title: Lohengrin (opera)

text: The United States premiere of "Lohengrin" took place at the Stadt Theater at the Bowery in New York City on 3 April 1871. Conducted by Adolf Neuendorff, the cast included Theodor Habelmann as Lohengrin, Luise Garay-Lichtmay as Elsa, Marie Frederici as Ortrud, Adolf Franosch as Heinrich and Edward Vierling as Telramund. The first performance in Italy took place seven months later at the Teatro Comunale di Bologna on 1 November 1871 in an Italian translation by operatic baritone . It was notably the first performance of any Wagner opera in Italy. Angelo Mariani conducted the performance, which starred Italo Campanini as Lohengrin, Bianca Blume as Elsa, Maria Löwe Destin as Ortrud, Pietro Silenzi as Telramund, and Giuseppe Galvani as Heinrich der Vogler. The performance on 9 November was attended by Giuseppe Verdi, who annotated a copy of the vocal score with his impressions and opinions of Wagner (this was almost certainly his first exposure to Wagner's music).


title: Lohengrin (opera)

text: La Scala produced the opera for the first time on 30 March 1873, with Campanini as Lohengrin, Gabrielle Krauss as Elsa, Philippine von Edelsberg as Ortrud, Victor Maurel as Friedrich, and Gian Pietro Milesi as Heinrich.


title: Lohengrin (opera)

text: The United Kingdom premiere of "Lohengrin" took place at the Royal Opera House, Covent Garden, on 8 May 1875 using the Italian translation by Marchesi. Auguste Vianesi conducted the performance, which featured Ernesto Nicolini as Lohengrin, Emma Albani as Elsa, Anna D'Angeri as Ortruda, Maurel as Friedrich, and Wladyslaw Seideman as Heinrich. The opera's first performance in Australia took place at the Prince of Wales Theatre in Melbourne on 18 August 1877. The Metropolitan Opera mounted the opera for the first time on 7 November 1883, in Italian, during the company's inaugural season. Campanini portrayed the title role with Christina Nilsson as Elsa, Emmy Fursch-Madi as Ortrud, Giuseppe Kaschmann as Telramund, Franco Novara as Heinrich, and Auguste Vianesi conducting.


title: Lohengrin (opera)

text: "Lohengrin" was first publicly performed in France at the Eden-Théâtre in Paris on 30 April 1887 in a French translation by Charles-Louis-Étienne Nuitter. Conducted by Charles Lamoureux, the performance starred Ernest van Dyck as the title hero, Fidès Devriès as Elsa, Marthe Duvivier as Ortrud, Emil Blauwaert as Telramund, and Félix-Adolphe Couturier as Heinrich. There was however an 1881 French performance given as a Benefit, in the Cercle de la Méditerranée Salon at Nice, organized by Sophie Cruvelli, in which she took the role of Elsa. The opera received its Canadian premiere at the opera house in Vancouver on 9 February 1891 with Emma Juch as Elsa. The Palais Garnier staged the work for the first time the following 16 September with van Dyck as Lohengrin, Rose Caron as Elsa, Caroline Fiérens-Peters as Ortrud, Maurice Renaud as Telramund and Charles Douaillier as Heinrich.


title: Lohengrin (opera)

text: The first Chicago performance of the opera took place at the Auditorium Building (now part of Roosevelt University) on 9 November 1891. Performed in Italian, the production starred Jean de Reszke as the title hero, Emma Eames as Elsa and Édouard de Reszke as Heinrich.


title: Lohengrin (opera)

text: Lohengrin was first performed as part of the Bayreuth Festival in 1894, in a production directed by the composer's widow, Cosima Wagner, with and Ernst van Dyck, alternating as Lohengrin, Lillian Nordica as Elsa, Marie Brema as Ortrud and Demeter Popovic as Telramund and was conducted by Felix Mottl. It received 6 performances in its first season in the opera house that Wagner built for the presentation of his works.


title: Lohengrin (opera)

text: The people of the Brabant are divided by quarrels and political infighting; also, a devious hostile power left over from the region's pagan past is seeking to subvert the prevailing monotheistic government and to return Brabant to pagan rule. A mysterious knight, sent by God and possessing superhuman charisma and fighting ability, arrives to unite and strengthen the people, and to defend the innocent noblewoman Elsa from a false accusation of murder, but he imposes a condition: the people must follow him without knowing his identity. Elsa in particular must never ask his name, or his heritage, or his origin. The conspirators attempt to undermine her faith in her rescuer, to create doubt among the people, and to force him to leave.


title: Lohengrin (opera)

text: King Henry the Fowler has arrived in Brabant, where he has assembled the German tribes in order to expel the marauding Hungarians from his dominions. He also needs to settle a dispute involving the disappearance of the child-Duke Gottfried of Brabant. The Duke's guardian, Count Friedrich von Telramund, has accused the Duke's older sister, Elsa, of murdering her brother in order to become Duchess of Brabant. Telramund calls upon the King to punish Elsa and to make him the new Duke of Brabant.


title: Lohengrin (opera)

text: The King calls for Elsa to answer Telramund's accusation. Elsa does not answer the King's inquiries, only lamenting her brother's fate ("Einsam in trüben Tagen"). The King declares that he cannot resolve the matter and will leave it to God's judgment through ordeal by combat. Telramund, a strong and seasoned warrior, agrees enthusiastically. When the King asks Elsa who shall be her champion, Elsa describes a knight she has beheld in her dreams ("Des Ritters will ich wahren").


title: Lohengrin (opera)

text: Twice the Herald calls for a champion to step forward, but gets no response. Elsa kneels and prays that God may send her champion to her. A boat drawn by a swan appears on the river and in it stands a knight in shining armour. He disembarks, dismisses the swan, respectfully greets the king, and asks Elsa if she will have him as her champion and marry him. Elsa kneels in front of him and places her honour in his keeping. He asks only one thing in return for his service: Elsa must never ask him his name or where he has come from. Elsa agrees to this ("Wenn ich im Kampfe für dich siege").


title: Lohengrin (opera)

text: Telramund's supporters advise him to withdraw because he cannot prevail against the Knight's powers, but he proudly refuses. The chorus prays to God for victory for the one whose cause is just. Ortrud, Telramund's wife, does not join the prayer, but privately expresses confidence that Telramund will win. The combat commences. The unknown Knight defeats Telramund but spares his life ("Durch Gottes Sieg ist jetzt dein Leben mein"). Taking Elsa by the hand, he declares her innocent. The crowd exits, cheering and celebrating.


title: Lohengrin (opera)

text: Telramund and Ortrud, banished from court, listen unhappily to the distant party-music. Ortrud reveals that she is a pagan witch (daughter of Radbod Duke of Frisia), and tries to revive Telramund's courage, assuring him that her people (and he) are destined to rule the kingdom again. She plots to induce Elsa to violate the mysterious knight's only condition.


title: Lohengrin (opera)

text: When Elsa appears on the balcony before dawn, she hears Ortrud lamenting and pities her. As Elsa descends to open the castle door, Ortrud prays to her pagan gods, Wodan and Freia, for malice, guile, and cunning, in order to deceive Elsa and restore pagan rule to the region. Ortrud warns Elsa that since she knows nothing about her rescuer, he could leave at any time as suddenly as he came, but Elsa is sure of the Knight's virtues. The two women go into the castle. Left alone outside, Telramund vows to bring about the Knight's downfall.


title: Lohengrin (opera)

text: The sun rises and the people assemble. The Herald announces that Telramund is now banished, and that anyone who follows Telramund shall be considered an outlaw by the law of the land. In addition, he announces that the King has offered to make the unnamed knight the Duke of Brabant; however, the Knight has declined the title, and prefers to be known only as "Protector of Brabant". The Herald further announces that the Knight will lead the people to glorious new conquests, and will celebrate the marriage of himself and Elsa. In the back of the crowd, four noblemen quietly express misgivings to each other because the Knight has rescinded their privileges and is calling them to arms. Telramund secretly draws the four noblemen aside and assures them that he will regain his position and stop the Knight, by accusing him of sorcery.


title: Lohengrin (opera)

text: As Elsa and her attendants are about to enter the church, Ortrud rushes to the front of the procession and challenges Elsa to explain who the Knight is and why anyone should follow him. Their conversation is interrupted by the entrance of the King with the Knight. Elsa tells both of them that Ortrud was interrupting the ceremony. The King tells Ortrud to step aside, then leads Elsa and the Knight toward the church. Just as they are about to enter the church, Telramund enters. He claims that his defeat in combat was invalid because the Knight did not give his name (trial by combat traditionally being open only to established citizens), then accuses the Knight of sorcery. He demands that the Knight must reveal his name; otherwise the King should rule the trial by combat invalid. The Knight refuses to reveal his identity and claims that only one person in the world has the right to make him do so: his beloved Elsa, and she has pledged not to exercise that right. Elsa, though visibly shaken and uncertain, assures him of her confidence. King Henry refuses Telramund's questions, and the nobles of Brabant and Saxony praise and honor the Knight. Elsa falls back into the crowd where Ortrud and Telramund try to intimidate her, but the Knight forces them both to leave the ceremony, and consoles Elsa. Elsa takes one last look at the banished Ortrud, then enters the church with the wedding procession.


title: Lohengrin (opera)

text: Elsa and her new husband are ushered in with the well-known bridal chorus, and they express their love for each other. Ortrud's words, however, have made an impression on Elsa; she laments that her name sounds so sweet on her husband's lips but she cannot utter his name. She asks him to tell her his name when no one else is around, but at all instances he refuses. Finally, despite his warnings, she asks the Knight the fatal questions. Before the Knight can answer, Telramund and his four recruits rush into the room in order to attack him. The Knight defeats and kills Telramund. Then, he sorrowfully turns to Elsa and asks her to follow him to the King, to whom he will now reveal his secrets.


title: Lohengrin (opera)

text: The troops arrive equipped for war. Telramund's corpse is brought in. Elsa comes forward, then the Knight. He tells the King that Elsa has broken her promise, and discloses his identity ("In fernem Land") by recounting the story of the Holy Grail and of Monsalvat. He reveals himself as Lohengrin, Knight of the Grail and son of King Parsifal, sent to protect an unjustly accused woman. The laws of the Holy Grail say that Knights of the Grail must remain anonymous. If their identity is revealed, they must return home.


title: Lohengrin (opera)

text: As Lohengrin sadly bids farewell to Elsa, the swan-boat reappears. Lohengrin tells Elsa that if she had kept her promise, she could have recovered her lost brother, and gives her his sword, horn and ring, for he is to become the future leader of Brabant. As Lohengrin tries to get in the boat, Ortrud appears. She tells Elsa that the swan is actually Gottfried, Elsa's brother, whom she cursed to become a swan. The people consider Ortrud guilty of witchcraft. Lohengrin prays and the swan turns back into young Gottfried. Lohengrin declares him the Duke of Brabant. Ortrud sinks as she sees her plans thwarted.


