ireland, where he was so besieged by teenage girls that the Irish police had to halt his performances to pull the girls off him.[59] He continued to tour, traveling to Australia again, this time with the Rolling Stones. Mick Jagger later remarked, referring to a snapshot he took of Orbison in New Zealand, "a fine figure of a man in the hot springs, he was."[60]

text:
"Oh, Pretty Woman" (1964)

The opening guitar riff of "Oh, Pretty Woman" was a direct influence on "(I Can't Get No) Satisfaction" by the Rolling Stones.[61]

Problems playing this file? See media help.

text: Orbison also began collaborating with Bill Dees, whom he had known in Texas. With Dees, he wrote "It's Over", a number-one hit in the UK and a song that would be one of his signature pieces for the rest of his career. When Claudette walked in the room where Dees and Orbison were writing to say she was heading for Nashville, Orbison asked if she had any money. Dees said, "A pretty woman never needs any money".[62] Just 40 minutes later, "Oh, Pretty Woman" was completed. A riff-laden masterpiece that employed a playful growl he got from a Bob Hope movie, the epithet mercy Orbison uttered when he was unable to hit a note, and a merging of his vulnerable and masculine sides, it rose to number one in the fall of 1964 in the United States and stayed on the charts for 14 weeks. It rose to number one in the UK as well, spending 18 weeks total on the charts. The single sold over seven million copies.[6] Orbison's success was greater in Britain; as Billboard magazine noted, "In a 68-week period that began on August 8, 1963, Roy Orbison was the only American artist to have a number-one single in Britain. He did it twice, with 'It's Over' on June 25, 1964, and 'Oh, Pretty Woman' on October 8, 1964. The latter song also went to number one in America, making Orbison impervious to the current chart dominance of British artists on both sides of the Atlantic."[63]

text: 1965–69: Career decline and tragedies[edit]

text: Following "Oh, Pretty Woman", Orbison endured some upheavals. He and Claudette divorced in November 1964 over her infidelities, but the two reconciled and got back together 10 months later. His contract with Monument was expiring in June 1965. Wesley Rose, at this time acting as Orbison's agent, moved him from Monument Records to Metro-Goldwyn-Mayer (MGM) (though in Europe he remained with Decca's London Records[64]) for $1 million, and the understanding that he would expand into television and films, as Elvis Presley had done. Orbison was a film enthusiast and, when not touring, writing or recording, would dedicate time to seeing up to three films a day.[65]

text: Rose also became Orbison's producer. Fred Foster later suggested that Rose's takeover was responsible for the commercial failure of Orbison's work at MGM. Engineer Bill Porter agreed that Orbison's best work could only be achieved with RCA Nashville's A-Team.[30] Orbison's first collection at MGM, an album titled There Is Only One Roy Orbison, sold fewer than 200,000 copies.[6] With the onset of the British Invasion in 1964–65, the direction of popular music shifted dramatically, and most performers of Orbison's generation were driven from the charts.[66]

text: While on tour again in the UK in 1966,[67] Orbison broke his foot falling off a motorcycle in front of thousands of screaming fans at a race track; he performed his show that evening in a cast. Claudette traveled to England to accompany Roy for the remaining of the tour. It was now made public that the couple had happily remarried and were back together (they had remarried in December 1965).[68]

text: Orbison was fascinated with machines. He was known to follow a car that he liked and make the driver an offer on the spot.[69] He had a collection worthy of a museum by the late 1960s.[citation needed]

text: Orbison and Claudette shared a love for motorcycles; she had grown up around them, but he claimed Elvis Presley had introduced him to motorcycles.[70] Tragedy struck on June 6, 1966, however, when Orbison and Claudette were riding home from Bristol, Tennessee. She struck the door of a pickup truck which had pulled out in front of her on South Water Avenue in Gallatin, Tennessee, and died instantly.[71]

text: A grieving Orbison threw himself into his work, collaborating with Bill Dees to write music for The Fastest Guitar Alive, a film that MGM had scheduled for him to star in as well. It was initially planned as a dramatic Western but was rewritten as a comedy.[72] Orbison's character was a spy who stole, and had to protect and deliver, a cache of gold to the Confederate Army during the American Civil War, and was outfitted with a guitar that turned into a rifle. The prop allowed him to deliver the line, "I could kill you with this and play your funeral march at the same time", with—according to biographer Colin Escott—"zero conviction".[6] Orbison was pleased with the film, although it proved to be a critical and box office flop. While MGM had included five films in his contract, no more were made.[73][74]

text: He recorded an album dedicated to the songs of Don Gibson and another of Hank Williams covers, but both sold poorly. During the counterculture era, with the charts dominated by artists like Jimi Hendrix, Jefferson Airplane, the Rolling Stones, and the Doors, Orbison felt lost and directionless, later saying: "[I] didn't hear a lot I could relate to so I kind of stood there like a tree where the winds blow and the seasons change, and you're still there and you bloom again."[75] He continued to tour and had previously made some smart real estate investments, so money was never an issue for him again.[citation needed]

text: During a tour of England and playing Bournemouth on Saturday, September 14, 1968,[76] he received the news that his home in Hendersonville, Tennessee, had burned down, and his two eldest sons had died.[77] The property was sold to Johnny Cash, who demolished the building and planted an orchard on it. On March 25, 1969, Orbison married German teenager Barbara Jakobs, whom he had met several days before his sons' deaths.[78] Wesley (born 1965), his youngest son with Claudette, was raised by Orbison's parents. Orbison and Barbara had a son (Roy Kelton) in 1970 and another (Alexander) in 1975.[79]

text: Struggles[edit]

text: Orbison continued recording albums in the 1970s, but none of them sold more than a handful of copies, and by 1976, he had gone an entire decade without a charting album. Aside from a few minor hits in Australia, he also failed to produce any charting singles after the 1960s. His fortunes sank so low that he began to doubt his own talents and several of his 1970s albums were not released internationally due to low US sales. He left MGM Records in 1973 and signed a one-album deal with Mercury Records.[80] Author Peter Lehman would later observe that his absence was a part of the mystery of his persona: "Since it was never clear where he had come from, no one seemed to pay much mind to where he had gone; he was just gone."[81] His influence was apparent, however, as several artists released covers of his songs, which proved popular. Orbison's version of "Love Hurts", a song composed by Felice and Boudleaux Bryant and first recorded by the Everly Brothers, was remade by Gram Parsons and Emmylou Harris, again by hard rock band Nazareth, and by blues adept Jim Capaldi. Sonny James sent "Only the Lonely" to No. 1 on the country music charts.[82] Bruce Springsteen ended his concerts with Orbison songs, and Glen Campbell had a minor hit with a remake of "Dream Baby". A compilation of Orbison's greatest hits went to No. 1 in the UK in January 1976. The same year, he began to open concerts for the Eagles, who started as Linda Ronstadt's backup band. Ronstadt herself covered "Blue Bayou" in 1977, her version reaching No. 3 on the Billboard charts and remaining in the charts for 24 weeks. Orbison credited this cover in particular for reviving his memory in the popular mind, if not his career.[83] He signed again with Monument in 1976 and recorded "Regeneration" with Fred Foster, but it proved no more successful than before.

