prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who wrote the song turn me on that is performed by performer of Feelin' the Same Way?

The following are given passages.
Context 1: Passage 1:
I'm Feelin' U
"I'm Feelin' U" is a 2007 song by the musician CeCe Peniston  The song was originally released in February on the partially mixed dance compilation Miami 2007, a part of Defected In The House series, that featured overall thirty-eight tracks by various artists and was issued on ITH Records 
In May 2007, "I'm Feelin' U" was released also on single on Soulfuric Recordings with four remixes, of which one was produced also by Ron Carroll  The rest three were mixed by DJ Fudge and Brian Tappert 
The title was available also in a digital format, as a virtual single for a direct download, and became the tenth most downloaded track of 2007 at Traxsource, an independent dance music digital downloads site in USA 

Credits and personnel
CeCe Peniston – lead vocal, writer
Ron Carroll – writer, remix, producer
Stéphane Juif (aka DJ Fudge) – remix, arranger, producer
Brian Tappert – remix, keyboards, drums, additional programming
Matt Hennessy – engineer
Rob "Diggy" Morrison – additional keyboards
Alex Finkine – guitar
Kris Anderson – recording vocals

Track listings
12", US, #SFR 0033"I'm Feelin' U" (Ron Carroll's Original BMC Vocal) – 7:23
"I'm Feelin' U" (B Room Dub) – 6:10
"I'm Feelin' U" (Fudge Main Remix) – 6:17
"I'm Feelin' U" (Subsonic Fudge Dub) – 5:56MD, US, #SFR0033
MCD, US, TP, #SFR0033"I'm Feelin' U" (Ron Carroll's Original BMC Vocal) – 7:23
"I'm Feelin' U" (Fudge Main Remix) – 6:17
"I'm Feelin' U" (Subsonic Fudge Dub) – 5:56
"I'm Feelin' U" (B Room Dub) – 6:10
Passage 2:
The Goodies
The Goodies were a trio of British comedians: Tim Brooke-Taylor (17 July 1940–12 April 2020), Graeme Garden (b  18 February 1943) and Bill Oddie (b  7 July 1941)  The trio created, wrote for and performed in their eponymous television comedy show from 1970 until 1982, combining sketches and situation comedy 

Beginnings
The three actors met each other while undergraduates at the University of Cambridge, where Brooke-Taylor (Pembroke) was a law student, Garden (Emmanuel) was studying medicine and Oddie (Pembroke) was reading English  Their contemporaries included Graham Chapman, John Cleese and Eric Idle, who later became members of Monty Python, and with whom they became close friends  Brooke-Taylor and Cleese studied together and swapped lecture notes, for they were both law students, but at different colleges within the university  All three Goodies became members of the Cambridge University Footlights Club, with Brooke-Taylor becoming president in 1963, and Garden succeeding him as president in 1964 In 1965, Eric Idle succeeded Garden as Footlights Club president  Idle had initially become aware of the Footlights when he auditioned for a "smoker concert" at Pembroke College in front of Brooke-Taylor and Oddie 

Career before The Goodies
Brooke-Taylor, Garden and Oddie were cast members of the 1960s BBC radio comedy show I'm Sorry, I'll Read That Again, which also featured John Cleese, David Hatch and Jo Kendall, and lasted until 1973   I'm Sorry, I'll Read That Again resulted from the 1963 Cambridge University Footlights Club revue A Clump of Plinths  After having its title changed to Cambridge Circus, the revue went on to play in the West End in London, England, followed by a tour of New Zealand, then on Broadway in New York City (including an appearance on the Ed Sullivan Show) 
They also took part in various TV shows with other people, including Brooke-Taylor in At Last the 1948 Show (with Cleese, Chapman and Marty Feldman)  Brooke-Taylor also took part in Marty (with Marty Feldman, John Junkin and Roland MacLeod)  In 1968 Brooke-Taylor appeared with Cleese, Michael Palin and Graham Chapman in How to Irritate People  Garden and Oddie took part in Twice a Fortnight (with Michael Palin, Terry Jones and Jonathan Lynn), before Brooke-Taylor, Garden, and Oddie worked on the late-1960s TV show Broaden Your Mind (of which only about ten minutes survives) 

The Goodies television series
The original BBC television series ran from November 1970 to February 1980 on BBC 2, with 67 half-hour episodes and two forty-five-minute Christmas specials  The series was created by Tim Brooke-Taylor, Graeme Garden and Bill Oddie, and originally co-written by all three, with Oddie providing the music for the show  Later episodes were co-written by Garden and Oddie 
It was one of the first shows in the UK to use chroma key and one of the first to use stop-motion techniques in a live action format  Other effects include hand editing for repeated movement, mainly used to make animals "talk" or "sing", and play speed effects as used in the episode "Kitten Kong"  In the series, the threesome travelled on, and frequently fell off, a three-seater bicycle known to them as a 'trandem' In September 1978, the trio appeared in character in an episode of the BBC1 television game show Star Turn Challenge, presented by Bernard Cribbins, in which teams of celebrities competed in acting games  Their opponents were three members of the cast of The Liver Birds, Nerys Hughes, Elizabeth Estensen and Michael Angelis  They also presented the Christmas 1976 edition of Disney Time from the toy department of Selfridges store in London, broadcast on BBC1 on Boxing Day at 5 50 pm 
The Goodies never had a formal contract with the BBC, and when the BBC Light Entertainment budget for 1980 was exhausted by the production of The Hitchhiker's Guide to the Galaxy TV series, the Goodies signed a contract with London Weekend Television (LWT) for ITV  However, after one half-hour Christmas special ("Snow White 2") in 1981, and a six-part series in early 1982, the series was cancelled  In later interviews the cast suggest the reasons were mainly economic, and that a typical Goodies sketch was more expensive than it appeared 

DVD and VHS releases
Awards and nominations
"The Goodies" won the Silver Rose at the Festival Rose d'Or, held in Montreux, Switzerland, in 1972 for a special episode, based on the original 1971 Goodies' "Kitten Kong" episode, titled "Kitten Kong: Montreux '72 Edition"  In the first episode of the next series, "The New Office", Tim Brooke-Taylor can be seen painting the trophy gold 
"The Goodies" was nominated for a BAFTA for Best Light Entertainment Programme in 1972, losing to The Benny Hill Show "The Goodies" won the Silver Rose in 1975 at the Festival Rose d'Or for their episode "The Movies" "The Goodies" was nominated for a BAFTA for Best Light Entertainment Programme in 1976, losing to The Two Ronnies 

International releases and repeats of the TV series
Britain
Unlike many long-running BBC comedy series, The Goodies has not enjoyed extensive repeats on terrestrial television in the UK  In 1986, BBC2 broadcast the episode "Kitten Kong" during a week of programmes screened under the banner "TV-50", when the BBC celebrated 50 years of broadcasting  In the late 1980s the pan-European satellite-channel Super Channel broadcast a couple of episodes, and the short-lived Comedy Channel broadcast some of the later Goodies episodes in the early 1990s  Later UK Gold screened many of the earlier episodes, often with commercial timing cuts  The same episodes subsequently aired on UK Arena, also cut  When UK Arena became UK Drama, later UKTV Drama, The Goodies was dropped along with its other comedy and documentary shows 
The cast finally took matters into their own hands and arranged with Network Video for the release of a digitally-remastered 'best of' selection entitled The Goodies     At Last on VHS and Region 0 DVD in April 2003  A second volume, The Goodies     At Last a Second Helping was released on Region 2 in February 2005  Series 9 (including the Xmas special) was released on Region 2 as The Goodies – The Complete LWT Series on 26 March 2007 and a fourth volume The Goodies     At Last Back for More, Again was released on region 2 in 2010 as well as a DVD box set containing all four volumes to celebrate 40 years of The Goodies 
In 2004, an episode of the BBC documentary series Comedy Connections was devoted to the Goodies  During Christmas that year, Channel 5 repeated the classic 1973 episode "The Goodies and the Beanstalk"   Christmas 2005 saw a 90-minute Goodies special, a documentary about the series, Return of the Goodies, broadcast on BBC Two Early in 2006, a single episode ("Winter Olympics") was broadcast on BBC Two  In February 2007, the 1982 LWT series was repeated on pay-TV channel Paramount 2 
In December 2010, BBC Two showed selected late-night repeats of the BBC series, which ran nightly from 23 to 30 December  This apparent gesture followed years of campaigning by The Goodies that the shows had not been repeated like other BBC shows such as Dad's Army, Only Fools and Horses and Some Mothers Do 'Ave 'Em  The episodes shown were: "Bunfight at the O K  Tea Rooms" / "Earthanasia" / "The Goodies and the Beanstalk" / "Kitten Kong" / "Lighthouse Keeping Loonies" / "Saturday Night Grease" / "The Baddies" (a k a  "Double Trouble") and "The Stone Age", although "Scoutrageous", "Kung Fu Kapers" and "Scotland" (a k a  "Loch Ness Monster") were originally billed as episodes 1, 2 and 7 of the repeat run  The episodes garnered good ratings given their time slot, and the first six episodes were taken from the BBC's own master tapes, rather than the digital remasters, the rights to which are currently owned by Network Video  "The Baddies" and "The Stone Age" have never been digitally remastered 
On Sunday 8 June 2014, during a 1970s weekend, BBC Two repeated the Montreux '72 Edition of "Kitten Kong" once again; however, this has been the only episode to be repeated twice, and no full series have been repeated since 
In September 2018, Network released a box set titled The Goodies: The Complete BBC Collection  This set contains every single episode from 1970-1980 (excepting the lost, original version of "Kitten Kong") and, as a bonus feature, a one-hour edit of the show "An Audience with the Goodies", hosted by Stewart Lee and filmed live at Leicester Square in June 2018 
In late September 2022 the TV channel 'That's TV' (numbered 183 on SKY TV listings and 65 on Freeview) started showing the BBC episodes, one episode every day, starting with series one episode one on 26th September at 21 40  Series 2 started airing at 21 45 on October 5th  Series 3 started airing at 21:40 on October 11th  Series 4 started airing at 21:30 on October 17th  Series 5 started airing at 21:30 on October 24th  Series 6 started airing at 21:30 on November 6th  Some episodes are being aired in poor quality and/or black & White as the tapes were sadly wiped for reuse by the BBC in the 1970s  Although there is a message before each episode stating; 'This programme reflects the standards, language and attitudes of its time  Some viewers may find this content offensive', it seems that not all episodes are being aired - noticeably the 'Kitten Kong', 'Special Tax Edition' & 	'The Goodies Rule – O K ?' specials, but also series 2 episodes 'Pollution', 'The Lost Tribe', 'Come Dancing', 'Gender Education, 'Charity Bounce' & 'The Baddies', series 3 episode 'Superstar', series 4 episodes 'The Goodies and the Beanstalk' & 'The Race', series 5 episodes 'Scatty Safari' & 'South Africa' were not aired, with no notice or reason given 

Australia
In Australia, the series has had continued popularity  It was especially popular when it was repeated through the 1970s and 1980s by the ABC  As the show was typically broadcast in the 25-minute 6:00 pm children's timeslot, portions often had to be cut  The 1981-82 LWT series was played once on the Seven Network in the early 1980s  The ABC screened the BBC episodes again in the early 1990s, but skipped several stories due to either inappropriate material for a children's timeslot, or a lack of colour prints at the time  The BBC episodes were then heavily edited to allow time for commercials when repeated on Network Ten in the 1990s, before moving to the pay television channel UK TV during the late 1990s and early 2000s, where they were screened in full  ABC2  ran re-runs of the series, beginning in 2010 
Three of the Goodies DVDs are available in Australia under different titles to the UK releases: The Goodies: 8 Delicious Episodes, The Goodies: A Tasty Second Helping and The Goodies: The Final Episodes, respectively  The Goodies' DVDs are also available in a boxed set with a commemorative booklet (The Goodies: The Tasty Box)  This collection contains the same 16 episodes as the original two DVD releases but with additional material such as commentaries on several episodes and the original scripts of some episodes in PDF format  Picture quality has been greatly improved using digital restoration techniques and the episode "Come Dancing", which was originally thought to only have survived as a black-and-white film recording, is presented in colour from a 625-line low-band broadcast standard PAL VT recording, made for training purposes, which has had the low-level colour boosted  (The original Australian DVD release, The Goodies – A Tasty Second Helping (2 disc set), and The Goodies – A Second Helping: 4 tasty serves (1 Disc), featured the b/w telerecording of this episode )

Canada
In Canada, the series was shown in on the CBC national broadcast network during the late 1970s and early 1980s, in the traditional "after school" time slot, later a Friday night 10 pm slot, and occasionally in a midnight slot  Several episodes were also shown on the CTV Television Network  In the mid-1970s it was shown on TVOntario on Saturday evenings, repeated on Thursday evenings, until it was replaced by Doctor Who in 1976 

Germany
In Germany in 1972, German TV screened the 13-part variety show Engelbert and the Young Generation, a co-production between the BBC and German station ZDF in which The Goodies appeared in short 3-to-4-minute film sequences  The first six of these sequences were culled from the first and second series of The Goodies: "Pets" (from "Kitten Kong"), "Pop Festival" (from "The Music Lovers"), "Keep Fit" (from "Commonwealth Games"), "Post Office" (from "Radio Goodies"), "Sleepwalking" (from "Snooze") and "Factory Farm" (from "Fresh Farm Foods"); and there were seven new film sequences, "Good Deed Day", "The Gym", "The Country Code", "Street Entertainers", "Plum Pudding", "Bodyguards" and "Pan's Grannies" – these also featured intro sequences with host Engelbert Humperdinck visiting the Goodies at their office  The shows were dubbed into German and because the Goodies part of the shows was more visual than dialogue-based, it translated very well 
Five of these new films were also cut together, with a new story involving The Goodies filling out their "Tax Evasion" form, as a special 25-minute Goodies compilation episode, "A Collection of Goodies", first broadcast on BBC1 at 8 15 pm on 24 September 1972, and produced by Jim Franklin  "The Country Code" and "Bodyguards" were not used 

New Zealand
In New Zealand, the series was originally shown in full by the NZBC (later TV One) during the 1970s and 1980s  Since then, it has been re-run on SKY Network Television's Comedy Central 

Spain
In Spain, a couple of episodes of The Goodies were shown as part of a season of television-award-winning programmes (the Goodies were Montreux Festival winners) on TVE 2 entitled Festival TV in 1981 

United States
In the US, the series was shown widely in syndication during the late 1970s and early 1980s, but has been little seen since  It was shown also on PBS stations, sometimes in tandem with Monty Python's Flying Circus 

Books
Goodies books, written by the Goodies
In their heyday The Goodies also produced successful books:

The Goodies File – Tim Brooke-Taylor, Graeme Garden and Bill Oddie, Sphere Books Ltd , London 1975  (This book was reprinted eight times between 1976 and 1981)
The Goodies Book of Criminal Records – Tim Brooke-Taylor, Graeme Garden and Bill Oddie, Sphere Books Ltd , London 1975
The Making of The Goodies Disaster Movie – Tim Brooke-Taylor, Graeme Garden and Bill Oddie, Weidenfeld & Nicolson Ltd , London 1977   (First Sphere Books Ltd , London edition 1978)

Books about the Goodies, written by other people
The Complete Goodies – Robert Ross, B T Batsford, London, 2000
The Goodies Rule OK – Robert Ross, Carlton Books Ltd, Sydney, 2006
The Clue Bible: The Fully Authorised History of ISIHAC – Jem Roberts, Preface Publishing 2009
The Goodies Superchaps Three – Andrew Pixley, 2011
The Goodies Episode Summaries – Brett Allender
The Goodies – Fact File – Matthew K  Sharp
The Goodies, the name of a chapter (pages 162-179) within the book From Fringe to Flying Circus – Celebrating a Unique Generation of Comedy 1960-1980 – Roger Wilmut, Eyre Methuen Ltd, 1980

Goodies songs
"All Things Bright and Beautiful" was released as a single credited to The Goodies in 1973, although it had been recorded in 1966 when they were part of I'm Sorry, I'll Read That Again 
The first true Goodies album, The Goodies Sing Songs From The Goodies, was released in 1973 and reissued as The World of the Goodies in 1974  "The Goodies Theme" was released as a single in 1973 
They had a string of successful chart singles penned by Bill Oddie  In 1974–75, they chalked up five hit singles in twelve months: "The Inbetweenies", "Black Pudding Bertha", "Nappy Love" and "The Funky Gibbon" (all performed during the episode "The Goodies – Almost Live"), and "Make a Daft Noise for Christmas" 
"The Funky Gibbon" was their biggest hit, reached number 4 in the UK Singles Chart  The Goodies made an appearance on Top of the Pops with the song  They also performed it during the Amnesty International show A Poke in the Eye (with a Sharp Stick)  "The Funky Gibbon" became a favourite in the United States on Dr  Demento's radio shows and reached number 79 on the Billboard Hot 100 in 1975 
The New Goodies LP, which featured most of the hit singles, reached number 25 on the UK Albums Chart in 1975 

Goodies Theme
Three variations of the Goodies Theme were used on the opening titles for the 1970–1982 television series  Apart from the original Goodies Theme, used from 1970–1972 and released as a single, two other variations surfaced, one, with a contemporary feel from 1973–1974, sung by Bill and then the third and final theme for the rest of the series from 1975 onwards, again sung by Bill  This variation lasted for the rest of the TV series and also surfaced on later Goodies LPs and, eventually, singles 

Other collaborations
Tim Brooke-Taylor was a writer/performer on the television comedy series At Last the 1948 Show (which also included John Cleese, Graham Chapman and Marty Feldman in the cast), in which Eric Idle and Bill Oddie guest-starred in some of the episodes  The famous "Four Yorkshiremen" sketch was co-written by the four writers/performers of the series – Tim Brooke-Taylor, John Cleese, Graham Chapman and Marty Feldman 
Tim Brooke-Taylor was a cast member of the television comedy series Marty with Marty Feldman and John Junkin – a compilation of the two series of Marty has been released on a DVD with the title of It's Marty 
Brooke-Taylor was also a cast member of John Cleese's special How to Irritate People 
Along with John Junkin and Barry Cryer, Brooke-Taylor was a regular cast member of the long-running Radio 2 comedy sketch show Hello, Cheeky!, which ran from 1973 to 1979  The series also transferred to Yorkshire Television for two series in 1975 and 1976 
Tim Brooke-Taylor also appeared on BBC's hospital comedy TLC, as well as the sitcoms You Must Be The Husband (with Diane Keen and Sheila Steafel), and Me and My Girl (with Richard O'Sullivan and Joan Sanderson)  He also played in a televised pro-celebrity golf match opposite Bruce Forsyth 
Graeme Garden and Bill Oddie were writers/performers on the television comedy series Twice a Fortnight (which also included Terry Jones, Michael Palin and Jonathan Lynn in the cast) 
Tim Brooke-Taylor and Graeme Garden were writers/performers on the television comedy series Broaden Your Mind, with Bill Oddie joining them for the second series 
The three writers and performers also collaborated on the 1983 animated children's programme Bananaman, where they played various voice roles 
Bill Oddie has occasionally appeared on the BBC Radio 4 panel game I'm Sorry I Haven't a Clue, on which Garden and Brooke-Taylor are regular panellists 
Graeme Garden and Bill Oddie worked on the television comedy Doctor in the House: they co-wrote most of the first series and all of the second   Garden also appeared as a television interviewer in the series, in the episode titled "On the Box" 
Between 1981 and 1983 Garden and Oddie wrote, but did not perform in, a science fiction sitcom called Astronauts for Central and ITV  The show was set in a British space station in the near future 
Garden was a regular team captain on the political satire game show If I Ruled the World  Brooke-Taylor appeared as a guest in one episode, and during the game "I Couldn't Disagree More" he proposed that it was high time The Goodies episodes were repeated  Garden was obliged by the rules of the game to refute this statement, and replied "I couldn't disagree more   it was time to repeat them ten, fifteen years ago " This was followed by uproarious applause from the studio audience 
In 2004, Garden and Brooke-Taylor were co-presenters of Channel 4's daytime game show Beat the Nation, in which they indulged in usual game show "banter", but took the quiz itself seriously  Oddie hosts a very successful series of nature programmes for the BBC 

Goodies reunion shows
2005 Australian reunion shows
The trio reunited in Australia for The Goodies (Still A) Live on Stage as part of Sydney's Big Laugh Comedy Festival in March 2005  The show toured the country, visiting Melbourne, Brisbane and Canberra and selling out most of the 13 performances A further Australian tour by the Goodies, sans Bill, took place during November and December 2005 

"Return of the Goodies" (2005)
On 30 December, BBC2 broadcast a feature-length special, featuring some new material by Brooke-Taylor, Garden and Oddie, linking clips from the original television series and interview footage 

2006 and 2007 UK reunion shows
Tim Brooke-Taylor and Graeme Garden took their Goodies Live show to the 2006 Edinburgh Fringe festival  The show was similar to the second leg of the Goodies Australian tour, with Bill Oddie participating via video (due to his many filming commitments)  The show was also performed at the Paramount Comedy Festival in Brighton in October 2006 Brooke-Taylor and Garden performed the show at 22 further UK venues in 2007 

2009 World's Funniest Island and Riverside
Tim Brooke-Taylor and Graeme Garden appeared at Sydney's Riverside Theatre (Parramatta) on 15 October 2009 and the World's Funniest Island comedy festival on Cockatoo Island, Sydney Harbour on 17–18 October 2009  The show was hosted by Andrew Hansen of Australian comedy team The Chaser 

2010 The One Show
On the 4th November 2010, The Goodies were once again reunited when the BBC1 magazine and chat show The One Show brought them back together 

2013: An Oldie but a Goodie
Bill Oddie toured Australia to present a series of one-man shows, An Oldie but a Goodie, during June 2013  The tour took in Brisbane, Sydney, Melbourne, Adelaide and Perth  A video with the three Goodies was shown during the shows On 19 June 2013, Oddie made personal appearances on both The Project and the Adam Hills Tonight television shows in conjunction with the tour 

2019: The Big Ben Theory
The final time that The Goodies collaborated on a commercially available project was a single, hour-long audiobook created for Audible UK, entitled The Big Ben Theory  Scripted by Gareth Gwynn and John-Luke Roberts, along with Graeme Garden and Bill Oddie, and recorded in front of a highly appreciative live audience, the cast comprised Tim, Bill (an indisposed Graeme was replaced at the last minute by the project's originator and producer, Barnaby Eaton-Jones), Joanna Lumley, Philip Pope, Jon Culshaw and Kate Harbour, with direction from Dirk Maggs  Graeme Garden's own description reads ‘As Parliament falls apart and sinister dictators threaten the world, Tim, Graeme and Bill must save the day  They defeated Kitten Kong! They stuffed the Funky Gibbon! They invented Ecky Thump! Can they save Parliament as well? 52% say yes  48% say no  But you just can't rely on statistics, can you?!’ The audiobook, released by Audible on 9 October 2019, was intended to be the pilot for a forthcoming series of new episodes to be written and recorded in 2020; however, the project ended with Tim Brooke-Taylor’s death from complications from COVID-19 on April 12 that year in Cookham, Berkshire, aged 79 
In January 2022 it was announced that a series of novellas based on the planned Audible episodes was set to be published by Chinbeard Books, commencing with "Avengers Dissemble", adapted by producer and writer Barnaby Eaton Jones, with a foreword by Joanna Lumley, and based on material co-devised with the Goodies  The first book is dedicated to Tim Brooke-Taylor, 2 years since his death from COVID-19 complications and published with the backing of Tim's family and the 2 remaining Goodies: Graeme Garden and Bill Oddie, with a percentage of the royalties going to the charity Tim was President of for over 25 years – Thames Valley Adventure Playground 