title: Lohengrin (opera)

text: A dove descends from heaven and, taking the place of the swan at the head of the boat, leads Lohengrin to the castle of the Holy Grail. A grief-stricken Elsa falls to the ground dead.


title: Lohengrin (opera)

text: Liszt initially requested Wagner to carefully translate his essay on the opera from French into German, that he might be the principal and long-standing interpreter of the work – a work which, after performing, he regarded as "a sublime work from one end to the other".


title: Lohengrin (opera)

text: In their article "Elsa's reason: on beliefs and motives in Wagner's "Lohengrin"", Ilias Chrissochoidis and Steffen Huck propose what they describe as "a complex and psychologically more compelling account [of the opera]. Elsa asks the forbidden question because she needs to confirm Lohengrin's belief in her innocence, a belief that Ortrud successfully erodes in Act II. This interpretation reveals Elsa as a rational individual, upgrades the dramatic significance of the Act I combat scene, and, more broadly, signals a return to a hermeneutics of Wagnerian drama."


title: Lohengrin (opera)

text: Tenors have sometimes run into trouble in the third act, just before Lohengrin departs by stepping on a swan-driven vessel or on the swan itself. In 1913, the Moravian tenor Leo Slezak is reported to have missed hopping on the swan, afterwards turning to Elsa with the question: "Wann geht der nächste Schwan?" ("When does the next swan leave?"). In 1936, at the Metropolitan Opera, the same thing happened to Danish tenor Lauritz Melchior.


title: Brand New Eyes

text: Brand New Eyes (stylized in all lowercase) is the third studio album by American rock band Paramore, released on September 29, 2009, through Fueled by Ramen in the United States and Canada. The album was produced by Rob Cavallo and recorded in Hidden Hills, California from January to March 2009. It was written by band members Hayley Williams and Josh Farro, with guitarist Taylor York who co-wrote on four tracks, as a follow-up to "Riot!" (2007).


title: Brand New Eyes

text: Praised by critics for its songwriting and the band's increased maturity, the album won Best Album at the Kerrang! Awards 2010, and "The Only Exception" received a Grammy nomination for Best Pop Performance by a Duo or Group with Vocals. Several publications included "Brand New Eyes" in their year-end lists. The album produced five singles: "Ignorance", "Brick by Boring Brick", "The Only Exception", "Careful", and "Playing God", all of which have been commercially successful in the United States and internationally.


title: Brand New Eyes

text: "Brand New Eyes" debuted at number two on the "Billboard" 200 selling 175,000 copies in its first week, becoming their biggest album on that chart, until their self-titled album debuted at number one in 2013. The album topped the charts in many countries across the world including Australia, New Zealand, Ireland and the United Kingdom, making it the band's second-highest charting album to date. The album was certified platinum by the RIAA on March 22, 2016, for shipments in excess of 1,000,000 albums. It was certified platinum in the UK for 300,000 shipments and in Ireland for 15,000 shipments. The band promoted the album with the Brand New Eyes World Tour, playing shows in North America, Asia, Europe etc. as well as festival appearances.


title: Brand New Eyes

text: "Brand New Eyes" was the final album recorded by Paramore before Josh and Zac Farro departed in 2010. Zac Farro would later rejoin Paramore in 2017.


title: Brand New Eyes

text: After the release of "Riot!" (2007), a blog post in early 2008 was posted stating that Paramore were having "internal issues." Coupled with a week of cancelled shows, speculation arose that the band was going to break up. Not long after, it was resolved and claimed to be an issue of the members never having time to talk about things such as how they "were all growing up, and sometimes, when you're growing up, you're not always growing together". Further struggles to write new material had singer Hayley Williams expressing doubts about songwriting and meeting the expectations placed on the band after the success of "Riot!". In September 2008, Williams revealed that the band might release their next album in summer 2009. On November 18, 2008, the band announced they were writing their next album, again mentioning that it might be out in summer 2009.


title: Brand New Eyes

text: Paramore spent six weeks in pre-production at Emac Studios in their hometown of Franklin, the first time they had undergone pre-production without the guidance of a producer. A visit from record producer Rob Cavallo reassured the band that they were on the right track. "The album totally rocks," Cavallo said, "yet it's also very subtle." The band subsequently felt that the album and that their new material had the potential to surpass the success of their previous work. Although it was originally planned to record the album close to home in Nashville, the band commenced recording in Calabasas, California with Cavallo at the end of March 2009. They then added to the original material written at home with additional tunes written with the help of Cavallo after the move to Calabasas. Similar to most rock records, the band mostly tracked the drums first, followed by the rest of the members recording scratch tracks that they later overdubbed. Paramore finished production by May 2009.


title: Brand New Eyes

text: The album's sound has been described as alternative rock, pop punk, emo pop, and emo. Williams was concerned about lyrics that involved current issues, as opposed to resolved issues that she had written about in the past. "I was like, 'This isn't a feel-good song, because I'm writing about something I'm going through right now, and it's still painful,'" she continued. "And I confused that with actually not liking the songs, when actually I was prouder of them than I've ever been before. They're heavier emotions for me... I'm still going through some of this stuff, and these songs are really healing to me." The band as a whole treated the writing as a therapeutic experience, which helped them hash out old differences. Now that "all those words were out on the table", they were able to have their first real conversations in a long time, resolving the internal struggles they had been facing, by going back to the reasons why they started the band and had wanted to play music in the first place. Consequently, Paramore decided to name the record "Brand New Eyes" because of the allusion to seeing things from a whole new perspective, "Just trying to let go of whatever we might have struggled with the past and just see each other in a new way," explained Williams. The band soon felt that they were onto the right track, and, retrospectively looking back on "Riot!", Paramore guitarist, Josh Farro, said "Riot! was a kiddie album, but we had to do that to get to this point."


title: Brand New Eyes

text: On April 29, 2009, it was revealed that the band's next album would be released in September. The first single from the album was "Ignorance", which was made available via digital download on July 7, on the same date the album became available for pre-order on Paramore's official website. "Brand New Eyes" was released on September 29 through Fueled by Ramen. The album's cover, an image of a butterfly divided from its wings, inspired the line "The angles were all wrong / Now she's ripping wings off of butterflies". Two versions of the album were made available: a standard CD edition as well as a deluxe, limited edition package that has sold out worldwide. The deluxe version included the album on CD with the acoustic versions of Where The Lines Overlap and Ignorance, a 40-page hardcover journal written by Hayley Williams, an exclusive poster that comes with only the box set, a booklet with the lyrics from all the songs from Brand New Eyes, a color vinyl 7-inch single with the acoustic versions of Ignorance and Where The Lines Overlap, one picture of each band member, a certificate of authenticity, and a DVD featuring a 30 minute long exclusive 'making-of' documentary. The CD was also one of the first to use iTunes LP.


title: Brand New Eyes

text: "Brick by Boring Brick" was confirmed to be the second single from the album, released in November 2009. In December, the group went on a headlining UK tour with support from You Me at Six. In November 2010, the group went on a headlining UK tour. The fifth single from the album, "Playing God", was released on the November 16. To assist with promotion of the single, a music video for "Playing God", was also released. The album was released in high resolution (96 kHz/24bit) on HDtracks.com in 2012. The high res version has a greater dynamic range than the CD release. In January 2015 another deluxe edition of the album was released in high resolution (96 kHz/24bit) on the US store of the British company 7digital: this edition includes the acoustic version of Ignorance (also featured on the physical 2009 deluxed edition mentioned above) and two new, previously unreleased, acoustic versions of Brick by Boring Brick and Turn It Off (both later included in the iTunes deluxe edition bundle).


title: Brand New Eyes

text: According to Metacritic, "Brand New Eyes" holds a score of 73 out of 100, indicating "generally favorable reviews", based on 18 reviews through October 1, 2009. AbsolutePunk.net writer Julia Conny scored the album at 82% and praised frontwoman Hayley Williams, "Simultaneously down-to-earth and on top of the world, there is something about this Williams character that makes an album like "Brand New Eyes" more than another notch on that bitchy pop-rock bedpost. Just imagine what will happen when the band hits their mid-twenties." Andrew Leahey of AllMusic gave the album a positive review, stating, "Brand New Eyes" presents Paramore as a stronger, leaner, and altogether more consistent band."


title: Brand New Eyes

text: Evan Lucy of "Billboard" also wrote a favorable review, saying, "Although the new set may lack the wide-eyed naiveté that made the group's past efforts so endearing, the newfound maturity makes for a compelling set of songs." "Big Cheese" magazine awarded a maximum five star rating and Cathy Reay wrote, ""Brand New Eyes" is a huge milestone for an intelligent, honest young band that deserve far more mainstream recognition than they get."


title: Brand New Eyes

text: "Alternative Press" awarded the album 4.5 out of 5 and Scott Heisel praised the improvement of the album over its predecessor; ""Riot!" was ridiculously top-loaded, with an unmemorable second half. "Eyes" astonishes from start to finish, with the bouncy and confessional "Looking Up" and the immensely powerful track "All I Wanted" showing up as diamonds in an already gem-covered rough". Sarah Bee, journalist for the BBC gave a largely favorable review and summarized, "If you didn't like Paramore before, their third album is unlikely to sway you. They make the kind of forceful, commercial emo-pop that music lovers love to hate. However, as forceful, commercial emo-pop goes – and it does – "Brand New Eyes" is very good. It is brash and gauche, but charming."


title: Brand New Eyes

text: "Rock Sound" however, went on to laud the slower efforts. "The album's big surprise comes in the form of the stripped-down closing tracks 'Misguided Ghosts' and 'All I Wanted', which see the fragility of Hayley's vocals laid against sparse instrumentation with truly immaculate results." Reviewer Faye Lewis went on to summarize, "Paramore are a young band growing up in the public glare, and although that would send many to the funny farm, it's made this quintet even stronger and "Brand New Eyes" is by far their best record yet".


title: Brand New Eyes

text: Jon Dolan of "Rolling Stone" scored the album at three stars out of five. Much like Leonie Cooper of "NME", he was critical of slower moments: "But some of the sweeping moments blunt the band's fresh-faced immediacy — as if the cute kids from the sticks have had a hard time turning pro." "Spin" magazine awarded four stars out of five in their review and complimented the band for standing out in a generic genre. "Paramore's follow-up, "Brand New Eyes", which, at a moment of wet-and-wild Warped Tour cynicism (see Cobra Starship and 3OH!3), offers a principled reminder of a more earnest, honest age."