text: In late 1977, Orbison was not feeling well and decided to overwinter in Hawaii. While there, he checked into a hospital where testing discovered that he had severely obstructed coronary arteries. On January 18, 1978, Orbison underwent a triple coronary bypass. He had suffered from duodenal ulcers since as early as 1960 and had been a heavy smoker since adolescence.[84] He felt revitalized following the triple bypass, but he continued to smoke, and his weight fluctuated for the remainder of his life.[citation needed]

text: In 1980, Don McLean charted with "Crying"[17] and his version unexpectedly went to the top of the charts at first in the Netherlands, afterward hitting No. 5 in the US and staying on the charts for 15 weeks; it was No. 1 in the UK for three weeks, and also topped the Irish Charts.[85] Although he was all but forgotten in the US, Orbison reached the most unlikely places for a rock and roll legend, like Bulgaria for example in 1982.[17] He was astonished to find that he was as popular there as he had been in 1964; he was forced to stay in his hotel room because he was mobbed on the streets of Sofia.[86] In 1981, he and Emmylou Harris had won a Grammy Award for their duet "That Lovin' You Feelin' Again" (from the comedy film Roadie, in which Orbison also had a cameo role) and things were picking up.[87] It was his first such award, and he felt hopeful in making a full return to popular music.[88] However, it would be several more years until this came to fruition. In the meantime, Van Halen released a hard-rock cover of "Oh, Pretty Woman" on their 1982 album Diver Down, again further exposing a younger generation to Orbison's legacy.[89]

text: Career revival[edit]

text: Orbison originally declined David Lynch's request to allow the use of "In Dreams" for the film Blue Velvet (1986).[90] Lynch used it anyway (although his first choice was "Crying"[91]); the song served as one of several obsessions of a psychopathic character named Frank Booth (played by Dennis Hopper). It was lip-synched by an effeminate drug dealer played by Dean Stockwell, after which Booth demanded the song be played over and over, once beating the protagonist while the song played. During filming, Lynch asked for the song to be played repeatedly to give the set a surreal atmosphere.[92] Orbison was initially shocked at its use: he saw the film in a theater in Malibu and later said, "I was mortified because they were talking about the 'candy-colored clown' in relation to a dope deal ... I thought, 'What in the world ...?' But later, when I was touring, we got the video out and I really got to appreciate what David gave to the song, and what the song gave to the movie—how it achieved this otherworldly quality that added a whole new dimension to 'In Dreams'."[6]

text: By 1987, Orbison's career was fully revived. He released an album of his re-recorded hits, titled In Dreams: The Greatest Hits. A song he recorded, "Life Fades Away", written with his friend Glenn Danzig, was featured in the film Less Than Zero (1987).[93] He and k.d. lang performed a duet of "Crying" for inclusion on the soundtrack to the film, Hiding Out (1987), winning a Grammy for Best Country Collaboration with Vocals.[94]

text: Also in 1987, Orbison was inducted into the Nashville Songwriters Hall of Fame and initiated into the Rock and Roll Hall of Fame by Bruce Springsteen, who concluded his speech with a reference to his own album Born to Run: "I wanted a record with words like Bob Dylan that sounded like Phil Spector—but, most of all, I wanted to sing like Roy Orbison. Now, everyone knows that no one sings like Roy Orbison."[95] In response, Orbison asked Springsteen for a copy of the speech, and said of his induction that he felt "validated" by the honor.[95] A few months later, Orbison and Springsteen paired again to film a concert at the Cocoanut Grove nightclub in Los Angeles. They were joined by Jackson Browne, T Bone Burnett, Elvis Costello, Tom Waits, Bonnie Raitt, Jennifer Warnes, James Burton,[96] and k.d. lang. Lang later recounted how humbled Orbison had been by the display of support from so many talented and busy musicians: "Roy looked at all of us and said, 'If there is anything I can ever do for you, please call on me'. He was very serious. It was his way of thanking us. It was very emotional."[97] The concert was filmed in one take and aired on Cinemax under the title Roy Orbison and Friends: A Black and White Night; it was released on video by Virgin Records, selling 50,000 copies.[98]

text: Traveling Wilburys and Mystery Girl[edit]

text: It was also in 1988 that Orbison began collaborating seriously with Electric Light Orchestra bandleader Jeff Lynne on a new album. Lynne had just completed production work on George Harrison's Cloud Nine album, and all three ate lunch together one day when Orbison accepted an invitation to sing on a song of Harrison's new single.[99] They subsequently contacted Bob Dylan, who, in turn, allowed them to use a recording studio in his home. Along the way, Harrison made a quick visit to Tom Petty's residence to obtain his guitar; Petty and his band had backed Dylan on his last tour.[100] By that evening, the group had written "Handle with Care", which led to the concept of recording an entire album. They called themselves the Traveling Wilburys, representing themselves as half-brothers with the same father. They gave themselves stage names; Orbison chose his from his musical hero, calling himself "Lefty Wilbury" after Lefty Frizzell.[101] Expanding on the concept of a traveling band of raucous musicians, Orbison offered a quote about the group's foundation in honor: "Some people say Daddy was a cad and a bounder. I remember him as a Baptist minister."[102]

text: Lynne later spoke of the recording sessions: "Everybody just sat there going, 'Wow, it's Roy Orbison!'... Even though he's become your pal and you're hanging out and having a laugh and going to dinner, as soon as he gets behind that [mic] and he's doing his business, suddenly it's shudder time."[103] Orbison was given one solo track, "Not Alone Anymore", on the album. His contributions were highly praised by the press. Traveling Wilburys Vol. 1 spent 53 weeks on the US charts, peaking at number three. It reached No. 1 in Australia and topped out at No. 16 in the UK. The album won a Grammy for Best Rock Performance by a Duo or Group.[94] Rolling Stone included it in the top 100 albums of the decade.[104]

text: Orbison was in high demand for concerts and interviews once again, and was seemingly ecstatic about it. He began writing songs and collaborating with many musicians from his past and newer fans, to develop a solo album, Mystery Girl.

text: Mystery Girl was co-produced by Jeff Lynne, whom Orbison considered the best producer he had ever collaborated with.[105] Elvis Costello, Orbison's son Wesley and others offered their songs to him. The biggest hit from the album was "You Got It", written with Lynne and Tom Petty. It posthumously rose to No. 9 in the US and No. 3 in the UK.[4][52]

text: In 2014, a demo of Orbison's "The Way Is Love" was released as part of the 25th-anniversary deluxe edition of Mystery Girl. The song was originally recorded on a stereo cassette player around 1986. Orbison's sons contributed instrumentation on the track along with Roy's vocals; it was produced by John Carter Cash.[106]

text: Although the video for the Wilburys' "Handle with Care" was filmed with Orbison, the video for "End of the Line" was filmed and released posthumously. During Orbison's vocal parts in "End of the Line", the video shows a guitar in a rocking chair, next to Orbison's framed photo.

text: Death[edit]

text: Orbison determinedly pursued his second chance at stardom, but he expressed amazement at his success: "It's very nice to be wanted again, but I still can't quite believe it."[107] He lost some weight to fit his new image and the constant demand of touring, as well as the newer demands of making videos. In the final three months of his life, he gave Rolling Stone magazine extensive access to his daily activities; he intended to write an autobiography and wanted Martin Sheen to play him in a biopic.[108] In November 1988, Mystery Girl was completed, and Traveling Wilburys Vol. 1 was rising up the charts. Around this time, Orbison confided in Johnny Cash that he was having chest pains and said he would have to do something about his health, but he never did. He went to Europe, was presented with an award there, and played a show in Antwerp, where footage for the video for "You Got It" was filmed. He gave several interviews a day in a hectic schedule. A few days later, a manager at a club in Boston was concerned that he looked ill, but Orbison played the show, to another standing ovation.[109]

text: Orbison performed at the Front Row Theater in Highland Heights, Ohio, on December 4. Exhausted, he returned to his home in Hendersonville to rest for several days before flying again to London to film two more videos for the Traveling Wilburys. On December 6, he spent the day flying model airplanes with his sons and ate dinner at his mother's home in Hendersonville. Later that day, he died of a heart attack, at the age of 52.[110]

text: The tabloid National Enquirer suggested on its cover that Orbison had worked himself to death. A memorial was held in Nashville, and another in Los Angeles. He was buried at Westwood Village Memorial Park Cemetery[111][112][113] in an unmarked grave. On April 8, 1989, Orbison became the first deceased musician since Elvis Presley to have two albums in the US Top Five at the same time, with the Traveling Wilburys album at number 4 and his own Mystery Girl at number 5.[114] In the United Kingdom, he achieved even greater posthumous success, with two solo albums in the Top 3 in the chart dated February 11, 1989, Mystery Girl at number 2 and the compilation The Legendary Roy Orbison at number 3.[115]

text: Style and legacy[edit]

text:
"[Roy Orbison] was the true master of the romantic apocalypse you dreaded and knew was coming after the first night you whispered 'I Love You' to your first girlfriend. You were going down. Roy was the coolest uncool loser you'd ever seen. With his Coke-bottle black glasses, his three-octave range, he seemed to take joy sticking his knife deep into the hot belly of your teenage insecurities."

