Gershwin Theatre

The Gershwin Theatre (originally the Uris Theatre) is a Broadway theater at 222 West 51st Street, on the second floor of the Paramount Plaza office building, in the Midtown Manhattan neighborhood of New York City. Opened in 1972, it is operated by the Nederlander Organization and is named after brothers George and Ira Gershwin, who wrote several Broadway musicals. The Gershwin is Broadway's largest theater, with approximately 1,933 seats across two levels. Over the years, it has hosted musicals, dance companies, and concerts.

The Gershwin was designed by Ralph Alswang. It was one of the first theaters constructed under the Special Theater District amendment of 1967. The theater's main entrances are from a midblock passageway that runs between 50th and 51st Streets. There are escalators leading from the ground floor to the second-story lobby and rotundas. The American Theater Hall of Fame, which contains inscriptions of the names of over 500 notable theatrical personalities, is placed within the lobby and rotundas. The Gershwin's orchestra level, which has about 1,300 seats, is more than double the size of the mezzanine level, which has about 600 seats.

The Uris Buildings Corporation built the theater within the Uris Building, now Paramount Plaza, in the 1960s in exchange for several additional floors of office space. The Uris opened on November 28, 1972, with a performance of the musical Via Galactica. Following several flops, the theater was rented out for concerts and dance specials in the 1970s. The musicals The King and I and Sweeney Todd had relatively long runs at the end of the decade. The theater was renamed the Gershwin during the 37th Tony Awards in 1983, the first of six Tony Awards ceremonies to be hosted there. In the 1980s, the theater hosted concerts; its first straight plays; and musicals such as Singin' in the Rain and Starlight Express. The theater continued to host concert appearances in the early 1990s, as well as musicals such as Show Boat, and was renovated in 1993. The Gershwin has been home to the musical Wicked since 2003.

## Description

The Gershwin Theatre is on the second floor of Paramount Plaza, also known as 1633 Broadway, north of Times Square in the Midtown Manhattan neighborhood of New York City. Ralph Alswang designed the theater, which opened in 1972 as the Uris Theatre, while Emery Roth and Sons designed Paramount Plaza. It is one of two theaters in Paramount Plaza; the other is the Circle in the Square Theatre in the building's basement. The Gershwin, Circle in the Square, Minskoff, and American Place theaters were all constructed under the Special Theater District amendment of 1967 as a way to give their respective developers additional floor area.

The Gershwin was decorated in what Alswang described as an Art Nouveau style. The theater covers 50,000 sq ft (4,600 m2) and has bronze velour decorations throughout its major public spaces. Originally decorated in white and gold, the Gershwin was redecorated in a blue-and-white color scheme in 1993. The theater is operated by the Nederlander Organization.

### Lobbies and Hall of Fame

At the base of Paramount Plaza is a promenade that connects 50th and 51st Streets, providing entry to the Gershwin and Circle in the Square theaters. There are marquees for the theaters' entrances on both 50th and 51st Streets. The box office is at ground level. Escalators lead from the ground floor to the Gershwin Theater. The names of 90 celebrities who were active between 1860 and 1930 are inscribed in bronze-gold lettering along the escalators.

The second floor contains the American Theater Hall of Fame, where the names of notable theatrical personalities are inscribed in gold letters. Eligible inductees have had a career in American theater for at least 25 years and at least five major Broadway production credits. The lobby contains a white wall behind the orchestra seats and measures 220 ft (67 m) wide. The Hall of Fame's names stretch across the four-story-high wall of the lobby. The theater also has two rotundas, one of which originally contained the music and theater collections of the Museum of the City of New York. The hall's names stretch into the rotundas.

### Auditorium

Playbill cites the theater as having 1,926 seats, while The Broadway League gives a figure of 1,933 seats. The Gershwin's seats are spread across two levels: an orchestra with about 1,300 seats and a smaller mezzanine with about 600 seats. This was based on Alswang's observation that most people wanted orchestra seats. The seats in the Gershwin are spaced 36 in (910 mm) apart from row to row, compared to in older theaters where each row was only 32 to 33 in (810 to 840 mm) apart. The balcony has 14 rows. Like traditional Broadway houses (and unlike the contemporary Minskoff Theatre), the theater had aisles in the center and along the sides. The orchestra level is ADA-accessible via an elevator from the ground story.