title: Brand New Eyes

text: Drowned In Sound awarded the album eight out of ten and while writer Paul Stephen Gettings stated the record isn't "pushing any boundaries", he praised its longevity: "[...] if you're already a critic, this isn't going to convince you otherwise. This is a realization, and an affirmation, of Paramore's musical craftmanship and potential longevity. They have allowed themselves to grow and still retain the innocence and optimism that makes them so irresistible."


title: Brand New Eyes

text: "Kerrang!" reviewer Dan Slessor gave the album 4 Ks (4/5) and claimed, "...in "Brand New Eyes" they have arguably delivered the most accomplished and affecting record of their career." "NME" were also favorable in their review. Although being critical of the album's slower moments, Leonie Cooper praised the record as a whole; "Sure, the two slower tracks might make for a break in the relentless pace, but who needs the rest? If you just so happen to be one of the best in the up-tempo pop-smattered emo-punk game, why bother slowing down? For this lot, more is most certainly more."


title: Brand New Eyes

text: Commercially, "Brand New Eyes" was a major success. In the United States, the album debuted at number two on the "Billboard" 200, selling 175,000 copies. The following week the album slipped to number nine, selling an additional 44,000 copies. The album stayed on the main album chart for 32 weeks. In addition to the Billboard 200, the album managed to peak at number one on the Billboard Rock and Alternative Albums charts. On January 19, 2010, less than six months after the album was released, "Brand New Eyes" was certified gold by the RIAA for shipments of 500,000 albums and platinum on March 22, 2016 for shipments of 1,000,000 albums.


title: Brand New Eyes

text: Paramore went on tour with No Doubt between mid-May and early August 2009. The band announced their North American tour for "Brand New Eyes" on their official site, with The Swellers and Paper Route joining them as opening acts. The first show of the tour was played at a packed Fox Theatre in Pomona, California, on September 29, 2009 (the day of the album's release). During "Decode", Williams lost her voice. Lead guitarist Josh Farro spoke to the crowd and although their set was cut short, the band played "Misery Business" instrumentally while the crowd sang Williams's vocal parts. The tour, which previously went from September 29 to November 1, 2009, was later officially postponed on October 2, 2009, due to a case of laryngitis for singer Williams. The full tour resumed on October 10, 2009, in Chicago. The band also announced that they would be doing a European tour starting off in Helsinki, Finland, on November 29, 2009, with You Me at Six, Paper Route, and Now, Now Every Children supporting all UK tour dates.


title: Brand New Eyes

text: They performed in February 2010 in the Australian Soundwave Festival, along with bands such as You Me at Six, Taking Back Sunday, All Time Low and Alexisonfire. They performed at the Soundwave Festival before they did the Brand New Eyes Tour in Australia. Then in the first week of March they performed two concerts in New Zealand, one to a sell out crowd of 5,000 in Auckland and the other in Christchurch. They also performed in Singapore and the Philippines, respectively, as the last two legs of their Pacific Rim Tour. Paramore have supported Green Day on their tour. They opened the concerts of Green Day in Dublin, Ireland, on June 23, 2010 and in Paris, France, on June 26, 2010.


title: Brand New Eyes

text: In July, August and September 2010, the band announced a tour in the Honda Civic Tour 2010. In May 2010, the band had a short UK tour for November 2010. After just one day of being on sale they added a second date at the O2 arena due to huge demand for tickets. They later added 2 extra dates to take it up to 8 concerts instead of the original 5. In June 2010, the band announced a short Australia Tour for October. In November 2010, the band announced a short in South American Tour for February and March 2011, and the band announced a short in American tour for December. In July 2011, the band had a short Europe tour.


title: The Simpsons Game

text: The Simpsons Game is a 2007 platform game based on the animated television series "The Simpsons" made for the Nintendo DS, Wii, Xbox 360, PlayStation 2, PlayStation 3 and PlayStation Portable. The game was published, and distributed by Electronic Arts. It was released in North America in October 2007 and worldwide in November 2007. It features an original storyline written by "Simpsons" writers Tim Long and Matt Warburton. In the self-referential plot, the family discovers that they are forced to participate in another "The Simpsons" video game. Similar to the show, the game pokes fun at popular culture, other video games, and Electronic Arts, its publisher.


title: The Simpsons Game

text: The game follows the five Simpson family members—Homer, Marge, Bart, Lisa and Maggie—who learn they are part of a video game and are given superpowers to resolve several situations. Eventually, they must save their 8-bit predecessors from Will Wright, and the creator of their video game character selves, Matt Groening. The Simpson family travels to four scenarios in parodies of other games to collect key cards used to infiltrate their creator's mansion and ultimately to save their predecessors from destruction to reverse their generations old ban on video games.


title: The Simpsons Game

text: The game was met with mixed reception from video game critics. They praised its visuals and writing, which included many parodies of other video games, while they criticized its short length and poor camera system, which did not always function properly. "The Simpsons Game" received the Best Game Based on a Movie or TV Show award at the 2007 Spike Video Game Awards and was nominated for Best Video Game Writing at the 2007 Writers Guild of America Awards. As of January 31, 2008, four million copies of the game have been sold worldwide.


title: The Simpsons Game

text: Players of "The Simpsons Game" are able to control the Simpson family (except Maggie), each with their own unique abilities. Two different family members are playable in each level, aside from the tutorial level, "The Land of Chocolate", in which only Homer is playable, and the final level, "Game Over", where all members of the family are playable. The game contains sixteen levels, called episodes, and each requires specific powers to complete. For example, in the fourth episode, "Lisa the Tree Hugger", the player is required to use Lisa's "Hand of Buddha" power to move large objects, and Bart's slingshot to shut down machines. Enemies unique to each episode are featured, with the exception of the final level, in which enemies that have already been defeated are "recycled" with different colors.


title: The Simpsons Game

text: Several challenges are made available after all episodes are completed. These include finding all the collectibles for each character, finding all the video game clichés, and in the PlayStation 3, Xbox 360, and Nintendo DS versions, completing a certain task related to each episode's plot in a time trial.


title: The Simpsons Game

text: "The Simpsons Game"s head-up display features health meters for both characters in each level, and an attack meter and special power meter for the character currently controlled by the player. The game features a two player co-op mode, which has a split screen and allows each player to control one of the two characters featured on that level.


title: The Simpsons Game

text: The DS version of the game was developed separately from its console counterparts and is a side scrolling adventure. It also offers several features that are not available in the other versions. Several minigames are available to unlock and play, most which are updated versions of arcade games such as "Frogger" and "Space Invaders", the latter which references the aliens Kang and Kodos from the "Simpsons Treehouse of Horror" episodes. A virtual pet is also accessible, called "Pet Homer", which allows players to feed, entertain, and save Homer from threats such as choking and heart attacks.


title: The Simpsons Game

text: Homer is the first playable character available to the player in "The Land of Chocolate" level. His abilities involve turning into the "Homer ball" by eating food power-ups to let him roll and slam objects; turn into a Gummi Homer by eating small gummi "Venus de Milos" to shoot gummi grenades; eat hot chili peppers to become Insanity Pepper Homer to use lava and fire bombs; and inhale helium to become a balloon to float in the air. Homer's special power is a giant burp, which can stun enemies. Bart first appears in the second level of the game "Bartman Begins". He can turn into Bartman, allowing him to use zip-lines, climb certain walls, glide over long distances, and do other acrobatic feats. Bart's special power is releasing a flood of bats towards enemies. He can use his slingshot to defeat enemies and hit targets from afar.


title: The Simpsons Game

text: Lisa is introduced in the fourth level "Lisa the Tree Hugger". Her main attack style is kicking, and her power is the "Hand of Buddha". She can use it to flick, smash, freeze, or send lightning bolts to enemies, as well as lift certain items. Lisa's special power is playing her saxophone to attack and stun enemies. As the levels progress, Lisa can use her saxophone to turn enemies against each other. Marge is the least-playable character. Introduced in the fifth level, "Mob Rules", Marge learns her power is to make large crowds obey her. She can use her mob to break down obstacles, build objects, attack enemies, and repair objects. Maggie is, in effect, an extension of Marge, briefly playable in air ducts and other small spaces.


title: The Simpsons Game

text: The game begins with Homer having a candy-induced fantasy about a world of chocolate where he tries to catch and eat a white chocolate rabbit; upon waking up he is upset to find that it was all a dream.


title: The Simpsons Game

text: Meanwhile, Bart goes to the video game store and bribes the clerk to let him buy the new and violent "Grand Theft Scratchy" game, only to have it confiscated by Marge. While Bart mopes, a video game manual falls down from the sky in front of him. Reading through the manual, Bart discovers that he and the rest of his family have special powers. Bart uses his Bartman powers to stop the school bullies Jimbo, Kearney, and Dolph from robbing the Natural History Museum on the orders of Principal Skinner to use the museum exhibits for the science class, Homer uses his ability to win an eating contest, Lisa uses her powers to stop a deforestation project, and Marge uses her powers to influence crowds to stop the release of "Grand Theft Scratchy" in Springfield, although Lisa points out it is hypocritical that she used violence to stop a violent game.


title: The Simpsons Game

text: During dinner, the family is euphoric with their new powers. However, it leads to an argument about what they should be doing with them. Aliens Kang and Kodos decide to strike Earth, and an alien invasion unfolds. Realizing none of their powers are strong enough to defeat the aliens, Bart and Lisa visit Professor Frink. They visit his house to find him not there, but they stumble upon a portal that sends them to a place called the game engine where all video games are made. After saving him from a giant gorilla, Frink gives them "The Simpsons Game"s player's guide to teach them how to better use their powers as well as gain new ones, and the Simpson family sets out to stop the alien invasion. First, Bart and Lisa assist Captain McCallister in fighting back mind-controlled dolphins that are attacking the city aquarium. Then, Bart and Homer defeat the Lard Lad statue which has come to life. Finally, they save the Springfield Mall and Cletus from an alien force led by Sideshow Bob.


title: The Simpsons Game

text: In order to find out the truth, the family turns to the Internet to discover more about the powers they have in the game, but are sent to the game engine when Homer accidentally spills beer over the keyboard. There, they discover Will Wright, who is destroying copies of an old 8-bit "The Simpsons" game and its characters. The family manages to save their 8-bit predecessors before they are destroyed by Wright, and discover that they will also become obsolete when the next "The Simpsons" game is released. The only way to prevent this is to talk to the creator of the games and convince him not to destroy them. In order to access his mansion, the family needs to acquire four key cards from four upcoming "Simpsons" games. First, Homer and Marge defeat a two-headed dragon whose heads are those of Patty and Selma in the "Neverquest" game. Next, Homer and Bart travel to France during World War II to thwart Mr. Burns' plan to steal priceless French paintings, in the "Medal of Homer" game. Lisa and Homer then travel to ancient Japan to defeat the evil Mr. Dirt as Milhouse and his "Sparklemon" in the "Big Super Happy Fun Fun Game". Marge and Lisa then travel to "Grand Theft Scratchy", eliminating all offensive material and replacing it with more family-friendly material.