—Bruce Springsteen, 2012 SXSW Keynote Address[116]

tag: div

text: Orbison is regarded as a rock-and-roll pioneer and has been cited by numerous critics as one of the genre's most influential musicians, but his style is notable for how it departed from the norm.[citation needed] Rock and roll in the 1950s was defined by a driving backbeat, heavy guitars, and lyrical themes that glorified youthful rebellion.[117] Few of Orbison's recordings have these characteristics. The structure and themes of his songs defied convention, and his much-praised voice and performance style were unlike any other in rock and roll. Many of his contemporaries compared his music with that of classically trained musicians, although he never mentioned any classical music influences. Peter Lehman summarized it, writing, "He achieved what he did not by copying classical music but by creating a unique form of popular music that drew upon a wide variety of music popular during his youth."[118]

text: Songwriting[edit]

text: Structures[edit]

text: Music critic Dave Marsh wrote that Orbison's compositions "define a world unto themselves more completely than any other body of work in pop music".[119] Orbison's music, like the man himself, has been described as timeless, diverting from contemporary rock and roll and bordering on the eccentric, within a hair's breadth of being weird.[120] Peter Watrous, writing for the New York Times, declared in a concert review, "He has perfected an odd vision of popular music, one in which eccentricity and imagination beat back all the pressures toward conformity".[121]

text: In the 1960s, Orbison refused to splice edits of songs together and insisted on recording them in single takes with all the instruments and singers together.[122] The only convention Orbison followed in his most popular songs is the time limit for radio fare in pop songs. Otherwise, each seems to follow a separate structure. Using the standard thirty-two-bar form for verses and choruses, normal pop songs followed the verse-chorus-verse-chorus-bridge-verse-chorus structure. Where A represents the verse, B represents the chorus, and C the bridge, most pop songs can be represented by A-B-A-B-C-A-B, like "Ooby Dooby" and "Claudette". Orbison's "In Dreams" was a song in seven movements that can be represented as Intro-A-B-C-D-E-F; no sections are repeated. In "Running Scared", however, the entire song repeats to build suspense to a final climax, to be represented as A-A-A-A-B. "Crying" is more complex, changing parts toward the end to be represented as A-B-C-D-E-F-A-B'-C'-D'-E'-F'.[123] Although Orbison recorded and wrote standard structure songs before "Only the Lonely", he claimed never to have learned how to write them:[124]

text: I'm sure we had to study composition or something like that at school, and they'd say 'This is the way you do it,' and that's the way I would have done it, so being blessed again with not knowing what was wrong or what was right, I went on my own way....So the structure sometimes has the chorus at the end of the song, and sometimes there is no chorus, it just goes...But that's always after the fact—as I'm writing, it all sounds natural and in sequence to me."

text: Elton John's songwriting partner and main lyricist Bernie Taupin wrote that Orbison's songs always made "radical left turns", and k.d. lang declared that good songwriting comes from being constantly surprised, such as how the entirety of "Running Scared" eventually depends on the final note, one word.[125] Some of the musicians who worked with Orbison were confounded by what he asked them to do. The Nashville session guitarist Jerry Kennedy stated, "Roy went against the grain. The first time you'd hear something, it wouldn't sound right. But after a few playbacks, it would start to grow on you."[63]

text: Themes[edit]

text: Critic Dave Marsh categorizes Orbison's ballads into themes reflecting pain and loss, and dreaming. A third category is his uptempo rockabilly songs such as "Go! Go! Go!" and "Mean Woman Blues" that are more thematically simple, addressing his feelings and intentions in a masculine braggadocio. In concert, Orbison placed the uptempo songs between the ballads to keep from being too consistently dark or grim.[126]

text: In 1990, Colin Escott wrote an introduction to Orbison's biography published in a CD box set: "Orbison was the master of compression. Working the singles era, he could relate a short story, or establish a mood in under three minutes. If you think that's easy—try it. His greatest recordings were quite simply perfect; not a word or note surplus to intention."[6] After attending a show in 1988, Peter Watrous of The New York Times wrote that Orbison's songs are "dreamlike claustrophobically intimate set pieces".[121] Music critic Ken Emerson writes that the "apocalyptic romanticism" in Orbison's music was well-crafted for the films his songs appeared in the 1980s because the music was "so over-the-top that dreams become delusions, and self-pity paranoia", striking "a postmodern nerve".[127] Led Zeppelin singer Robert Plant favored American R&B music as a youth, but beyond the black musicians, he named Elvis and Orbison especially as foreshadowing the emotions he would experience: "The poignancy of the combination of lyric and voice was stunning. [Orbison] used drama to great effect and he wrote dramatically."[128]

text: The loneliness in Orbison's songs that he became most famous for, he both explained and downplayed: "I don't think I've been any more lonely than anyone else ... Although if you grow up in West Texas, there are a lot of ways to be lonely."[128] His music offered an alternative to the postured masculinity that was pervasive in music and culture. Robin Gibb of the Bee Gees stated, "He made emotion fashionable, that it was all right to talk about and sing about very emotional things. For men to sing about very emotional things... Before that no one would do it."[128] Orbison acknowledged this in looking back on the era in which he became popular: "When ["Crying"] came out I don't think anyone had accepted the fact that a man should cry when he wants to cry."[128] Peter Lehman, on the other hand, considered Orbison's theme of constant vulnerability an element of sexual masochism.[119]

text: Voice quality[edit]

text:
"What separates Orbison from so many other multi-octave-spanning power singers is that he can hit the biggest notes imaginable and still sound unspeakably sad at the same time. All his vocal gymnastics were just a means to a powerful end, not a mission unto themselves. Roy Orbison didn't just sing beautifully—he sang brokenheartedly."

—Stephen Thompson, NPR[129]

text: Orbison admitted that he did not think his voice was put to appropriate use until "Only the Lonely" in 1960, when it was able, in his words, to allow its "flowering".[130] Carl Perkins, however, toured with Orbison while they were both signed with Sun Records and recalled a specific concert when Orbison covered the Nelson Eddy and Jeanette MacDonald standard "Indian Love Call", and had the audience completely silenced, in awe.[131] When compared to the Everly Brothers, who often used the same session musicians, Orbison is credited with "a passionate intensity" that, according to The Rolling Stone Illustrated History of Rock and Roll, made "his love, his life, and, indeed, the whole world [seem] to be coming to an end—not with a whimper, but an agonized, beautiful bang".[33]

text: Bruce Springsteen and Billy Joel both commented on the otherworldly quality of Orbison's voice. Dwight Yoakam stated that Orbison's voice sounded like "the cry of an angel falling backward through an open window".[132] Barry Gibb of The Bee Gees went further to say that when he heard "Crying" for the first time, "That was it. To me that was the voice of God."[128] Elvis Presley stated his voice was the greatest and most distinctive he had ever heard.[133] Orbison's music and voice have been compared to opera by Bob Dylan, Tom Waits, and songwriter Will Jennings, among others.[134] Dylan marked Orbison as a specific influence, remarking that there was nothing like him on radio in the early 1960s:

text:
“
With Roy, you didn't know if you were listening to mariachi or opera. He kept you on your toes. With him, it was all about fat and blood. He sounded like he was singing from an Olympian mountaintop. [After "Ooby Dooby"] he was now singing his compositions in three or four octaves that made you want to drive your car over a cliff. He sang like a professional criminal ... His voice could jar a corpse, always leave you muttering to yourself something like, 'Man, I don't believe it'.[135]
”

text: Likewise, Tim Goodwin, who conducted the orchestra that backed Orbison in Bulgaria, had been told that Orbison's voice would be a singular experience to hear. When Orbison started with "Crying" and hit the high notes, Goodwin stated: "The strings were playing and the band had built up and, sure enough, the hair on the back of my neck just all started standing up. It was an incredible physical sensation."[136] Bassist Jerry Scheff, who backed Orbison in his A Black and White Night concert, wrote about him, "Roy Orbison was like an opera singer. His voice melted out of his mouth into the stratosphere and back. He never seemed like he was trying to sing, he just did it."[137]

text: Orbison's severe stage fright was particularly noticeable in the 1970s and early 1980s. During the first few songs in a concert, the vibrato in his voice was almost uncontrollable, but afterward, it became stronger and more dependable.[138] This also happened with age. Orbison noticed that he was unable to control the tremor in the late afternoon and evenings, and chose to record in the mornings when it was possible.