Cultural influence
The Mighty Boosh was started when Julian Barratt asked Noel Fielding if he wanted to make a modern-day Goodies The official Goodies fan club's (Goodies Rule-OK!) newsletter is called the Clarion & Globe  It was named after the newspaper in The Goodies' episode "Fleet Street Goodies" (a k a  "Cunning Stunts") During the 1970s, Cor!! comic, released by Fleetway publications, had a Goodies comics strip  When the comic later merged with Buster, the Goodies did not move across, although the TV show was still running Australian rock band Spiderbait released a 1993 album and EP which contained a rocked-up fast cover version of the Goodies song "Run" Australian theatre company Shaolin Punk produced a short play titled "A Record or an OBE", written by Melbourne comedian and actor Ben McKenzie, and featuring Tim and Graeme as characters  Set in 1975, the two remaining Goodies struggle to carry on after Bill leaves the group to pursue a music career  The play premiered in the 2007 Melbourne Fringe Festival, where it was highly commended in the Comedy category  Later seasons were also performed for the Adelaide Fringe and Melbourne International Comedy Festival in 2008 U S  rock band The White Stripes named their 6th album Icky Thump in reference to The Goodies sketch "The Battle of Ecky Thump"  The name was changed from "Ecky Thump" to "Icky Thump" to make the title more palatable to an American teenage audience 

Honours
All three Goodies were awarded OBEs  Bill Oddie received his OBE in 2003 for wildlife conservation, while Tim Brooke-Taylor and Graeme Garden received their OBEs in 2011 for services to light entertainment  The show often mocked OBEs: in particular, a running joke was that Tim desperately wanted to receive one 

Awards
All three Goodies have been regular attendees at Slapstick Festival in Bristol, and in 2011 they were awarded the Aardman Slapstick Visual Comedy Legend Award at the festival for the significant contributions to the field of visual comedy they have made during their careers 

Viewer incidents
On 24 March 1975, Alex Mitchell, a 50-year-old bricklayer from King's Lynn, literally died laughing while watching an episode of The Goodies  According to his wife, who was a witness, Mitchell was unable to stop laughing whilst watching a sketch in the episode "Kung Fu Kapers" in which Tim Brooke-Taylor, dressed as a kilted Scotsman, used a set of bagpipes to defend himself from a black pudding-wielding Bill Oddie (master of the ancient Lancastrian martial art "Ecky-Thump") in a demonstration of the Scottish martial art of "Hoots-Toot-ochaye"  After twenty-five minutes of continuous laughter Mitchell finally slumped on the settee and died from heart failure  His widow later sent the Goodies a letter thanking them for making Mitchell's final moments so pleasant  In 2012, Mitchell's granddaughter was diagnosed with Long QT Syndrome after suffering cardiac arrest  Because this condition is genetic, it is believed that Mitchell's heart failure was triggered by an undiagnosed case of LQTS On 1 November 1977, Seema Bakewell, a 32-year-old housewife from Leicester, went into labour whilst laughing at a sketch in the Goodies episode "Alternative Roots"  She refused to leave home for the hospital until the episode had finished   Thirty years later, she visited the 2007 UK reunion tour with "her baby, Ayesha, and the baby's husband" and recounted the story to Graeme Garden 

See also
List of The Goodies episodes
The Goodies discography
The Goodies videography
Passage 3:
Book of Ways
Book of Ways, the feeling of strings, is a one-in-a-kind double album of improvised music performed by Keith Jarrett on clavichord recorded in July 1986 and released by ECM Records in 1987 

Making of
As Jarrett stated in an interview with pianist Ted Rosenthal appeared in the Jan-Feb 1997 issue of "Piano and Keyboard magazine", 

"That whole recording was done in one afternoon and everything was a first take and nothing was coming from any pre--ordained thing  I had no material " (  )
"I think Book of Ways is one of the recordings I wish more people would know  I think it has more of what I hear on it than a lot of things (I do) on piano because piano is piano  These two clavichords together made a different instrument  You could use vibrato on one of them and not the other one, and play unison  I was playing two at the same time as you probably could tell"

In the original notes for the compilation album "Keith Jarrett Selected Recordings", with music selected by Mr  Jarrett himself, he states that:

A Note on "Book of ways": To my knowledge, this recording is unique in several ways  We had three clavichords in the studio, two of which were angled together so that I could play them both simultaneously, and the third off to the side  Also we miked the instruments very closely so that the full range of dynamics could be used (clavichords are very quiet and cannot be heard more than a few feet away)  The two CDs were made on an off day between concerts with my Trio, and no material was organized beforehand  Everything was spontaneous  The recording was done in four hours 

Reception
For his 2002 "Keith Jarrett Selected Recordings" album review (which contains "Book of Ways" #12, #14 and #18), Peter Marsh at BBC calls it "extraordinary" and that "the results echo back to Baroque's original role as context for improvisation and simultaneously (through the use of unconventional techniques) rockets it forward a few hundred years "The Allmusic review by Richard S  Ginell awarded the album 3 stars, noting, "Jarrett occasionally tries to stretch the instrument's limited possibilities, hammering percussively on the close-miked strings  Yet for the most part, Jarrett reins in his world-class technique in order to make unpretentiously minimal music on this ancient keyboard  Some of it sounds like folk music, some like new age contemplation, there are convincing neo-baroque musings, and a few of these untitled though numbered selections kick into a higher gear  Sometimes this music is charming; a lot of the time, it gets wearisome  But hey, they also laughed when Keith started putting out massive sets of solo piano   "

Track listing
All music by Keith JarrettDisc One:

"Book of Ways 1" - 9:08
"Book of Ways 2" - 3:41
"Book of Ways 3" - 4:03
"Book of Ways 4" - 4:54
"Book of Ways 5" - 2:58
"Book of Ways 6" - 4:09
"Book of Ways 7" - 3:36
"Book of Ways 8" - 5:35
"Book of Ways 9" - 5:02
"Book of Ways 10" - 3:35Disc Two:  

"Book of Ways 11" - 6:16
"Book of Ways 12" - 4:08
"Book of Ways 13" - 4:38
"Book of Ways 14" - 7:13
"Book of Ways 15" - 5:48
"Book of Ways 16" - 7:37
"Book of Ways 17" - 3:56
"Book of Ways 18" - 7:16
"Book of Ways 19" - 5:38

Personnel
Keith Jarrett – clavichordProduction

Manfred Eicher - producer
Martin Wieland - recording engineer
Kishin Shinoyama - photo
Barbara Wojirsch - cover design and layout
Passage 4:
The Stars and Stripes Forever
"The Stars and Stripes Forever" is a patriotic American march written and composed by John Philip Sousa in 1896  By a 1987 act of the U S  Congress, it is the official National March of the United States of America 

History
In his 1928 autobiography, Marching Along, Sousa wrote that he composed the march on Christmas Day, 1896  He was on board an ocean liner on his way home from a vacation with his wife in Europe and had just learned of the recent death of David Blakely, the manager of the Sousa Band  He composed the march in his head and committed the notes to paper on arrival in the United States  It was first performed at Willow Grove Park, just outside Philadelphia, on May 14, 1897, and was immediately greeted with enthusiasm  Following an Act of Congress in 1987, it was officially adopted as the national march of the United States of America Historically, in show business and particularly in theater and the circus, this piece is called "the Disaster March"  In the early 20th century, when it was common for theaters and circuses to have house bands, this march was a traditional code signaling a life-threatening emergency  It subtly notified personnel of emergency situations and ideally allowed them to organize the audience's exit without causing the chaos and panic that an overt declaration might  Except for impending disaster, circus bands never played the tune under any circumstances  One memorable example of its use was during the Hartford circus fire of July 6, 1944  At least 168 people were killed, though some estimates are much higher 

Music
"The Stars and Stripes Forever" follows the standard U S  military march form—of repeated phrasing of different melodies performed in sections called strains: a Sousa legacy  Performances vary according to the arrangements of individual band directors or orchestrators, especially regarding tempo and the number and sequence of strains employed 

Analysis
The march begins with a four-bar introduction, following with the first strain, which is repeated; then the second strain, which is also repeated; and sometimes both are repeated again if (the band is) marching in parade (or the breakstrain may be interjected and repeated)  Now follows the dominant woodwinds in the first run of the famous Trio strain—familiar to many for the nonsense lyrics: "Be kind to your web-footed friends   "—which repeats, and later repeats again as the piccolos obligato  (Here, in some performances, Sousa's patriotic lyrics may be sung in a choral overlay ) Then follows the breakstrain, the final strain, and the breakstrain repeated  The final repeats of the Trio (the Grandioso) render the famous obligato of the piccolo players—joined to a subdued but prominent countermelody by the brass section, then bringing everything to a close with once-more repeats of the grand finale 
Sousa explained to the press that the three themes of the final trio were intended to represent the three regions of the United States  The broad melody, or main theme, portrays the North  The South is represented by the famous piccolo obligato, and the West by the bold countermelody of the trombones  The three come together in the climax, representing the Union itself 

Instrumentation
This is scored for an orchestra consisting of two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, bass drum, snare drum, glockenspiel, and strings 

Lyrics
Sousa's lyrics
Sousa wrote lyrics to the piece, although they are not as familiar as the music itself  A typical pairing of Sousa's lyrics with various sections of the march—here the First strain and the Grandioso strain—is noted in the colored bars 

Tidmarsh's additional lyrics
In 1942 the John Church Company published a four-part choral version of the march with a piano arrangement by Elmer Arthur Tidmarsh  This arrangement has additional lyrics written by Tidmarsh for the Breakstrain section of the march 

Parody lyrics
The exact origin of the parody is unclear, but versions of it were being quoted as early as the 1930s on college campuses, and during the 1940s, where it was sung for entertainment by soldiers at the USO  Some newspapers of that time referred to it as the "Duck Song " In 1954, Charles Grean and Joan Javits composed "Crazy Mixed Up Song", using the theme from "The Stars and Stripes Forever", with lyrics beginning "Be kind to your web-footed friends"  It was made somewhat popular by Peter Lind Hayes & Mary Healy in that year  In the early 1960s, it reached a wider audience as a part of Mitch Miller's nationally syndicated sing-along show, Sing Along with Mitch  This version has perhaps the best known lyrics, which were used to end every show:

The last two lines were later used for the theme song of the 1985 television series The Berenstain Bears, but with the lyrics changed to:

Later versions of "Be kind to your web-footed friends" extended the lyrics of the second verse  One popular version goes like this:

And the song repeats itself ad infinitum, getting higher in tone each repeat until the singer is ready for the final as per Mitch Miller:

"Well, you're right!" may be substituted for "Well, it is!" 
Another version goes like this:

The blank may be filled with appropriate adjectives like "low", "high", "silly", "fast", etc , until ready for the finale, when the singer may end with "Well, it is!" as did Mitch Miller 

Soccer chants
"Here We Go", the British soccer chant, consists of the words "here we go" continuously repeated to the tune of The Stars and Stripes Forever  It was described by Auberon Waugh as the national anthem of the working classes  It was the basis of Everton F C 's official song for the 1984 FA Cup Final  The tune has been repurposed for many other, similarly repetitive, football chants 

Variations and notable uses
"The Stars and Stripes Forever" is featured in many U S  musical performances and pop culture:

There are several orchestral transcriptions of "The Stars and Stripes Forever", including one by conductor Leopold Stokowski and one by Keith Brion and Loras Schissel  There was also an orchestral arrangement of the march by Carl Davis and David Cullen for the album Carl Conducts   Classical Festival Favourites  Orchestral versions are typically transposed one-half step lower than the original band version, to put the march in a key that is more familiar to string players 
The tune is widely used by soccer fans, with the trio/grandioso section sung with the words "Here We Go"  The supporters of Spanish side Valencia CF used to sing it with the words "Xe que bó!" which means something like "Oh! How good" in Valencian, and those words have become a symbol for the team  Another version uses the word cheerio repeatedly, normally sung to players or coaches when they have been sent off or occasionally when an underdog has ended its opponent's cup campaign  Finally, certain clubs such as Forest Green or Sunderland use the chant just using the club name; this only works if the name has three syllables  A nickname can instead be used for the chant, such as Gateshead fans chanting "Tynesiders" 
In the 1933 film Duck Soup, Harpo Marx, playing Pinky, a spy infiltrating a house in the middle of the night, attempts to open what he believes to be a safe, but turns out to be a large radio, which loudly begins playing "The Stars and Stripes Forever" when he turns the knob  Pinky spends the next several moments futilely (and loudly) trying to quell the noise before throwing the radio out a nearby window 
The march was used in the 1939 cartoon Officer Duck, after Donald Duck successfully subdues Tiny Tom, played by Pete  It is played by a marching band of police officers who further advance Tom's arrest  On the highest note of the brass, Donald kicks Tom on his rear end 
Classic Popeye the Sailor cartoons by Fleischer Studios make frequent use of the tune in the music score accompanying the climactic fight between Popeye and the villain starting with the moment Popeye gets a spinach power boost 
Parts of the tune feature in two Laurel and Hardy short films, The Chimp and Come Clean 
In show business, as said before, particularly theater and the circus, this piece is called "the Disaster March"  It is a traditional code signaling a life-threatening emergency  This helps theater personnel to handle events and organize the audience's exit without panic  Circus bands never play it under any other circumstances  One memorable example of its use was at the Hartford Circus Fire in July 1944, in which at least 160 people were killed 
A 1952 biographical film, Stars and Stripes Forever, gives an account of the composer's life and music 
Russian-American pianist Vladimir Horowitz wrote a famous transcription of "The Stars and Stripes Forever" for solo piano to celebrate his becoming an American citizen  In an interview, Horowitz opined that the march, being a military march, is meant to be played at a walking tempo  He complained that many conductors played the piece too fast, resulting in music that is "hackneyed" 
Timmy Mallett was fond of chanting "Wacaday, Wacaday, Wacaday" to the tune in children's TV show Wacaday, often getting child guests to do the same 
In "Evolution", the first episode of the third season of the television series Star Trek: The Next Generation, a malfunction in the ship's systems causes the main computer to play Sousa's march on all channels throughout the ship  The episode was first aired on September 25, 1989 
The song is usually played for the President of the United States after he gives a speech at a public forum, event, or ceremony, whereas "Hail to the Chief" is played when the President is introduced 
The tune of the song appears in the 1970 animated TV special adaptation of Horton Hears a Who! by Dr  Seuss, used as the melody for the song Be Kind To Your Small Person Friends 
In 1981, fingerstyle guitarist Guy Van Duser made an arrangement of the march for guitar  It was later performed by guitarists such as Chet Atkins, Rick Foster and Doug Smith 
The march was adapted for the theme song to The Berenstain Bears 1985 cartoon 
An 8-bit version of the song is used in the MS-DOS and Commodore 64 versions of Wheel of Fortune when solving a puzzle correctly 
The student band Strindens Promenade Orchester in Trondheim, Norway, has the world record in "speed playing" of "The Stars and Stripes Forever" (absolutely all notes must be played)  The band calls their speedy rendering of the march "Stars and Stribes", and performs the march at all solemn occasions at the Trondheim Student Society  Set during the fall term of 1999, the record time is 50 9 seconds (nominal time is 3 minutes 50 seconds)  For this, the band is noted in the Norwegian edition of the Guinness Book of Records 
The march in a specific rendition is in the soundtrack of the video game Postal 2, where it's performed by the marching band 
American composer Robert W  Smith parodied Stars and Stripes Forever along with "Jingle Bells" with his composition "Jingle Bells Forever", published by Alfred Publishing Co 
In 2008, the Muppets performed a web version starring Sam the Eagle, Beaker, a clucking chicken, Bobo the Bear, The Swedish Chef, and Crazy Harry 
The video game Fallout 3 has the Stars and Stripes Forever as one of the songs on the Enclave Radio 
In 2009, Fetch! with Ruff Ruffman used this tune as a jingle in advertising character Ruff Ruffman's "RuffMeal" in the episode "The RuffMeal Needs More Roughage" 
At the conclusion of WWE's Extreme Rules pay-per-view in 2011, Stars and Stripes Forever played following John Cena announcing the death of Osama Bin Laden  It was also played during the January 5, 2015 episode of WWE Raw from Corpus Christi, Texas, also involving Cena, during the main event segment called John Cena Appreciation Night, where The Authority (Triple H and Stephanie McMahon) thanked Cena for (kayfabe) re-hiring them following the previous year's Survivor Series event's main event match, only to slander him and then (kayfabe) fire his teammates from that night, Dolph Ziggler, Ryback and Erick Rowan  The Big Show, who was also Cena's teammate during the aforementioned match, was not fired since he turned his back on Cena during the match and then joined The Authority  Balloons and confetti then fell from the rafters as Cena and his teammates stood in the ring, dejected, as the song played 
In Argentina, a sensationalist news channel, Crónica TV, always uses the first 22 seconds of this march as a background music on reporting breaking news stories 
The Grateful Dead finished their 50th reunion concert on July 4, 2015 with fireworks accompanied by a recording of "The Stars and Stripes Forever", in front of 70,000 people in Soldier Field in Chicago 
In 2022, a March Madness-themed commercial from Capital One featured the opening notes of "The Stars and Stripes Forever" being played by a marching band led by Charles Barkley, who claimed to represent a fictional university named "Chuck U"  Samuel L  Jackson and Spike Lee are also featured in the commercial 

See also
List of marches by John Philip Sousa
"You're a Grand Old Flag"
Passage 5:
My Way
"My Way" is a song popularized in 1969 by Frank Sinatra set to the music of the French song "Comme d'habitude" composed by Jacques Revaux with lyrics by Gilles Thibaut and Claude François and first performed in 1967 by Claude François  Its English lyrics were written by Paul Anka and are unrelated to the original French song   
The song was a success for a variety of performers including Sinatra, Elvis Presley, and Sid Vicious  Sinatra's version of "My Way" spent 75 weeks in the UK Top 40, which is 3rd place all-time 

Background
In 1967, Jacques Revaux wrote a ballad named "For Me", with English lyrics about a couple falling out of love  According to Revaux, the demo was then sent to Petula Clark, Dalida, and Claude François, to no avail  Revaux rejected a version by Hervé Villard, the singer of the international hit Capri c'est fini and reworked the track into Comme d'habitude ("As usual") with the help of Claude François  It was released in November 1967 and was at the top of the French pop chart for one week in February 1968 Paul Anka heard the French original, while on holiday in the south of France  He flew to Paris to negotiate the rights to the song  He acquired adaptation, recording, and publishing rights for the nominal but formal consideration of one dollar, subject to the provision that the melody's composers would retain their original share of royalty rights with respect to whatever versions Anka or his designates created or produced   Some time later, Anka had a dinner in Florida with Frank Sinatra and "a couple of Mob guys" during which Sinatra said: "I'm quitting the business  I'm sick of it; I'm getting the hell out "
Back in New York, Anka re-wrote the original French song for Sinatra, subtly altering the melodic structure and changing the lyrics: At one o'clock in the morning, I sat down at an old IBM electric typewriter and said, 'If Frank were writing this, what would he say?' And I started, metaphorically, 'And now the end is near ' I read a lot of periodicals, and I noticed everything was 'my this' and 'my that'  We were in the 'me generation' and Frank became the guy for me to use to say that  I used words I would never use: 'I ate it up and spit it out ' But that's the way he talked  I used to be around steam rooms with the Rat Pack guys—they liked to talk like Mob guys, even though they would have been scared of their own shadows  Anka finished the song at 5 in the morning: "I called Frank up in Nevada—he was at Caesars Palace – and said, 'I've got something really special for you '" Anka asserted: "When my record company caught wind of it, they were very pissed that I didn't keep it for myself  I said, 'Hey, I can write it, but I'm not the guy to sing it ' It was for Frank, no one else "Despite this, Anka would record the song in 1969 very shortly after Sinatra's recording was released  Anka recorded it four other times as well: in 1996 (as a duet with Gabriel Byrne, performed in the movie Mad Dog Time); in 1998 in Spanish as "A Mi Manera" (duet with Julio Iglesias); in 2007 (as a duet with Jon Bon Jovi); and in 2013 (as a duet with Garou) On December 30, 1968, Frank Sinatra recorded his version of the song in one take, featuring session drummer Buddy Saltzman among the band 
"My Way" was released in early 1969 on the My Way LP and as a single  It reached No  27 on the Billboard Hot 100 chart and No  2 on the Easy Listening chart in the US  In the UK, the single achieved a still unmatched record, becoming the recording with the most weeks inside the Top 40, spending 75 weeks from April 1969 to September 1971  It spent a further 49 weeks in the Top 75 but never bettered the No  5 slot achieved upon its first chart run Billboard said that the "driving, lush and commercial Don Costa arrangement and production is an added plus to one of Sinatra's finest performances " Cash Box said that "The powerful material is matched by a splendidly moving performance which is certain to win rave comments from programmers with teen and adult audiences "Although this work became Frank Sinatra's signature song, his daughter Tina says the singer came to hate the song: "He didn't like it  That song stuck and he couldn't get it off his shoe  He always thought that song was self-serving and self-indulgent "

Charts
Certifications
Versions
David Bowie reportedly wrote the first English language lyrics to Claude François's original tune, though the lyrics and performance were only informally recorded and never commercially published 

Dorothy Squires
In the midst of Sinatra's multiple runs on the UK Singles Chart, Welsh singer Dorothy Squires also released a rendition of "My Way" in summer 1970  Her recording reached number 25 on the UK Singles Chart and re-entered the chart twice more during that year 

Elvis Presley
Elvis Presley began performing the song in concert during the mid-1970s, despite Anka's suggestions that the song did not suit him  Nevertheless, on January 12 and 14, 1973, Presley sang the song during his satellite show Aloha from Hawaii Via Satellite, beamed live and on deferred basis (for European audiences, who also saw it in prime time), to 43 countries via Intelsat 
On October 3, 1977, several weeks after Presley's death, his live recording of "My Way" (recorded for the Elvis In Concert CBS-TV special on June 21, 1977) was released as a single  In the U S , it reached number 22 on the Billboard Hot 100 pop singles chart in late 1977/early 1978 (higher than Frank Sinatra's peak position), number 6 on the Billboard Adult Contemporary chart, and went gold for its successful sales of over a million copies  The following year the single reached number 2 on the Billboard Country singles chart but went all the way to number 1 on the rival Cash Box Country Singles chart  In the UK, it reached number 9 on the UK Singles Chart 
Presley's version is featured in the climax of the 2001 film 3000 Miles to Graceland with Kurt Russell and Kevin Costner  (Paul Anka appears in a cameo as a casino pit boss who loathes Presley )
Presley's studio version of the song, recorded in 1971, was included on the fourth disc of "Walk a Mile in My Shoes: The Essential '70s Masters" 

Certifications
Sid Vicious
Sex Pistols' bassist Sid Vicious did a punk rock version of the song, in which a large body of the words were changed and the arrangement was sped up  The orchestral backing was arranged by Simon Jeffes 
Interviewed in 2007, Paul Anka said he had been "somewhat destabilized by the Sex Pistols' version  It was kind of curious, but I felt he [Sid Vicious] was sincere about it "Vicious and his girlfriend, Nancy Spungen, changed many of the words when it was recorded, including use of the swear words "cunt" and "fuck" as well as the word "queer" (slang for a gay man)  Vicious's reference to a "prat who wears hats" was an in-joke directed towards Vicious's friend and Sex Pistols bandmate Johnny Rotten, who was fond of wearing different kinds of hats he would pick up at rummage sales 
Leonard Cohen said of the song: I never liked this song except when Sid Vicious did it  Sung straight, it somehow deprives the appetite of a certain taste we'd like to have on our lips  When Sid Vicious did it, he provided that other side to the song; the certainty, the self-congratulation, the daily heroism of Sinatra's version is completely exploded by this desperate, mad, humorous voice  I can't go round in a raincoat and fedora looking over my life saying I did it my way – well, for 10 minutes in some American bar over a gin and tonic you might be able to get away with it  But Sid Vicious's rendition takes in everybody; everybody is messed up like that, everybody is the mad hero of his own drama  It explodes the whole culture this self-presentation can take place in, so it completes the song for me 
The 1986 film Sid and Nancy features a scene where Gary Oldman, portraying Vicious, performs his version of "My Way" while filming the song's music video Vicious's version of this song appears in Martin Scorsese's 1990 film Goodfellas, where it plays over the end credits 

Margaret Mackie and Jamie Lee Morley
In December 2019 footage of Margaret Mackie, a resident of Northcare Suites Care Home in Edinburgh who suffers from dementia, performing "My Way" with staff member Jamie Lee Morley, went viral after being posted online by Mackie's daughter Morley later arranged to have the song professionally recorded and it was released in January 2020 as a charity single to raise funds for The Alzheimer's Society and Dementia UK  The single peaked at number seven in the iTunes top 40 UK Pop Songs live chart and number five in the Amazon best seller chart 