title: The Simpsons Game

text: Once they have all four key cards, Bart and Homer infiltrate the creator's mansion. They are greeted by Matt Groening, who sends "Futurama" characters Bender and Dr. Zoidberg after them. The family manages to defeat them, however, and Groening admits that he is only creating new games for the money, and destroys the game engine. The Simpsons, along with several other characters from the games, escape to Springfield, where the aliens are still attacking. Lisa uses her power to create a stairway to heaven in order for the family to ask God for help. Along the way they have to defeat deceased historical figures William Shakespeare and Benjamin Franklin, and several other "recycled" enemies that the family had killed during previous levels of the game. After God is defeated in a game of "Dance Dance Revolution", He reveals that the video game that they are in is a mini-game in another video game about Earth. He dropped the video game manual by accident, thus endowing the family with superpowers. Realizing His mistake, He promises to restore Springfield, let them keep their powers, and to improve the working conditions of all video game characters. He also gives Homer three wishes. Lisa asks if God ever wonders if He Himself is a character in a video game. As God nervously scoffs at this theory, it turns out that Ralph Wiggum is playing the entire game before he looks at the screen, wondering who is looking at him.


title: The Simpsons Game

text: The game's storyline was written by Tim Long, Matt Selman, and Matt Warburton, who are all regular writers on "The Simpsons". They wanted to create something that appealed to the fans of the show, and was, in its own right, "a great new game". Matt Groening and the writers had continuous feedback on the game's content, from its "look and feel" to its puzzles and gameplay. The game's executive producer, Scot Amos, said it was an amazing partnership between the writers and the developers. Selman, the head writer, says the reason they decided to call it "The Simpsons Game" and not add a subtitle was because they felt it was a restart of "the 'Simpsons' gaming franchise [...] a big, new, fresh game that takes on video games and hilarious things of all time".


title: The Simpsons Game

text: "The Simpsons Game" was published by Electronic Arts and developed by its subsidiary, EA Redwood Shores; the company had signed a contract for the video game rights to "The Simpsons" in 2005. The game's lead designer, Greg Rizzer, said that when he asked his bosses if they could parody some Electronic Arts games including "Medal of Honor", they were enthusiastic about it. "The Simpsons Game", which parodies video games from 30 years prior to 2007, was forced to have some of its content removed after several video game companies complained about it. Rizzer, however, was still pleased with the amount of parody in the game and considered "The Simpsons" the "perfect vehicle to poke fun at the games industry". At the 2007 Games Convention in Leipzig, Germany, a poster for "Grand Theft Scratchy", one of the levels in "The Simpsons Game" and a parody of "Grand Theft Auto", was asked to be taken down by an employee of Rockstar Games, the company that develops the "Grand Theft Auto" series of video games. Several companies, however, embraced the game's parody of their video games, including developers from Harmonix, who were pleased with the game's "Sitar Hero", a parody of Harmonix's "Guitar Hero" video game. In addition to game parodies, "The Simpsons Game" also features several cameos with satirical spins, including Matt Groening as himself and Will Wright as an antagonist.


title: The Simpsons Game

text: The graphics for the game's characters are cel-shaded, and an implemented technique helps flatten the character models from any angle that the camera views them from, in order to recreate the 2D, hand-drawn look seen in the show. The development team found it particularly difficult to render Lisa's spiky hair as 2D in the game's 3D environment. There is a different cover for the game on each console.


title: The Simpsons Game

text: The game received mixed reception, receiving an aggregated score of 71% on Metacritic for the Xbox 360 and PlayStation 3 version of the game. Praise focused on the game's visuals and writing, which lampooned the gaming industry and the show itself. "The Simpsons Game" won the award for Best Game Based on a Movie or TV Show at the Spike Video Game Awards 2007, and was nominated for the first-ever award for Best Video Game Writing at the Writers Guild of America Awards 2007. As of January 31, 2008, four million copies of the game have been sold overall. Its PlayStation 2 and Nintendo DS releases each received a "Platinum" sales award from the Entertainment and Leisure Software Publishers Association (ELSPA), indicating sales of at least 300,000 copies per version in the United Kingdom. ELSPA presented the game's Wii, Xbox 360 and PlayStation Portable versions with "Silver" certifications, for sales of 100,000 units or more each in the region. Peter Nowak of CBC News named it the third-best game of 2007 and described it as "easily the best game starring the wacky residents of Springfield".


title: The Simpsons Game

text: The game's use of "The Simpsons"-style humor received a mixed reception. Both GameSpot and GameTrailers said that the game delivered more than enough laughs to make it worth playing through at least once. It was considered enjoyable for both hardcore and casual "The Simpsons" fans by IGN and GameDaily, who also called it a particularly appealing game for diehard fans. Despite the few problems that the game had, GameSpy said that it was worth it to see the humorous parodies. Eurogamer's Tom Bramwell, however, believed that the game's humor could only carry it so far, and suggested that those interested in "The Simpsons" humor should purchase a box set of one of the television series' seasons instead. Joe Juba of "Game Informer" called the game an average experience. He elaborated that the game would appeal primarily to fans of the television series, but would not be worth playing for people unfamiliar with it.


title: The Simpsons Game

text: Eurogamer praised the involvement of people from "The Simpsons" television series with the game's development and GameZone enjoyed the two-character mechanics of the game and had fun collecting unlockable items. GameTrailers thought the graphics and animations looked great and appreciated the hand-drawn appearances, even though they found it obvious that the characters were "never really meant to jump into the third dimension" because of their second-dimension roots.


title: The Simpsons Game

text: Criticism of the game focused on its short, uninspiring gameplay and troublesome camera system. GameSpot considered the gameplay "nothing special" while GameZone called it a "pretty shallow" game that depended too much on repetitive jumping puzzles and a weak combat system. The game disappointed IGN because it did not include an online feature and it was deemed too short. The camera system was found to be problematic by both GameZone and GameSpy, who called it "a pain" and a "busted" feature; GameDaily also found it bothersome because it often got stuck.


title: The Simpsons Game

text: The DS version of the game, which was significantly different from the other versions, received praise for its unique gameplay, but criticism for its short length. IGN lauded the DS version's unique gameplay experience and GameSpot proclaimed that it was satisfying from start to finish. GameSpot and GameZone, however, were both disappointed that the game was extremely brief. 1UP found that even though "The Simpsons Game" parodied numerous 2D platform game conventions, it used them anyway, making it a pointless endeavor.


title: The Simpsons Game

text: Electronic Arts planned to develop a sequel to the game, entitled "The Simpsons Game 2" but was cancelled in 2011 because the studio decided to make room for other projects.


title: Fire and Rain (song)

text: "Fire and Rain" is a song written and performed by James Taylor and released in August 1970 on Warner Bros. Records as a single from his second album, "Sweet Baby James". The song follows Taylor's reaction to the suicide of Suzanne Schnerr, a childhood friend, and his experiences with drug addiction and fame. After its release, "Fire and Rain" peaked at number two on "RPM" Canada Top Singles chart and at number three on the "Billboard" Hot 100.


title: Fire and Rain (song)

text: On the VH1 series "Storytellers", Taylor said the song was about several incidents during his early recording career. The second line "Suzanne, the plans they made put an end to you" refers to Suzanne Schnerr, a childhood friend of his who died by suicide while he was in London, England, recording his first album. In that same account, Taylor said he had been in a deep depression after the failure of his new band the Flying Machine to coalesce (the lyric "Sweet dreams and Flying Machines in pieces on the ground"; the reference is to the name of the band rather than a fatal plane crash, as was long rumored). Taylor completed writing the song while in rehab.


title: Fire and Rain (song)

text: In 2005, during an interview on NPR, Taylor explained to host Scott Simon that the song was written in three parts:


title: Fire and Rain (song)

text: Carole King played piano on the song. Drummer Russ Kunkel used brushes rather than sticks on his drum kit, and Bobby West played double bass in place of a bass guitar to "underscore the melancholy on the song".


title: Fire and Rain (song)

text: King has stated that her song "You've Got a Friend", which Taylor recorded, was a response to the line in the refrain that "I've seen lonely times when I could not find a friend."


title: Fire and Rain (song)

text: Taylor references the song in another of his compositions, "That's Why I'm Here", title track from his 1985 album, in which he writes, "Fortune and fame's such a curious game. Perfect strangers can call you by name. Pay good money to hear 'Fire and Rain' again and again and again."


title: Fire and Rain (song)

text: He also refers to the song in another composition, "Money Machine" (a cynical take on the financial aspects of the recording industry): "When I began the game, see me singing ‘bout Fire and Rain; Lemme just sing it again — I've seen fives and I’ve seen tens."


title: Fire and Rain (song)

text: Broadcast Music, Inc. ranked "Fire and Rain" at number 82 on its "Top 100 Songs of the Century" list, while voters for the National Endowment for the Arts and Recording Industry Association of America's Songs of the Century list, which comprises 365 songs of "historical significance" recorded from 1900 to 2000, placed "Fire and Rain" at number 85. In April 2011, the song was named at number 227 on "Rolling Stone"s list of 500 greatest songs of all time.


title: Fire and Rain (song)

text: R. B. Greaves, Johnny Rivers and Georgie Fame first released singles of "Fire and Rain" in 1970, impelling Warner Brothers to release Taylor's original as a single later that year, in August 1970. Greaves' and Rivers' versions peaked at numbers 82 and 94 on the "Billboard" Hot 100, respectively.


title: Fire and Rain (song)

text: Marcia Hines covered "Fire and Rain" on her 1975 debut LP, "Marcia Shines". Her version reached No. 17 in Australia. At the 1975 Australian Record Awards, the song won Hines Female Vocal Single of the Year.


title: Fire and Rain (song)

text: Taylor performs the song on "The Simpsons" in the episode "Deep Space Homer". While singing the song for a group of astronauts (including Homer Simpson and Buzz Aldrin), he changes the lyric "Sweet dreams and flying machines in pieces on the ground" to "Sweet dreams and flying machines, flying safely through the air" when he realizes the Space Shuttle may crash.


title: Fire and Rain (song)

text: In 2015, Taylor appeared on "The Late Show with Stephen Colbert", where he sang a version including numerous references to post-1970 popular culture.