text: Performance[edit]

text: Orbison often excused his motionless performances by saying that his songs did not allow instrumental sections so he could move or dance on stage, although songs like "Mean Woman Blues" did offer that.[139] He was aware of his unique performance style even in the early 1960s when he commented, "I'm not a super personality—on stage or off. I mean, you could put workers like Chubby Checker or Bobby Rydell in second-rate shows and they'd still shine through, but not me. I'd have to be prepared. People come to hear my music, my songs. That's what I have to give them."[140]

text: Lang compared Orbison to a tree, with passive but solid beauty.[141] This image of Orbison as immovable was so associated with him it was parodied by John Belushi on Saturday Night Live, as Belushi dressed as Orbison falls over while singing "Oh, Pretty Woman", and continues to play as his bandmates set him upright again.[138] However, Lang quantified this style by saying, "It's so hard to explain what Roy's energy was like because he would fill a room with his energy and presence but not say a word. Being that he was so grounded and so strong and so gentle and quiet. He was just there."[128]

text: Orbison attributed his own passion during his performances to the period when he grew up in Fort Worth while the US was mobilizing for World War II. His parents worked in a defense plant and his father would bring a guitar in the evenings and their friends and relatives who had just joined the military would gather, and drink and sing heartily. Orbison later reflected, "I guess that level of intensity made a big impression on me, because it's still there. That sense of 'do it for all it's worth and do it now and do it good.' Not to analyze it too much, but I think the verve and gusto that everybody felt and portrayed around me has stayed with me all this time."[142]

text: Discography[edit]

text: Honors[edit]

text:
Grammys[94]

Best Country Performance Duo or Group (1980), with Emmylou Harris
Best Spoken Word or Non-Musical Recording (1986), with Johnny Cash, Carl Perkins, Jerry Lee Lewis, Sam Phillips, Rick Nelson and Chips Moman
Best Country Vocal Collaboration (1988), with k.d. lang
Best Rock Performance by a Duo or Group with Vocal (1989), as part of the Traveling Wilburys
Best Pop Vocal Performance, Male (1990)
Lifetime Achievement Award (1998)

Rock and Roll Hall of Fame (1987)[39]
Nashville Songwriters Hall of Fame (1987)[124]
Songwriters Hall of Fame (1989)[143]
Star on the Hollywood Walk of Fame (2010)[144]
America's Pop Music Hall of Fame (2014)
Memphis Music Hall of Fame (2017)

tag: ul


document_title: Time in New Zealand

question_text: when was daylight saving introduced in new zealand

root

text: Time in New Zealand

text: History[edit]

text: On 2 November 1868, New Zealand officially adopted a standard time to be observed nationally, and was perhaps the first country to do so. It was based on longitude 172° 30′ East of Greenwich, 11 1⁄2 hours ahead of Greenwich Mean Time (GMT).[4] This standard was known as New Zealand Mean Time (NZMT).[5]

tag: p

text: In 1941, during the Second World War, clocks were advanced half an hour, making New Zealand 12 hours ahead of GMT. This change was made permanent from 1946 by the Standard Time Act 1945,[6] at which the time at the 180°E meridian was made the basis for New Zealand Time.[7] NZST remained half an hour ahead of NZMT, and the Chatham Islands 45 minutes ahead of NZST.

text: In the late 1940s the atomic clock was developed and several laboratories began atomic time scales. A new time scale known as Coordinated Universal Time (UTC) was adopted internationally in 1972.[8] This was based on the readings of atomic clocks, updated periodically in accordance with time variations in the Earth's rotation by the addition or deletion of seconds (called leap seconds). The Time Act 1974 defines New Zealand Standard Time as 12 hours in advance of UTC.[9]

text: In 2011, the New Zealand dependency of Tokelau moved its time zone forward by 24 hours, by skipping 30 December.[10]

text: Daylight saving time (DST)[edit]

text: Starting in 1909, the Honourable Sir Thomas Kay Sidey annually put forward a bill to advance the clocks an hour from September to the following March and The Summer Time Act 1927 succeeded: first Sunday in November to the first Sunday in March. This proved unpopular so The Summer Time Act 1928 revised this to a half-hour shift from 14 October 1928 (second Sunday) to 17 March 1929 (third Sunday), then The Summer Time Act 1929 fixed this half-hour shift to run from the second Sunday in October to the third Sunday in March.  In 1933, the period was extended from the first Sunday in September to the last Sunday in April. This continued until the Second World War, when emergency regulations in 1941 extended daylight saving to cover the whole year with annual re-applications until the Standard Time Act of 1945 made the abandonment of NZMT permanent in 1946, so that 180° becomes the base longitude and what was called NZ Summer Time (NZST) became NZ Standard Time.

text: The Time Act 1974 empowered the Governor-General to declare by Order in Council a period when daylight saving time is to be observed.[9] This was a one-hour shift (on top of the earlier half hour shift) from the first Sunday in November to the last Sunday in February, promptly changed the next year by The New Zealand Time Order 1975 which fixed the period of observance from the last Sunday in October to the first Sunday in March.

text: In 1985 a comprehensive survey was undertaken by the Department of Internal Affairs. Public attitudes towards NZDT (New Zealand Daylight Time) and its effects on work, recreation and particular groups of people in society were surveyed. The survey indicated that 76.2% of the population wanted NZDT either continued or extended.[11]

text: The survey also concluded that opinion on the topic differed little between sexes, and that support for NZDT was generally higher in urban centres. Daylight saving was famously opposed in the small Northland dairy farming community of Ararua,[12] which refused to adjust its clocks for some years. Support for shortening or abolishing NZDT was always in the minority in the areas surveyed.

text: As a consequence of the survey and further feedback from the public, in 1988 the Minister of Internal Affairs arranged for a trial period of extended NZDT to be held from the second Sunday in October 1989 to the third Sunday in March 1990. The Minister invited the public to write to him with their views on the five-week extension.[11]

text: The Daylight Time Order 1990 declared that NZDT would run from 2 am NZST on the first Sunday in October to 3 am NZDT on the third Sunday in March.[6]

text: On 30 April 2007 the government announced that it had extended the daylight saving period from 24 to 27 weeks.[13] From September 2007, daylight saving is now observed from the last Sunday in September until the first Sunday in April. From 30 April 2007, DST begins at 02:00 NZST on the last Sunday in September each year, and ends at 03:00 NZDT (or 02:00 NZST as defined in the Time Act 1974) on the first Sunday in April.

text: New Zealand time, including DST, is used by several Antarctic bases that are supplied from New Zealand. This results in the oddity that the Amundsen–Scott South Pole Station sets its clocks an hour further ahead during the southern summer, when the sun is constantly above the horizon, than in the southern winter, when the sun is constantly below the horizon. The extreme geographic position of the base means that no possible adjustment of the daily activity cycle can have any effect on the amount of sunlight received during those activities. However, the arrangement presumably makes real time communications with New Zealand more practical, particularly in dealing with offices.

text: The New Zealand dependencies of Cook Islands, Tokelau and Niue do not maintain DST. Two of them are the other side of the International Date Line and have 22–24 hours time difference to New Zealand.

text: Standards[edit]

text: New Zealand standard time is maintained by the Measurement Standards Laboratory (MSL), part of New Zealand Government. New Zealand standard time is based on Co-ordinated Universal Time (UTC). UTC (MSL) is kept within 200 nanoseconds of the international atomic time scale maintained by the International Bureau of Weights and Measures in Paris.[8]

text: It is disseminated by various means, including time pips broadcast on Radio New Zealand,[14], speaking clock and Network Time Protocol.[15]

text: Dependencies and associated states[edit]

text:
Time zone
Standard Time
Daylight Time

Tokelau
UTC+13:00

Cook Islands
UTC−10:00

Niue
UTC−11:00

Ross Dependency
UTC+12:00
UTC+13:00

tag: table

text: There are dependencies of New Zealand in the Pacific Ocean, in three different time zones, two of them on the other side of the International Date Line:

text:
The Cook Islands are in the UTC−10:00 time zone /Military W (Whiskey)[1] and do not observe daylight saving time. Clocks in the Cook Islands are 22 or 23 hours behind New Zealand: at noon on Thursday in New Zealand, it is 1 pm or 2 pm on Wednesday in the Cook Islands.
Niue is in the UTC−11:00 time zone /Military X (X-ray)[1] and does not observe daylight saving time. Clocks in Niue are 23 or 24 hours behind New Zealand: at noon on Thursday in New Zealand, it is noon or 1 pm on Wednesday in Niue.
Tokelau is in the UTC+13:00 time zone[16] /Military M′ (Mike Prime)[1] and does not observe daylight saving time. Clocks in Tokelau are set to the same time as or 1 hour ahead of New Zealand: at noon on Thursday in New Zealand, it is noon or 1 pm on Thursday in Tokelau.