Yuzo Kayama
In Japan, Yuzo Kayama, who is usually called the Japanese Frank Sinatra, performed "My Way" in 2008 in English  On April 23 and 30, 2015, as part of 2 vocal overdubbed sessions, Yuzo Kayama performed "My Way" with the earlier record of Frank Sinatra as a duet 

Adaptations
Besides translations more or less faithful to the original, some artists have set unrelated lyrics to the same tune 

Jozsef Gregor the renowned Hungarian bass-baritone/basso buffo recorded the song with Andras Ruszanov's Hungarian love themed lyrics version in 1996  Two years later, he sang this version in one of the most popular TV show in Budapest, since then this version has been permanently on the playlists of numerous radio stations in Hungary 
Mexican singer Vicente Fernandez did a Spanish language version, named "A Mi Manera" 
A version of the song with slightly different lyrics was used as a jingle for a Cologuard commercial in 2022 

Public use
The song is popularly associated with nostalgia to an individual's lifetime of events  Surveys beginning in 2005 have often reported that "My Way" has been the song most frequently played at funeral services in the UK  "My Way" is also a popular karaoke song around the world  However, it has been reported to cause numerous incidents of violence and homicide among karaoke singers in the Philippines, referred to in the media as the My Way killings, which has led to the song being banned in many Filipino bars The song's association with Sinatra led to Mikhail Gorbachev's policy of allowing other states in the Warsaw Pact to make their own policy decisions being nicknamed the Sinatra Doctrine, referencing "My Way"'s lyrics about doing things your own way  The term was first used by Foreign Ministry spokesman Gennadi Gerasimov in 1987, who was quoted as saying "We now have the Frank Sinatra doctrine  He has a song, I Did It My Way  So every country decides on its own which road to take "
Passage 6:
Followin' a Feelin'
Followin' a Feelin' is the third studio album by Australian country music artist Sherrié Austin  It was released in 2001 by WE Records and peaked at No  43 on the Billboard Top Country Albums chart  The album's only charted single was a cover of Dolly Parton's "Jolene"  Austin's version of the song reached No  55 on the Hot Country Songs charts in July 2001 

Critical reception
Maria Konicki Dinoia of Allmusic gave the album 4 out of 5 stars, saying that "She's evolved into an exceptionally strong songwriter, having written or co-written nine of the album's ten virtually flawless tracks "

Track listing
"Followin' a Feelin'" (Sherrié Austin, Rob Crosby, Will Rambeaux) — 3:19
"Jolene" (Dolly Parton) — 3:17
"Goin' Goin' Gone" (Austin, Rambeaux, Jon Christopher Davis) — 4:14
"Somethin' Missin' in the Kissin'" (Austin, Rambeaux, Blair Daly) — 3:21
"In the Meantime" (Austin, Rambeaux, Crosby) — 3:41
"My Brilliant Mistake" (Austin, Rambeaux, Greg Barnhill) — 3:17
"In Our Own Sweet Time" (Austin, Rambeaux, Marcus Hummon) — 3:07
"Love Melts Even the Coldest Hearts" (Austin, Shawna Harrington-Burkhart) — 3:17
"Back Where I Belong" (Austin, Rambeaux, Kimberly Roads, Philip Sweet) — 3:00
"Time, Love and Money" (Austin, Rambeaux, Dave Berg) — 3:11

Personnel
Stephanie Bentley - backing vocals
Pat Buchanan - electric guitar
J  T  Corenflos - electric guitar
Jon Christopher Davis - backing vocals
Larry Franklin - mandolin, fiddle
Jimmy Hull - harmonica
Mike Joyce - bass
Troy Lancaster - electric guitar
Tim Lauer - keyboards
Gary McIntyre - steel guitar
Russ Pahl - steel guitar
Kim Parent - backing vocals
Paul Scholten - drums
Steven Sheehan - acoustic guitar
Barry Walsh - keyboards

Chart performance
Passage 7:
Way Out Here (song)
"Way Out Here" is a song co-written and recorded by American country music singer Josh Thompson   It was released in March 2010 as the second single and title track from his debut album of the same name  Thompson co-wrote the song with David Lee Murphy and Casey Beathard 

Content
"Way Out Here" is a ballad, mostly accompanied by acoustic guitar  In it, the narrator tells of his rural upbringing, the way he was raised, and his desire for the United States to return to a simpler time, back when things "were run the way they ought a be"   The song further laments small town America, stating with nostalgia images of pickup trucks, unlicensed dogs running free, and hard working blue collar men who "chew and fry everything"   A further narrative relates to service in the United States armed forces, of which the narrator tells how people from small town America often wind up joining the military to earn a living and are then deployed overseas 

Music video
The music video for "Way Out Here" was filmed in Cairo, Illinois   The video begins with scenes of farms, a diner run by a young woman in her late teens (apparently married with a wedding ring and also religious locket which reads "faith") then shifts to a local bar where the narrator sings the song on his guitar   Interspersed into the video are scenes of men working on a farm as well as scenes of young men deployed in the Army to the Middle East 

Critical reception
The song and video drew mostly positive reviews from critics, however some negative reviews resulted from the portrayal in the music video of an entirely white town (Cairo, Illinois is in fact 70% African American), as well as nostalgia (instead of concern) regarding boarded up small towns steeped in rural poverty   Paul Brian of Engine 145, gave the song a thumbs-down rating  His review criticized Thompson's vocals for "[simmering] with anger, despair, and moral force as the song approaches numerous key concerns including the economy, military service, work ethic, religious belief, gun ownership, governance, and musical taste "

Chart performance
"Way Out Here" debuted at number 57 on the Hot Country Songs chart dated March 20, 2010, and then fell off the next week  However, it re-entered the country chart at number 58 on the chart dated April 3, 2010  In September 2010, it peaked at number 15 on the chart 

Year-end charts
Passage 8:
Turn Me On (Mark Dinning song)
"Turn Me On" is a song by John D  Loudermilk that was first recorded and released by Mark Dinning in 1961 as the B-side to his single "Lonely Island"  Other notable versions are by Nellie Rutherford and Nina Simone  Norah Jones released her version as the last single from her debut album Come Away with Me on May 12, 2003  The song was also performed by Shelby Dressel during her American Idol audition  It has been suggested that the song influenced the composition of Leonard Cohen's 1969 song "Bird on the Wire" 

Norah Jones version
Jones's cover was the seventh track on her debut album  This version also appeared in the movie Love Actually and appears on its soundtrack 

Charts
Certifications
Release history
Passage 9:
Kingpin (Tinsley Ellis album)
Kingpin is a 2000 blues album by Tinsley Ellis  It was recorded at Ocean Way by David Z (also the producer) who also mixed at Javelina Recording Studio (both in Nashville, Tennessee) for Supersonic Productions  It was mastered by George Marino at Sterling Sound New York  Tinsley wrote/co-wrote three of the songs 

Track listing
"Heart Fixing Business" (Homer Banks/Allen Jones)
"Sweet Pea" (Wayne Burdette/Tinsley Ellis)
"Dyin' to Do Wrong" (Ellis)
"Can't Play That Way" (Ellis)
"I've Got to Use My Imagination" (Gerry Goffin/Barry Goldberg)
"I Got to Moan" (S  Boyer)
"I'll Be Loving You" (J L  Williams)
"The Other Side of Town" (Sir Mack Rice/Jon Tiven/Sally Tiven)
"Days of Old" (B B  King/Josea Taub)
"Slingshots and Boomerangs" (C C  Adcock/David Eagan)
"Let's Think About It" (Arthur Alexander/Jon Tiven)

Musicians
Tinsley Ellis on Guitar and vocals
David Smith on Bass guitar
Reese Wynans on keyboards
Jack Holder on guitar
Richie Hayward on drums
Kevin McKendree on organ
David Z on guitar, keyboards, percussion
Little Joey Hoegger on harmonica
Jim Hoke on saxophone
Passage 10:
I Got a Feelin' (Billy Currington song)
"I Got a Feelin'" is a song co-written and recorded by American country music singer Billy Currington  It was released in January 2004 as the second and final single from his 2003 self-titled debut album  The song peaked at number 5 on the U S  Billboard Hot Country Songs chart in mid-2004  It also reached number 50 on the Billboard Hot 100  Currington wrote this song with Casey Beathard and Carson Chamberlain 

Critical reception
In his review of the album, Jeffrey B  Remz of Country Standard Time viewed the song favorably, saying that it showed Currington's traditional country sound by the prominence of fiddle (played by Stuart Duncan) 

Music videos
The music video for the track was directed by Philip Andelman, filmed in the Mojave Desert in California, and co-stars Gena Lee Nolin 

Chart performance
"I Got a Feelin'" debuted at number 53 on the U S  Billboard Hot Country Singles & Tracks chart for the week of January 17, 2004 

Charts
Weekly charts
Year-end charts
Passage 11:
Separate Lies
Separate Lies is a 2005 British drama film directed by Julian Fellowes, who also wrote the screenplay, updating the 1951 novel A Way Through the Wood by Nigel Balchin, which had already been turned into a stage play under the title Waiting for Gillian in 1954  The film stars Tom Wilkinson, Emily Watson and Rupert Everett  Separate Lies marked the directorial debut of Julian Fellowes, who had worked mostly as an actor and won an Academy Award with his screenplay for Robert Altman's  Gosford Park 

Plot
"No life is perfect – even if it seems to be," says James Manning, a wealthy London solicitor  When it comes to matters of right and wrong, he likes to think of himself as inflexible  Anne, his much younger wife, is accommodating and dutiful and likes the life they lead, the house in London, the Buckinghamshire hideaway  The couple seems to have it all, yet events soon will prove them wrong 
In the village, a neighbour has reappeared: William Bule, son of a leading local family  He has recently returned from America, a bad marriage and two children, whose ages he cannot bother to remember  Bill is indolent and insinuating and at the village cricket match he catches Anne's eye  Because of him, she suggests to her reluctant husband that they should have neighbours over for drinks  However, that evening, James has to work late in the city  Before the party is set to begin, a speeding car sideswipes a man bicycling along a village lane  The man is hurled to the ground and dies a few days later  He was the husband of Maggie, the Mannings’ housekeeper 
Anne takes a special interest in Maggie's well-being, but James can't understand her sudden teary investment in their housekeeper’s personal life  James, whose priorities have become skewed toward work rather than toward his wife, soon becomes suspicious that Bill may be involved in that fatal hit-and-run  When confronted, Bill initially denies the allegation, but soon tells James that the next day he will go to the police and confess, if that is what he wants, although he sees no benefit from his confessions  Back home, when James tells Anne about his conversation with Bill, she has also some striking confessions to make  Anne reveals one hurtful secret while making a salad: she was actually driving Bill’s car when drunk and accidentally hit the cyclist   While artfully arranging ingredients on a platter, she informs her already distraught husband that she has also been having an affair with Bill  Telling her story, she asserts that Bill doesn't really mean anything to her, because he doesn't make demands or judge her, as James does in little, incessant ways  Precisely because he's a lout, Bill makes her feel oddly liberated, if not loved 
As a Buckinghamshire police inspector questions the Mannings and Bill about the accident, James is torn between doing the right thing and maintaining appearances at all costs  James really loves Anne, and the couple takes a trip to Wales in an effort to leave the accident, their guilt, and their marital troubles behind  However, Maggie, whose husband was killed, witnessed the accident  She saw the car and identifies it as belonging to Bill Bule  Yet her testimony may be biased, since Maggie knows William Bule well, having worked for his family until she was accused of stealing and dismissed  It was Anne who gave her a new start in the village 
Bule calls for a meeting  with James and Anne  There he says the inspector will come to question them later and that Maggie has identified the car  He requests James to provide an alibi for him to which James agrees  Next day the inspector meets James at his office to confirm the alibi claimed by Bule  Later a mechanic calls Bule to tell about the questioning from police about respraying the car  This makes Anne nervous and she runs to Maggie to tell her the truth and that she is responsible for her husband's death  Maggie being indebted to Anne for giving her the job after eight years takes back her statement about Bule driving the car when confronted by police  Anne goes back to stay with James until one day he's informed by a cousin of Bule that he is dying of cancer  Learning this from James, Anne rushes back to the dying Bule whose father comes to James to express his gratitude for this  Following this James meets Anne near Bule's home and expresses his undiminished love for her  Upon the demise of Bule, Anne is reunited with James 

Cast
Tom Wilkinson as James Manning
Emily Watson as Anne Manning
Rupert Everett as William "Bill" Bule
Richenda Carey as Sarah Tufnell
David Harewood as Inspector Marshall
Linda Bassett as Maggie
Hermione Norris as Priscilla
John Warnaby as Simon
John Neville as Lord Rawston
Philip Rham as French Lawyer
Unknown as Joe

External links
Separate Lies at IMDb
Separate Lies at Rotten Tomatoes
Separate Lies at Box Office Mojo
Passage 12:
Feelin' the Same Way
"Feelin' the Same Way" is a song from American singer-songwriter Norah Jones's debut album, Come Away with Me (2002)  It was written by Lee Alexander, and produced by Jones  Released in the United Kingdom on August 5, 2002, the song charted at number 72 on the UK Singles Chart 

Charts
Context 2: Passage 1:
Group Portrait with a Lady
Group Portrait with a Lady (German: Gruppenbild mit Dame) is a 1977 German-French drama film directed by Aleksandar Petrović  It was entered into the 1977 Cannes Film Festival  It is based on the novel of the same name  by German Nobel-Prize winning novelist Heinrich Böll 

Cast
Passage 2:
List of territorial entities where German is an official language
The following is a list of the countries and territories where German is an official language (also known as the Germanosphere)  It includes countries that have German as (one of) their nationwide official language(s), as well as dependent territories with German as a co-official language 

German as an official language
German is the official language of six countries, all of which lie in central and western Europe  These countries (with the addition of South Tyrol of Italy) also form the Council for German Orthography and are referred to as the German Sprachraum (German language area)  Since 2004, Meetings of German-speaking countries have been held annually with six participants: Germany, Austria, Belgium, Liechtenstein, Luxembourg, and Switzerland:

Subdivisions of countries
While not official at the national level, German is a co-official language in subdivisions of the countries listed below  In each of these regions, German is an official language on the administrative level 

Other legal statuses
There are other political entities (countries as well as dependent entities) which acknowledge other legal statuses for the German language or one of its dialects  While these may cover minority rights, support of certain language facilities (schools, media, etc ), and the promotion of cultural protection/heritage, they do not encompass the establishment of German as an "official" language, i e , being required in public offices or administrative texts 
These countries include:

Brazil (German is a statewide cultural language in Espírito Santo and Rio Grande do Sul; Standard German official in 2 municipalities and non-standard German dialects official in 16 others)
Czech Republic (national minority language)
Denmark (minority language in Syddanmark, established with the Bonn-Copenhagen declarations, 1955)
Hungary (national minority language)
Namibia (national language; co-official language 1884–1990)
Poland (national minority language; also auxiliary language in 31 communes)
Romania (national minority language)
Russia (minority language in the Azovo German National District)
Slovakia (regional minority language)Although in France, the High German varieties of Alsatian and Moselle Franconian are identified as "regional languages" according to the European Charter for Regional or Minority Languages of 1998, the French government has not yet ratified the treaty, and therefore those varieties have no official legal status Due to the German diaspora, other countries with sizable populations of (mostly bilingual) German L1 speakers include Argentina, Australia, Bolivia, Canada, Chile, Paraguay, as well as the United States  However, in none of these countries does German or a German variety have any legal status 

International institutions
German is an official language of the following international institutions:

International sports associations:
European Handball Federation (EHF)
Fédération Internationale de Bobsleigh et de Tobogganing (FIBT)
Fédération Internationale de Football Association (FIFA)
Fédération Internationale de Luge de Course (FIL)
Fédération Internationale de Ski (FIS)
International Biathlon Union (IBU)
Union of European Football Associations (UEFA)

Notes
See also
German language in the Basic Law
Passage 3:
Aleksandar Petrović (film director)
Aleksandar "Saša" Petrović (14 January 1929 – 20 August 1994) was a Serbian film director  He was one of the major figures of the Yugoslav Black Wave  Two of his films were nominated for the Academy Award for Best Foreign Language Film: Three in 1966 and I Even Met Happy Gypsies (Feather Gatherers) in 1967  The latter (original title "Skupljaci perja") was the first movie that presented the existence of Gypsies in society and everyday life; it was also the first full-feature film where Gypsies spoke their own language, Roma  Most roles were interpreted by real Gypsies; this was their movie  "As a child, I observed them and saw in these people faith and irrationality," said Petrović I Even Met Happy Gypsies won the FIPRESCI Prize and the Grand Prize of the Jury at the Cannes Film Festival; it also received a nomination for a Golden Globe  In 1967 Petrović was a member of the jury at the 17th Berlin International Film Festival One of his most famous films is It Rains in My Village  Petrović found inspiration for this film in Fyodor Dostoyevsky's novel The Possessed  The film was nominated for a Palme d'Or (Golden Palm) at the 1969 Cannes Film FestivalIn 1973, Petrović was forced to leave his post at the Belgrade Film Academy after being accused of holding anti-communist views by the communist government of Yugoslavia  In late December 1989, he joined the founding committee of the Democratic Party in Serbia, the first opposition anti-communist party in Serbia  He died at age 65 in Paris, France 
Petrović published several hundreds of articles and several books, including Novi film I: 1960-1965 and Novi film II: Crni film (1965-1970) 

Filmography
Passage 4:
Yugoslavia at the Olympics
Teams from Yugoslavia first participated at the Olympic Games in 1920  Previously, several athletes from Croatia, Slovenia and northern Serbian province Vojvodina had competed for Austria or Hungary when those countries were part of the Empire of Austria-Hungary  A small team of two athletes had competed distinctly for Serbia at the 1912 Summer Olympics 
Yugoslavia has been the designation for Olympic teams from three distinct national entities:

Kingdom of Yugoslavia (officially called the Kingdom of Serbs, Croats and Slovenes until 1929) from 1920 to 1936
Socialist Federal Republic of Yugoslavia from 1948 to the 1992 Winter Olympics
Federal Republic of Yugoslavia, formed as a joint state by only Montenegro and Serbia after the breakup of Yugoslavia, from 1992 to 2002 (due to UN ban allowed to compete as Independent Olympic Participants at the 1992 Summer Olympics and was not allowed to compete at 1994 Winter Olympics)Two of the successor nations (Croatia and Slovenia) began to compete as independent teams at the Olympics starting at the 1992 Winter Games and Bosnia and Herzegovina at the 1992 Summer Games and as of the 2008 Summer Olympics, all six successor nations, former socialist republics, have participated independently  Kosovo, a former autonomous province, made its Olympic debut as an independent national team at the 2016 Summer Olympics 

Timeline of participation
The Yugoslav Olympic Committee was established in Zagreb in 1919 (recognized by the IOC in 1920), before moving to Belgrade in 1927, and it took the place of the Serbian Olympic Committee in the Association of National Olympic Committees  During the dissolution of Yugoslavia, several new committees were formed in the break-away countries  The Federal Republic of Yugoslavia, consisting of the Republic of Serbia and the Republic of Montenegro, participated at the Games since 1996  At the 1996 and 2000 Games, the nation was designated with the same code, Yugoslavia (YUG), as the defunct SFRY  It was rechartered as the State Union of Serbia and Montenegro in 2003 with there being no territorial changes  The Serbia and Montenegro (SCG) designation and code were used at the 2004 Games 

Hosted Games
Yugoslavia has hosted the Games on one occasion 

Medal tables
*Red border colour indicates the games were held on home soil 
*Yugoslavia hosted the 1984 Winter Olympics in Sarajevo, now part of Bosnia and Herzegovina 

List of medalists
Summer Olympics
As Federal Republic of YugoslaviaAs Independent Olympic Participants

Winter Olympics
See also
List of flag bearers for Yugoslavia at the Olympics
Category:Olympic competitors for Yugoslavia
Yugoslavia at the Paralympics
List of Yugoslav Olympic medalists
Passage 5:
Catalan language
Catalan (; autonym: català, Eastern Catalan: [kətəˈla]), known in the Valencian Community and Carche as Valencian (autonym: valencià), is a Western Romance language  It is the official language of Andorra, and an official language of two autonomous communities in eastern Spain: Catalonia and the Balearic Islands  It is also an official language in Valencia, where it is called Valencian  It has semi-official status in the Italian comune of Alghero, and it is spoken in the Pyrénées-Orientales department of France and in two further areas in eastern Spain: the eastern strip of Aragon and the Carche area in the Region of Murcia  The Catalan-speaking territories are often called the Països Catalans or "Catalan Countries" 
The language evolved from Vulgar Latin in the Middle Ages around the eastern Pyrenees  Nineteenth-century Spain saw a Catalan literary revival, culminating in the early 1900s 

Etymology and pronunciation
The word Catalan is derived from the territorial name of Catalonia, itself of disputed etymology  The main theory suggests that Catalunya (Latin Gathia Launia) derives from the name Gothia or Gauthia ("Land of the Goths"), since the origins of the Catalan counts, lords and people were found in the March of Gothia, whence Gothland > Gothlandia > Gothalania > Catalonia theoretically derived In English, the term referring to a person first appears in the mid 14th century as Catelaner, followed in the 15th century as Catellain (from French)  It is attested a language name since at least 1652  The word Catalan can be pronounced in English as ,  or  The endonym is pronounced [kətəˈla] in the Eastern Catalan dialects, and [kataˈla] in the Western dialects  In the Valencian Community and Carche, the term valencià [valensiˈa, ba-] is frequently used instead  Thus, the name "Valencian", although often employed for referring to the varieties specific to the Valencian Community and Carche, is also used by Valencians as a name for the language as a whole, synonymous with "Catalan"  Both uses of the term have their respective entries in the dictionaries by the Acadèmia Valenciana de la Llengua and the Institut d'Estudis Catalans  See also status of Valencian below 

History
Middle Ages
By the 9th century, Catalan had evolved from Vulgar Latin on both sides of the eastern end of the Pyrenees, as well as the territories of the Roman province of Hispania Tarraconensis to the south  From the 8th century onwards the Catalan counts extended their territory southwards and westwards at the expense of the Muslims, bringing their language with them  This process was given definitive impetus with the separation of the County of Barcelona from the Carolingian Empire in 988 In the 11th century, documents written in macaronic Latin begin to show Catalan elements, with texts written almost completely in Romance appearing by 1080  Old Catalan shared many features with Gallo-Romance, diverging from Old Occitan between the 11th and 14th centuries During the 11th and 12th centuries the Catalan rulers expanded southward to the Ebro river, and in the 13th century they conquered the Land of Valencia and the Balearic Islands  The city of Alghero in Sardinia was repopulated with Catalan speakers in the 14th century  The language also reached Murcia, which became Spanish-speaking in the 15th century In the Low Middle Ages, Catalan went through a golden age, reaching a peak of maturity and cultural richness  Examples include the work of Majorcan polymath Ramon Llull (1232–1315), the Four Great Chronicles (13th–14th centuries), and the Valencian school of poetry culminating in Ausiàs March (1397–1459)  By the 15th century, the city of Valencia had become the sociocultural center of the Crown of Aragon, and Catalan was present all over the Mediterranean world  During this period, the Royal Chancery propagated a highly standardized language  Catalan was widely used as an official language in Sicily until the 15th century, and in Sardinia until the 17th  During this period, the language was what Costa Carreras terms "one of the 'great languages' of medieval Europe" Martorell's outstanding novel of chivalry Tirant lo Blanc (1490) shows a transition from Medieval to Renaissance values, something that can also be seen in Metge's work  The first book produced with movable type in the Iberian Peninsula was printed in Catalan 

Start of the modern era
Spain
With the union of the crowns of Castille and Aragon in 1479, the Spanish kings ruled over different kingdoms, each with its own cultural, linguistic and political particularities, and they had to swear by the Laws of each territory before the respective Parliaments  But after the War of the Spanish Succession, Spain became an Absolute monarchy under Philip V, which led to the assimilation of the Crown of Aragon by the Crown of Castile through the Nueva Planta decrees, as a first step in the creation of the Spanish nation-state; as in other contemporary European states, this meant the imposition of the political and cultural characteristics of the dominant groups  Since the political unification of 1714, Spanish assimilation policies towards national minorities have been a constant 