title: Zeb Wells

text: Zeb Wells is an American comic book writer known for his work at Marvel Comics, a television writer/director known for his work on the animated TV series "Robot Chicken", and the co-creator/showrunner of "SuperMansion".


title: Zeb Wells

text: Wells is an Emmy and Annie Award-winning writer and actor for the TV show "Robot Chicken", including the Emmy-nominated "". He later directed the sixth and seventh seasons of Robot Chicken.


title: Zeb Wells

text: Wells has written numerous titles like "Heroes for Hire" and "" and various Spider-Man titles and in 2006 signed an exclusive contract with Marvel. He then wrote "Venom: Dark Origin" telling the origin of Eddie Brock and the Symbiote, as well as the "Dark Reign: Elektra" tie-in series.


title: Zeb Wells

text: He wrote twenty of the first twenty-one issues of the third volume of "New Mutants", a series he launched with artist Diogenes Neves, including the crossover with Necrosha. Being published in parallel with that series was "Amazing Spider-Man Presents: Anti-Venom – New Ways To Live".


title: Zeb Wells

text: Wells launched the series "Avenging Spider-Man" with artist Joe Madureira in November 2011. He later wrote two "Carnage" miniseries with artist Clayton Crain: "Carnage: Family Feud" and "Carnage: U.S.A".


title: Zeb Wells

text: In 2015 Wells co-created the stop-motion animated comedy television series "SuperMansion" and directed the first season.


title: Zeb Wells

text: In 2022, Wells was announced as the lead writer for "The Amazing Spider-Man" along with artist John Romita Jr. starting in April 2022. The book will relaunch with a new #1 after the "Beyond" storyline, making it the sixth new #1 for the title.


title: Chuck Noll

text: Charles Henry Noll (January 5, 1932 – June 13, 2014) was an American professional football player and head coach. Regarded as one of the greatest head coaches of all time, his sole head coaching position was for the Pittsburgh Steelers of the National Football League (NFL) from 1969 to 1991. When Noll retired after 23 years, only three other head coaches in NFL history had longer tenures with one team.


title: Chuck Noll

text: After a seven-year playing career that included two NFL Championships as a member of his hometown Cleveland Browns and several years as an assistant coach with various teams, in 1969 Noll took the helm of the then moribund Steelers (which had played in only one post-season game in its previous 36 years, a 21–0 loss), and turned it into a perennial contender. As a head coach, Noll won four Super Bowls, four AFC titles and nine Central Division championships, compiled a overall record, a 16–8 playoff record and had winning records in 15 of his final 20 seasons. His four Super Bowl victories rank second behind Bill Belichick for the most of any head coach in NFL history. His four Super Bowl wins are the most ever by a coach without a Super Bowl loss.


title: Chuck Noll

text: Between his playing and coaching tenures, Noll won a total of seven NFL Championships as well as one AFL Championship and was elected to the Pro Football Hall of Fame in 1993, his first year of eligibility.


title: Chuck Noll

text: Noll built the team through astute drafting and meticulous tutoring. During his career, he was notable for the opportunities he gave African Americans, starting the first black quarterback in franchise history and hiring one of the first black assistant coaches in league history. He was often credited with maintaining the morale of the Western Pennsylvania region despite its steep economic decline by creating a team of champions in the image of its blue-collar fan base.


title: Chuck Noll

text: Noll was born in Cleveland, Ohio, the youngest of three siblings (by eight years) of William Noll (a butcher, frequently unable to work owing to Parkinson's disease) and Katherine Steigerwald Noll (who worked for a florist). The family lived in the house Noll's mother grew up in with her 12 siblings, near East 74th Street, in a neighborhood with a large African-American population, a fact that helps account for Noll's early championing of opportunity for African Americans in the NFL (both players from traditionally black colleges and later as coaches). On a local youth football team Noll played with Harold Owens, the nephew of Olympic star Jesse Owens.


title: Chuck Noll

text: Noll attended Benedictine High School. He began working in seventh grade and by the time he entered high school, he had saved enough for two-year's worth of the $150 tuition. Throughout high school he continued to work, making 55-cent an hour at Fisher Brothers meat market after school. Education was always important to him, so despite the schedule, he studied enough to graduate 28th in a class of 252.


title: Chuck Noll

text: He played running back and tackle on the high school football team, winning All-State honors. During his senior year, he was named to the All Catholic Universe Bulletin team by the Diocese of Cleveland newspaper.


title: Chuck Noll

text: Noll planned to attend Notre Dame, but during a practice before his freshman year he suffered an epileptic seizure on the field. Notre Dame coach Frank Leahy refused to take the risk of allowing Noll to play there and so Noll accepted a football scholarship to the University of Dayton. Noll graduated with a degree in secondary education. As a member of the Flyers, he was a lineman, linebacker and a co-captain, and acquired the nickname, the "Pope," for his "'infallible' grasp of the game."


title: Chuck Noll

text: Noll was selected by the Cleveland Browns in the 20th round of the 1953 NFL Draft (239th overall). During his first year, the Browns lost to the Detroit Lions in the NFL championship. The next two years the Browns were NFL champions.


title: Chuck Noll

text: Although the undersized Noll was drafted as a linebacker, Coach Paul Brown used him as one of his "messenger guards" to send play calls to the quarterback (beginning with Otto Graham). Brown recalled that Noll soon "could have called the plays himself without any help from the bench. That's how smart he was." According to Art Rooney, Jr. (director of scouting for the Steelers before and during most of Noll's tenure), however, Noll felt demeaned by Brown's use of him in that way and "disliked the term 'messenger boy' so much that as coach of the Steelers he entrusted all the play calling to his quarterbacks."


title: Chuck Noll

text: Noll was paid only $5,000 per season with the Browns and so while there he acted as substitute teacher at Holy Name High School and sold insurance on the side. During that period Noll also attended Cleveland-Marshall College of Law at night. He told Dan Rooney that he decided against becoming a lawyer because "he didn't really like the constant confrontation and arguments that come with being a lawyer."


title: Chuck Noll

text: Instead, when Noll lost the starting guard position to John Wooten, he chose to retire at age 27 expecting to begin his coaching career at his "alma mater". He was surprised, however, when he was not offered an open position on the University of Dayton coaching staff. He was offered a position by Sid Gillman on the staff of the Los Angeles Chargers, during its inaugural season.


title: Chuck Noll

text: Noll was an assistant coach for the American Football League's then Los Angeles and later San Diego Chargers from 1960 to 1965. He then became assistant to head coach Don Shula of the NFL Baltimore Colts from 1965 to 1968, when he was selected as the Pittsburgh Steelers' head coach.


title: Chuck Noll

text: Noll is considered part of Sid Gillman's coaching tree. He later remembered Gillman as "one of the game's prime researchers and offensive specialists. In six years, I had more exposure to football than I normally would have received in 12 years." During Noll's six-year tenure with the Chargers, where he was defensive line coach, the defensive backfield coach and defensive coordinator, the team appeared in five AFL championship games. Gillman said that Noll "had a great way with players," specifically "If a guy didn't do the job expected, Chuck could climb on his back." Massive defensive tackle Ernie Ladd said that Noll was a "fiery guy" but also "the best teacher I ever played under." "He and I were always fighting, always squabbling, but he had a great way of teaching. I take my hat off to Chuck. He was one of the main reasons for our success." The defensive line under Noll became known as the "Fearsome Foursome," and during 1961 defensive end Earl Faison was named AFL rookie of the year.


title: Chuck Noll

text: During Noll's time at Chargers, Al Davis was also an assistant and scout. Davis would later become coach and general manager of the Oakland Raiders, the principal AFC rival of the Steelers' in the 1970s.


title: Chuck Noll

text: With the Colts, Noll was defensive backfield coach and later defensive coordinator. Together with assistant coach Bill Arnsparger the Colts employed shifting alignments of rotating zone and maximum blitz defensive packages. In 1968, Noll's last season as defensive coordinator, the Baltimore Colts compiled a 13–1 record in the regular season and tied the NFL season record for fewest points allowed (144).


title: Chuck Noll

text: Shula was impressed by Noll's approach: "He explained how to do things and wrote up the technique. He was one of the first coaches I was around that wrote up in great detail all of the techniques used by players—for example, the backpedal and the defensive back's position on the receiver. He was like a classroom teacher."


title: Chuck Noll

text: The Colts won the NFL championship by routing the Cleveland Browns 34–0 in Cleveland, but were shocked by the upstart AFL champion New York Jets, 16–7, in Super Bowl III at the Orange Bowl in Miami. The next day, Noll interviewed for the head coach position in Pittsburgh.


title: Chuck Noll

text: At age 37, Noll was named the 14th head coach of the Pittsburgh Steelers on January 27, , after Penn State coach Joe Paterno turned down an offer for the position. At the time of his hiring, he was the youngest head coach in the NFL. Steelers owner Art Rooney would later credit Don Shula as the person who recommended Noll as a head coach. Noll implemented a defensive system in Pittsburgh that became the legendary "Steel Curtain" defense. His coaching style earned him the nickname of The Emperor Chaz by sports announcer Myron Cope. Noll was the first head coach to win four Super Bowls (IX, X, XIII, XIV).


title: Chuck Noll

text: The key to Noll's coaching success during this run was the Steelers' skill in selecting outstanding players in the NFL college player draft. Noll's first round-one pick was Joe Greene, a defensive tackle from North Texas State, who went on to become a perennial All-Pro and anchor the defensive line. During the next few years, the Steelers drafted quarterback Terry Bradshaw (Louisiana Tech) and running back Franco Harris (Penn State) as round one picks. In the 1974 draft, Noll and the Steelers achieved a level of drafting success never seen before or since, when they selected four future Hall of Fame players with their first five picks: wide receivers Lynn Swann and John Stallworth, middle linebacker Jack Lambert, and center Mike Webster. To this day, no other draft by any team has included more than two future Hall of Famers.


title: Chuck Noll

text: A meticulous coach, Noll was known during practice to dwell on fundamentals—such as the three-point stance—things that professional players were expected to know. For instance, Andy Russell, already a Pro Bowl linebacker before Noll arrived and one of the few players Noll kept after purging the roster his first year, was told by Noll that he didn't have his feet positioned right. As a result of Noll's attention to detail, Russell went on to become a key member for the first two Super Bowl teams and started the linebacker tradition that continues today in Pittsburgh.


title: Chuck Noll

text: Noll was a well-read man who valued education and expected likewise from his team, so he sought players who studied useful or practical subjects in college and had interests outside of football. "I didn't want to pick guys who just took wood shop or some other easy course they could breeze through to play football." he explained.