text: The Ross Dependency, McMurdo Station and the Amundsen–Scott South Pole Station in Antarctica maintain NZST/NZDT.[17]


document_title: Supreme Court of India

question_text: who appoints judges of supreme court and high court

question_tokens: who appoints judges of supreme court and high court

text: Supreme Court of India

text: History[edit]

text: In 1861 the Indian High Courts Act 1861 was enacted to create high courts for various provinces and abolished supreme courts at Calcutta, Madras and Bombay and also the sadar adalats in presidency towns which had acted as the highest court in their respective regions. These new high courts had the distinction of being the highest courts for all cases till the creation of Federal Court of India under the Government of India Act 1935. The Federal Court had jurisdiction to solve disputes between provinces and federal states and hear appeal against judgements of the high courts. The first CJI of India was H.J.Kania.[4]

text: The Supreme Court of India came into being on 28 January 1950.[5] It replaced both the Federal Court of India and the Judicial Committee of the Privy Council which were then at the apex of the Indian court system.

text: Supreme court initially had its seat at Chamber of Princes in the parliament building where the previous Federal Court of India sat from 1937 to 1950. The first Chief Justice of India was Sir H J Kania. In 1958, the supreme court moved to its present premises.[5] Originally, the Constitution of India envisaged a supreme court with a chief justice and seven judges; leaving it to parliament to increase this number.[6] In formative years, the supreme court met from 10 to 12 in the morning and then 2 to 4 in the afternoon for 28 days in a month.[7]

text: Court building architecture[edit]

text: The building is shaped to symbolize scales of justice with its centre-beam being the Central Wing of the building comprising the chief justice’s court, the largest of the courtrooms, with two court halls on either side. The Right Wing of the structure has the bar – room, the offices of the Attorney General of India and other law officers and the library of the court. The Left Wing has the offices of the court. In all, there are 15 courtrooms in the various wings of the building.[4][5][8]

text: The foundation stone of the supreme court's building was laid on 29 October 1954 by Dr. Rajendra Prasad, the first President of India. The main block of the building has been built on a triangular plot of 17 acres and has been designed in an Indo-British style by the chief architect Ganesh Bhikaji Deolalikar, the first Indian to head the Central Public Works Department.It has a 27.6 m (90 ft 7 in) high dome and a spacious colonnaded verandah. The Court moved into the building in 1958. In 1979, two new wings – the East Wing and the West Wing – were added to the complex. 1994 saw the last extension.[5]

text: Mother and Child Sculpture[edit]

text: On 20 February 1980, a black bronze sculpture of 210 cm (6 ft 11 in) height was installed in the lawn of the supreme court. It portrays Mother India in the form of the figure of a lady, sheltering the young Republic of India represented by the symbol of a child, who is upholding the laws of land symbolically shown in the form of an open book. On the book, a balance beam is shown, which represents dispensation of equal justice to all. The sculpture was made by the renowned artist Chintamoni Kar. The sculpture is just behind the statue of Mahatma Gandhi.

text: Seal[edit]

text: The design of the Court's seal is reproduced from the wheel that appears on the abacus of the Sarnath Lion capital of Asoka with 24 spokes. The inscription in Sanskrit, यतो धर्मस्ततो जयः (IAST: Yato Dharmastato Jayaḥ, means "whence law (dharma), thence victory". It is also referred to – as the wheel of righteousness, encompassing truth, goodness and equity.[4]

text: Constitution of the court[edit]

text: Registry[edit]

text: The registry of the supreme court is headed by the Secretary-General who is assisted by 8 registrars, several additional and deputy registrars, etc., with 1770 employees in all (221 gazetted officers, 805 non-gazetted and 744 Class IV employees)[9] Article 146 of the constitution deals with the appointments of officers and servants of the supreme court registry.[10][11]

text: Supreme court advocates[edit]

text: Supreme Court Rules, 2013 entitle only those advocates who are registered with the supreme court, called 'advocates-on-record' to appear, act and plead for a party in the court.[12] Those advocates who are designated as 'senior advocates' by the supreme court or any of the high courts can appear for clients along with an advocate-on-record. Any other advocate can appear for a party along with or under instructions from an advocate-on-record.

text: Composition[edit]

text: Size of the court[edit]

text: Initially the Constitution of India provided for a supreme court with a chief justice and 7 judges. In the early years, a full bench of the supreme court sat together to hear the cases presented before them. As the work of the Court increased and cases began to accumulate, parliament increased the number of judges from the original 8 in 1950 to 10 in 1956, 13 in 1960, 17 in 1977, 26 in 1986 and 31 in 2008 (current strength). As the number of the judges has increased, they sit in smaller benches of two or three (referred to as a division bench) [13]— coming together in larger benches of five or more (referred to as a constitution bench) when required to settle fundamental questions of law. A bench may refer a case before it to a larger bench, should the need arise.[14]

text: Eligibility of a judge of the Supreme Court[edit]

text: A citizen of India not exceeding 65 years age per Article 124 of the constitution who has been

text:
a judge of one high court or more (continuously), for at least five years, or
an advocate there, for at least ten years, or
a distinguished jurist, in the opinion of the president,power conferred by clause(2) of article 124 of the Constitution of India

text: is eligible to be recommended for appointment, a judge of the supreme court.[15]

text: Court demographics[edit]

text: I am proud to be an Indian. India is the only country where a member of the minority Parsi community with a  population of 1,67,000, like myself, can aspire to attain the post of the Chief Justice of India. These things do not happen in our neighbouring countries.

text: In practice, judges of the supreme court have been selected so far, mostly from amongst judges of the high courts. Barely seven justices — S. M. Sikri, S. Chandra Roy, Kuldip Singh, Santosh Hegde, R. F. Nariman, U. U. Lalit, L. Nageswara Rao and  Indu Malhotra— have been appointed to the supreme court directly from the bar (i.e. who were practising advocates).[18][19]

text: The supreme court saw its first woman judge when Justice M. Fathima Beevi was sworn into office in 1989.[20] The seventh and the most recent woman judge in the court is Justice Indu Malhotra.[21][22] In 1968, Justice Mohammad Hidayatullah became the first Muslim Chief Justice of India. In 2000, Justice K. G. Balakrishnan became the first judge from the dalit community. In 2007 he also became the first dalit Chief Justice of India. In 2010, Justice S. H. Kapadia coming from a Parsi minority community became the Chief Justice of India.[16][23] In 2017, Justice Jagdish Singh Khehar became the first Sikh Chief Justice of India. Indu Malhotra is the first women justice to be selected directly from bar.

text: Judicial independence[edit]

text: The constitution seeks to ensure the independence of supreme court judges in various ways. Per Article 50 of directive principles of state policy, the state shall take steps to separate the judiciary from the executive. Independence of the judiciary, the supremacy of the constitution and rule of law are the features of the basic structure of the constitution. Supreme court and high courts are empowered to frame suo moto cases without receiving the formal petitions/complaints on any suspected injustice including actions/acts indulging in contempt of court and contempt of the constitution by the executive, legislators, citizens, etc.[24] The main purpose of supreme court is to decide constitutional issues.[25] It is the duty of the judiciary to frame suo moto cases or to probe the cases/petitions at the earliest against the executive or legislature when laws are implemented violating the basic foundation and basic structure of the constitution as the Article 38 (1) of directive principles ensures that the state / judiciary shall strive to promote the welfare of the people by securing a social order in which social, economic and political justice is animated/informed in all institutions of life.[26]

text: Dr. Ambedkar clarified as given below in the Constituent Assembly debates on Article 38 (1) high lighting its inevitable implementation.