The process of assimilation began with secret instructions to the corregidores of the Catalan territory: they "will take the utmost care to introduce the Castilian language, for which purpose he will give the most temperate and disguised measures so that the effect is achieved, without the care being noticed " From there, actions in the service of assimilation, discreet or aggressive, were continued, and reached to the last detail, such as, in 1799, the Royal Certificate forbidding anyone to "represent, sing and dance pieces that were not in Spanish " Anyway, the use of Spanish gradually became more prestigious and marked the start of the decline of Catalan  Starting in the 16th century, Catalan literature came under the influence of Spanish, and the nobles, part of the urban and literary classes became bilingual 

France
With the Treaty of the Pyrenees (1659), Spain ceded the northern part of Catalonia to France, and soon thereafter the local Catalan varieties came under the influence of French, which in 1700 became the sole official language of the region Shortly after the French Revolution (1789), the French First Republic prohibited official use of, and enacted discriminating policies against, the regional languages of France, such as Catalan, Alsatian, Breton, Occitan, Flemish, and Basque 

France: 19th to 20th century
Following the French establishment of the colony of Algeria from 1830 onward, it received several waves of Catalan-speaking settlers  People from the Spanish Alicante province settled around Oran, whereas Algiers received immigration from Northern Catalonia and Menorca 
Their speech was known as patuet  By 1911, the number of Catalan speakers was around 100,000  After the declaration of independence of Algeria in 1962, almost all the Catalan speakers fled to Northern Catalonia (as Pieds-Noirs) or Alacant The government of France formally recognizes only French as an official language  Nevertheless, on 10 December 2007, the General Council of the Pyrénées-Orientales officially recognized Catalan as one of the languages of the department and seeks to further promote it in public life and education 

Spain: 18th to 20th century
In 1807, the Statistics Office of the French Ministry of the Interior asked the prefects for an official survey on the limits of the French language  The survey found that in Roussillon, almost only Catalan was spoken, and since Napoleon wanted to incorporate Catalonia into France, as happened in 1812, the consul in Barcelona was also asked  He declared that Catalan "is taught in schools, it is printed and spoken, not only among the lower class, but also among people of first quality, also in social gatherings, as in visits and congresses", indicating that it was spoken everywhere "with the exception of the royal courts"  He also indicated that Catalan was spoken "in the Kingdom of Valencia, in the islands of Mallorca, Menorca, Ibiza, Sardinia, Corsica and much of Sicily, in the Vall d "Aran and Cerdaña" The defeat of the pro-Habsburg coalition in the War of Spanish Succession (1714) initiated a series of laws which, among other centralizing measures, imposed the use of Spanish in legal documentation all over Spain  Because of this, use of the Catalan language declined into the 18th century 
However, the 19th century saw a Catalan literary revival (Renaixença), which has continued up to the present day  This period starts with Aribau's Ode to the Homeland (1833); followed in the second half of the 19th century, and the early 20th by the work of Verdaguer (poetry), Oller (realist novel), and Guimerà (drama)  In the 19th century, the region of Carche, in the province of Murcia was repopulated with Valencian speakers  Catalan spelling was standardized in 1913 and the language became official during the Second Spanish Republic (1931–1939)  The Second Spanish Republic saw a brief period of tolerance, with most restrictions against Catalan lifted The Catalan language and culture were frowned upon during the Spanish Civil War (1936–1939) and the subsequent decades in Francoist Catalonia  The Francoist dictatorship (1939–1975) imposed the use of Spanish in schools and in public administration in all of Spain  However, in 1944, it became mandatory by law for universities with Romance Philology to include the subject of Catalan Philology  Numerous and prestigious cultural contests were created to reward works produced in Catalan  In January 1944, the "Eugenio Nadal" award was created  In 1945, with the sponsorship and subsidy of the Government, the centenary of Mossèn Cinto Verdaguer was celebrated  In 1947 the Joan Martorell prize for novels in Catalan was awarded  In 1949, the Víctor Català award for short novels in Catalan and the Aedos awards for biographies, the Josep Ysart award for essays, and the Ossa Menor award, later renamed Carles Riba, were created  In 1951, a national prize was awarded to poetry in Catalan with the same financial amount as Spanish poetry  That same year, Selecta Editions was founded for works written in Catalan  And the Joanot Martorell is awarded to Josep Pla for his work El carrer estret  In subsequent years (50s, 60s and 70s) countless awards were born, such as the Lletra d'Or, Amadeu Oller for poetry, the Sant Jordi for novels (endowed with 150,000 pesetas), the Honor Award of Catalan Letters, the Verdaguer, the Josep Pla Prize, the Mercè Rodoreda Prize for short stories and narratives  The first Catalan-language TV show was broadcast during the Franco period, in 1964  The Francoist dictatorship (1939–1975) banned the use of Catalan in schools and in public administration  At the same time, oppression of the Catalan language and identity was carried out in schools, through governmental bodies, and in religious centers  Franco's desire for a homogenous Spanish population resonated with some Catalans in favor of his regime, primarily members of the upper class, who began to reject the use of Catalan  Despite all of these hardships, Catalan continued to be used privately within households, and it was able to survive Francisco Franco's dictatorship  Several prominent Catalan authors resisted the suppression through literature In addition to the loss of prestige for Catalan and its prohibition in schools, migration during the 1950s into Catalonia from other parts of Spain also contributed to the diminished use of the language  These migrants were often unaware of the existence of Catalan, and thus felt no need to learn or use it  Catalonia was the economic powerhouse of Spain, so these migrations continued to occur from all corners of the country  Employment opportunities were reduced for those who were not bilingual 

Present day
Since the Spanish transition to democracy (1975–1982), Catalan has been institutionalized as an official language, language of education, and language of mass media; all of which have contributed to its increased prestige  In Catalonia, there is an unparalleled large bilingual European non-state linguistic community  The teaching of Catalan is mandatory in all schools, but it is possible to use Spanish for studying in the public education system of Catalonia in two situations – if the teacher assigned to a class chooses to use Spanish, or during the learning process of one or more recently arrived immigrant students  There is also some intergenerational shift towards Catalan More recently, several Spanish political forces have tried to increase the use of Spanish in the Catalan educational system  As a result, in May 2022 the Spanish Supreme Court urged the Catalan regional government to enforce a measure by which 25% of all lessons must be taught in Spanish According to the Statistical Institute of Catalonia, in 2013 the Catalan language is the second most commonly used in Catalonia, after Spanish, as a native or self-defining language: 7% of the population self-identifies with both Catalan and Spanish equally, 36 4% with Catalan and 47 5% only Spanish  In 2003 the same studies concluded no language preference for self-identification within the population above 15 years old: 5% self-identified with both languages, 44 3% with Catalan and 47 5% with Spanish  To promote use of Catalan, the Generalitat de Catalunya (Catalonia's official Autonomous government) spends part of its annual budget on the promotion of the use of Catalan in Catalonia and in other territories, with entities such as Consorci per a la Normalització Lingüística (Consortium for Linguistic Normalization)In Andorra, Catalan has always been the sole official language  Since the promulgation of the 1993 constitution, several policies favoring Catalan have been enforced, like Catalan medium education On the other hand, there are several language shift processes currently taking place  In the Northern Catalonia area of France, Catalan has followed the same trend as the other minority languages of France, with most of its native speakers being 60 or older (as of 2004)  Catalan is studied as a foreign language by 30% of the primary education students, and by 15% of the secondary  The cultural association La Bressola promotes a network of community-run schools engaged in Catalan language immersion programs 
In Alicante province, Catalan is being replaced by Spanish and in Alghero by Italian  There is also well ingrained diglossia in the Valencian Community, Ibiza, and to a lesser extent, in the rest of the Balearic islands During the 20th century many Catalans emigrated or went into exile to Venezuela, Mexico, Cuba, Argentina and other South American countries  They formed a large number of Catalan colonies that today continue to maintain the Catalan language  They also founded many Catalan casals (associations) 

Classification and relationship with other Romance languages
One classification of Catalan is given by Pèire Bèc:

Romance languages
Italo-Western languages
Western Romance languages
Gallo-Iberian languages
Gallo-Romance languages
Occitano-Romance languages
Catalan languageHowever, the ascription of Catalan to the Occitano-Romance branch of Gallo-Romance languages is not shared by all linguists and philologists, particularly among Spanish ones, such as Ramón Menéndez Pidal 
Catalan bears varying degrees of similarity to the linguistic varieties subsumed under the cover term Occitan language (see also differences between Occitan and Catalan and Gallo-Romance languages)  Thus, as it should be expected from closely related languages, Catalan today shares many traits with other Romance languages 

Relationship with other Romance languages
Some include Catalan in Occitan, as the linguistic distance between this language and some Occitan dialects (such as the Gascon language) is similar to the distance among different Occitan dialects  Catalan was considered a dialect of Occitan until the end of the 19th century and still today remains its closest relative Catalan shares many traits with the other neighboring Romance languages (Occitan, French, Italian, Sardinian as well as Spanish and Portuguese among others)  However, despite being spoken mostly on the Iberian Peninsula, Catalan has marked differences with the Iberian Romance group (Spanish and Portuguese) in terms of pronunciation, grammar, and especially vocabulary; it shows instead its closest affinity with languages native to France and northern Italy, particularly Occitan and to a lesser extent Gallo-Romance (Franco-Provençal, French, Gallo-Italian) According to Ethnologue, the lexical similarity between Catalan and other Romance languages is: 87% with Italian; 85% with Portuguese and Spanish; 76% with Ladin and Romansh; 75% with Sardinian; and 73% with Romanian 
During much of its history, and especially during the Francoist dictatorship (1939–1975), the Catalan language was ridiculed as a mere dialect of Spanish  This view, based on political and ideological considerations, has no linguistic validity  Spanish and Catalan have important differences in their sound systems, lexicon, and grammatical features, placing the language in features closer to Occitan (and French) There is evidence that, at least from the 2nd century a d , the vocabulary and phonology of Roman Tarraconensis was different from the rest of Roman Hispania  Differentiation arose generally because Spanish, Asturian, and Galician-Portuguese share certain peripheral archaisms (Spanish hervir, Asturian and Portuguese ferver vs  Catalan bullir, Occitan bolir "to boil") and innovatory regionalisms (Sp novillo, Ast nuviellu vs  Cat torell, Oc taurèl "bullock"), while Catalan has a shared history with the Western Romance innovative core, especially Occitan Like all Romance languages, Catalan has a handful of native words which are unique to it, or rare elsewhere  These include:

verbs: cōnfīgere 'to fasten; transfix' > confegir 'to compose, write up', congemināre > conjuminar 'to combine, conjugate', de-ex-somnitare > deixondar/-ir 'to wake; awaken', dēnsāre 'to thicken; crowd together' > desar 'to save, keep', īgnōrāre > enyorar 'to miss, yearn, pine for', indāgāre 'to investigate, track' > Old Catalan enagar 'to incite, induce', odiāre > OCat ujar 'to exhaust, fatigue', pācificāre > apaivagar 'to appease, mollify', repudiāre > rebutjar 'to reject, refuse';
nouns: brīsa > brisa 'pomace', buda > boga 'reedmace', catarrhu > cadarn 'catarrh', congesta > congesta 'snowdrift', dēlīrium > deler 'ardor, passion', fretu > freu 'brake', lābem > (a)llau 'avalanche', ōra > vora 'edge, border', pistrīce 'sawfish' > pestriu > pestiu 'thresher shark, smooth hound; ray', prūna 'live coal' > espurna 'spark', tardātiōnem > tardaó > tardor 'autumn' The Gothic superstrate produced different outcomes in Spanish and Catalan  For example, Catalan fang "mud" and rostir "to roast", of Germanic origin, contrast with Spanish lodo and asar, of Latin origin; whereas Catalan filosa "spinning wheel" and templa "temple", of Latin origin, contrast with Spanish rueca and sien, of Germanic origin The same happens with Arabic loanwords  Thus, Catalan alfàbia "large earthenware jar" and rajola "tile", of Arabic origin, contrast with Spanish tinaja and teja, of Latin origin; whereas Catalan oli "oil" and oliva "olive", of Latin origin, contrast with Spanish aceite and aceituna  However, the Arabic element in Spanish is generally much more prevalent Situated between two large linguistic blocks (Iberian Romance and Gallo-Romance), Catalan has many unique lexical choices, such as enyorar "to miss somebody", apaivagar "to calm somebody down", and rebutjar "reject" 

Geographic distribution
Catalan-speaking territories
Traditionally Catalan-speaking territories are sometimes called the Països Catalans (Catalan Countries), a denomination based on cultural affinity and common heritage, that has also had a subsequent political interpretation but no official status  Various interpretations of the term may include some or all of these regions 

Number of speakers
The number of people known to be fluent in Catalan varies depending on the sources used  A 2004 study did not count the total number of speakers, but estimated a total of 9–9 5 million by matching the percentage of speakers to the population of each area where Catalan is spoken  The web site of the Generalitat de Catalunya estimated that as of 2004 there were 9,118,882 speakers of Catalan  These figures only reflect potential speakers; today it is the native language of only 35 6% of the Catalan population  According to Ethnologue, Catalan had 4 1 million native speakers and 5 1 million second-language speakers in 2021 

According to a 2011 study the total number of Catalan speakers is over 9 8 million, with 5 9 million residing in Catalonia  More than half of them speak Catalan as a second language, with native speakers being about 4 4 million of those (more than 2 8 in Catalonia)  Very few Catalan monoglots exist; basically, virtually all of the Catalan speakers in Spain are bilingual speakers of Catalan and Spanish, with a sizable population of Spanish-only speakers of immigrant origin (typically born outside Catalonia or whose parents were both born outside Catalonia) existing in the major Catalan urban areas as well 
In Roussillon, only a minority of French Catalans speak Catalan nowadays, with French being the majority language for the inhabitants after a continued process of language shift  According to a 2019 survey by the Catalan government, 31 5% of the inhabitants of Catalonia have Catalan as first language at home whereas 52 7% have Spanish, 2 8% both Catalan and Spanish and 10 8% other languages Spanish is the most spoken language in Barcelona (according to the linguistic census held by the Government of Catalonia in 2013) and it is understood almost universally  According to this census of 2013 Catalan is also very commonly spoken in the city of 1,501,262: it is understood by 95% of the population, while 72 3% over the age of 2 can speak it (1,137,816), 79% can read it (1,246 555), and 53% can write it (835,080)  The proportion in Barcelona who can speak it, 72 3%, is lower than that of the overall Catalan population, of whom 81 2% over the age of 15 speak the language  Knowledge of Catalan has increased significantly in recent decades thanks to a language immersion educational system  An important social characteristic of the Catalan language is that all the areas where it is spoken are bilingual in practice: together with the French language in Roussillon, with Italian in Alghero, with Spanish and French in Andorra and with Spanish in the rest of the territories 

1 ^  The number of people who understand Catalan includes those who can speak it 
2 ^  Figures relate to all self-declared capable speakers, not just native speakers 

Level of knowledge
(% of the population 15 years old and older) 

Social use
(% of the population 15 years old and older) 

Native language
Phonology
Catalan phonology varies by dialect  Notable features include:
Marked contrast of the vowel pairs /ɛ e/ and /ɔ o/, as in other Western Romance languages, other than Spanish 
Lack of diphthongization of Latin short ĕ, ŏ, as in Galician and Portuguese, but unlike French, Spanish, or Italian 
Abundance of diphthongs containing /w/, as in Galician and Portuguese In contrast to other Romance languages, Catalan has many monosyllabic words, and these may end in a wide variety of consonants, including some consonant clusters  Additionally, Catalan has final obstruent devoicing, which gives rise to an abundance of such couplets as amic ("male friend") vs  amiga ("female friend") Central Catalan pronunciation is considered to be standard for the language  The descriptions below are mostly representative of this variety  For the differences in pronunciation between the different dialects, see the section on pronunciation of dialects in this article 

Vowels
Catalan has inherited the typical vowel system of Vulgar Latin, with seven stressed phonemes: /a ɛ e i ɔ o u/, a common feature in Western Romance, with the exception of Spanish  Balearic also has instances of stressed /ə/  Dialects differ in the different degrees of vowel reduction, and the incidence of the pair /ɛ e/ In Central Catalan, unstressed vowels reduce to three: /a e ɛ/ > [ə]; /o ɔ u/ > [u]; /i/ remains distinct  The other dialects have different vowel reduction processes (see the section pronunciation of dialects in this article) 

Consonants
The consonant system of Catalan is rather conservative 

/l/ has a velarized allophone in syllable coda position in most dialects  However, /l/ is velarized irrespective of position in Eastern dialects like Majorcan and standard Eastern Catalan 
/v/ occurs in Balearic, Algherese, standard Valencian and some areas in southern Catalonia  It has merged with /b/ elsewhere 
Voiced obstruents undergo final-obstruent devoicing: /b/ > [p], /d/ > [t], /ɡ/ > [k] 
Voiced stops become lenited to approximants in syllable onsets, after continuants: /b/ > [β], /d/ > [ð], /ɡ/ > [ɣ]  Exceptions include /d/ after lateral consonants, and /b/ after /f/  In coda position, these sounds are realized as stops, except in some Valencian dialects where they are lenited 
There is some confusion in the literature about the precise phonetic characteristics of /ʃ/, /ʒ/, /tʃ/, /dʒ/  Some sources describe them as "postalveolar"  Others as "back alveolo-palatal", implying that the characters ⟨ɕ ʑ tɕ dʑ⟩ would be more accurate  However, in all literature only the characters for palato-alveolar affricates and fricatives are used, even when the same sources use ⟨ɕ ʑ⟩ for other languages like Polish and Chinese 
The distribution of the two rhotics /r/ and /ɾ/ closely parallels that of Spanish  Between vowels, the two contrast, but they are otherwise in complementary distribution: in the onset of the first syllable in a word, [r] appears unless preceded by a consonant  Dialects vary in regards to rhotics in the coda with Western Catalan generally featuring [ɾ] and Central Catalan dialects featuring a weakly trilled [r] unless it precedes a vowel-initial word in the same prosodic unit, in which case [ɾ] appears 
In careful speech, /n/, /m/, /l/ may be geminated  Geminated /ʎ/ may also occur  Some analyze intervocalic [r] as the result of gemination of a single rhotic phoneme  This is similar to the common analysis of Spanish and Portuguese rhotics 

Phonological evolution
Sociolinguistics
Catalan sociolinguistics studies the situation of Catalan in the world and the different varieties that this language presents  It is a subdiscipline of Catalan philology and other affine studies and has as an objective to analyze the relation between the Catalan language, the speakers and the close reality (including the one of other languages in contact) 

Preferential subjects of study
Dialects of Catalan
Variations of Catalan by class, gender, profession, age and level of studies
Process of linguistic normalization
Relations between Catalan and Spanish or French
Perception on the language of Catalan speakers and non-speakers
Presence of Catalan in several fields: tagging, public function, media, professional sectors

Dialects
Overview
The dialects of the Catalan language feature a relative uniformity, especially when compared to other Romance languages; both in terms of vocabulary, semantics, syntax, morphology, and phonology  Mutual intelligibility between dialects is very high, estimates ranging from 90% to 95%  The only exception is the isolated idiosyncratic Algherese dialect Catalan is split in two major dialectal blocks: Eastern and Western  The main difference lies in the treatment of unstressed a and e; which have merged to /ə/ in Eastern dialects, but which remain distinct as /a/ and /e/ in Western dialects  There are a few other differences in pronunciation, verbal morphology, and vocabulary Western Catalan comprises the two dialects of Northwestern Catalan and Valencian; the Eastern block comprises four dialects: Central Catalan, Balearic, Rossellonese, and Algherese  Each dialect can be further subdivided in several subdialects  The terms "Catalan" and "Valencian" (respectively used in Catalonia and the Valencian Community) refer to two varieties of the same language  There are two institutions regulating the two standard varieties, the Institute of Catalan Studies in Catalonia and the Valencian Academy of the Language in the Valencian Community 
Central Catalan is considered the standard pronunciation of the language and has the largest number of speakers  It is spoken in the densely populated regions of the Barcelona province, the eastern half of the province of Tarragona, and most of the province of Girona Catalan has an inflectional grammar  Nouns have two genders (masculine, feminine), and two numbers (singular, plural)  Pronouns additionally can have a neuter gender, and some are also inflected for case and politeness, and can be combined in very complex ways  Verbs are split in several paradigms and are inflected for person, number, tense, aspect, mood, and gender  In terms of pronunciation, Catalan has many words ending in a wide variety of consonants and some consonant clusters, in contrast with many other Romance languages 

Pronunciation
Vowels
Catalan has inherited the typical vowel system of Vulgar Latin, with seven stressed phonemes: /a ɛ e i ɔ o u/, a common feature in Western Romance, except Spanish  Balearic has also instances of stressed /ə/  Dialects differ in the different degrees of vowel reduction, and the incidence of the pair /ɛ e/ In Eastern Catalan (except Majorcan), unstressed vowels reduce to three: /a e ɛ/ > [ə]; /o ɔ u/ > [u]; /i/ remains distinct  There are a few instances of unreduced [e], [o] in some words  Algherese has lowered [ə] to [a] 
In Majorcan, unstressed vowels reduce to four: /a e ɛ/ follow the Eastern Catalan reduction pattern; however /o ɔ/ reduce to [o], with /u/ remaining distinct, as in Western Catalan In Western Catalan, unstressed vowels reduce to five: /e ɛ/ > [e]; /o ɔ/ > [o]; /a u i/ remain distinct  This reduction pattern, inherited from Proto-Romance, is also found in Italian and Portuguese  Some Western dialects present further reduction or vowel harmony in some cases Central, Western, and Balearic differ in the lexical incidence of stressed /e/ and /ɛ/  Usually, words with /ɛ/ in Central Catalan correspond to /ə/ in Balearic and /e/ in Western Catalan  Words with /e/ in Balearic almost always have /e/ in Central and Western Catalan as well  As a result, Central Catalan has a much higher incidence of /ɛ/ 

Consonants
Morphology
Western Catalan: In verbs, the ending for 1st-person present indicative is -e in verbs of the 1st conjugation and -∅ in verbs of the 2nd and 3rd conjugations in most of the Valencian Community, or -o in all verb conjugations in the Northern Valencian Community and Western Catalonia E g  parle, tem, sent (Valencian); parlo, temo, sento (Northwestern Catalan) 
Eastern Catalan: In verbs, the ending for 1st-person present indicative is -o, -i, or -∅ in all conjugations  E g  parlo (Central), parl (Balearic), and parli (Northern), all meaning ('I speak') 

Western Catalan: In verbs, the inchoative endings are -isc/-esc, -ix, -ixen, -isca/-esca 
Eastern Catalan: In verbs, the inchoative endings are -eixo, -eix, -eixen, -eixi 
Western Catalan: In nouns and adjectives, maintenance of /n/ of medieval plurals in proparoxytone words E g  hòmens 'men', jóvens 'youth' 
Eastern Catalan: In nouns and adjectives, loss of /n/ of medieval plurals in proparoxytone words E g  homes 'men', joves 'youth' (Ibicencan, however, follows the model of Western Catalan in this case) 

Vocabulary
Despite its relative lexical unity, the two dialectal blocks of Catalan (Eastern and Western) show some differences in word choices  Any lexical divergence within any of the two groups can be explained as an archaism  Also, usually Central Catalan acts as an innovative element 