The mezzanine level has protrusions on the side walls instead of box seats. The proscenium arch is designed with light bars, which could be removed if necessary. The wall panels also contains panels that can be removed for the installation of speakers. The stage was also designed with a flexible layout in that it could be disassembled or extended forward. When the stage was extended forward, it basically functioned as a thrust stage, covering the orchestra pit. With a 65 ft-wide (20 m) adjustable proscenium arch and an 80 ft-wide (24 m) stage, it is one of the largest Broadway stages, ideal for very large musical productions.

Unlike older theaters in New York City, the Minskoff and Gershwin theaters were subject to less stringent building codes. For example, the Gershwin was designed without fire curtains, since the city had allowed sprinkler systems to be installed in both theaters. The theater also used Hydra-Float, a computerized rigging system. This made it the first commercial theater in the U.S. to be completely automated. Backstage, there were eight large dressing suites for lead performers, which were equipped with air conditioning, green rooms, and private bathrooms.

## History

### Construction

In September 1967, Uris Buildings Corporation leased the site of the Capitol Theatre on Broadway, between 50th and 51st Streets, for 100 years. Uris announced it would build an office tower and a Broadway theater on the site. The Broadway theater would have 1,500 to 2,000 seats. In October 1967, the New York City Planning Commission (CPC) proposed the Special Theater District Zoning Amendment, which gave zoning bonuses to office-building developers who included theaters. The proposed legislation would directly allow theaters in One Astor Plaza and the Uris Building, which would be the first completely new Broadway theaters since the Mark Hellinger Theatre was completed in 1930. The CPC approved the theater amendment that November, and the New York City Board of Estimate gave final approval to the proposal the next month. A second theater, which subsequently became the Circle in the Square, was announced in February 1968.

In April 1968, the CPC scheduled a public hearing to determine whether the Astor and Uris theater permits should be approved. Six parties testified in favor; the Shubert Organization, the largest operator of Broadway theaters, was the only dissenting speaker. The CPC approved the theaters over the Shuberts' objections, as did the Board of Estimate. That September, Uris Buildings Corporation made a tentative deal with James M. Nederlander and Gerard Oestricher to operate the larger of the building's two theaters. The larger venue was renamed for Percy Uris, head of the Uris Buildings Corporation, in 1971. The New York Daily News subsequently said that the Uris family's decision to name the theater for themselves "became an object of ridicule in theatrical circles".

Meanwhile, civic group Broadway Association had proposed constructing a theatrical hall of fame in a median island of Broadway several blocks north. Earl Blackwell then suggested that the Nederlanders include a theatrical hall of fame at the Uris Theatre. Plans for the hall were announced in March 1972, as the building and theater were being completed. The first names were inducted that October, just before the theater opened.

### 1970s

The Uris Theatre was dedicated on November 19, 1972, and hosted its first show on November 28, a performance of the musical Via Galactica starring Raul Julia. The theater was cited as having 1,840, 1,870, 1,900, or 1,940 seats when it was completed. Alswang estimated the theater's total cost at \$12.5 million. Despite a top ticket price of \$12.75 (lower than the typical top price of \$15), it flopped with seven performances and was the first Broadway show to lose a million dollars. The next show was Cy Coleman and Dorothy Fields's musical Seesaw, which opened in March 1973 and transferred to the Hellinger that August, ultimately running for 296 performances. A revival of the Sigmund Romberg operetta The Desert Song premiered at the Uris in September 1973 but closed after only 15 performances. This was followed that November by the Lerner and Loewe musical Gigi, which lasted 103 performances. For the most part, the Uris lost money during its first two seasons, since it was dark most of the time. The Uris also hosted annual ceremonies when people were inducted into the Theatrical Hall of Fame. Due to a lack of money, there were no new inductions between 1973 and 1979.