text: ... The word 'strive' which occurs in the Draft Constitution, in judgement, is very important. We have used it because our intention is even when there are circumstances which prevent the Government, or which stand in the way of the Government giving effect to these Directive Principles, they shall, even under hard and unpropitious circumstances, always strive in the fulfilment of these Directives. That is why we have used the word 'strive'. Otherwise, it would be open for any Government to say that the circumstances are so bad, that the finances are so inadequate that we cannot even make an effort in the direction in which the Constitution asks us to go.

text: Appointments and the Collegium[edit]

text: As per the constitution, as held by the court in the Three Judges Cases – (1982, 1993, 1998), a judge is appointed to the supreme court by the president on the recommendation of the collegium  — a closed group of the Chief Justice of India, the four most senior judges of the court and the senior-most judge hailing from the high court of a prospective appointee.[27] This has resulted in a Memorandum of Procedure being followed, for the appointments.

text: Judges used to be appointed by the President on the advice of the Union Cabinet. After 1993 (the Second judges' Case), no minister, or even the executive collectively, can suggest any names to the President,[28][29] who ultimately decides on appointing them from a list of names recommended only by the collegium of the judiciary. Simultaneously, as held in that judgment, the executive was given the power to reject a recommended name. However, according to some,[who?] the executive has not been diligent in using this power to reject the names of bad candidates recommended by the judiciary.[30][31][32]

text: The collegium system has come under a fair amount of criticism.[29] In 2015, the parliament passed a law to replace the collegium with a National Judicial Appointments Commission (NJAC). This was struck down as unconstitutional by the supreme court, in the Fourth judges' Case, as the new system would undermine the independence of the judiciary.[33] Putting the old system of the collegium back, the court invited suggestions, even from the general public, on how to improve the collegium system, broadly along the lines of — setting up an eligibility criteria for appointments, a permanent secretariat to help the collegium sift through material on potential candidates, infusing more transparency into the selection process, grievance redressal and any other suggestion not in these four categories, like transfer of judges.[34] This resulted in the court asking the government and the collegium to finalize the memorandum of procedure incorporating the above.[35]

text: Once, in 2009, the recommendation for the appointment of a judge of a high court made by the collegium of that court, had come to be challenged in the supreme court. The court held that who could become a judge was a matter of fact, and any person had a right to question it. But who should become a judge was a matter of opinion and could not be questioned. As long as an effective consultation took place within a collegium in arriving at that opinion, the content or material placed before it to form the opinion could not be called for scrutiny in court.[36]

text: Tenure[edit]

text: Supreme court judges retire at the age of 65. However, there have been suggestions from the judges of the Supreme Court of India to provide for a fixed term for the judges including the Chief Justice of India.[37]

text: Salary[edit]

text: Article 125 of the Indian constitution leaves it to the Indian parliament to determine the salary, other allowances, leave of absence, pension, etc. of the supreme court judges. However, the parliament cannot alter any of these privileges and rights to the judge's disadvantage after his/her appointment.[38] A judge of the supreme court draws a salary of ₹250,000 (US$3,600) per month, equivalent to the Cabinet Secretary of India, while the chief justice earns ₹280,000 (US$4,100) per month.[39]

text: Oath of affirmation[edit]

text: As Per Article 124 and third Schedule of the constitution, the chief justice (or a judge) of the Supreme Court of India is required to make and subscribe in the presence of the President an oath or affirmation that he/she

text: will bear true faith and allegiance to the Constitution of India as by law established, that I will uphold the sovereignty and integrity of India, that I will duly and faithfully and to the best of my ability, knowledge and judgement perform the duties of my office without fear or favour, affection or ill-will and that I will uphold the Constitution and the laws.

text: Removal[edit]

text: Per Article 124(4) of the constitution, President can remove a judge on proved misbehaviour or incapacity when parliament approves with a majority of the total membership of each house in favour of impeachment and not less than two thirds of the members of each house present. For initiating impeachment proceedings against a judge, at least 50 members of Rajya Sabha or 100 members of Lok Sabha shall issue the notice as per judges (inquiry) act,1968.[40] Then a judicial committee would be formed to frame charges against the judge, to conduct the fair trial and to submit its report to parliament. When the judicial committee report finds the judge guilty of misbehaviour or incapacity, further removal proceedings would be taken up by the parliament if the judge is not resigning himself.[41][42][43]

text: The judge upon proven guilty is also liable for punishment as per applicable laws or for contempt of the constitution by breaching the oath under disrespecting constitution[44]

text: Post-retirement[edit]

text: A Person who has retired as a judge of the supreme court is debarred from practicing in any court of law or before any other authority in India.

text: Review petition[edit]

text: Article 137 of the Constitution of India lays down provision for the power of the supreme court to review its own judgements. As per this Article, subject to the provisions of any law made by parliament or any rules made under Article 145, the supreme court shall have power to review any judgment pronounced or order made by it.[45]

text: Under Order XL of the supreme court Rules, that have been framed under its powers under Article 145 of the constitution, the supreme court may review its judgment or order but no application for review is to be entertained in a civil proceeding except on the grounds mentioned in Order XLVII, Rule 1 of the Code of Civil Procedure.

text: Powers to punish for contempt[edit]

text: Under Articles 129 and 142 of the constitution the supreme court has been vested with power to punish anyone for contempt of any court in India including itself. The supreme court performed an unprecedented action when it directed a sitting Minister of the state of Maharashtra, Swaroop Singh Naik,[46] to be jailed for 1-month on a charge of contempt of court on 12 May 2006. This was the first time that a serving Minister was ever jailed.[47][48]

text: Rules[edit]

text: The Constitution of India under Article 145 empowers the supreme court to frame its own rules for regulating the practice and procedure of the Court as and when required (with the approval of the President of India). Accordingly, "supreme court Rules, 1950" were framed. The 1950 Rules were replaced by the supreme court Rules, 1966.[49] In 2014, supreme court notified the supreme court Rules, 2013 replacing the 1966 Rules effective from 19 August 2014.[12]

text: Roster system[edit]

text: The supreme court decided to follow a new roster system from February 5, 2018 for allocation of matters to judges. Under the new roster system, the CJI will hear all special leave petitions (SLPs), and matters related to public interest, social justice, elections, arbitration, and criminal matters, among others. The other collegium/senior judges to hear matters related to labour disputes, taxation matters, compensation matters, consumer protection matters, maritime law matters, mortgage matters, personal law matters, family law matters, land acquisition matters, service matters, company matters etc.[50]

text: Reporting and citation[edit]

text: Supreme court Reports is the official journal of reportable supreme court decisions. It is published under the authority of the Supreme Court of India by the Controller of Publications, Government of India, Delhi.[51] In addition, there are many other reputed private journals that report supreme court decisions. Some of these other important journals are: SCR (The supreme court Reports), SCC(supreme court Cases), AIR (All India Reporter), SCALE, etc.

text: Right to Information[edit]

text: In the year 2010, the supreme court filed an appeal before itself challenging the judgement of the Delhi high court holding that the office of the chief justice of India came under the ambit of the RTI Act and was liable to reveal information under it.[52] Though the supreme court is in favour of bringing CJI office under RTI act, the judgement of the pending case is not yet pronounced.[53][54]

text: Facilities on the campus[edit]

text: Legal-aid,[55][56][57] court-fee vendors, first-aid post, dental clinic, physiotherapy unit and pathology lab; rail-reservation counter, canteen, post office and a branch and 3 ATMs of UCO Bank, supreme court Museum[9] can be availed by litigants and visitors.

text: Landmark judgments[edit]

text: Land reform[edit]

text: After some of the courts overturned state laws for redistributing land from zamindar (landlord) estates on the ground that the laws violated the zamindars' fundamental rights, the parliament passed the 1st amendment to the constitution in 1951, followed by the 4th amendment in 1955, to uphold its authority to redistribute land. The supreme court countered these amendments in 1967 when it ruled in Golaknath v. State of Punjab[58] that the parliament did not have the power to abrogate fundamental rights, including the provisions on private property. The 25th amendment to the constitution in 1971 curtailed the right of a citizen to property as a fundamental right and gave authority to the government to infringe private property, which led to a furor amongst the zamindars.