Standards
Standard Catalan, virtually accepted by all speakers, is mostly based on Eastern Catalan, which is the most widely used dialect  Nevertheless, the standards of the Valencian Community and the Balearics admit alternative forms, mostly traditional ones, which are not current in eastern Catalonia The most notable difference between both standards is some tonic ⟨e⟩ accentuation, for instance: francès, anglès (IEC) – francés, anglés (AVL)  Nevertheless, AVL's standard keeps the grave accent ⟨è⟩, while pronouncing it as /e/ rather than /ɛ/, in some words like: què ('what'), or València  Other divergences include the use of ⟨tl⟩ (AVL) in some words instead of ⟨tll⟩ like in ametla/ametlla ('almond'), espatla/espatlla ('back'), the use of elided demonstratives (este 'this', eixe 'that') in the same level as reinforced ones (aquest, aqueix) or the use of many verbal forms common in Valencian, and some of these common in the rest of Western Catalan too, like subjunctive mood or inchoative conjugation in -ix- at the same level as -eix- or the priority use of -e morpheme in 1st person singular in present indicative (-ar verbs): jo compre instead of jo compro ('I buy') 
In the Balearic Islands, IEC's standard is used but adapted for the Balearic dialect by the University of the Balearic Islands's philological section  In this way, for instance, IEC says it is correct writing cantam as much as cantem ('we sing'), but the university says that the priority form in the Balearic Islands must be cantam in all fields  Another feature of the Balearic standard is the non-ending in the 1st person singular present indicative: jo compr ('I buy'), jo tem ('I fear'), jo dorm ('I sleep') 
In Alghero, the IEC has adapted its standard to the Algherese dialect  In this standard one can find, among other features: the definite article lo instead of el, special possessive pronouns and determinants la mia ('mine'), lo sou/la sua ('his/her'), lo tou/la tua ('yours'), and so on, the use of -v- /v/ in the imperfect tense in all conjugations: cantava, creixiva, llegiva; the use of many archaic words, usual words in Algherese: manco instead of menys ('less'), calqui u instead of algú ('someone'), qual/quala instead of quin/quina ('which'), and so on; and the adaptation of weak pronouns 
In 2011, the Aragonese government passed a decree approving the statutes of a new language regulator of Catalan in La Franja (the so-called Catalan-speaking areas of Aragon) as originally provided for by Law 10/2009  The new entity, designated as Acadèmia Aragonesa del Català, shall allow a facultative education in Catalan and a standardization of the Catalan language in La Franja 

Status of Valencian
Valencian is classified as a Western dialect, along with the northwestern varieties spoken in Western Catalonia (provinces of Lleida and the western half of Tarragona)  Central Catalan has 90% to 95% inherent intelligibility for speakers of Valencian Linguists, including Valencian scholars, deal with Catalan and Valencian as the same language  The official regulating body of the language of the Valencian Community, the Valencian Academy of Language (Acadèmia Valenciana de la Llengua, AVL) declares the linguistic unity between Valencian and Catalan varieties 

The AVL, created by the Valencian parliament, is in charge of dictating the official rules governing the use of Valencian, and its standard is based on the Norms of Castelló (Normes de Castelló)  Currently, everyone who writes in Valencian uses this standard, except the Royal Academy of Valencian Culture (Acadèmia de Cultura Valenciana, RACV), which uses for Valencian an independent standard 
Despite the position of the official organizations, an opinion poll carried out between 2001 and 2004 showed that the majority of the Valencian people consider Valencian different from Catalan  This position is promoted by people who do not use Valencian regularly  Furthermore, the data indicates that younger generations educated in Valencian are much less likely to hold these views  A minority of Valencian scholars active in fields other than linguistics defends the position of the Royal Academy of Valencian Culture (Acadèmia de Cultura Valenciana, RACV), which uses for Valencian a standard independent from Catalan This clash of opinions has sparked much controversy  For example, during the drafting of the European Constitution in 2004, the Spanish government supplied the EU with translations of the text into Basque, Galician, Catalan, and Valencian, but the latter two were identical 

Vocabulary
Word choices
Despite its relative lexical unity, the two dialectal blocks of Catalan (Eastern and Western) show some differences in word choices  Any lexical divergence within any of the two groups can be explained as an archaism  Also, usually Central Catalan acts as an innovative element Literary Catalan allows the use of words from different dialects, except those of very restricted use  However, from the 19th century onwards, there has been a tendency towards favoring words of Northern dialects to the detriment of others, even though nowadays there is a greater freedom of choice 

Latin and Greek loanwords
Like other languages, Catalan has a large list of loanwords from Greek and Latin  This process started very early, and one can find such examples in Ramon Llull's work  In the 14th and 15th centuries Catalan had a far greater number of Greco-Latin loanwords than other Romance languages, as is attested for example in Roís de Corella's writings  The incorporation of learned, or "bookish" words from its own ancestor language, Latin, into Catalan is arguably another form of lexical borrowing through the influence of written language and the liturgical language of the Church  Throughout the Middle Ages and into the early modern period, most literate Catalan speakers were also literate in Latin; and thus they easily adopted Latin words into their writing—and eventually speech—in Catalan 

Word formation
The process of morphological derivation in Catalan follows the same principles as the other Romance languages, where agglutination is common  Many times, several affixes are appended to a preexisting lexeme, and some sound alternations can occur, for example elèctric [əˈlɛktrik] ("electrical") vs  electricitat [ələktrisiˈtat]  Prefixes are usually appended to verbs, as in preveure ("foresee") There is greater regularity in the process of word-compounding, where one can find compounded words formed much like those in English 

Writing system
Catalan uses the Latin script, with some added symbols and digraphs  The Catalan orthography is systematic and largely phonologically based  Standardization of Catalan was among the topics discussed during the First International Congress of the Catalan Language, held in Barcelona October 1906  Subsequently, the Philological Section of the Institut d'Estudis Catalans (IEC, founded in 1911) published the Normes ortogràfiques in 1913 under the direction of Antoni Maria Alcover and Pompeu Fabra  In 1932, Valencian writers and intellectuals gathered in Castelló de la Plana to make a formal adoption of the so-called Normes de Castelló, a set of guidelines following Pompeu Fabra's Catalan language norms 

Grammar
The grammar of Catalan is similar to other Romance languages  Features include:
Use of definite and indefinite articles 
Nouns, adjectives, pronouns, and articles are inflected for gender (masculine and feminine), and number (singular and plural)  There is no case inflexion, except in pronouns 
Verbs are highly inflected for person, number, tense, aspect, and mood (including a subjunctive) 
There are no modal auxiliaries 
Word order is freer than in English 

Gender and number inflection
In gender inflection, the most notable feature is (compared to Portuguese, Spanish or Italian), the loss of the typical masculine suffix -o  Thus, the alternance of -o/-a, has been replaced by ø/-a  There are only a few exceptions, like minso/minsa ("scarce")  Many not completely predictable morphological alternations may occur, such as:
Affrication: boig/boja ("insane") vs  lleig/lletja ("ugly")
Loss of n: pla/plana ("flat") vs  segon/segona ("second")
Final obstruent devoicing: sentit/sentida ("felt") vs  dit/dita ("said")Catalan has few suppletive couplets, like Italian and Spanish, and unlike French  Thus, Catalan has noi/noia ("boy"/"girl") and gall/gallina ("cock"/"hen"), whereas French has garçon/fille and coq/poule There is a tendency to abandon traditionally gender-invariable adjectives in favor of marked ones, something prevalent in Occitan and French  Thus, one can find bullent/bullenta ("boiling") in contrast with traditional bullent/bullent As in the other Western Romance languages, the main plural expression is the suffix -s, which may create morphological alternations similar to the ones found in gender inflection, albeit more rarely  The most important one is the addition of -o- before certain consonant groups, a phonetic phenomenon that does not affect feminine forms: el pols/els polsos ("the pulse"/"the pulses") vs  la pols/les pols ("the dust"/"the dusts") 

Determiners
The inflection of determinatives is complex, specially because of the high number of elisions, but is similar to the neighboring languages  Catalan has more contractions of preposition + article than Spanish, like dels ("of + the [plural]"), but not as many as Italian (which has sul, col, nel, etc ) Central Catalan has abandoned almost completely unstressed possessives (mon, etc ) in favor of constructions of article + stressed forms (el meu, etc ), a feature shared with Italian 

Personal pronouns
The morphology of Catalan personal pronouns is complex, especially in unstressed forms, which are numerous (13 distinct forms, compared to 11 in Spanish or 9 in Italian)  Features include the gender-neutral ho and the great degree of freedom when combining different unstressed pronouns (65 combinations) Catalan pronouns exhibit T–V distinction, like all other Romance languages (and most European languages, but not Modern English)  This feature implies the use of a different set of second person pronouns for formality 
This flexibility allows Catalan to use extraposition extensively, much more than French or Spanish  Thus, Catalan can have m'hi recomanaren ("they recommended me to him"), whereas in French one must say ils m'ont recommandé à lui, and Spanish me recomendaron a él  This allows the placement of almost any nominal term as a sentence topic, without having to use so often the passive voice (as in French or English), or identifying the direct object with a preposition (as in Spanish) 

Verbs
Like all the Romance languages, Catalan verbal inflection is more complex than the nominal  Suffixation is omnipresent, whereas morphological alternations play a secondary role  Vowel alternances are active, as well as infixation and suppletion  However, these are not as productive as in Spanish, and are mostly restricted to irregular verbs The Catalan verbal system is basically common to all Western Romance, except that most dialects have replaced the synthetic indicative perfect with a periphrastic form of anar ("to go") + infinitive Catalan verbs are traditionally divided into three conjugations, with vowel themes -a-, -e-, -i-, the last two being split into two subtypes  However, this division is mostly theoretical  Only the first conjugation is nowadays productive (with about 3500 common verbs), whereas the third (the subtype of servir, with about 700 common verbs) is semiproductive  The verbs of the second conjugation are fewer than 100, and it is not possible to create new ones, except by compounding 

Syntax
The grammar of Catalan follows the general pattern of Western Romance languages  The primary word order is subject–verb–object  However, word order is very flexible  Commonly, verb-subject constructions are used to achieve a semantic effect  The sentence "The train has arrived" could be translated as Ha arribat el tren or El tren ha arribat  Both sentences mean "the train has arrived", but the former puts a focus on the train, while the latter puts a focus on the arrival  This subtle distinction is described as "what you might say while waiting in the station" versus "what you might say on the train "

Catalan names
In Spain, every person officially has two surnames, one of which is the father's first surname and the other is the mother's first surname  The law contemplates the possibility of joining both surnames with the Catalan conjunction i ("and") 

Sample text
Selected text from Manuel de Pedrolo's 1970 novel Un amor fora ciutat ("A love affair outside the city") 

See also
Notes
Passage 6:
Serbian language
Serbian (српски / srpski, pronounced [sr̩̂pskiː]) is the standardized variety of the Serbo-Croatian language mainly used by Serbs  It is the official and national language of Serbia, one of the three official languages of Bosnia and Herzegovina and co-official in Montenegro and Kosovo  It is a recognized minority language in Croatia, North Macedonia, Romania, Hungary, Slovakia, and the Czech Republic 
Standard Serbian is based on the most widespread dialect of Serbo-Croatian, Shtokavian (more specifically on the dialects of Šumadija-Vojvodina and Eastern Herzegovina), which is also the basis of standard Croatian, Bosnian, and Montenegrin varieties and therefore the Declaration on the Common Language of Croats, Bosniaks, Serbs, and Montenegrins was issued in 2017  The other dialect spoken by Serbs is Torlakian in southeastern Serbia, which is transitional to Macedonian and Bulgarian 
Serbian is practically the only European standard language whose speakers are fully functionally digraphic, using both Cyrillic and Latin alphabets  The Serbian Cyrillic alphabet was devised in 1814 by Serbian linguist Vuk Karadžić, who created it based on phonemic principles  The Latin alphabet used for Serbian (latinica) was designed by the Croatian linguist Ljudevit Gaj in the 1830s based on the Czech system with a one-to-one grapheme-phoneme correlation between the Cyrillic and Latin orthographies, resulting in a parallel system 

Classification
Serbian is a standardized variety of Serbo-Croatian, a Slavic language (Indo-European), of the South Slavic subgroup  Other standardized forms of Serbo-Croatian are Bosnian, Croatian, and Montenegrin  "An examination of all the major 'levels' of language shows that BCS is clearly a single language with a single grammatical system " It has lower intelligibility with the Eastern South Slavic languages Bulgarian and Macedonian, than with Slovene (Slovene is part of the Western South Slavic subgroup, but there are still significant differences in vocabulary, grammar and pronunciation to the standardized forms of Serbo-Croatian, although it is closer to the Kajkavian and Chakavian dialects of Serbo-Croatian) 

Geographic distribution
Figures of speakers according to countries:

Serbia: 6,540,699 (official language)
Bosnia and Herzegovina: 1,086,027 (co-official language)
Germany: 568,240
Austria: 350,000
Montenegro: 265,890 (language in official use)
Switzerland: 186,000
United States: 172,874
Sweden: 120,000
Italy: 106,498
Kosovo: est  70 000–100 000 (co-official language)
Canada: 72,690
Australia: 55,114
Croatia: 52,879 (recognized minority language)
Slovenia: 38,964
North Macedonia: 24,773 (recognized minority language)
Romania: 22,518 (recognized minority language)

Status in Montenegro
Serbian was the official language of Montenegro until October 2007 when the new Constitution of Montenegro replaced the Constitution of 1992  Amid opposition from pro-Serbian parties, Montenegrin was made the sole official language of the country, and Serbian was given the status of a language in official use along with Bosnian, Albanian, and Croatian In the 2011 Montenegrin census, 42 88% declared Serbian to be their native language, while Montenegrin was declared by 36 97% of the population 

Differences between standard Serbian and standard Croatian and Bosnian
Writing system
Standard Serbian language uses both Cyrillic (ћирилица, ćirilica) and Latin script (latinica, латиница)  Serbian is a rare example of synchronic digraphia, a situation where all literate members of a society have two interchangeable writing systems available to them  Media and publishers typically select one alphabet or the other  In general, the alphabets are used interchangeably; except in the legal sphere, where Cyrillic is required, there is no context where one alphabet or another predominates 
Although Serbian language authorities have recognized the official status of both scripts in contemporary Standard Serbian for more than half of a century now, due to historical reasons, the Cyrillic script was made the official script of Serbia's administration by the 2006 Constitution The Latin script continues to be used in official contexts, although the government has indicated its desire to phase out this practice due to national sentiment  The Ministry of Culture believes that Cyrillic is the "identity script" of the Serbian nation However, the law does not regulate scripts in standard language, or standard language itself by any means, leaving the choice of script as a matter of personal preference and to the free will in all aspects of life (publishing, media, trade and commerce, etc ), except in government paperwork production and in official written communication with state officials, which have to be in Cyrillic 

Usage
To most Serbians, the Latin script tends to imply a cosmopolitan or neutral attitude, while Cyrillic appeals to a more traditional or vintage sensibility In media, the public broadcaster, Radio Television of Serbia, predominantly uses the Cyrillic script whereas the privately run broadcasters, like RTV Pink, predominantly use the Latin script  Newspapers can be found in both scripts 
In the public sphere, with logos, outdoor signage and retail packaging, the Latin script predominates, although both scripts are commonly seen  The Serbian government has encouraged increasing the use of Cyrillic in these contexts  Larger signs, especially those put up by the government, will often feature both alphabets; if the sign has English on it, then usually only Cyrillic is used for the Serbian text 
A survey from 2014 showed that 47% of the Serbian population favors the Latin alphabet whereas 36% favors the Cyrillic one Latin script has become more and more popular in Serbia, as it is easier to input on phones and computers 

Alphabetic order
The sort order of the ćirilica (ћирилица) alphabet:

Cyrillic order called Azbuka (азбука): А Б В Г Д Ђ Е Ж З И Ј К Л Љ М Н Њ О П Р С Т Ћ У Ф Х Ц Ч Џ ШThe sort order of the latinica (латиница) alphabet:

Latin order called Abeceda (абецеда): A B C Č Ć D Dž Đ E F G H I J K L Lj M N Nj O P R S Š T U V Z Ž

Grammar
Serbian is a highly inflected language, with grammatical morphology for nouns, pronouns and adjectives as well as verbs 

Nouns
Serbian nouns are classified into three declensional types, denoted largely by their nominative case endings as "-a" type, "-i" and "-e" type  Into each of these declensional types may fall nouns of any of three genders: masculine, feminine or neuter  Each noun may be inflected to represent the noun's grammatical case, of which Serbian has seven:

Nominative
Genitive
Dative
Accusative
Vocative
Instrumental
LocativeNouns are further inflected to represent the noun's number, singular or plural 

Pronouns
Pronouns, when used, are inflected along the same case and number morphology as nouns  Serbian is a pro-drop language, meaning that pronouns may be omitted from a sentence when their meaning is easily inferred from the text  In cases where pronouns may be dropped, they may also be used to add emphasis  For example:

Adjectives
Adjectives in Serbian may be placed before or after the noun they modify, but must agree in number, gender and case with the modified noun 

Verbs
Serbian verbs are conjugated in four past forms—perfect, aorist, imperfect, and pluperfect—of which the last two have a very limited use (imperfect is still used in some dialects, but the majority of native Serbian speakers consider it archaic), one future tense (also known as the first future tense, as opposed to the second future tense or the future exact, which is considered a tense of the conditional mood by some contemporary linguists), and one present tense  These are the tenses of the indicative mood  Apart from the indicative mood, there is also the imperative mood  The conditional mood has two more tenses: the first conditional (commonly used in conditional clauses, both for possible and impossible conditional clauses) and the second conditional (without use in the spoken language—it should be used for impossible conditional clauses)  Serbian has active and passive voice 
As for the non-finite verb forms, Serbian has one infinitive, two adjectival participles (the active and the passive), and two adverbial participles (the present and the past) 

Vocabulary
Most Serbian words are of native Slavic lexical stock, tracing back to the Proto-Slavic language  There are many loanwords from different languages, reflecting cultural interaction throughout history  Notable loanwords were borrowed from Greek, Latin, Italian, Turkish, Hungarian, English, Russian, German, Czech and French 

Serbian literature
Serbian literature emerged in the Middle Ages, and included such works as Miroslavljevo jevanđelje (Miroslav's Gospel) in 1186 and Dušanov zakonik (Dušan's Code) in 1349  Little secular medieval literature has been preserved, but what there is shows that it was in accord with its time; for example, the Serbian Alexandride, a book about Alexander the Great, and a translation of Tristan and Iseult into Serbian  Although not belonging to the literature proper, the corpus of Serbian literacy in the 14th and 15th centuries contains numerous legal, commercial and administrative texts with marked presence of Serbian vernacular juxtaposed on the matrix of Serbian Church Slavonic 
By the beginning of the 14th century the Serbo-Croatian language, which was so rigorously proscribed by earlier local laws, becomes the dominant language of the Republic of Ragusa  However, despite her wealthy citizens speaking the Serbo-Croatian dialect of Dubrovnik in their family circles, they sent their children to Florentine schools to become perfectly fluent in Italian  Since the beginning of the 13th century, the entire official correspondence of Dubrovnik with states in the hinterland was conducted in Serbian In the mid-15th century, Serbia was conquered by the Ottoman Empire and for the next 400 years there was no opportunity for the creation of secular written literature  However, some of the greatest literary works in Serbian come from this time, in the form of oral literature, the most notable form being epic poetry  The epic poems were mainly written down in the 19th century, and preserved in oral tradition up to the 1950s, a few centuries or even a millennium longer than by most other "epic folks"  Goethe and Jacob Grimm learned Serbian in order to read Serbian epic poetry in the original  By the end of the 18th century, the written literature had become estranged from the spoken language  In the second half of the 18th century, the new language appeared, called Slavonic-Serbian  This artificial idiom superseded the works of poets and historians like Gavrilo Stefanović Venclović, who wrote in essentially modern Serbian in the 1720s  These vernacular compositions have remained cloistered from the general public and received due attention only with the advent of modern literary historians and writers like Milorad Pavić  In the early 19th century, Vuk Stefanović Karadžić promoted the spoken language of the people as a literary norm 

Dialects
The dialects of Serbo-Croatian, regarded Serbian (traditionally spoken in Serbia), include:

Šumadija–Vojvodina (Ekavian, Neo-Shtokavian): central and northern Serbia
Eastern Herzegovinian (Ijekavian, Neo-Shtokavian): southwestern Serbia, western half of Montenegro, Bosnia and Herzegovina, Croatia
Kosovo–Resava (Ekavian, Old-Shtokavian): eastern central Serbia, central Kosovo
Smederevo–Vršac (Ekavian, Old-Shtokavian): east-central Serbia
Prizren–Timok (transitional Torlakian): southeastern Serbia, southern Kosovo
Zeta–Raška (Ijekavian, Old-Shtokavian): eastern half of Montenegro, southwestern Serbia

Dictionaries
Vuk Karadžić's Srpski rječnik, first published in 1818, is the earliest dictionary of modern literary Serbian  The Rječnik hrvatskoga ili srpskoga jezika (I–XXIII), published by the Yugoslav Academy of Sciences and Arts from 1880 to 1976, is the only general historical dictionary of Serbo-Croatian  Its first editor was Đuro Daničić, followed by Pero Budmani and the famous Vukovian Tomislav Maretić  The sources of this dictionary are, especially in the first volumes, mainly Štokavian  There are older, pre-standard dictionaries, such as the 1791 German–Serbian dictionary or 15th century Arabic-Persian-Greek-Serbian Conversation Textbook 

Standard dictionaries
Dictionary of Serbo-Croatian Literary and Vernacular Language (Rečnik srpskohrvatskog književnog i narodnog jezika) is the biggest dictionary of Serbian (and Serbo-Croatian as a whole) and still unfinished  Starting in 1959, 21 volumes were published as of 2020 and about 40 are expected by the time it is finished 
Dictionary of Serbo-Croatian Literary Language (Rečnik srpskohrvatskoga književnog jezika) in six volumes in 1967–1976, started as a common project of Matica srpska (published in Cyrillic) and Matica hrvatska (published in Latin)  Only the first three volumes were published by Matica hrvatska due to negative feedback from Croatian linguists 
Dictionary of the Serbian language (Rečnik srpskoga jezika; ISBN 978-86-7946-004-2) in one volume, published in 2007 by Matica srpska, which on more than 1500 pages in A4 format explains more than 85,000 entries 

Etymological dictionaries
The standard and the only completed etymological dictionary of Serbian is the "Skok", written by the Croatian linguist Petar Skok: Etimologijski rječnik hrvatskoga ili srpskoga jezika ("Etymological Dictionary of Croatian or Serbian")  I-IV  Zagreb 1971–1974 
There is also a new monumental Etimološki rečnik srpskog jezika (Etymological Dictionary of Serbian)  So far, two volumes have been published: I (with words on A-), and II (Ba-Bd) 
There are specialized etymological dictionaries for German, Italian, Croatian, Turkish, Greek, Hungarian, Russian, English and other loanwords (cf  chapter word origin) 

Dialectal dictionaries
Kosovsko-resavski dialect dictionaries:
Gliša Elezović, Rečnik kosovsko-metohiskog dijalekta I-II  1932/1935 
Prizren-Timok (Torlakian) dialect dictionaries:
Brana Mitrović, Rečnik leskovačkog govora  Leskovac 1984 
Nikola Živković, Rečnik pirotskog govora  Pirot, 1987 
Miodrag Marković, Rečnik crnorečkog govora I-II  1986/1993 
Jakša Dinić, Rečnik timočkog govora I-III 1988–1992 
Jakša Dinić, Timocki dijalekatski recnik, (Institut za srpski jezik, Monografije 4; ISBN 978-86-82873-17-4) Beograd 2008,
Momčilo Zlatanović, Rečnik govora južne Srbije  Vranje, 1998, 1–491 
East-Herzegovinian dialect dictionaries:
Milija Stanić, Uskočki rečnik I–II  Beograd 1990/1991 
Miloš Vujičić, Rečnik govora Prošćenja kod Mojkovca  Podgorica, 1995 
Srđan Musić, Romanizmi u severozapadnoj Boki Kotorskoj  1972 
Svetozar Gagović, Iz leksike Pive  Beograd 2004 
Zeta-Pešter dialect:
Rada Stijović, Iz leksike Vasojevića  1990 
Drago Ćupić – Željko Ćupić, Rečnik govora Zagarača  1997 
Vesna Lipovac-Radulović, Romanizmi u Crnoj Gori – jugoistočni dio Boke Kotorske  Cetinje – Titograd, 1981 
Vesna Lipovac-Radulović, Romanizmi u Budvi i Paštrovićima  Novi Sad 1997 
Others:
Rečnik srpskih govora Vojvodine  Novi Sad 
Mile Tomić, Rečnik radimskog govora – dijaspora, Rumunija  1989 

Sample text
Article 1 of the Universal Declaration of Human Rights in Serbian, written in the Cyrillic script:
Сва људска бића рађају се слободна и једнака у достојанству и правима  Она су обдарена разумом и свешћу и треба једни према другима да поступају у духу братства 
Article 1 of the Universal Declaration of Human Rights in Serbian, written in the Latin alphabet:
Sva ljudska bića rađaju se slobodna i jednaka u dostojanstvu i pravima  Ona su obdarena razumom i svešću i treba jedni prema drugima da postupaju u duhu bratstva 
Article 1 of the Universal Declaration of Human Rights in English:
All human beings are born free and equal in dignity and rights  They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood 

See also



ground_truth: John D. Loudermilk

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: When did the country, whose co-official language was used by the director of Group Portrait with a Lady, first attend the Olympics as an independent team?