title: Chuck Noll

text: While most of his contemporaries, as well as current NFL head coaches, enforced strict curfew rules on its players, Noll was very lax on off-the-field behavior. This was shown at Super Bowl IX. While Noll's counterpart – Minnesota Vikings head coach Bud Grant – strictly kept his team in their hotel rooms except for practice before the game, Noll told his team upon arriving in New Orleans to go out on Bourbon Street "and get the partying out of your system now."


title: Chuck Noll

text: The hallmark of the team during the 1970s was a stifling defense known as the Steel Curtain. Linemen L. C. Greenwood, Joe Greene, as well as Ernie Holmes and Dwight White, linebackers Jack Ham, and Jack Lambert had a collective level of talent unseen before in the NFL.


title: Chuck Noll

text: The teams that won Super Bowls IX and X used a run-oriented offense, primarily featuring Franco Harris and blocking back Rocky Bleier. Over the next few years, Terry Bradshaw matured into an outstanding passer, and the teams that won Super Bowls XIII and XIV fully utilized the receiving tandem of Lynn Swann and John Stallworth.


title: Chuck Noll

text: Noll was notoriously shy and did not like the media or give many interviews. His 1970s teams were so talented that his contributions as head coach (and architect of the team) often were overlooked.


title: Chuck Noll

text: The first half of the 1980s would see the team continue their excellence (making the playoffs for three straight years from 1982 to 1984), even as they failed to reach the Super Bowl, but as the team, facing a spate of injuries and departures to their Super Bowl-winning teams by the decade's second half, began to skid and would see three losing seasons from the years 1985 to 1989. In 1989, Noll finally achieved some recognition as NFL Coach of the Year, when he guided the Steelers into the second round of the playoffs. The team was not especially talented and lost its first two regular-season games by scores of 51–0 and 41–10. However, Noll did a remarkable job in keeping the team focused and steadily improving its play as they made the playoffs and played competitively in two playoff games; Noll went a combined 16–16 in his last two seasons at the helm of the Steelers.


title: Chuck Noll

text: Noll retired as Steelers head coach after the 1991 season with a record of 209–156–1, regular season and postseason combined. He was elected to the Pro Football Hall of Fame in 1993.


title: Chuck Noll

text: Noll maintained a residence in suburban Pittsburgh, however, he spent some time at his Florida home. His mobility was limited by chronic back problems. Noll held the ceremonial title of Administration Adviser in the Pittsburgh Steelers' front office but had no real role in the team's operations after his retirement. He spent about half the year in Pittsburgh with his wife Marianne. Their son, Chris, is a teacher in a private high school in Connecticut.


title: Chuck Noll

text: Noll died of natural causes in his suburban Pittsburgh condo on June 13, 2014, having suffered for years from Alzheimer's disease, a heart condition and back problems. Noll's funeral was held on June 17, 2014 at St. Paul's Cathedral in Pittsburgh.


title: Chuck Noll

text: Noll's legacy includes providing opportunities for African Americans. Under Noll, Joe Gilliam became the league's first African American starting quarterback just a few seasons after the AFL started Marlin Briscoe, and James Harris (Gilliam started ahead of Terry Bradshaw briefly during the 1974 season). In 1975, Franco Harris became the first African American to win the Super Bowl MVP award. During the 1980s, Tony Dungy (who briefly played under Noll in the late 1970s) got his start as an NFL assistant coach, initially as the Steelers' Defensive Backs Coach, and later he became the first African-American Coordinator in the NFL. Noll strongly promoted Dungy as a well-qualified head coaching candidate, but it did not happen for Dungy with the Steelers when Noll retired after the 1991 season. However, Dungy did become head coach of the Tampa Bay Buccaneers and later became the first African American coach to win a Super Bowl (XLI) with the Indianapolis Colts.


title: Chuck Noll

text: On August 2, 2007, the field at St. Vincent Seminary in Latrobe, Pennsylvania was dedicated and renamed Chuck Noll Field in honor of the former coach. For more than 40 years the Steelers have held their summer camp at St. Vincent College, as it was Noll's idea to take the team away from the distractions in the city to prepare for the season each year.


title: Chuck Noll

text: On September 30, 2011, Pittsburgh honored Noll by naming a new street after him. Chuck Noll Way connects North Shore Drive to West General Robinson St. The street runs along Stage AE, on the North Shore of Pittsburgh.


title: The Scarlet Letter (1995 film)

text: The Scarlet Letter is a 1995 American romantic drama western film directed by Roland Joffé. "Freely" adapted from Nathaniel Hawthorne's 1850 novel of the same name, it stars Demi Moore, Gary Oldman, and Robert Duvall. The film met with overwhelmingly negative reviews. It was nominated for seven Golden Raspberry Awards, winning "Worst Remake or Sequel", and has garnered a legacy as one of the worst films ever made.


title: The Scarlet Letter (1995 film)

text: It is 1667 in the Massachusetts Bay Colony, and an uneasy truce exists between local Puritans and their neighbors, the Algonquian. Chief Metacomet succeeds his father Massasoit as head of the latter just as a new colonist, Hester Prynne arrives overseas from England. As Hester waits for her husband—who is due to follow shortly after—she falls for a young minister, Arthur Dimmesdale. When it emerges that Roger Prynne has likely been killed by Native Americans, they become inseparable lovers.


title: The Scarlet Letter (1995 film)

text: Finding herself pregnant with Dimmesdale's child, Hester is imprisoned for her indiscretion. The minister intends to declare his sin and face execution, but Hester convinces him otherwise. Sentenced to wear a scarlet "A" for adultery, Prynne is ostracized by the public, and a drummer boy is charged to follow her whenever she comes to town. Meanwhile, Hester's husband resurfaces, having spent his absence in captivity as a prisoner of war. Learning of the scandal, he adopts the fictitious guise of "Dr. Roger Chillingworth" and begins seeking out her paramour.


title: The Scarlet Letter (1995 film)

text: The physician eventually murders a male settler leaving Hester's home and scalps him in an effort to implicate Algonquian warriors. Infuriated by this atrocity, the colonists declare war on the Indians and Roger, distraught by the severe consequences of his action, promptly commits suicide. Hester is nearly hanged with other undesirables in the ensuing outrage, but Dimmesdale saves her neck by confessing that he is the father of her child. As he takes her place on the gallows, the Algonquian attack Massachusetts Bay; both sides sustain heavy casualties. The Puritans are more concerned with concealing the conflict from England than harassing Hester any further; she finally abandons her scarlet letter and departs with Dimmesdale for Carolina.


title: The Scarlet Letter (1995 film)

text: The film was shot in British Columbia on Vancouver Island, in and around Campbell River (Beaverlodge Lands—now Rockland Road and North Island College/Timberline Secondary, Lupin Falls and Myra Falls in Strathcona Provincial Park, Little Oyster River, and White River), and in the Nova Scotia towns of Yarmouth, Shelburne, and in the small village of Saint Alphonse in Clare in 1994. In Shelburne, the waterfront area was substantially altered to resemble a Puritan New England town in the mid-17th century. Some of the buildings on Dock Street retain the grey-tone paint finishes used for the film.


title: The Scarlet Letter (1995 film)

text: Two original scores were written for this film. Ennio Morricone provided some early demos based on his prior work with Joffé on "The Mission", but nothing original was recorded with an orchestra. A rejected score was composed by Elmer Bernstein, but his music was set aside in lieu of the final score, composed by John Barry. Reportedly, star Demi Moore wanted a score by Barry from the start (based on the composer's work on "Indecent Proposal"), so Bernstein's music was not going to be accepted, regardless of quality.


title: The Scarlet Letter (1995 film)

text: Barry's score was released on CD by Sony Records upon the film's release in 1995. A CD of Bernstein's rejected score was released by Varèse Sarabande in 2008.


title: The Scarlet Letter (1995 film)

text: "The Scarlet Letter" met with overwhelmingly negative reviews. "Washington Post" writer Amy E. Schwartz observed the critical reaction to the "nutty" film: "Phrases like 'unintentionally funny' and 'unwittingly hilarious' have gotten a considerable workout, along with variations on the judgment pronounced by the woman who was two seats away... and who, when the lights went up, cried, 'That's got to be the worst movie I've ever seen'." More forgiving was Peter Stack of the "San Francisco Chronicle", who found it to be a "well-acted, beautiful movie", despite the "syrupy orchestral score" and "big liberties taken with Hawthorne's story".


title: The Scarlet Letter (1995 film)

text: Multiple critics named the film the worst of 1995; "Deseret News" writer Chris Hicks argued that its deviation from the source material represents "Hollywood's arrogance in its purest form". It won Worst Remake or Sequel at the 1995 Golden Raspberry Awards, receiving further nominations for Worst Actress (Moore), Worst Supporting Actor (Duvall), Worst Screen Couple (Moore and either Duvall or Oldman), Worst Director, Worst Picture, and Worst Screenplay. Audiences surveyed by CinemaScore gave "The Scarlet Letter" a grade of "B" on a scale of A+ to F, but the film was not successful at the box office, grossing $35 million against a production budget of $46 million.


title: The Scarlet Letter (1995 film)

text: In a retrospective article, Kevin Williamson of "National Review" observed a "combination of awfulness and inexplicability", and claimed that "any objective and authoritative analysis will reveal that the worst film ever made is Demi Moore's version of "The Scarlet Letter"". "Bustle"s Sadie Trombetta wrote that the film "has earned an almost permanent spot on every 'Worst Movie of All Time' list", while author Libby Fischer Hellmann noted that it is "widely cited as the worst film adaptation ever made". Film4 offered scant praise, calling it "dodgy but oddly entertaining". Based on 38 reviews collected by aggregator Rotten Tomatoes, the film holds a 13% approval rating, with an average score of 3.4/10. The site's critical consensus reads, ""The Scarlet Letter" strays far from its classic source material to tell a story that strains for steamy sensuality and leaves the audience red with unintentional laughter."


title: The Scarlet Letter (1995 film)

text: In response to the criticism, and to the modified narrative, Moore said that the story the filmmakers were trying to tell differed out of necessity since the book "is very dense and not cinematic". She noted the original story might be better suited to a miniseries on television, and that the story presented in this film needed a different ending, one that did not lose "the ultimate message of Hester Prynne" that its makers were trying to convey. Asked by critic Peter Travers in 2011 to name the few films in his catalogue that he would take to a desert island, Oldman named "The Scarlet Letter" among his four choices. He conceded Travers's assertion that the film was "hammered" by reviewers, but argued, "There's some good work in there."