text: Emergency (1975–1977)[edit]

text: The independence of judiciary was severely curtailed[59] during the Indian Emergency (1975–1977) of Indira Gandhi. The constitutional rights of imprisoned persons were restricted under Preventive detention laws passed by the parliament. In the case of Shiva Kant Shukla Additional District Magistrate of Jabalpur v. Shiv Kant Shukla, popularly known as the Habeas Corpus case, a bench of five senior-most judges of supreme court ruled in favour of state's right for unrestricted powers of detention during the emergency. Justices A.N. Ray, P. N. Bhagwati, Y. V. Chandrachud, and M.H. Beg, stated in the majority decision:[60]

text: The only dissenting opinion was from Justice H. R. Khanna, who stated:

text: It is believed that before delivering his dissenting opinion, Justice Khanna had mentioned to his sister: "I have prepared my judgment, which is going to cost me the Chief Justice-ship of India."[61] In January 1977, Justice Khanna was superseded despite being the most senior judge at the time and thereby Government broke the convention of appointing only the senior most judge to the position of Chief Justice of India. Justice Khanna remains a legendary figure among the legal fraternity in India for this decision.

text: The New York Times, wrote of this opinion: "The submission of an independent judiciary to absolutist government is virtually the last step in the destruction of a democratic society; and the Indian supreme court's decision appears close to utter surrender."

text: During the emergency period, the government also passed the 39th amendment, which sought to limit judicial review for the election of the prime minister; only a body constituted by parliament could review this election.[62] Subsequently, the parliament, with most opposition members in jail during the emergency, passed the 42nd Amendment which prevented any court from reviewing any amendment to the constitution with the exception of procedural issues concerning ratification. A few years after the emergency, however, the supreme court rejected the absoluteness of the 42nd amendment and reaffirmed its power of judicial review in the Minerva Mills case (1980).

text: Post-1980: an assertive court[edit]

text: After Indira Gandhi lost elections in 1977, the new government of Morarji Desai, and especially law minister Shanti Bhushan (who had earlier argued for the detenues in the Habeas Corpus case), introduced a number of amendments making it more difficult to declare and sustain an emergency, and reinstated much of the power to the supreme court. It is said that the Basic Structure doctrine, created in Kesavananda Bharati v. State of Kerala, was strengthened in Indira Gandhi's case and set in stone in Minerva Mills v. Union of India.[63]

text: The supreme court's creative and expansive interpretations of Article 21 (Life and Personal Liberty), primarily after the Emergency period, have given rise to a new jurisprudence of public interest litigation that has vigorously promoted many important economic and social rights (constitutionally protected but not enforceable) including, but not restricted to, the rights to free education, livelihood, a clean environment,[64] food and many others. Civil and political rights (traditionally protected in the Fundamental Rights chapter of the Indian constitution) have also been expanded and more fiercely protected. These new interpretations have opened the avenue for litigation on a number of important issues.

text: Recent important cases[edit]

text: Among the important pronouncements of the supreme court post 2000 is the Coelho case I.R. Coelho v. State of Tamil Nadu (Judgment of 11 January 2007). A unanimous bench of 9 judges reaffirmed the basic structure doctrine. It held that a constitutional amendment which entails violation of any fundamental rights which the Court regards as forming part of the basic structure of the constitution, then the same can be struck down depending upon its impact and consequences. The judgment clearly imposes further limitations on the constituent power of parliament with respect to the principles underlying certain fundamental rights. The judgment in Coelho has in effect restored the decision in Golak Nath regarding non-amendability of the constitution on account of infraction of fundamental rights, contrary to the judgment in the Kesavananda Bharati case.

text: Another important decision was of the five-judge bench in Ashoka Kumar Thakur v. Union of India; where the constitutional validity of Central Educational Institutions (Reservations in Admissions) Act, 2006 was upheld, subject to the "creamy layer" criteria. Importantly, the Court refused to follow the 'strict scrutiny' standards of review followed by the United States supreme court. At the same time, the Court has applied the strict scrutiny standards in Anuj Garg v. Hotel Association of India (2007) ([1])a

text: 2G spectrum case[edit]

text: The supreme court declared allotment of spectrum as "unconstitutional and arbitrary" and quashed all the 122 licenses issued in 2008 during tenure of A. Raja (then minister for communications & IT), the main official accused in the 2G case.[65]

text: Black money[edit]

text: The government refused to disclose details of about 18 Indians holding accounts in LGT Bank, Liechtenstein, evoking a sharp response from a bench comprising justices B Sudershan Reddy and S S Nijjar. The court ordered Special investigation team (SIT) to probe the matter.[66][67] Lack of enthusiasm made the court create a special investigative team (SIT).[68]

text: Minority reservations[edit]

text: The supreme court refused to stay the Andhra Pradesh High Court judgement quashing 4.5% sub-quota for minorities under OBC reservation quota of 27%.[69]

text: Online/postal ballot for Indian citizen living abroad (NRIs)[edit]

text: Three judge bench presided by chief justice, Justice Altamas Kabir issued notice to the Centre and the Election Commission of India (EC) on the PIL filed by a group of NRIs for online/postal ballot for the Indian citizens living abroad.[70][71]

text: T. S. R. Subramanian vs. Union of India[edit]

text: While hearing T.S.R. Subramanian vs Union of India, a division bench of the supreme court ruled that—

text:
Officers of the Indian Administrative Service (IAS), officers other All India Services, and other civil servants not required to follow oral instructions, as they 'undermine credibility'.[72][73][74][75]
Civil Services Board (CSB), headed by the Cabinet Secretary at national level, and Chief Secretary at state level, be set up to recommend transfer/postings of the officers of the All India Services (IAS, IFoS and IPS).[76][77][78][79]
Transfers of Group 'B' officers to be done by Head of Department (HoDs).[80][81]
No interference of Ministers in state, other than the Chief Minister, in transfer/postings of civil servants.[80][81]

text: These rulings were received mostly positively, and were termed as a 'major reform'.[73][75][76][82][83]

text: Recognition of transgender as 'third gender' in law[edit]

text: In April 2014, Justice K. S. Radhakrishnan declared transgender to be the 'third gender' in Indian law, in the case, National Legal Services Authority v. Union of India.[84][85][86] The ruling said:[87]

text:
Seldom, our society realises or cares to realise the trauma, agony and pain which the members of Transgender community undergo, nor appreciates the innate feelings of the members of the Transgender community, especially of those whose mind and body disown their biological sex. Our society often ridicules and abuses the Transgender community and in public places like railway stations, bus stands, schools, workplaces, malls, theatres,
hospitals, they are sidelined and treated as untouchables, forgetting the fact that the moral failure lies in the society's unwillingness to contain or embrace different gender identities and expressions, a mindset which we have to change.

text: Justice Radhakrishnan said that transgender people should be treated consistently with other minorities under the law, enabling them to access jobs, healthcare and education.[88] He framed the issue as one of human rights, saying that, "These TGs, even though insignificant in numbers, are still human beings and therefore they have every right to enjoy their human rights", concluding by declaring that:[87]

text:
(1) Hijras, eunuchs, apart from binary gender, be treated as "third gender" for the purpose of safeguarding their
rights under Part III of our constitution and the laws made by the parliament and the State Legislature.

text: (2) Transgender persons' right to decide their self-identified gender is also upheld and the Centre and State Governments are directed to grant legal recognition of their gender identity such as male, female or as third gender.

text: Relief to over 35,000 public servants[edit]

text: In B.Prabhakara Rao vs. State of A.P. involved sudden reduction in age of superannuation from 58 years to 55 years of over 35,000 public servants of State Government, public sector undertakings, statutory bodies, educational institutions and Tirupathi-Tirumalai Devasthanams (TTD). They lost first round of litigation in the supreme court. Realising the mistake, fresh legislation was brought restoring the original age of superannuation of 58 years but providing that the benefit of new legislation would not extend to those whose reduction of age of superannuation had been upheld. In challenge to this law, Subodh Markandeya argued that all that was required was to strike down naughty “not” – which found favour with the supreme court bringing relief to over 35,000 public servants.