The following are given passages.
Context 4: Passage 1:
Justice League (film)
Justice League is a 2017 American superhero film based on the DC Comics superhero team of the same name  Produced by Warner Bros  Pictures, DC Films, RatPac-Dune Entertainment, Atlas Entertainment, and Cruel and Unusual Films and distributed by Warner Bros  Pictures, it is the fifth installment in the DC Extended Universe (DCEU)  Directed by Zack Snyder and written by Chris Terrio and Joss Whedon, the film features an ensemble cast including Ben Affleck, Henry Cavill, Amy Adams, Gal Gadot, Ezra Miller, Jason Momoa, Ray Fisher, Jeremy Irons, Diane Lane, Connie Nielsen, and J  K  Simmons  In the film, following the events of Batman v Superman: Dawn of Justice (2016) Batman and Wonder Woman recruit The Flash, Aquaman, and Cyborg after the death of Superman to save the world from the catastrophic threat of Steppenwolf and his army of Parademons 
Warner Bros  began to develop a live-action Justice League film in 2007 with George Miller set to direct, but the project was canceled due to production delays and budgetary concerns  Principal photography took place from April to October 2016  After Snyder stepped down from the film following the death of his daughter, Whedon was hired to oversee the remainder of post-production, including writing and directing additional scenes, as well as reshooting a large portion of the film, which changed many aspects of it; Snyder ultimately retained sole credit as director  With an estimated production budget of $300 million, Justice League is one of the most expensive films ever made 
Justice League premiered in Los Angeles on November 13, 2017, and was released in the United States four days later  The film grossed $657 9 million worldwide against an assumed break-even point of $750 million, becoming a box office bomb and losing Warner Bros  an estimated $60 million  It received mixed reviews from critics, with criticism aimed towards the plot, pacing, generic villain, cinematography, and computer-generated imagery, while its humor and light tone were met with polarized responses, although the action sequences and performances (particularly Gadot and Miller) were praised  Whedon's major involvement during post-production also received harsh criticism especially from the cast, particularly Gadot and Fisher  A director's cut, titled Zack Snyder's Justice League, was released on HBO Max in March 2021, after fans had begun to advocate for Snyder's original version of the film since the film's theatrical release 

Plot
Thousands of years ago, Steppenwolf and his legions of Parademons attempted to take over the Earth using the combined energies of the three Mother Boxes  The attempt was foiled by a unified alliance including the Olympian Gods, Amazons, Atlanteans, humanity, and extraterrestrial beings  After Steppenwolf's army was repelled, the Mother Boxes were separated and hidden in different locations  In the present, humanity is still in mourning two years after the death of Superman, which triggered the Mother Boxes' reactivation and Steppenwolf's return to Earth  Steppenwolf aims to gather the boxes to form "The Unity", which will destroy Earth's ecology and terraform it in the image of Steppenwolf's homeworld 
Steppenwolf retrieves one Mother Box from Themyscira, prompting Queen Hippolyta to warn her daughter Diana  Diana joins Bruce Wayne in an attempt to unite other metahumans to their cause: Wayne goes after Arthur Curry and Barry Allen, while Diana locates Victor Stone  Wayne fails to persuade Curry but finds Allen enthusiastic  Although Diana fails to persuade Stone, he agrees to help them locate the threat  Stone joins after his father Silas and several other S T A R  Labs employees are kidnapped by Steppenwolf, who is seeking the Mother Box protected by humanity 
Steppenwolf attacks an Atlantean outpost to retrieve the next Mother Box, forcing Curry into action  Stone retrieves the last Mother Box for the group, revealing that his father used the Mother Box to rebuild Stone's body after an accident almost cost him his life  Wayne decides to use the Mother Box to resurrect Superman, not only to help them fight off Steppenwolf's invasion but also to restore hope to humanity 
Clark Kent's body is exhumed and placed in the amniotic fluid of the genesis chamber in the Kryptonian scout ship, along with the Mother Box, successfully resurrecting Superman  However, Superman's memories have not returned, and he attacks the group  Batman enacts his contingency plan: Lois Lane  Superman calms down and leaves with her to his family home in Smallville, where his memories come back  In the turmoil, the last Mother Box is left unguarded, allowing Steppenwolf to retrieve it  Without Superman to aid them, the five heroes travel to a village in Russia where Steppenwolf aims to unite the Mother Boxes once again to remake Earth  They fight their way through the Parademons to reach Steppenwolf but are unable to distract him enough for Stone to separate the Mother Boxes  Superman arrives and assists Allen in evacuating the city, as well as assisting Stone in separating the Mother Boxes  The team defeats Steppenwolf, who, overcome with fear, is attacked by his own Parademons 
After the battle, Bruce and Diana agree to set up a base of operations for the team, with room for more members  As the team establishes, Diana steps back into the public spotlight as a heroine; Barry acquires a job in Central City's police department, impressing his father; Victor continues to enhance his abilities with his father in S T A R  Labs; Arthur continues protecting people on the seas; Superman resumes his life as reporter Clark Kent and as protector of Earth 
In a post-credits scene, Lex Luthor has escaped from Arkham Asylum and recruits Slade Wilson to form a league of their own 

Cast
Ben Affleck as Bruce Wayne / Batman: A wealthy socialite, and the owner of Wayne Enterprises  He dedicates himself to protecting Gotham City from its criminal underworld as a highly trained, masked vigilante equipped with various tools and weapons  Affleck noted on how the film gave him an opportunity to reinvent Batman and portray a more classic take on the character  He described that in the film, audiences will see Batman as more heroic, and more of a leader  "Batman is by nature, [while] not necessarily anti-social, pretty private, pretty a loner," Affleck says  "And then in this movie he's thrust into the role of having to not only work with people, but bring them together and convince them to come in and try to     somehow with Wonder Woman hold all that community effort together  That was a really interesting thing to play for me, and it also does take us to a more traditional role for Batman in the Justice League comics, and his role with the Justice League versus the sort of less typical version we saw in Batman v Superman, where he was blinded by rage and wanted to take on Superman "
Henry Cavill as Clark Kent / Superman: A member of, and inspiration for, the Justice League  He is a Kryptonian survivor and a journalist for the Daily Planet based in Metropolis  In Justice League, Superman was portrayed as more optimistic and hopeful  The character was intentionally excluded from all Justice League marketing materials to emphasize his death as depicted on Batman v Superman: Dawn of Justice 
Amy Adams as Lois Lane: An undaunted and compassionate award-winning journalist for the Daily Planet and the love interest for Kent 
Gal Gadot as Diana Prince / Wonder Woman: An antiquities dealer, acquaintance of Wayne, and an immortal Amazonian warrior who is the crown princess of Themyscira and daughter of Hippolyta and Zeus  She is endowed with metahuman attributes and abilities inherited from her parents 
Ezra Miller as Barry Allen / The Flash: A Central City University student who can move at superhuman speeds with his ability to tap into the Speed Force 
Jason Momoa as Arthur Curry / Aquaman:Half-human and half Atlantean metahuman with superhuman strength and aquatic abilities  Momoa was cast as Aquaman in June 2014, and made a cameo appearance in Batman v  Superman: Dawn of Justice 
Ray Fisher as Victor Stone / Cyborg: A former college athlete who, after being cybernetically reconstructed after a nearly fatal car accident, is turned into a techno-organic being enhanced by reactive, adaptive biomimetic alien technology  His enhancements include the abilities of flight, variable weaponry and technopathy  Fisher portrays the character through the use of motion capture for the cybernetic portion of his body  Fisher was cast as Cyborg in April 2014, and made a cameo in Batman v Superman: Dawn of Justice 
Jeremy Irons as Alfred Pennyworth: Wayne's butler, chief of security, and trusted confidant 
Diane Lane as Martha Kent: Kent's adoptive mother 
Connie Nielsen as Queen Hippolyta: Diana's mother and the Amazonian Queen of Themyscira 
J  K  Simmons as Commissioner James Gordon: The Gotham City Police Department Commissioner, and close ally of Batman 
Ciarán Hinds as Steppenwolf:An alien military officer from Apokolips who leads an army of Parademons and is searching for the three Mother Boxes held on Earth  The character is described as "old, tired" and trying to find a way to escape his role of servitude under Darkseid  Hinds portrayed the villain through use of motion capture and received some advice in the process from Liam Neeson, who had recently done similar work in A Monster Calls  After the release of the film, Hinds was reportedly unhappy with the final cut of the film, which trimmed down the backstory and characterization of Steppenwolf 
Amber Heard as Mera: A princess of Xebel who approaches Curry to discuss the nature of the Mother Boxes 
Joe Morton as Silas Stones: Victor Stone's father and head of S T A R  Labs During a scene a half-hour into the film, depicting Steppenwolf's first invasion thousands of years earlier, Olympian Old Gods Zeus, Ares, and Artemis are portrayed by fitness model Sergi Constance, stuntman Nick McKinless, and MMA fighter Aurore Lauzeral, respectively  All three were required to reach a specific degree of physicality, with Snyder instructing McKinless to sport "veins like worms and paper thin skin"  In the finished film, McKinless' face was replaced with that of David Thewlis using special effects; Thewlis received the credit as Ares  The scene also shows a Green Lantern, named Yalan Gur, created through motion-capture CGI and embodied by an uncredited actor  Two ancient leaders of Earth appear during the scene, including King Atlan of Atlantis and King Arthur Pendragon of ancient England; portrayed by Julian Lewis Jones and Francis Magee, respectively  Billy Crudup appears, uncredited, as Henry Allen, Barry Allen's father  Joe Manganiello and Jesse Eisenberg appear uncredited in a post-credits scene as Slade Wilson / Deathstroke and Lex Luthor, respectively  Michael McElhatton appears as the leader of a group of terrorists who clash with Wonder Woman early in the film, while Holt McCallany makes an uncredited appearance as a burglar  Marc McClure, who portrayed Jimmy Olsen in the Christopher Reeve Superman film series, has a brief cameo as a police officer Willem Dafoe and Kiersey Clemons filmed scenes as Nuidis Vulko and Iris West, although their roles were cut from the final film  Both actors are signed for multiple films and are set to appear in the future installments of the franchise  A scene depicting Green Lanterns Kilowog and Tomar-Re visiting Batman was filmed as an additional post-credits scene, further teasing the upcoming Green Lantern Corps, but the scene was later scrapped  Other scenes that were filmed, but cut from the theatrical film, include: Ryan Zheng as Ryan Choi, setting up the character's future as The Atom; a fight between Ares and Darkseid, with the villain portrayed by Ray Porter; Harry Lennix reprising his role from Man of Steel and Batman v Superman as Calvin Swanwick, in a scene where it would have been revealed that his character is actually J'onn J'onzz / Martian Manhunter; and scenes featuring Darkseid's servant DeSaad, with the character voiced by Peter Guinness  These characters were included in Zack Snyder's Justice League 

Production
Background
In February 2007, it was announced that Warner Bros  Pictures had hired husband-and-wife duo Michele and Kieran Mulroney to write a script for a Justice League film  The news came around the same time that Joss Whedon's long-developed Wonder Woman film was canceled, as well as The Flash, written and directed by David S  Goyer  Reportedly titled Justice League: Mortal, the script by Michele and Kieran Mulroney was submitted to Warner Bros  in June 2007, receiving positive feedback, which prompted the studio to immediately fast track production in the hope of beginning filming before the 2007–08 Writers Guild of America strike  Warner Bros  was less willing to proceed with development of a sequel to Superman Returns, having been disappointed with its box office  Brandon Routh was not approached to reprise the role of Superman in Justice League: Mortal, nor was Christian Bale from Batman Begins  Warner Bros  intended for Justice League: Mortal to be the start of a new film franchise, and to branch out into separate sequels and spin-offs  Shortly after filming The Dark Knight, Bale stated in an interview that "It'd be better if it doesn't tread on the toes of what our Batman series is doing," and felt it would make more sense for Warner Bros  to release the film after The Dark Knight Rises  Jason Reitman was the original choice to direct Justice League, but he turned it down, as he considers himself an independent filmmaker and prefers to stay out of big budget superhero films  George Miller signed to direct in September 2007, with Barrie Osbourne producing on a projected $220 million budget The following month, roughly 40 actors and actresses auditioned for the ensemble superhero roles, among them Joseph Cross, Michael Angarano, Max Thieriot, Minka Kelly, Adrianne Palicki, and Scott Porter  Miller had intended to cast younger actors, as he wanted them to "grow" into their roles over the course of several films  D  J  Cotrona was cast as Superman, along with Armie Hammer as Batman  Jessica Biel reportedly declined to play Wonder Woman role after negotiations  The character was also linked to actresses Teresa Palmer and Shannyn Sossamon, along with Mary Elizabeth Winstead, who confirmed that she had auditioned  Ultimately, Megan Gale was cast as Wonder Woman, while Palmer was cast as Talia al Ghul, whom Miller had in mind to act with a Russian accent  The script for Justice League: Mortal would have featured John Stewart as Green Lantern, a role originally offered to Columbus Short  Hip hop recording artist and rapper Common was cast, with Adam Brody as Barry Allen / Flash, and Jay Baruchel as the lead villain, Maxwell Lord  Longtime Miller collaborator Hugh Keays-Byrne had been cast in an unnamed role, rumored to be Martian Manhunter  Santiago Cabrera was eventually revealed to be Aquaman after the film was cancelled  Marit Allen was hired as the original costume designer before her untimely death in November 2007, and the responsibilities were assumed by Weta Workshop However, the writers strike began that same month and placed the film on hold  Warner Bros  had to let the options lapse for the cast, but development was fast tracked once more in February 2008 when the strike ended  Warner Bros  and Miller wanted to start filming immediately, but production was pushed back three months  Originally, the majority of Justice League: Mortal was to be shot at Fox Studios Australia in Sydney, with other locations scouted nearby at local colleges, and Sydney Heads doubling for Happy Harbor  The Australian Film Commission had a say with casting choices, giving way for George Miller to cast Gale, Palmer and Keays-Bryne, all Australian natives  The production crew was composed entirely of Australians, but the Australian government denied Warner Bros  a 40 percent tax rebate as they felt they had not hired enough Australian actors  Miller was frustrated, stating that "A once-in-a-lifetime opportunity for the Australian film industry is being frittered away because of very lazy thinking  They're throwing away hundreds of millions of dollars of investment that the rest of the world is competing for and, much more significantly, highly skilled creative jobs " Production offices were then moved to Vancouver Film Studios in Canada  Filming was pushed back to July 2008, while Warner Bros was still confident they could produce the film for a summer 2009 release 
With production delays continuing, and the success of The Dark Knight in July 2008, Warner Bros  decided to focus on the development of individual films featuring the main heroes, allowing director Christopher Nolan to separately complete his Batman trilogy with The Dark Knight Rises in 2012  Warner Bros  relaunched development for a solo Green Lantern film, released in 2011 as a critical and financial disappointment  Meanwhile, film adaptations for The Flash and Wonder Woman continued to languish in development, while filming for a Superman reboot commenced in 2011 with Man of Steel, produced by Nolan and written by Batman screenwriter David S  Goyer  In October 2012, following its legal victory over Joe Shuster's estate for the rights to Superman, Warner Bros  announced that it planned to move ahead with the Justice League film  Shortly after filming on Man of Steel was complete, Warner Bros hired Will Beall to write the script for a new Justice League film  Warner Bros  president Jeff Robinov explained that Man of Steel would be "setting the tone for what the movies are going to be like going forward  In that, it's definitely a first step " The film included references to the existence of other superheroes in the DC Universe, and set the tone for a shared fictional universe of DC Comics characters on film  Goyer stated that should Green Lantern appear in a future installment, it would be a rebooted version of the character, unconnected to the 2011 film With the release of Man of Steel in June 2013, Goyer was hired to write a sequel, as well as a new Justice League, with the Beall draft being scrapped  The sequel was later revealed to be Batman v Superman: Dawn of Justice, a team-up film featuring Henry Cavill as Superman, Ben Affleck as Batman, Gal Gadot as Wonder Woman, Ezra Miller as The Flash, Jason Momoa as Aquaman, and Ray Fisher as Victor Stone / Cyborg, the latter three in minor roles that became more significant in the Justice League film  The universe is separate from Nolan and Goyer's work on The Dark Knight trilogy, although Nolan was still involved as an executive producer for Batman v Superman  In April 2014, it was announced that Zack Snyder would also direct Goyer's Justice League script  Warner Bros  was reportedly courting Chris Terrio to rewrite Justice League the following July, after having been impressed with his rewrite of Batman v Superman: Dawn of Justice  On October 15, 2014, Warner Bros  announced the film would be released in two parts, with Part One on November 17, 2017, and Part Two is announced but release date not confirmed  Snyder was set to direct both films  In early July 2015, EW revealed that the script for Justice League Part One had been completed by Terrio  Zack Snyder stated that the film would be inspired by the New Gods comic series by Jack Kirby  Although Justice League was initially announced as a two-part film, with the second part set for release two years after the first, Snyder stated in June 2016 that they would be two distinct, separate films and not one film split into two parts, both being stand-alone stories 

Filming
Principal photography began on April 11, 2016, with shooting taking place at Warner Bros  Studios, Leavesden, as well as various locations around London and Scotland  Additional filming took place in Chicago, Illinois; Los Angeles; and Djúpavík, in the Westfjords of Iceland  Snyder's longtime cinematographer Larry Fong was replaced by Fabian Wagner due to scheduling conflicts  Ben Affleck served as executive producer  In May 2016, it was revealed that Geoff Johns and Jon Berg would produce the Justice League films, and would also be in charge of the DC Extended Universe, after the largely negative critical reception of Batman v Superman: Dawn of Justice  The same month, Irons stated that the Justice League storyline would be more linear and simple, compared to the theatrical version of Batman v Superman: Dawn of Justice  Johns confirmed on June 3, 2016, that the title of the film is Justice League, and later stated that the film would be "hopeful and optimistic" in comparison to previous DC Extended Universe (DCEU) films Justice League had a troubled production  During filming, it was reported that the rewrites by Geoff Johns caused issues with Chris Terrio and Warner Bros  executives  Warner Bros  was unsatisfied with how the film was shaping up under Snyder due to the negative feedback that the theatrical version of Batman v Superman received  It was reported that Warner Bros  held a footage summit for writers that include Joss Whedon, Wonder Woman screenwriter Allan Heinberg, Seth Grahame-Smith, and Andrea Berloff  This caused numerous rewrites as Justice League was filming  Whedon was eventually hired by Warner Bros  He then took over as director of the film after Snyder stepped down during the post-production  Filming wrapped in October 2016 

Post-production
In May 2017, Snyder stepped down from directorial duties during post-production of the film to properly deal with the death of his daughter, Autumn Snyder  Joss Whedon took over to handle post-production duties in Snyder's place  In July 2017, it was announced the film was undergoing two months of reshoots in London and Los Angeles, with Warner Bros  putting about $25 million into them, more than the typical $6–10 million additional filming costs, which brought the budget of the film up to $300 million  The reshoots coincided with Cavill's schedule for Mission: Impossible – Fallout, for which he had grown a mustache which he was contracted to keep while filming  While Fallout director Christopher McQuarrie initially gave the producers of Justice League permission to have Cavill shave the mustache in exchange for the $3 million it would cost to shut down production on Fallout and then digitally fill the mustache in, executives from Paramount Pictures rejected the idea  Justice League's VFX team was then forced to use special effects to digitally remove the mustache in post-production Whedon received a screenwriting credit on the film alongside Chris Terrio, while Snyder received sole director's credit  Producer Charles Roven said in an interview that the film was shot originally by eighty to eighty-five percent  Conversely, Snyder estimates that only a fourth of his material was used in the theatrical version based on what he has been told of the theatrical cut, as he has not watched it  Cinematographer Fabian Wagner estimates that only 10% of the original footage shot by him and Snyder was used in the final cut  Whedon's rewrites were around 80 pages, further confirming that the theatrical cut was mostly his work Warner Bros  CEO Kevin Tsujihara mandated the film to be under two hours  In consequence, the final cut runs for that exact time  The company also did not opt to delay the film's release despite the fact that there had been numerous problems in post-production, so that the executives would receive their cash bonuses before the company's merger with AT&T  In February 2018, it was reported that Snyder was fired from directorial duties from Justice League, after his cut was deemed "unwatchable" according to Collider's Matt Goldberg  "I'd heard similar things from separate sources over the last year as well, I also heard that Snyder's rough-cut of the movie was 'unwatchable' (a word that jumped out at me because it's rare you hear two separate sources use exactly the same adjective)  Of course, even if that's true, there's obviously more to the story since rough cuts can be fixed up with reshoots, rewrites, etc ", Goldberg wrote  According to DC Comics publisher, comic book artist Jim Lee, Snyder was not fired  Speaking at the Calgary Comic and Entertainment Expo, Lee stated "that [Snyder] was not fired at all and that he stepped down from the production due to a family matter", as far as he knew  In July 2020, Ray Fisher claimed that Whedon's on-set treatment of the film's cast and crew was "gross, abusive, unprofessional, and completely unacceptable " Justice League and Batman v Superman writer Chris Terrio called the theatrical cut an act of vandalism, and attempted unsuccessfully to get his name removed from the film 

Music
In March 2016, Hans Zimmer, who co-composed the score for Man of Steel and Batman v Superman: Dawn of Justice, stated that he had officially retired from the "superhero business", though he would later score X-Men: Dark Phoenix and Wonder Woman 1984  Junkie XL, who wrote and composed the soundtrack of Batman v Superman: Dawn of Justice with Zimmer, was originally scoring the film, but was replaced by Danny Elfman the following year in June  Elfman had previously composed the films Batman and Batman Returns, and the theme music for Batman: The Animated Series  Elfman used the Batman theme music from the 1989 film Batman  The John Williams' Superman theme was used during "a dark, twisted moment" in the film where a resurrected Superman fights the Justice League and later during the climax where Superman arrives to defeat Steppenwolf  The film features a cover of Leonard Cohen's "Everybody Knows" performed by Sigrid, "Icky Thump" performed by the White Stripes, and a cover of the Beatles' "Come Together" performed by Gary Clark Jr  and Junkie XL  WaterTower Music released the soundtrack album digitally on November 10 the same year, with a release of the physical format on December 8 

Marketing
Superman was intentionally left out on all early Justice League marketing materials, including trailers, clips, and posters, which actor Cavill commented as "ridiculous"  Despite his character being hidden from promotional materials, Cavill still joined the rest of the cast on the film's press tour  Clark Kent was revealed in a final trailer before the release of the film, but edited in a way that writers felt Lois Lane was dreaming about Clark  Sponsorship and marketing partners of the film included AT&T, Gillette, Mercedes-Benz, and TCL 

Release
Theatrical
Justice League had its world premiere at the Dolby Theatre in Los Angeles on November 13, 2017, and was released in the United States on November 17, 2017 to coincide with the 16th anniversary of the Justice League animated series 

Home media
The film was released on digital download on February 13, 2018, and was released on Blu-ray Disc, Blu-ray 3D, 4K Ultra-HD Blu-ray, and DVD on March 13, 2018, in various international markets  The Blu-ray features two deleted scenes titled Return of Superman  It is also notable for having no director commentary from either Zack Snyder or Joss Whedon  As of August 20, 2021, it has made $30 4 million in DVD sales and $41 5 million in Blu-ray sales, totaling an estimated $71 9 million in domestic video sales according to The Numbers 