There were no new legitimate shows in 1974. After singer Sammy Davis Jr. had a highly profitable concert that May, James M. Nederlander decided to book concerts at the theater for the remainder of the year, citing its acoustic qualities. Nederlander said the theater could also be used for musicals if there was demand in the future. A New York Times critic said the Uris Building, which had just gone into foreclosure, might be a "monument to its mortality" instead of "a leader in the revitalization of Broadway". Musicians who appeared in 1974 included Mott the Hoople (performing with Queen); Enrico Macias and his La Fete Orientale Co.; Andy Williams with Michel Legrand; Anthony Newley with Henry Mancini; Johnny Mathis and the Miracles; The 5th Dimension; and Raphael. The 17th Annual Grammy Awards were presented at the Uris in March 1975, and the Dance Theatre of Harlem performed at the theater that May. Frank Sinatra, Ella Fitzgerald, and Count Basie had a limited concert appearance that September, and the Houston Grand Opera Association presented the opera Treemonisha the next month. This was followed by performances from ballet dancers Margot Fonteyn and Rudolf Nureyev, singer-songwriter Paul Anka, and the American Ballet Theatre.

The Dance Theatre of Harlem returned to the theater in March 1976. The D'Oyly Carte Opera Company presented three Gilbert and Sullivan operettas at the Uris that May, followed the next month by a concert appearance from Al Green and Ashford & Simpson. That October, the Houston Grand Opera presented the musical Porgy and Bess. The theater went back to hosting concerts, with appearances by Bing Crosby and Barry Manilow in December 1976. The Dance Theatre of Harlem canceled a planned 1977 season at the Uris due to a financial deficit. Instead, Nureyev returned in March 1977 for a ballet performance, and Béjart: Ballet of the Twentieth Century performed the same month. The musical The King and I, with Yul Brynner and Constance Towers, opened in May 1977 and ran for 719 performances, becoming the theater's longest-running show. Another long-lasting show was Stephen Sondheim and Hugh Wheeler's musical Sweeney Todd with Angela Lansbury, which opened in March 1979 and ran for 755 performances over the next year.

### 1980s

In 1980, the Uris mostly hosted performances by ballet companies. The following January, the New York Shakespeare Festival produced Gilbert & Sullivan's The Pirates of Penzance, which relocated to the Minskoff in August 1981. This was followed immediately afterward by a revival of Lerner and Loewe's My Fair Lady, with Rex Harrison, which lasted 124 performances. That November, the musical Annie transferred to the Uris; it ran for over a year, concluding its run of 2,377 performances there. Next, Nureyev performed with the Boston Ballet in early 1983, and the Houston Grand Opera presented Jerome Kern and Oscar Hammerstein II's musical Show Boat that April. At that time, Tony Awards producer Alexander H. Cohen announced that the 37th Tony Awards ceremony would be hosted there and that the Uris would be renamed after musical-writing brothers Ira and George Gershwin. During the ceremony on June 5, 1983, the theater was rededicated. Show Boat closed shortly thereafter and was followed in July by Mame, featuring Lansbury.

The Gershwin hosted a memorial for Ira Gershwin after he died in August 1983, two months after the theater's renaming. The theater continued to face issues with booking extended runs of large musicals. In January 1984, Nederlander announced he would again use it as a concert hall for a year. This time, the theater hosted performances from Shirley MacLaine; Twyla Tharp; Rudolf Nureyev; and Gladys Knight & the Pips with Kashif. In addition, the theater hosted the 38th Tony Awards in June 1984. The Royal Shakespeare Company presented Much Ado about Nothing and Cyrano de Bergerac in repertory for ten weeks starting in October 1984. The theater was acoustically modified for these plays, as it was the first time the theater had hosted straight plays. This was followed in early 1985 by concert appearances from Patti LaBelle and Smokey Robinson. Next, the musical Singin' in the Rain opened in July 1985 and ran for 367 performances over the next ten months.

After Andrew Lloyd Webber's musical Starlight Express was announced for the theater in mid-1986, the theater was renovated to accommodate the technologically complex set. Starlight opened in March 1987 and ran for two years, closing at a loss despite critical acclaim. Afterward, the Nederlanders announced plans to use the Gershwin as a concert hall for the 1989–1990 season. At the time, six of the Nederlanders' nine Broadway theaters were dark, and there was a shortage of new musicals. Only one live performance happened this time: a set of concerts by Barry Manilow in mid-1989. That November, the musical comedy Meet Me in St. Louis opened, running for 253 performances.