text: Criticism[edit]

text: Corruption[edit]

text: The year 2008 saw the supreme court embroiled in several controversies, from serious allegations of corruption at the highest level of the judiciary,[89] expensive private holidays at the tax payers expense,[90] refusal to divulge details of judges' assets to the public,[91] secrecy in the appointments of judges',[92] to refusal to make information public under the Right to Information Act.[93] The chief justice K. G. Balakrishnan invited a lot of criticism for his comments on his post not being that of a public servant, but that of a constitutional authority.[94] He later went back on this stand.[95] The judiciary has come in for serious criticisms from former presidents Pratibha Patil and A. P. J. Abdul Kalam for failure in handling its duties.[96] Former prime minister Manmohan Singh, has stated that corruption is one of the major challenges facing the judiciary, and suggested that there is an urgent need to eradicate this menace.[97]

text: The Cabinet Secretary of India introduced the judges Inquiry (Amendment) Bill 2008 in parliament for setting up of a panel called the National Judicial Council, headed by the Chief Justice of India, that will probe into allegations of corruption and misconduct by High Court and supreme court judges.[98][99]

text: Pending cases[edit]

text: According to supreme court newsletter, there are 58,519 cases pending in the supreme court, out of which 37,385 are pending for more than a year, at the end of 2011. Excluding connected cases, there are still 33,892 pending cases.[100] As per the latest pendency data made available by the supreme court, the total number of pending cases in the supreme court as on 1 November 2017 is 55,259 which includes 32,160 admission matters (miscellaneous) and 23,099 regular hearing matters.[101] In May, 2014, former Chief Justice of India, Justice R.M. Lodha, proposed to make Indian judiciary work throughout the year (instead of the present system of having long vacations, specially in the higher courts) in order to reduce pendency of cases in Indian courts; however, as per this proposal there is not going to be any increase in the number of working days or working hours of any of the judges and it only meant that different judges would be going on vacation during different periods of the year as per their choice; but, the Bar Council of India rejected this proposal mainly because it would have inconvenienced the advocates who would have to work throughout the year.[102] More over, various time frames specified in 'code of civil procedure' are also diluted by supreme court judgements to give the courts right to endlessly adjourn the cases.[103][104]

text: Rule of law[edit]

text: Supreme court has not taken up the trail of many pending cases, since April 2014 (more than three years), challenging the validity of the Andhra Pradesh Reorganisation Act, 2014 which was enacted by the parliament without following the stipulated procedure in the constitution and is claimed detrimental to the basic foundation of the constitution on which the basic structure of the constitution is resting.[105] The basic foundation of the constitution is the dignity and the freedom of its citizens which is of supreme importance and can not be destroyed by any legislation of the parliament.[106] Whereas the fair trial to examine the validity of the ninety-ninth constitutional amendment dated 31 December 2014, to form National Judicial Appointments Commission for the purpose of appointing the judges of the supreme court and high courts, was conducted on utmost priority and supreme court delivered its judgement on 16 October 2015 (within a year) quashing the constitutional amendment as unconstitutional and ultra virus stating the said amendment is interfering with the independence of the judiciary.[107] Disposal of the various petitions filed against Andhra Pradesh Reorganisation Act, 2014 is also equally important as it has alienated the basic rights of a vast section of Indian citizens and also against federal character of the constitution which is part of the basic structure of the constitution. Supreme court is also wasting its valuable time by not taking up the case in toto but conducted a piecemeal trail by delivering its judgement to dispose the petitions related with apportionment of assets between the newly formed states Telangana and Andhra Pradesh.[108] Supreme court is also conducting piecemeal trail of the petitions filed by the states regarding water sharing of rivers and bifurcation of the common high court without considering the earlier pending petitions challenging the validity of the Andhra Pradesh Reorganisation Act, 2014 which is the basic cause of all these disputes.[109][110] Under checks and balances as provided in the constitution, it is the duty of the judiciary/supreme court to establish the rule of law at the earliest by rectifying any misuse of the constitution by the parliament and the executive without colluding with them and to remove perceptions of people that rule of law is side lined and a section of its citizens are subjected to discrimination.[111][112]

text: Four judges vs chief justice[edit]

text: On 12 January 2018, four senior judges of the supreme court; Jasti Chelameswar, Ranjan Gogoi, Madan Lokur and Kurian Joseph addressed a press conference criticizing Chief Justice Dipak Misra's style of administration and the manner in which he allocated cases among judges of the supreme court. However, people close to Misra refuted the allegations that allocation of cases was unfair.[113] On 20 April 2018, seven opposition parties submitted a petition seeking impeachment of Dipak Misra to the Vice President Venkaiah Naidu, with signatures from seventy-one parliamentarians.[114] On 23 April 2018, the petition was rejected by Vice President Venkaiah Naidu, primarily on the basis that the complaints were about administration and not misbehaviour, and that thus impeachment would seriously interfere with the constitutionally protected independence of the judiciary.[115][116][117]


document_title: Upper Middle Bogan

question_text: who plays margaret denyar in upper middle bogan

text: Upper Middle Bogan

text: Synopsis[edit]

text: Upper Middle Bogan follows the story of two different families connected by blood. Bess Denyar is a doctor who lives in a nice house in an inner city suburb of Melbourne with her architect husband Danny and 13-year-old twins Oscar and Edwina. Bess is stunned when she finds out from blood test results that she is adopted. This occurs when her overbearing posh mother Margaret is admitted to the hospital for low blood sugar levels. Bess tries to meet her birth parents, Wayne and Julie Wheeler. She is shocked to learn that she has three siblings (Amber, Kayne and Brianna) and that her biological family, the "bogan" Wheelers, head a drag racing team in the outer suburbs of the city.[2]

text: Cast and characters[edit]

text: Main[edit]

text:
Annie Maynard as Bess Denyar
Robyn Nevin as Margaret Denyar
Patrick Brammall as Danny Bright
Glenn Robbins as Wayne Wheeler
Robyn Malcolm as Julie Wheeler
Michala Banas as Amber Wheeler
Madeleine Jevic as Brianna Wheeler
Rhys Mitchell as Kayne Wheeler
Harrison Feldman as Oscar Bright
Lara Robinson as Edwina Bright
Dougie Baldwin as Shawn Van Winkle

text: Recurring[edit]

text:
Dave Thornton as Troy Van Winkle (Amber's ex-boyfriend and Shawn's father)
Sue Jones as Pat (Margaret's best friend)
Khaled Khalafalla as Younis
Martin Dingle Wall as Evan

text: Filming locations[edit]

text: The town house featured as Margaret Denyar's house in Upper Middle Bogan is located at Summerhill Road in Brighton East, Victoria.[3] It is used to shoot both interior and exterior scenes for the series.[3] The house was sold for $1,905,000 at an auction held on 24 May 2014.[3][4]

text: The house featured as the Wheeler's House is located at Saratoga Crescent in Keilor Downs, Victoria, which can be confirmed by comparing the opening scenes with Google maps earth view (see solar panels on neighbor's house). Amber's new house is at Copernicus Way. The Driving Office scenes were filmed in Gisborne, Victoria, as were the motel scenes.

text: Episodes[edit]

text:
Series

Episodes

Originally aired

DVD release

Season premiere

Season finale

Region 4

1

8

15 August 2013 (2013-08-15)

3 October 2013 (2013-10-03)

18 September 2013[5]

2

8

16 October 2014 (2014-10-16)

4 December 2014 (2014-12-04)

26 November 2014[6]

3

8

12 October 2016 (2016-10-12)

30 November 2016 (2016-11-30)

16 November 2016 [7]

text: International broadcasts[edit]

text: In the United States the show is titled Bess of Both Worlds and began streaming from 4 March 2015 on the subscription video-on-demand service Hulu.[8][9] It will be remade by CBS, with contributions by Dan O'Shannon and Todd Holland.[10] In New Zealand, the show airs Thursday nights at 10:00 pm on TV One. Episodes are available weekly to stream through TVNZ's Watch Now service.[11]

text: Awards and nominations[edit]

text:
Year

Award

Category

Recipients and nominees

Result

2013

AACTA Awards[12]

Best Television Comedy or Light Entertainment Series

Upper Middle Bogan

Nominated

Best Performance in a Television Comedy

Robyn Nevin

Nominated

Best Screenplay in Television

Series 1, Episode 5 ("No Angel")

Nominated

2014

Logie Awards[13]

Most Outstanding Light Entertainment Program

Upper Middle Bogan

Nominated

AACTA Awards[14]

Best Costume Design in Television

Sandi Cichello

Nominated

2015

Logie Awards[15]

Most Outstanding Comedy Program

Upper Middle Bogan

Nominated

2016

AACTA Awards

Best Television Comedy

Robyn Butler, Wayne Hope

Won