Reception
Box office
Justice League grossed $229 million in the United States and Canada and $428 9 million in other territories for a worldwide total of $657 9 million  It had a worldwide opening of $278 8 million  Up against an estimated break-even point of as much as $750 million, Deadline Hollywood reported that the film lost the studio around $60 million  Due to the film losing the studio money, the movie was deemed a "box office bomb" or "flop" In the United States and Canada, industry tracking initially forecast the film debuting to $110–120 million from 4,051 theaters (including 400 IMAX screens)  It made $13 million from Thursday night previews, up from the $11 million made by Wonder Woman the previous June  However, after making $38 5 million on its first day (including Thursday previews), weekend projections were lowered to $95 million  It ended up debuting to $93 8 million, down 45% from Batman v Superman's opening of $166 million, and being the first film of the DCEU to open under $100 million  Deadline attributed the low figure to lukewarm audience reaction to the film and most of its predecessors, as well as poor critical reception, and film review aggregation website Rotten Tomatoes not posting their aggregated score until the day before release, causing speculation and doubt from filmgoers  In its second weekend, the film dropped 56% to $41 1 million, finishing second at the box office, behind newcomer Coco  It was the second-best second weekend hold of the DCEU, behind Wonder Woman's 43%, but the lowest overall gross  In its third week it again finished second behind Coco, grossing $16 7 million  It made $9 7 million in its fourth week and $4 3 million in its fifth, finishing a respective second and fifth at the box office  In 2018, Forbes compared the drastic incohesive shift from Snyder's darker films Man of Steel and Batman v Superman: Dawn of Justice to the lighter Justice League (co-written by Whedon), to the similarly drastic and incohesive change in tone experienced from the older 1989 and 1992 Tim Burton's Batman films to the direct light-hearted sequels directed by Schumacher, although noting the former shift in tone was better received than the one in Justice League, affecting box office, due to going against the expectations of Snyder fans in its attempt to reach a higher demographic, while alienating its own established core audience In other territories, the film was projected to debut to $215–235 million for a worldwide opening of $325–355 million  It made $8 5 million on its first day from nine countries, including South Korea, France, and Brazil  It ended up having a $185 million international debut from 65 countries, including $57 1 million from China, $9 8 million from the United Kingdom, $9 6 million from Mexico, and $8 8 million from South Korea  The film broke a record in the Philippines with a debut of $1 12M (PHP 57 3M), making it the biggest industry opening day for a film in 2017 and eventually becoming the 7th-most successful film of all time  In Brazil, the film opened to $14 2 million, the biggest opening in the country's history  Outside North America, the film's largest markets were China ($106 million), Brazil ($41 million), Mexico ($24 8 million), and United Kingdom ($24 million) 

Critical response
Justice League received mixed reviews  It was praised for the action sequences and performances (particularly Gadot and Miller), but was criticized for its plot, pacing, generic villain, cinematography, and CGI  On the review aggregator website Rotten Tomatoes, 39% of 409 critics' reviews are positive, with an average rating of 5 3/10  The website's consensus reads: "Justice League leaps over a number of DC movies, but its single bound isn't enough to shed the murky aesthetic, thin characters, and chaotic action that continue to dog the franchise " Metacritic, which uses a weighted average, assigned the film a score of 45 out of 100, based on 52 critics, indicating "mixed or average reviews"  Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale, and those by PostTrak gave the film an 85% overall positive score (average 4 out of 5 stars) and a 69% "definite recommend "Richard Roeper of the Chicago Sun-Times gave the film 3 5 out of 4 stars, praising the cast, especially Gadot, and saying "It's a putting-the-band-together origins movie, executed with great fun and energy " Owen Gleiberman of Variety gave the film a positive review, which conceived the film and described it was not "messy or bombastic," and light, clean, and simple  Bilge Ebiri of the Village Voice similarly gave it a positive review, and said the action scenes of the film went "start and stop and then start again, [and] then go in different directions " Ebiri also describes the film had a "few moments into the Big Climactic Face-Off," but the "rhythms actually lend the film a pleasant unpredictability " Writing for Rolling Stone, Peter Travers gave the film 2 5 out of 4 stars, praising the cast but criticizing the action sequences and writing, saying: "The scenes of the League members together, bickering and bonding, spike the film with humor and genuine feeling, creating a rooting interest in the audience  Without it, the film would crumble " Conversely, Todd McCarthy of The Hollywood Reporter, while praising Gadot and Miller, called the film visually ugly and boring, saying, "Fatigue, repetition and a laborious approach to exposition are the keynotes of this affair, which is also notable for how Ben Affleck, donning the bat suit for the second time, looks like he'd rather be almost anywhere else but here "Writing for The Washington Post, Alyssa Rosenberg also returned with a negative review, and described the film was a "symbol of just how entrenched superhero movies have become in the Hollywood ecosystem, it's also a potent illustration that success hasn't necessarily artistically elevated the genre " Rosenberg felt the film was nearly identical to lots of superhero films that "have come before," and featured some of "the ugliest, most pointless special effects " James Berardinelli gave it 2 out of 4 stars, said that the film and DC Films "came late to the party," as Marvel Studios planned their Cinematic Universe, which they were "sometimes criticized for overthinking and overplanning," and compared to The Avengers, which has its "formula worked", and The Avengers was "a popcorn bliss [and] a superhero nirvana " Writing for the Film Ireland Magazine, Ellen Murray found the characters interesting, but their setting unworthy, said that "there is something undeniably thrilling in seeing these iconic characters work together on the big screen



ground_truth: 2016

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What is the record label of the Metalworks Studio founder?

The following are given passages.
Context 3: Passage 1:
TML Entertainment
TML Entertainment is a record label launched by Canadian rock band Triumph in 2003  It is managed by Triumph's members Gil Moore and Mike Levine 
The label was previously known as TRC from 1995 until 2003  The decision for Triumph to launch their own label came after the band's 10 year/5-album contract with MCA Records expired at the end of 1994  Subsequently, all of Triumph's albums were re-released on the TRC imprint using the 1980s remasters  Then in 2003, TRC changed its name to TML Entertainment with the release of Triumph's live album and DVD Live at the US Festival  Over the last few years, TML has re-released the whole catalog with new remastered versions done in 2004/2005 and the concert DVD A Night with Triumph  Universal Music Group distributes the band's label in Canada and ADA (a small subsidiary of the Warner Music Group) in the US 
Passage 2:
Horse with a Heart
Horse with a Heart is the first studio album by Altan, released in May 1989 on the Green Linnet Records label 

Track listing
All titles arranged by Altan 

"The Curlew/McDermott's/Three Scones of Boxty/Unnamed Reel {= McConnell's}" – 4:11
"The Lass of Glenshee" – 4:38
"Con Cassidy's & Neil Gow's Highlands/Moll and Tiarna/Mcsweeney's Reels" – 4:27
"The Road to Durham" – 3:21
"An t-Oileán Úr" – 2:33
"An Grianán/Horse With a Heart" – 3:01
"A Bhean Udaí Thall" – 3:28
"Welcome Home Gráinne/Con McGinley's" – 3:18
"Tuirse Mo Chroí" – 4:06
"Come Ye by Atholl/Kitty O'Connor" – 3:11
"An Feochán" – 4:45
"Paddy's Trip to Scotland/Dinky's/The Shetland Fiddler" – 4:47All titles are traditional, except the following:

"An Grianán" and "Horse with a Heart" – composed by Frankie Kennedy
"The Curlew" – composed by Josephine Keegan
"McDermott's" – composed by Josie McDermott
"An Feochán" – composed by Tommy Peoples
"The Road to Durham" – composed by Armin Barnett and David MolkSee tune identifications for this album at irishtune info 

Personnel
Altan
Mairéad Ní Mhaonaigh – Fiddle, Vocals
Frankie Kennedy – Flute
Paul O'Shaughnessy — Fiddle
Ciarán Curran – Bouzouki
Mark Kelly – Guitar

Guest musicians
Marie Askin – Piano on "The Lass of Glenshee"
Phil Cunningham – Keyboard, Whistle
Dónal Lunny – Bass Bodhrán on "A Bhean Udaí Thall"
Colm Murphy – Bodhrán
Steve White – Percussion on "A Bhean Udaí Thall"

Production
Phil Cunningham – Producer
Dan Fitzgerald – Engineer
John W  Davis – Assistant Engineer
Stephen Byram – Design
Ross Wilson – Artwork
Dave Harrold - Back cover photograph
Passage 3:
EmArcy Records
EmArcy Records is a jazz record label founded in 1954 by the American Mercury Records  The name is a phonetic spelling of "MRC", the initials for Mercury Record Company During the 1950s and 1960s, musicians such as Max Roach, Clifford Brown, Cannonball Adderley, Dinah Washington, and Sarah Vaughan recorded for EmArcy Today, it is a European jazz label owned by Universal Music Group  The catalogue is managed by the Island Records subsidiary 

Discography
Mono 12" LP series (1954–c  1958)
Passage 4:
Biltmore Records
Biltmore Records was a United States based record label active from 1949 through 1951  The label was headquartered in New York City  Biltmore Records were often reissues of recordings no longer in the catalogues of other labels  When RCA Victor found out that Biltmore were making unauthorized reissues of material originally recorded by Victor, they sued Biltmore, putting Biltmore out of business 
They rereleased recordings by Glenn Miller and His Orchestra recorded for Columbia and Brunswick, Benny Goodman, the Original Dixieland Jazz Band, Duke Ellington, Bix Beiderbecke, and Paul Whiteman 

External links
Biltmore Numerical Listing: http://www 78discography com/Biltmore htm

See also
List of record labels
Passage 5:
Graeme Goodall
Graeme Goodall (1932 – 3 December 2014) was an Australian recording engineer and record label owner who was a key figure in the early days of Jamaica's recording industry, constructing several of the Island's studios, co-founding Island Records, and operating other labels in the United Kingdom releasing Jamaican music 

Career
Born in 1932, Graeme Goodall grew up in Caulfield, Victoria, and studied at Caulfield North Central School and Scotch College  In the early 1950s he worked at Melbourne radio station 3UZ briefly before studying television in London and training as an engineer with the International Broadcasting Company He became involved in the independent record industry and travelled to Jamaica in 1954 to set up the first FM radio network in Kingston — Radio Jamaica Rediffusion  He went on to work as chief engineer of the Jamaica Broadcasting Corporation He began recording local musicians at the Radio Jamaica studios, and went on to build Federal Records, Jamaica's first recording studio (which was rebuilt in 1961 and later became Tuff Gong Recording Studio) with local entrepreneur Ken Khouri to the rear of Khouri's furniture store on King Street  Goodall worked as a recording engineer for Ken Khouri on some of the earliest Jamaican studio recordings  The studio not only provided the Island's first recording facility but also produced acetate discs, allowing sound system operators to record tracks and have them available to play within hours Known to the local musicians as "Mr  Goody", Goddall went on to assist with the construction of several studios, including Dynamic Sound, Studio One and later Channel One Studios, and carry out engineering work for producers such as Clement "Coxsone" Dodd, Byron Lee, and Leslie Kong, engineering recordings by Laurel Aitken ("Boogie in My Bones") Millie ("My Boy Lollipop"), The Wailers, Prince Buster, The Skatalites, Derrick Morgan, and Desmond Dekker, among many others  He also trained Jamaican engineers such as Sylvan Morris and Lynford Anderson In 1959 he co-founded Island Records with Chris Blackwell and Kong, but his relationship with Blackwell broke down and he went on to start his own labels after relocating to the UK in 1965, the most successful of which were Doctor Bird and Pyramid  After Dekker's "Poor Me, Israelites" proved popular in clubs but failed to get much airplay due to its production, Goodall got Kong to send him the master tapes; he remixed it and released it in the UK in 1969 on Pyramid as "Israelites", the single going on to top the UK Singles Chart and sell over two million copies  He also ran West Indies Records and set up the Trojan Records subsidiary Attack Records Goodall married his Jamaican wife Fay in 1961 and in the early 1970s they moved to the US  Goodall later worked as Southern Regional Manager for Sony Pro Audio Graeme Goodall died at his home in Atlanta, Georgia on 3 December 2014 from natural causes, aged 82  He was survived by his wife, two children, and four grandchildren 
Passage 6:
Exit 13
Exit 13 is the thirteenth studio album by American rapper LL Cool J  It was released on September 9, 2008, on the record label Def Jam Recordings  This would be his last album release with the label 

Production
This album is the first LL Cool J album since G O A T  to have the parental advisory label for explicit lyrics   LL said in an interview with Chicago radio personality DJ Z that the vulgarities are not heavy and the edited version has alternate lyrics rather than simply omitting the vulgarities  LL and DJ Kayslay teamed up to release his first mixtape as a prelude to Exit 13 titled  The Return of the G O A T  
Other contributors for this album include 50 Cent, Sheek Louch, Fat Joe, Ryan Leslie, Wyclef Jean, The-Dream, Lil Mo, KRS-One, Funkmaster Flex, Richie Sambora and Darlisa Blackshere 

Singles
A buzz single titled, "Cry," featuring Lil' Mo, was released as a digital download and international 12" single on June 17, 2008  The unofficial street single, "Rockin' with the G O A T ," premiered on June 20, 2008 
The first official single, "Baby" featuring The-Dream was released on July 1, 2008, to the iTunes Music Store  On August 19, 2008, iTunes released the rock remix featuring Richie Sambora, lead guitarist of rock band Bon Jovi, with a rock rhythm and a sped-up tempo 
The second official single, "Feel My Heart Beat" featuring 50 Cent was released on August 26, 2008  The song did not enter the Billboard Hot 100  The official single version of the song was leaked to the Internet on November 27, 2008 

Critical reception
Exit 13 garnered mixed reviews from music critics  At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 57, based on 5 reviews Despite being too lengthy and containing lesser tracks like "American Girl", Jesal Padania of RapReviews praised the album for having a consistent sound of instruments and synths in the tracks and LL's strong lyricism, saying that "In other words, all that effort that LL finally put into Exit 13 has really paid off - and he is getting the best revenge of all    Showing Def Jam what they will be missing " Steve Jones of USA Today called it LL's "most aggressive album in years," praising his standard braggadocio and lady-swooning content for being consistently energetic because of an amalgam of young up-and-coming producers, concluding that "After 10 straight platinum albums, his last two have only gone gold  But he seems to have gotten his swagger back  He may be hitting the Exit, but he is not easing up on the gas "In The New York Times, Jon Pareles felt that LL more than holds his own with the sounds delivered by newer producers that lift his old-school meets new-school lyricism, concluding with, "To his credit, LL Cool J is too romantic to treat women as crudely as younger rappers do  And while this 76-minute album flags near the end, there's still more than enough smooth-tongued, quick-witted rhyming to justify his boasts " AllMusic's Andy Kellman said that despite tracks like "You Better Watch Me" and "This Is Ring Tone M   " that show LL at his best, he criticized the record for being too try-hard in sounding like the mainstream rap albums released that year, concluding that "Out with a whimper, not a bang, Exit 13 is an off-ramp leading to a boulevard of several mismanaged White Castle knock-offs "

Chart performance
Exit 13 debuted and peaked at number nine on the US Billboard 200 in the week of September 27, 2008, selling 44,000 copies in its first week of release  By October 2008, it had sold 80,000 copies in the United States, according to Nielsen SoundScan  Exit 13 would become LL Cool J's final album with Def Jam  In regards to the album's reception and lack of proper marketing, the he stated in 2009: "The record just really honestly, you know, didn't have that support that I wish it would have had  [I] can't blame anyone  It was my last record, and I guess for whatever reason, whether it was quality or business, you know, the company just decided that they were going to write it off and not really give it that shot "

Track listing
Sample credits

"Dear Hip Hop"
"I'm Still a Struggling Man" by Edwin Starr
"Cry"
"Half a Man" by Bunny Sigler
"I Cry" by Ja Rule feat  Lil' Mo
"It's Time for War"
"The Ultimate" by Jarrid Mendelson
"Listen to My Heart Beat"
"Take Me With You" by Lyn Christopher
"Heartbeat" by Taana Gardner
"Old School New School"
"Who Shot Ya?" by The Notorious B I G 
"Ur Only a Customer"
"I've Been Pushed Aside" by McFadden & Whitehead
"Mary Jane (All Night Long) (Remix)" by Mary J  Blige feat  LL Cool J
"We Rollin'"
"90% of Me Is You" by Gwen McCrae
"You Better Watch Me"
"Pee-Wee's Dance" by Joeski Love
"I'm a Hustla" by Cassidy

Charts
Passage 7:
Sleaszy Rider Records
Sleaszy Rider Records is an independent record label which was founded in 1999 by Tolis G  Palantzas  The head office of the label is located in Greece  The label is mainly distributed in Europe by Sony Music/EMI  The label also distributes releases in Greece from numerous labels, including Roadrunner Records, SPV, and Pagan Records 

Artists
Current artists
Aetherius Obscuritas
Ancient
Bomb and Scary
Cold Colours
Cain
Darkwalker
Dedication
Depression
Desert
Dreamlike Horror
Duster 69
Edge Of Anger
Fahrenheit
Foundry
Funeral Revolt
Fragile Vastness
Greifenstein
Grenouer
Hesperia
The Illusion Fades
In Memory
Irony
Jerkstore
Lipstixx N Bulletz
Liquid Graveyard
Lloth
The Lust
Nocta
Odious
Of the Archaengel
On Thorns I Lay
Overtures
Posithrone
Prejudice
Psychotron
Redrum
Ricky Warwick
Sandness
Satarial
Shadowcast
Snowblind
Solar Fragment
Soulskinner
Sound of Silence
Space Mirrors
Spider Kickers
Thokkian Vortex
Through Art
Thurisaz
Vinder
Voodoo Highway
W A N T E D 
W E B 
Weeping Silence

Former artists
Ashes You Leave
D-Noiz
Deva Noctua Entropia
Deviser
En Garde
Enemynside
Fragile Vastness
Hannibal
Hellire B C 
Hortus Animae
Imagika
Insidius Infernus
Kinetic
Korrodead
Midnight Scream
Nordor
Obsecration
Overload
Phantom Lord
Pleurisy
Powertrip
Re-Vision
Rotting Flesh
Sangre Eterna
Sister Sin
Sorrowful Angels
Sotiris Lagonikas
Transcending Bizarre
Underdark
Uranus
Wastefall
Windfall
Womb of Maggots
Passage 8:
Big Wide Grin
Big Wide Grin is the sixth studio album by Keb' Mo', it was released in 2001 by the Sony Wonder record label 

Track listing
"Everybody Be Yoself" (Chic Streetman) - 4:59
"Love Train" (Kenneth Gamble, Leon Huff) - 4:29
"Don't Say No" (Kevin Moore, Cynthia Tarr) - 4:17
"Infinite Eyes" (Essra Mohawk, Kevin Moore, John Lewis Parker) - 4:57
"Grandma's Hands" (Bill Withers) - 3:30
"Color Him Father" (R  Lewis Spencer) - 3:3
"Family Affair" (Sylvester Stewart) - 3:47
"The Flat Fleet Floogie" (Slim Gaillard, Bud Green, Slam Stewart) - 2:04
"I Am Your Mother Too" (Kevin Moore, Zuriani Zonneveld) - 4:03
"Big Yellow Taxi" (Joni Mitchell) - 3:45
"Isn't She Lovely" (Stevie Wonder) - 5:16
"America the Beautiful" (Katherine Lee Bates, Samuel Augustus Ward) - 3:35Sergio Gonzalez - Drums ( tr  1,4,5,7,9 ) Laval Belle - drums ( tr  2, 3) Roy McCurdy - drums ( 8,11 )
Freddie Washington - Bass (tr  1,4,9 ) Kevin McCormick - Bass ( tr  2,3,5,7,10 ), synth ( tr 7 )
Bob Hurst - Upright bass (tr  8, 11)
Luis Conte –  Percussion (tr 1,2,4,5,9,10)
Jeff Young - piano, organ (tr  1, 7), keyboards ( tr 2, 3), piano (tr  8, 11)
Leo Nocentelli – Guitar ( tr 1 )
Greg Leisz - Mandola, Pedal Steel Guitar (tr 2)
Clayton Gibb - Banjo ( tr  3 )
Joellen Friedkin – Electric Piano ( tr 4 )
Gerald Albright  – Tenor Saxophone ( tr 7 ), Charlie "Tuna" Dennis - guitar ( tr  7 )
Passage 9:
Ace Fu Records
Ace Fu Records is an independent record label founded in 1998 by Eric Speck  It is located in Williamsburg, Brooklyn  The label went on indefinite hiatus in 2007 

Roster
Acid Mothers Temple
Annuals
An Albatross
Aqui
The Dears
Devotchka
Ex Models
Illinois
Kaiser Chiefs
Man Man
Michael Leviton
Oneida
Officer May
Parts & Labor
Pinback
Priestess
Runner and the Thermodynamics
Secret Machines
The Sucka MCs
Ted Leo
Tunng

See also
List of record labels

External links
Official site
Passage 10:
Gramofon
Gramofon is a record label and event agency founded in Sarajevo, Bosnia and Herzegovina in 2003  It's the biggest music label of alternative music in Bosnia and Herzegovina 
Since 2003, Gramofon has organized more than 200 concerts and music events  It is also the organizer of the Sarajevo Jazz Festival and Xenophonia festival Gramofon is the exclusive distributor for Bosnia and Herzegovina of the labels ECM Records, Enja Records, ACT Music, Doublemoon Records, Pi Recordings, ESC Records, and Intakt Records 

Discography
Passage 11:
Takara (band)
Takara was an American rock band, formed in 1987 in Los Angeles, California  Takara recorded 5 studio albums for several different record labels in the U S , Europe, and Japan  Founding member and lead guitarist Neal Grusky, and bassist Carl Demarco remained permanent fixtures in the band since its early days 

Biography
1980s - Early Days
Takara was formed in August 1987  After a few months of rehearsals the band made their debut in October with a show in Hollywood, California  The band proceeded to play many more shows throughout 1987-88  In November 1988, Takara went into the studio to record their first demo with producer Jeff Scott Soto  As they entered the studio it became apparent that the original singer was not ready to record  In order to finish the new Takara demo, Soto was asked to help out by providing vocals for the demo  This was the beginning of a long relationship between the band and Jeff Scott Soto 

1990s - The Soto Era
In 1990, Takara went back into the studio to record what would eventually become their debut album, Eternal Faith  In 1992 Takara regrouped and added new members who would perform in Eternal Faith  The line-up was ultimately completed with Jeff Scott Soto on vocals, Neal Grusky on guitar, Gary Schutt on bass and Bob Duda on drums  In August 1993, Zero Corporation (Japan) and Now and Then records (Europe) offered Takara a deal to release Eternal Faith in December 1993 
After a short break the band began to work on what was to become their second album  Before rehearsals began, bassist Carl Demarco replaced Schutt and they returned to the studio to record Taste of Heaven  The band enlisted Bob Daisley on bass for guest performances on two songs  Taste of Heaven was released in May 1995 by Zero Corporation (Japan) and Long Island records (Europe)  Upon its release, Taste of Heaven had commercial success, and Long Island records brought Takara to Germany for a promo tour 
In 1996 Saraya Recordings, a new US label, asked permission to re-release Eternal Faith and Taste of Heaven as its first releases  Feeling that there was momentum starting to build, the band wasted no time in working on their third album  In 1998 they released Blind in Paradise through Zero Corporation (Japan), Point Music (Europe), and Saraya Recordings (US)  Shortly after the release of ‘Blind in Paradise’, all of Takara's labels released a greatest hits album Eternity: Best of 93 - 98 

2000-2010 Changes to the Lineup
In late 1998, the Takara went through significant lineup changes, leaving only guitarist/band leader Neal Grusky and bassist Carl Demarco to rebuild begin writing new material  The band found drummer Chad Clark and keyboardist Brook Hansen  Brook and Neal had known each other for years and always shared similar ideas on music  The last to come aboard was vocalist Michael J  Flatters, who Grusky found through a mutual friend  With the band complete, Takara re-entered the studio in February 2000 to record their fourth album, Perception of Reality  One year later, it was completed and released on the Avalon Marquee (Japan), Lion Music (Europe), and Metal Mayhem (US) labels 
After a hiatus of several years, Grusky decided to reform Takara in 2008, once again with a new lineup  This lineup saw the arrival of several new members including Bjorn Englen (bass), Patrick Johannson (drums), and vocalist Gus Monsanto  Keyboardist Brook Hansen returned to the lineup  Jeff Scott Soto also returned after ten years to provide harmony vocals for the resulting 2008 album entitled Invitation to Forever  This album, released by Progrock Records, marked a turning point for Takara with Grusky taking his powerful songwriting to a much harder edge than on previous Takara albums  The album subsequently gained mass approval by fans and progressive rock critics alike 