title: Hammered dulcimer

text: The hammered dulcimer (also called the hammer dulcimer) is a percussion-stringed instrument which consists of strings typically stretched over a trapezoidal resonant sound board. The hammered dulcimer is set before the musician, who in more traditional styles may sit cross-legged on the floor, or in a more modern style may stand or sit at a wooden support with legs. The player holds a small spoon-shaped mallet hammer in each hand to strike the strings. The Graeco-Roman "dulcimer" ("sweet song") derives from the Latin "dulcis" (sweet) and the Greek "melos" (song). The dulcimer, in which the strings are beaten with small hammers, originated from the psaltery, in which the strings are plucked.


title: Hammered dulcimer

text: Hammered dulcimers and other similar instruments are traditionally played in Iraq, India, Iran, Southwest Asia, China, Korea, and parts of Southeast Asia, Central Europe (Hungary, Slovenia, Romania, Slovakia, Poland, Czech Republic, Switzerland (particularly Appenzell), Austria and Bavaria), the Balkans, Eastern Europe (Ukraine and Belarus), and Scandinavia. The instrument is also played in the United Kingdom (Wales, East Anglia, Northumbria), and the US, where its traditional use in folk music saw a notable revival in the late 20th century.


title: Hammered dulcimer

text: A dulcimer usually has two bridges, a bass bridge near the right and a treble bridge on the left side. The bass bridge holds up bass strings, which are played to the left of the bridge. The treble strings can be played on either side of the treble bridge. In the usual construction, playing them on the left side gives a note a fifth higher than playing them on the right of the bridge.


title: Hammered dulcimer

text: The dulcimer comes in various sizes, identified by the number of strings that cross each of the bridges. A 15/14, for example, has 15 strings crossing the treble bridge and 14 crossing the bass bridge, and can span three octaves. The strings of a hammered dulcimer are usually found in pairs, two strings for each note (though some instruments have three or four strings per note). Each set of strings is tuned in unison and is called a course. As with a piano, the purpose of using multiple strings per course is to make the instrument louder, although as the courses are rarely in perfect unison, a chorus effect usually results like a mandolin. A hammered dulcimer, like an autoharp, harp, or piano, requires a tuning wrench for tuning, since the dulcimer's strings are wound around tuning pins with square heads. (Ordinarily, 5 mm "zither pins" are used, similar to, but smaller in diameter than piano tuning pins, which come in various sizes ranging upwards from "1/0" or 7 mm.)


title: Hammered dulcimer

text: The strings of the hammered dulcimer are often tuned according to a circle of fifths pattern. Typically, the lowest note (often a G or D) is struck at the lower right-hand of the instrument, just to the left of the right-hand (bass) bridge. As a player strikes the courses above in sequence, they ascend following a repeating sequence of two whole steps and a half step. With this tuning, a diatonic scale is broken into two tetrachords, or groups of four notes. For example, on an instrument with D as the lowest note, the D major scale is played starting in the lower-right corner and ascending the bass bridge: D – E – F – G. This is the lower tetrachord of the D major scale. At this point the player returns to the bottom of the instrument and shifts to the treble strings to the right of the treble bridge to play the higher tetrachord: A – B – C – D. The player can continue up the scale on the right side of the treble bridge with E – F – G – A – B, but the next note will be C, not C, so he or she must switch to the left side of the treble bridge (and closer to the player) to continue the D major scale. See the drawing on the left above, in which "DO" would correspond to D (see Movable do solfège).


title: Hammered dulcimer

text: The shift from the bass bridge to the treble bridge is required because the bass bridge's fourth string G is the start of the lower tetrachord of the G scale. The player could go on up a couple notes (G – A – B), but the next note will be a flatted seventh (C natural in this case), because this note is drawn from the G tetrachord. This D major scale with a flatted seventh is the mixolydian mode in D.


title: Hammered dulcimer

text: The same thing happens as the player goes up the treble bridge – after getting to La (B in this case), one has to go to the left of the treble bridge. Moving from the left side of the bass bridge to the right side of the treble bridge is analogous to moving from the right side of the treble bridge to the left side of the treble bridge.


title: Hammered dulcimer

text: The whole pattern can be shifted up by three courses, so that instead of a D-major scale one would have a G-major scale, and so on. This transposes one equally tempered scale to another. Shifting down three courses transposes the D-major scale to A-major, but of course the first Do-Re-Mi would be shifted off the instrument.


title: Hammered dulcimer

text: This tuning results in most, but not all, notes of the chromatic scale being available. To fill in the gaps, many modern dulcimer builders include extra short bridges at the top and bottom of the soundboard, where extra strings are tuned to some or all of the missing pitches. Such instruments are often called "chromatic dulcimers" as opposed to the more traditional "diatonic dulcimers".


title: Hammered dulcimer

text: The tetrachord markers found on the bridges of most hammered dulcimers in the English-speaking world were introduced by the American player and maker Sam Rizzetta in the 1960s.


title: Hammered dulcimer

text: In the Alps there are also chromatic dulcimers with crossed strings, which are in a whole tone distance in every row. This chromatic "Salzburger hackbrett" was developed in the mid 1930s from the diatonic hammered dulcimer by Tobi Reizer and his son along with Franz Peyer and Heinrich Bandzauner. In the postwar period it was one of the instruments taught in state-sponsored music schools.


title: Hammered dulcimer

text: Hammered dulcimers of non-European descent may have other tuning patterns, and builders of European-style dulcimers sometimes experiment with alternate tuning patterns.


title: Hammered dulcimer

text: The instrument is referred to as "hammered" in reference to the small mallets (referred to as "hammers") that players use to strike the strings. Hammers are usually made of wood (most likely hardwoods such as maple, cherry, padauk, oak, walnut, or any other hardwood), but can also be made from any material, including metal and plastic. In the Western hemisphere, hammers are usually stiff, but in Asia, flexible hammers are often used. The head of the hammer can be left bare for a sharp attack sound, or can be covered with adhesive tape, leather, or fabric for a softer sound. Two-sided hammers are also available. The heads of two sided hammers are usually oval or round. Most of the time, one side is left as bare wood while the other side may be covered in leather or a softer material such as piano felt.


title: Hammered dulcimer

text: Several traditional players have used hammers that differ substantially from those in common use today. Paul Van Arsdale (1920–2018), a player from upstate New York, used flexible hammers made from hacksaw blades, with leather-covered wooden blocks attached to the ends (these were modeled after the hammers used by his grandfather, Jesse Martin). The Irish player John Rea (1915–1983) used hammers made of thick steel wire, which he made himself from old bicycle spokes wrapped with wool. Billy Bennington (1900–1986), a player from Norfolk, England, used cane hammers bound with wool.


title: Hammered dulcimer

text: The hammered dulcimer was extensively used during the Middle Ages in England, France, Italy, Germany, the Netherlands, and Spain. Although it had a distinctive name in each country, it was everywhere regarded as a kind of psalterium. The importance of the method of setting the strings in vibration by means of hammers, and its bearing on the acoustics of the instrument, were recognized only when the invention of the pianoforte had become a matter of history. It was then perceived that the psalterium (in which the strings were plucked) and the dulcimer (in which they were struck), when provided with keyboards would give rise to two distinct families of instruments, differing essentially in tone quality, in technique and in capabilities. The evolution of the psalterium resulted in the harpsichord; that of the dulcimer produced the pianoforte.


title: Hammered dulcimer

text: Versions of the hammered dulcimer, each of which has its own distinct manner of construction and playing style, are used throughout the world:


title: James Bond Theme

text: The "James Bond Theme" is the main signature theme music of the James Bond films and has featured in every Eon Productions Bond film since "Dr. No", released in 1962. Composed by Monty Norman (with arrangements for film provided by John Barry), the piece has been used as an accompanying fanfare to the gun barrel sequence in every Eon Bond film besides the 2006 reboot "Casino Royale" (played fully, instead, at the end of that film).


title: James Bond Theme

text: The "James Bond Theme" has accompanied the opening titles twice, as part of the medley that opens "Dr. No" and then again in the opening credits of "From Russia with Love" (1963). It has been used as music over the end credits for "Dr. No", "Thunderball" (1965), "On Her Majesty's Secret Service" (1969), "The World Is Not Enough" (1999), "Casino Royale" (2006), "Quantum of Solace" (2008), "Skyfall" (2012), and "Spectre" (2015).


title: James Bond Theme

text: Monty Norman wrote the "James Bond Theme" and received royalties from 1962 until his death in 2022. Norman collected around £600,000 in royalties between 1976 and 1999. For "Dr. No", Norman scored the film and the theme was arranged by John Barry, who would later go on to compose the soundtracks for eleven James Bond films. Courts have ruled that the theme was written by Norman, despite claims and testimony by Barry that he had actually written the theme. Norman has consequently won two libel actions against publishers for claiming that Barry wrote the theme, most recently against "The Sunday Times" in 2001.


title: James Bond Theme

text: Norman describes the distinctive rhythm of the guitar in the first few bars of the "James Bond Theme" as "Dum di-di dum dum". He said that it was inspired by "Good Sign, Bad Sign", a song he composed for a musical adaptation of V. S. Naipaul's novel "A House for Mr Biswas", set in the Indian community in Trinidad. Norman showed his manuscript music from "A House for Mr Biswas" in a filmed interview and sang its lyrics. In 2005, Norman released an album called "Completing the Circle" that features "Good Sign Bad Sign", the "James Bond Theme", and a similar-sounding song titled "Dum Di-Di Dum Dum". For these songs Norman added lyrics that explain the origin and history of the "James Bond Theme".


title: James Bond Theme

text: Though the "James Bond Theme" is identified with John Barry's jazz arrangement, parts of it are heard throughout Monty Norman's score for "Dr. No" in non-jazzy guises. Barry's arrangement is repeated ("tracked") in various scenes of the first Bond film. This is consistent with the account given by Barry and some of the film-makers, contained in supplementary material on the DVD release of "Dr. No": Barry was called in to make an arrangement of Norman's motif after Norman had completed the score. There is no information about the distinctive ostinati, countermelodies, and bridges introduced by Barry that are juxtaposed with Norman's motif in order to flesh out the arrangement. These added musical figures have become as recognizable to listeners as Norman's motif, which is probably responsible for the controversy over the authorship of the "James Bond Theme" as listeners have come to know it. Also of note, the "James Bond Theme" introduction is very similar to a portion of Celia Cruz' "Plegaria a La Roye" as recorded in Cuba with La Sonora Matancera in 1954.


title: James Bond Theme

text: The "James Bond Theme" was recorded on 21 June 1962, using five saxophones, nine brass instruments, a solo guitar and a rhythm section. The guitar motif heard in the original recording of the theme was played by Vic Flick on a 1939 English Clifford Essex Paragon Deluxe guitar plugged into a Fender Vibrolux amplifier. Flick was paid a one-off fee of £6 for recording the famous James Bond Theme motif. John Scott played the saxophone. Barry, who was paid £250 for his work, was surprised that his theme appeared so often in "Dr. No". He was told by Noel Rogers, the head of United Artists Music, that though the producers would not give him any more money or a writing credit they would get in touch with him if there was another Bond film made.