2011-2019 Final Lineup and First Live Performances
After the release of Invitation To Forever guitarist and bandleader Neal Grusky was faced with some tough decisions  Feeling that the band had gone too far in the direction of a studio project with hired musicians contributing internationally, he opted to change the lineup once again in hopes of finding fresh local talent willing to pursue the local LA club scene  Grusky brought back Carl Demarco now "Carla DeMarco" "on bass, reuniting the core of Takara  After a long search for a suitable vocal talent, the band found Jamie Kelli, who had been regularly performing in the LA area  Drummer Gene McEwen, also active in the local scene, completed the lineup  With Kelli filling in temporarily on keyboards, Takara proceeded to prepare for a series of live shows intended to re-introduce the modern LA rock scene to both new and old material from the band  On October 30, 2010, Takara's new lineup performed their first live show to showcase new vocalist Jamie Kelli at Paladino's in Los Angeles, California   In October 2011, Takara announced they would be contributing a song to a Randy Rhoads/Ozzy Osbourne tribute album which was released in the spring of 2012 by Versailles Records  Takara recorded a version of the song "Little Dolls" from the 1981 album "Diary of a Madman" 
In 2019, Grusky announced that the then current members of Takara would be moving on to alternate projects, and that for the time being Takara would no longer be active  Neal Grusky went on to form the LA progressive metal band Prey For Sunday, releasing their first self titled EP in 2021  Vocalist Jamie Kelli relocated to the Boston area where he has since formed the hard rock band Jasper Lane, releasing their debut self titled album in September 2020 

Discography
Studio albums
1993 - Eternal Faith
1995 - Taste of Heaven
1998 - Blind in Paradise
2001 - Perception of Reality
2008 - Invitation to Forever

Compilations
1998 - Eternity: Best of 93 – 98

Related Projects
Talisman
W E T 
Prey For Sunday
Soul Sign
Jasper Lane
Passage 12:
Equity Music Group
Equity Music Group was an American country music record label founded in 2003 by singer Clint Black  The label was distributed by Koch Entertainment (now E1 Entertainment) 
The name "Equity" was chosen to represent the equality between the artist and the label  According to Equity, "The artists will own what they create and get paid from the first scanned sale  In turn, the label has a vested interest in other aspects of the artist's career " The label closed in December 2008 due to financial difficulties 

Artist roster
The following acts were signed to Equity Music Group:

Clint Black
Laura Bryna
Carolina Rain
Kevin Fowler
Carolyn Dawn Johnson
Shannon Lawson
Little Big Town
Mark Wills
Blake Wise
Passage 13:
Metalworks Institute
Metalworks Institute is a post-secondary institution based in Mississauga, Ontario, Canada and Fredericton, New Brunswick, Canada  Metalworks Institute offers certificates, diplomas, and advanced diplomas, on-campus and online, educating students for direct entry into careers in the entertainment industry or for articulation into undergraduate degrees  The institute was founded by Gil Moore (Inductee of the Mississauga Music Walk of Fame) of the Canadian rock band Triumph (inductees into the Canadian Music Hall of Fame), and is the educational extension of Metalworks Studios, Canada's largest music recording studio, and Metalworks Production Group   Metalworks Institute delivers programs in four core streams: Live Music, Recorded Music, Entertainment Business and Music Performance, at the flagship Mississauga campus and at the Fredericton campus Metalworks Institute received the inaugural Canadian Music & Broadcast Industry award for Music School of the Year in 2016  and again in 2019 

History and accreditation
Metalworks Institute Mississauga was founded in 2005 and is registered as a Private Career College under the Private Career Colleges Act, 2005  Metalworks Institute Fredericton was founded in 2020 and is a Private Occupational Training Organization registered under the Private Occupational Training Act, 1996  Metalworks Institute offers diploma and advanced diploma programs, on-campus and online, as well as individual certificate courses  The Institute includes over 80 full-time staff members and has an enrollment of more than 250 students On November 20, 2013, the Metalworks Group was the recipient of the SME Excellence Award at the Ontario Business Achievement Awards (OBAA), presented by the Ontario Chamber of Commerce  In 2016, Metalworks Institute received the inaugural Canadian Music & Broadcast Industry award for Music School of the Year  They then received the Canadian Music & Broadcast Industry award for Music School of the Year a second time in 2019  In 2019, Metalworks Institute received the inaugural Paul Kitchin Award for Community Involvement from Career Colleges Ontario for their sponsorship of the Sound Engineering Program at Interprovincial Music Camp (IMC) 

Academic programs
Metalworks Institute delivers programs on-campus and online in four core streams:

Live Music
Live Event & Concert Production Diploma 
Live Sound Diploma 
Stage Lighting & Video Diploma

Music Business
Music Business Diploma

Music Performance
Music Performance Advanced Diploma

Recorded Music
Audio Production & Engineering Diploma 
Electronic Music Production Diploma 
Music Mixing & Mastering (Post Graduate) Diploma 
Recording Engineering Diploma

Interdisciplinary Programs
Music Performance & Technology Advanced Diploma 
Professional Sound (Audio Specialist) Diploma 
Professional Sound & Business (Studio Production Major) Advanced Diploma 
Professional Sound & Business (Recording Engineering Major) Advanced Diploma 
Professional Sound & Business (Live Production Major) Advanced Diploma

Part-time certificate courses
Metalworks Institute is officially certified as an Avid Certified Learning Partner and offers certified training in Pro Tools  for both music and post-production as well as for live Venue (sound system)  They also offer certificate courses in Apple's Logic Pro, Steinberg Cubase, Ableton Live  and Reason as well as official certification courses in Waves Audio 

Flagship Campus and Educational Facilities
Metalworks Institute's flagship campus is located in Mississauga, Ontario, adjacent to Metalworks Studios and Metalworks Production Group  There are regularly scheduled campus tours which are open to the public  Prospective students and parents are able to meet the school faculty and find information related to the programs, courses, and student resources offered at Metalworks Institute 

Educational Amenities
Metalworks Institute's studios were designed by acoustician Terry Medwedyk  The equipment used by the institute to educate its students is the same as that used by the professional clients who make use of Metalworks Studios  The studios are equipped with SSL and ICON consoles, Pro Tools HD systems and a wide variety of industry standard microphones, plug-ins and vintage outboard equipment  The Institute's partnership with Metalworks Production Group also gives the show production students access to the equipment used to produce a large variety of live events such as concerts, theatrical productions, large and small scale business conferences trade shows and conventions   The institute has four professional recording studios dedicated to student use 

Notable alumni
Akeel Henry, Jack Richardson Recording Engineer of the Year at the Juno Awards of 2023
Alessia De Gasperis, formerly known as Kai, Canadian singer-songwriter
Michael "Mickey" Brandolino, guitarist in Juno-nominated (2021, 2022) Valley
Nav, rapper
Noel Cadastre, Award-winning mixer, music producer, audio engineer (OVO Sound)
Riley Bell, Jack Richardson Recording Engineer of the Year at the Juno Awards of 2018
Tim Oxford, musician in The Arkells
WondaGurl, record producer
Passage 14:
The Autumn Offering
The Autumn Offering was an American metalcore band that formed in Daytona Beach, Florida, in 1999  After achieving some degree of local success, the band was signed to Stillborn Records, founded by Jamey Jasta of Hatebreed, in 2003  The band released one album through this label  The Autumn Offering later signed to Victory Records in 2005 and released four studio albums before ceasing activity in 2010 

History
Formation and debut album (1999–2004)
The Autumn Offering was formed in 1999 while all the members were still in high school and by 2003, they had completed several regional tours and self-booked US tours  Hatebreed vocalist Jamey Jasta took notice of the band, and signed them to his own Stillborn Records in December 2003  The Autumn Offering released their debut album Revelations of the Unsung on July 27, 2004, through Stillborn and was recorded by Zeuss at Planet-Z 

Signing to Victory Records and second album (2005–2006)
In 2005, founding member and lead guitarist George Moore parted ways with the band and was soon after replaced by Tommy Church, guitarist from End of All, which later became known as Killwhitneydead  The Autumn Offering signed to Victory Records in September 2005  Their first release through the label was a reissue of their debut album in early 2006, which was followed by their second studio album Embrace the Gutter on May 16, 2006  Embrace the Gutter was recorded with Jason Suecof (Chimaira, Trivium) at Audiohammer Studios 

New vocalist and Fear Will Cast No Shadow (2007–2008)
After completing Embrace the Gutter and a few national tours, singer Dennis Miller quit the band to pursue a normal life  The band continued on and eventually chose good touring friend Matt McChesney from Hell Within to replace him  The band also separated with original drummer Nick Gelyon in the studio during the recording of Embrace the Gutter  He was replaced by Brian Sculley soon after 
The band's next album, Fear Will Cast No Shadow was released on October 30, 2007, with new singer Matt McChesney  The album featured a slight change in sound for the band, having a more melodic sound and using more clean vocals than on previous releases 

Requiem (2009)
The Autumn Offering entered the studio on February 1, 2009, to begin recording Requiem at AudioHammer Studios with Mark Lewis  Recording was finished by March 2009, and the album was later released on June 9, 2009, through Victory Records  A music video for the song "The Curtain Hits the Cast" from Requiem was released For the band's fourth studio album, The Autumn Offering took their music in a heavier direction contrasting the more pop and melody driven Fear Will Cast No Shadow  The album was described by the band as a more "mature" album featuring "longer songs, complex rhythms, and dynamic vocals " Further distancing themselves from their previous album, vocalist Matt McChesney wrote darker lyrics about substance abuse and being raised in a broken home, as opposed to songs about relationships  The song "Narcosis" is about McChesney's experience of being revived with an adrenaline shot after snorting heroin and cocaine at the same time Requiem became The Autumn Offering's first charting album, peaking at number 36 on Billboard's Top Heatseekers chart 

The Autumn Offering (2010)
For the band's fifth studio album, The Autumn Offering recruited two members: guitarist Jesse Nunn of Silent Civilian and Scum of the Earth who replaced Matt Johnson, and bassist Carl Bensley of Instinct of Aggression who replaced Mike Poggione The Autumn Offering was released on August 31, 2010, through Victory Records  The album featured another stylistic change for the band, this time going into a more melodic death metal and deathcore direction  Late that year, following the departure of guitarist Tommy Church, vocalist Matt McChesney stated that the band would be ending, citing burn out and "a million other things "

Band members
Current membersCarl Bensley – bass guitar (2010)
Tommy Church – guitars (2005–2010) (ex-Mushroomhead)
Matt McChesney – vocals (2007–2010) (ex-Hell Within)
Jesse Nunn (Saint) – guitars (2010)
Brian Sculley – drums (2008–2010)Former membersTony Cesaro – guitars (1999–2002)
Mike Bortle – drums (1999–2003)
George Moore – guitars (1999–2005) (ex-Trivium)
Dennis Miller – vocals (1999–2007)
Nick Gelyon – drums (2003–2007)
Jonathon Lee – drums (2007)
Allen Royal – drums (2007-2008)
Sean Robbins – bass guitar  (1999–2008)
Mike Poggione – bass guitar, vocals (2008–2009)
Erik Tisinger - bass guitar  (2009)
Matt Johnson – guitars (1999–2010)Timeline

Discography
Studio albumsRevelations of the Unsung (2004)
Embrace the Gutter (2006)
Fear Will Cast No Shadow (2007)
Requiem (2009)
The Autumn Offering (2010)

Music videos
Passage 15:
Mona Bone Jakon
Mona Bone Jakon is the third studio album by singer-songwriter Cat Stevens, released in April 1970 on the Island Records label in the United Kingdom and on A&M in the United States and Canada 

Overview
After a meteoric start to his career, surprising even his original producer at Deram Records with the hit singles "I Love My Dog", "Matthew and Son", and "I'm Gonna Get Me a Gun", Stevens' debut album, Matthew and Son, began charting  However, after the pressure for a repeat album of the same calibre, Stevens, considered a young teen sensation, was overwhelmed by a new lifestyle as well as the demands of writing, recording, performing, publicity appearances, and touring  His second album was a commercial failure and in the autumn of 1968, he was hospitalized, with a diagnosis of tuberculosis and a collapsed lung  For over a year, while recovering, Stevens virtually disappeared from the British pop scene  Mona Bone Jakon is notable not only for his return but for the emergence of a very different artist  The album sold slowly (at first) but over time has been certified Gold for sales/shipments of more than 500,000 copies in the United States 

Background
During his hospital-dictated year of bedrest, Stevens began writing a catalogue of songs to fill far more than his next album  After his recovery, he negotiated out of his contract with Deram Records and worked with former Yardbirds bassist Paul Samwell-Smith on a stripped-down sound  In contrast to his first two albums, these new songs were sparse arrangements  They were played on acoustic guitars and keyboards and accompanied by a smaller backing band, consisting of three other performers: second guitarist Alun Davies, bassist John Ryan, and drummer Harvey Burns—and on one song, "Katmandu", Peter Gabriel on the flute  Samwell-Smith also produced the album and brought Stevens a high-fidelity sound that was not as present on his previous releases  Samwell-Smith was one of the early producers in rock to push the lower bass frequencies more prominently into the mix in an attempt to keep up with the new audiophile generation, which was embracing larger home speakers and high-end phonographic cartridges  Stevens began to make the transition from pop musician to a folk-rock performer when the term "singer-songwriter" was just being coined The songs themselves were darker in tone: the madrigal-inspired ballad "Lady D'Arbanville" elevated the tragedy of a lost lover (in this case, Stevens' former girlfriend Patti D'Arbanville) to that of a deceased one and "Trouble" was a plea to stave off death  There were also lighter songs: "Pop Star" showcased Stevens' dramatic change in voice by satirising the triviality of celebrity 
Though "Lady D'Arbanville" would reach No  8 on the British charts, Mona Bone Jakon was only a modest success upon its initial release  The album attracted attention, however, in the wake of the commercial breakthrough of its follow-up, Tea for the Tillerman, and with the inclusion of three of its songs ("Trouble", "I Wish, I Wish", and "I Think I See the Light") in Hal Ashby and Colin Higgins's 1971 black comedy, Harold and Maude 

Origin of title
According to a 1972 interview with Stevens, the inspiration for the title was a name he created to describe his penis: "'Mona Bone Jakon' is another name for my penis  It's the name I give it  It's not some sort of secret vocabulary, it's just something I made up "Journalist Robert Chalmers reiterated this point for a 2003 interview with Yusuf Islam for The Independent on Sunday when he wrote: "When [Stevens] re-emerged in 1969, he had more than 40 new songs and released three triumphant albums in 15 months on Chris Blackwell's Island label: Mona Bone Jakon (his pet word for penis), Tea for the Tillerman and Teaser and the Firecat "

Critical reception
In a contemporary review for The Village Voice, music critic Robert Christgau gave the album a B+, noting that "this one has a nice post-creative trauma feel, intimate and sensitive  Recommended to singer/songwriter specialists " Later, he revised his review to a B- and expressed a newfound dislike for the songs "Lady D'Arbanville," "Trouble," and "I Wish, I Wish" In a retrospective review, Allmusic's William Ruhlmann gave it four out of five stars and called it "a group of simple, heartfelt songs played in spare arrangements on acoustic guitars and keyboards and driven by a restrained rhythm section"  He added that "Stevens' craggy voice, with its odd breaks of tone and occasional huskiness, lent these sometimes sketchy songs depth" 

Track listing
Personnel
Cat Stevens – acoustic guitar, classical guitar, keyboards, vocals
Alun Davies – acoustic guitar, backing vocals
John Ryan – double bass
Harvey Burns – drums, percussion
Peter Gabriel – flute on "Katmandu"
Del Newman – strings, arrangements

Production
Producer – Paul Samwell-Smith
Engineer – Michael Bobak
Mixing – Paul Hicks
Supervisor – Bill Levenson
Coordinator – Beth Stempel
Mastering – Ted Jensen
Design – Roland Young, Mike Diehl
Illustrations – Cat Stevens
Photography – Grazia Neri, Richard Stirling

Charts
Certifications and sales


== Notes ==
Passage 16:
Trevor Wyatt
Trevor Wyatt is a British record company manager and record producer 
Wyatt was Chris Blackwell's first employee at Island Records London  Trevor drove the Island cab, delivering records to the stores as well as taking the artists around when they came to town  As Island grew, Trevor became the studio manager, UK A&R manager, and house producer, first in Island's Basing Street Studios and then at Island's HQ at St Peter's Square in Hammersmith  As such, he became a source of knowledge on who had recorded what in the studio and where their sessions could be found  Many compilations on the Island label existed purely because Trevor found material in the archives and brought it to the appropriate label manager's attention  He was responsible for the Island Reggae Greats series of releases, and also found many alternate takes and demos for box sets by Nick Drake and Sandy Denny 
After the takeover by Universal Records, Wyatt followed Blackwell to Palm Pictures, where he worked for some years  He is now an independent artist manager 
Passage 17:
Necessary Records
Necessary Records is a record label based in the UK, founded by Warren Clarke, a former A&R executive at London Records and Edel, in 2003  Clarke describes that the label was born out of a creative necessity  "It's an outlet for records that should and must be heard  An outlet for artists that deserve to and will, touch the widest possible audience "It is most notable for being the record label of English indie rock band Hard-FiThe label was responsible for the release of Hard Fi's debut album, Stars of CCTV, before the label secured a two album worldwide licensing deal with Atlantic, which saw the album re-released in the UK and subsequently nominated for a Mercury Prize and two Brit Awards  The album also peaked at #1 in the UK albums chart in January 2006, reaching sales of 1 2 million copies worldwide, with over 830,000 in the UK alone  The band's second album, Once Upon a Time in the West, released by Necessary/Atlantic, also reached #1 on the UK album charts  The band's third album, Killer Sounds, released by Necessary/Atlantic went to #9 on the UK album charts Necessary also have a publishing and management company 

Artist roster
Nights
Distophia
Hard-Fi
Maupa

See also
List of record labels
Passage 18:
Super Grit Cowboy Band
Super Grit Cowboy Band is an American country music band formed in North Carolina  It was founded by Clyde Mattocks, Libby Mattocks, Bill Lyerly, Danny Vinson, Dave Cavanaugh  and Alfred Ward  Active since 1974, the band recorded first with Sound Hut Studios  Beginning with their 1981 album, the band has recorded on its own Hoodswamp label 

History
The band formed in 1974, comprising Clyde Mattocks (steel guitar, Dobro, banjo, electric guitar), Danny Vinson (drums), Mike Kinzie (fiddle, saxophone, piano, harmonica, acoustic guitar), Bill Ellis (bass guitar, keyboards) and Curtis Wright (lead guitar) The band recorded their first album in 1977 featuring Bill Lyerly (Bill Lyerly Band) 
Later the band recorded for its own label, Hoodswamp Records, and released three albums on it  In 1981, the band charted for the first time on Hot Country Songs with "If You Don't Know Me by Now," which reached No  71  Between then and 1983, four more of the band's singles reached the country charts, including its highest-charting, the No  48 "She Is the Woman " Billboard gave the band's 1981 album If You Can't Hang a positive review, praising the instrumentation as well as the rock influences At one point, Don Cox was a member of the band  He later recorded All Over Town for Step One Records and charted at No  29 on the country music charts with its title track  Wright later joined Vern Gosdin's road band, of which he was a member until 1989  After quitting that band, Wright was a solo artist for Airborne and Liberty Records, charting in the Top 40 with "She's Got a Man on Her Mind" in 1990 and releasing a self-titled album in 1992  He later recorded one album with Robert Ellis Orrall in the duo Orrall & Wright, then joined Shenandoah from 2000 to 2008  Wright has also written singles for Shenandoah, Ronnie Milsap, Daryle Singletary, and Carolina Rain 
Since 2010, the band has consisted of Mattocks and Kinzie, along with guitarist Mark Golladay, drummer Dexter Horton and bass guitarist Carroll Wade 

Discography
Albums
Singles
Passage 19:
Raised on Radio
Raised on Radio is the ninth studio album by the American rock band Journey, released in April 1986 on the Columbia Records label  It is the first album to not feature founding bassist Ross Valory, who was replaced initially by session bassist Bob Glaub and then by  Randy Jackson  Drummer Steve Smith contributed to a few tracks, but was replaced during the recording by session drummer Larrie Londin and then Mike Baird for the subsequent tour 
The album spawned three top 20 singles in the US: "Girl Can't Help It" (No  17), "I'll Be Alright Without You" (No  14), and "Suzanne" (No  17)  It also spawned a top ten single "Be Good to Yourself" (No  9) It went to No  4 on the Billboard 200 chart, and it was certified double platinum in the USA 

Background
Raised on Radio was released three years after Frontiers (1983)  In 1984, both lead guitarist Neal Schon and lead singer Steve Perry released albums on their own; Schon in the band HSAS (Through the Fire), and Perry with his debut solo album, Street Talk  Perry considered leaving Journey following the release of Street Talk which he has referred to as "one of the most fun experiences I've had"  Perry decided to return to working with Journey when he received a call from keyboardist Jonathan Cain, who wanted him to work on some unfinished songs Following Perry's return to Journey, he began to take more control over the band's direction  Bassist Ross Valory and drummer Steve Smith were fired from the band, against the wishes of manager Herbie Herbert  According to Perry, Valory and Smith "weren't pleased with the kind of music we were playing and weren't too keen on touring"  Smith later said of the initial recording process: "There was a lot of pressure to do it the way Steve Perry wanted, which I had a lot of problems with because I felt it should be a group record, like all the other records " Valory was replaced by Randy Jackson (bass guitar) and Smith was replaced by session musician Larrie Londin (drums)  In the VH-1 Behind the Music episode featuring the band, Perry expressed regret over his decision, stating he'd have done things differently  Smith did record three tracks with Journey on the album, and he and Valory still received revenues from the record and subsequent tour  Both returned to Journey in 1995 
The band decided that Perry, who had proved his production capabilities on Street Talk, was the best fit to produce the album  According to Perry, this gave the rest of the band members as much creative control as possible: "Journey knows what it should sound like, so we all agreed I would be a good, safe, nondictator-type producer "Perry changed the original title of this project from Freedom to Raised on Radio, which drew the ire of Herbert and some of the band members, as it varied from the one-word general theme in most of their previous albums  The band would end up using the Freedom title 36 years later for their fifteenth studio album 
The subsequent tour featured Schon, Perry, Cain, and Jackson, with drummer Mike Baird  

Artwork
The cover of the album (by Prairie Prince, an early member of the band) was modeled after the studios and antennas for KNGS in Hanford, California, which was owned by Perry's parents, Ray and Mary Perry 

Songs
Cash Box said of "Suzanne" that "Somewhat brooding verses give way to explosive choruses which feature Steve Perry’s potent singing" and that "Journey has captured the essence of teen romance " Billboard said of it that Journey's "power rock style gets adapted just a bit here toward the techno-dance idiom "Cash Box said of "Why Can't This Night Go On Forever" that it's a "rousing, emotional ballad is pure Journey" with a "bracing, high-wire vocal" from Steve Perry 

Track listing
Personnel
Credits for Raised on Radio adapted from liner notes Journey

Steve Perry – lead vocals
Jonathan Cain – keyboards, backing vocals
Neal Schon – guitars, guitar synthesizer, backing vocals, keyboards (10)
Randy Jackson – bass (all tracks except 2, 10 and 11), backing vocals (all tracks except 2, 10 and 11)
Steve Smith – drums (2, 10 and 11)Additional musicians

Bob Glaub – bass (2, 10 and 11)
Larrie Londin – drums (all tracks except 2, 10 and 11)
Mike Baird – drums (12 and 13) (2006 CD reissue only)
Steve Minkins – percussion (3)
Danny Hull (credited as Dan Hull) – saxophone (2 and 7), harp (7)Production

Steve Perry – producer
Jonathan Cain – additional vocal co-production
Randy Goodrum – additional vocal co-production
Jim Gaines – associate producer, engineer
Mark McKenna – engineer
Steve Rinkoff – engineer
Robert Missbach – assistant engineer
Bob Clearmountain – mixing at Bearsville Studios and The Power Station (New York, NY)
Bob Ludwig – mastering at Masterdisk (New York, NY), remastering
Brian Lee – remastering

Charts
Certifications



ground_truth: TML Entertainment