title: James Bond Theme

text: Within the Bond films themselves, many different arrangements of the theme have been used, often reflecting the musical tastes of the specific times. The electric guitar version of the theme is most associated with the Sean Connery era although it was also used in some Roger Moore films, in Timothy Dalton's final film "Licence to Kill" and in the Bond films starring Pierce Brosnan and Daniel Craig with the arrangement by David Arnold.


title: James Bond Theme

text: For every Bond movie which John Barry scored, he orchestrated a slightly different version of the Bond theme, as can be heard during the gun barrel sequence. These specialised Bond themes often reflected the style and locations featured in the movie, and the actor playing Bond.


title: James Bond Theme

text: The "James Bond Theme" and its variations found in the movies are played during many different types of scenes. Early in the series, the theme provided background music to Connery's entrances. It was not until "Goldfinger" that John Barry began to use the theme as an action cue. Since then, the primary use of the "James Bond Theme" has been with action scenes.


title: James Bond Theme

text: The first appearance of the "James Bond Theme" was in "Dr. No". There it was used as part of the actual gun barrel and main title sequence.


title: James Bond Theme

text: In "From Russia with Love", the "James Bond Theme" appears not only in the gun barrel pre-title sequence, but as part of the main title theme and in the track "James Bond with Bongos". It is a slower, jazzier, somewhat punchier rendition than the original orchestration. The original Barry arrangement from "Dr. No" is heard during a check of Bond's room for listening devices.


title: James Bond Theme

text: In "Goldfinger", the "James Bond Theme" can be heard on the soundtrack in "Bond Back in Action Again" (gun barrel and pre-title sequence). The "James Bond Theme" for this movie is heavily influenced by the brassy, jazzy theme song sung by Shirley Bassey.


title: James Bond Theme

text: "Thunderball" featured a full orchestral version of the theme in the track "Chateau Flight". Another full orchestral version was intended for the end titles of the film.


title: James Bond Theme

text: "You Only Live Twice" featured a funereal orchestration with Bond's "burial" at sea sequence in Hong Kong harbour. A full orchestral version of the theme was used in the "Little Nellie" autogyro fight scene.


title: James Bond Theme

text: The George Lazenby film "On Her Majesty's Secret Service" used a unique high-pitched arrangement with the melody played on a Moog synthesizer. The cue is called "This Never Happened to the Other Feller" and a similar recording was used over the film's end credits. The film has a downbeat ending and the explosive burst of the "James Bond Theme" at the film's very end suggests Bond will return in spite of the situation he finds himself in at the climax of this movie.


title: James Bond Theme

text: With the return of Sean Connery in "Diamonds Are Forever", the guitar made a comeback along with a full orchestral version during a hovercraft sequence. On the soundtrack, this track is named "Mr. Wint and Mr. Kidd/Bond to Holland."


title: James Bond Theme

text: When Roger Moore came to the role, the "James Bond Theme" became a string orchestra driven piece. In "Live and Let Die", the James Bond theme was featured in a Funk-inspired version of the tune reflecting the music of Blaxploitation films popular at the time.


title: James Bond Theme

text: The brief quote of the theme in the pre-credits music of "The Spy Who Loved Me", titled "Bond 77", featured a disco sound, reflecting a style of music which was very popular at the time. "The Spy Who Loved Me" returned briefly to using the surf-rock guitar associated with the theme from the early days.


title: James Bond Theme

text: One unusual instance occurred in "Octopussy", when Bond's contact, who is disguised as a snake charmer, plays a few notes of the tune for Roger Moore's James Bond, presumably as a pre-arranged identification signal. This is an example of the tune being used as diegetic music.


title: James Bond Theme

text: The first Bond film of Timothy Dalton, "The Living Daylights", which was the last Bond film scored by Barry, used a symphonic version with the melody played on strings. This version of the Bond theme is notable for its introduction of sequenced electronic rhythm tracks overdubbed with the orchestra – at the time, a relatively new innovation.


title: James Bond Theme

text: In "Licence to Kill", the Bond theme was arranged by Michael Kamen using rock drums to symbolise a harder and more violent Bond. This gun barrel is the first one since "Dr. No" not starting with the Bond theme, but orchestral hits though the surf guitar makes returns soon after.


title: James Bond Theme

text: The gun barrel of the Pierce Brosnan film "GoldenEye" opened with a synthesised arrangement by Éric Serra which plays the guitar riff on (almost indistinct) kettle drums. A more traditional rendition by John Altman is heard in the film during the tank chase in St. Petersburg. This version of the "James Bond Theme" is not included in the "GoldenEye" soundtrack. Additionally, Starr Parodi composed a version of the James Bond Theme for the 1995 trailer.


title: James Bond Theme

text: David Arnold's gun barrel arrangements in "Tomorrow Never Dies" and "The World Is Not Enough" dropped the guitar melody line, jumping straight from the tune's opening to its concluding bars. An electronic rhythm was added to the gun barrel of "The World Is Not Enough". The typical Bond guitar line can be heard during some action scenes.


title: James Bond Theme

text: The "Die Another Day" gun barrel recalls the version of "From Russia with Love" but with a more techno-influenced rhythm. It also contains the guitar riff of the "James Bond Theme".


title: James Bond Theme

text: Daniel Craig's first James Bond film, "Casino Royale", does not feature the "James Bond Theme" in its entirety until the very end of the movie during a climactic scene. In "Casino Royale", the main notes of the song "You Know My Name" are played throughout the film as a substitute for the "James Bond Theme". A new recording of the classic theme, titled "The Name's Bond…James Bond", only plays during the end credits to signal the beginning of the character's new arc as the 21st century version of James Bond. Although that is the first time the theme is played in its entirety, the first bars of the song (the chord progression) appeared as a slow background music in seven moments throughout the movie: after Bond's conversation with M (during his flight), after winning the Aston Martin, when he makes his first appearance in a tuxedo (accompanied by a few bars of the bridge), after he has survived the poisoned martini, when he wins the final match at Casino Royale, when Bond is following Vesper Lynd, and when Bond speaks with M on the phone.


title: James Bond Theme

text: At the end of "Quantum of Solace", the theme appears with Craig's new official gun barrel sequence, unusually shown at the end of the film. The theme here is very similar to the classic style in "Casino Royale". It appears sparingly throughout the score itself, never in an immediately recognisable variation. David Arnold said in an interview on the DVD extras for "Tomorrow Never Dies" that the "James Bond Theme" is what he expects to hear as an audience member in action scenes, yet his scores for "Casino Royale" and "Quantum of Solace" only use it during the end credits.


title: James Bond Theme

text: The next film, "Skyfall", includes the theme as part of the harmony to Adele's vocals and is used as the chord progression, including a faint surf guitar riff. Also, in a similar way to "Quantum of Solace", the gun barrel sequence is shown at the end of the film. The theme that plays along with the sequence and into the end credits is David Arnold's "Casino Royale" track "The Name's Bond…James Bond". Despite this, the film's score was composed by Thomas Newman, who also incorporated the "James Bond Theme" throughout the entire film.


title: James Bond Theme

text: In "Spectre", the theme appears at the beginning of the film as part of the opening gun barrel sequence, indicating a return to the franchise's classic era of 1962 to 2002.


title: James Bond Theme

text: The theme is used again in "No Time to Die", in the tracks named "Gun Barrel" and "Back to MI6". A reworked, salsa-like version was used in "Cuba Chase". This is the only film in the Craig era that doesn't use the Bond theme in the credits, instead using "We Have All the Time in the World" from "On Her Majesty's Secret Service". This is because of Bond's death at the end of the film. Additionally, the film's title track performed by Billie Eilish features a single trumpet solo interpolating the theme.


title: James Bond Theme

text: The John Barry Orchestra recording peaked at number eleven on the UK Singles Chart on the week of 6–12 December 1962.


title: James Bond Theme

text: Apart from the James Bond soundtracks themselves, John Barry re-recorded the James Bond Theme in 1966 for his CBS album "The Great Movie Sounds of John Barry", which features driving percussion ostinati (with a prominent role for bongos), as well as a piano and brass improvisation superimposed over the last few bars. For his 1972 Polydor album "The Concert John Barry", he re-scored the theme again as part of a James Bond suite for full symphony orchestra, in this case the Royal Philharmonic Orchestra. This more lush arrangement was to feature in his later Bond film scores, notably "Octopussy".


title: James Bond Theme

text: American electronica musician Moby produced a remixed version of the theme entitled "James Bond Theme (Moby's Re-Version)" for the Bond film "Tomorrow Never Dies". It first appeared as the second track on "I Like to Score", a compilation of Moby's songs used in films, and later featured as the fifteenth and final track on the "Tomorrow Never Dies" soundtrack album. Moby has said "It did feel a little strange remixing something that was perfect in its original state", further admitting that he "still thinks the original is miles better than the version I did".


title: James Bond Theme

text: Released as a single, "James Bond Theme (Moby's Re-Version)" charted at number eight on the UK Singles Chart, besting "Go"'s number 10 peak six years earlier to become, at the time, Moby's highest-peaking single on the chart. It also reached number one in Iceland and peaked within the top 20 in Finland, Ireland, and Switzerland.


title: James Bond Theme

text: The song features two samples of dialogue from the Bond films: Pierce Brosnan saying "Bond, James Bond" as heard in "GoldenEye", and the conversation between Bond and Auric Goldfinger in "Goldfinger": "Do you expect me to talk?" / "No, Mr. Bond. I expect you to die."


title: Fila Brasileiro

text: It is used as a guard dog, for cattle herding and for big-game hunting; it may also be kept as a companion dog or pet. In the eighteenth century, when slavery was still legal in Brazil, the Fila Brasileiro was used to return escaped slaves to their owners.


title: Fila Brasileiro

text: The verb "filar" in Portuguese literally means "to hold, arrest, grab". So "cão de fila" (fila dog) or "cão de filar" suggests that it is a catch dog, a dog that "bites and does not loosen its grip". A similar name is also found in two Portuguese dog breeds: the Cão de Fila de São Miguel and the extinct Cão de Fila da Terceira.


title: Fila Brasileiro

text: The Fila Brasileiro is thought to descend from European dogs brought to Brazil during the Colonial period, with little or no influence from indigenous South American dogs from the Pre-Cabraline era.


title: Fila Brasileiro

text: The Fila Brasileiro were bred and raised primarily on large plantations and cattle farms where they originated. In addition to cattle, jaguars, and other animals, these dogs were taught to chase down fugitive slaves.