### 1990s

The concert special Bugs Bunny on Broadway appeared briefly in late 1990, followed by a revival of the musical Fiddler on the Roof. A special appearance by the Moscow Circus then opened at the Gershwin in late 1991. The musical Grand Hotel moved to the Gershwin in February 1992, ending a run of over 1,000 performances there. The Gershwin hosted the 46th Tony Awards in June 1992, and the theater hosted a \$1 million launch party that October for Windows for Workgroups. This was followed by concert appearances from Tommy Tune in December 1992, Raffi in April 1993, and Yanni in June 1993. The theater was renovated in mid-1993 prior to its hosting the 47th Tony Awards.

A revival of Lerner and Loewe's Camelot opened in June 1993 and ran for two months. The musical The Red Shoes opened that December, but it was one of Broadway's biggest flops, closing after three days at a loss of \$8 million. By the mid-1990s, there was high competition for large Broadway houses. Less than a week after The Red Shoes closed, production company Livent booked a revival of Show Boat for the theater. The theater once again hosted the 48th Tony Awards in 1994. The awards ceremonies subsequently relocated to Radio City Music Hall, as that theater was much larger (allowing the public to attend) and did not require shutting down Broadway productions. Show Boat opened in October 1994 and ran for 949 performances over two years.

Following this, in January 1997, John Gray performed a monologue of his book Men Are from Mars, Women Are from Venus. Livent's revival of the operetta Candide opened that April. and ran for 103 performances. The Roundabout Theatre Company then transferred the musical 1776, its most popular production, to the Gershwin that November, where it ran until June 1998. The New York Shakespeare Festival's production of the musical On the Town opened at the Gershwin in November 1998, but it was unprofitable and closed after 65 performances. The Gershwin also hosted the 53rd Tony Awards in 1999, since Radio City Music Hall was undergoing renovation. Also in 1999, the theater hosted the musicals Peter Pan and Tango Argentino.

### 2000s to present

The dance revue Riverdance on Broadway opened at the Gershwin in March 2000, running for 605 performances through the following August. After Riverdance closed, the Rodgers and Hammerstein musical Oklahoma! was booked at the Gershwin. Additionally, Linda Eder performed at the theater at the end of 2001. Oklahoma! opened in March 2002 and ran for 388 performances for the next year. For Oklahoma!, the first five rows of seats in the orchestra level were removed to make way for a temporary thrust stage. In June 2002, the theater hosted a party celebrating what would have been the 100th birthday of Richard Rodgers, one of the composers of Oklahoma!.

The next production at the Gershwin Theatre was Stephen Schwartz's musical Wicked, which opened in October 2003. David Stone, one of Wicked's producers, was initially reluctant to book the Gershwin because of the theater's reputation for short-lived productions, as well as its size. Despite initial negative reviews, Wicked became so popular that it continued at the Gershwin indefinitely. The theater's large seating capacity also turned out to be suitable for the musical's popularity. As part of a settlement with the United States Department of Justice in 2014, the Nederlanders agreed to improve disabled access at their nine Broadway theaters, including the Gershwin. Wicked was still playing when the theater closed on March 12, 2020, due to the COVID-19 pandemic. The theater reopened on September 14, 2021, with performances of Wicked.

## Notable productions

Productions are listed by the year of their first performance.

### Uris Theatre

- 1972: Via Galactica
- 1973: Seesaw
- 1973: The Desert Song
- 1973: Gigi
- 1974: Sammy Davis Jr.
- 1974: Mott the Hoople
- 1974: Enrico Macias and his La Fete Orientale Co.
- 1974: Andy Williams with Michel Legrand
- 1974: Anthony Newley/Henry Mancini
- 1974: Johnny Mathis and the Miracles
- 1974: The 5th Dimension
- 1974: Raphael
- 1975: Frank Sinatra, Ella Fitzgerald, and Count Basie
- 1975: Treemonisha
- 1975: Fonteyn & Nureyev on Broadway
- 1975: Paul Anka
- 1975: American Ballet Theatre
- 1976: H.M.S. Pinafore/The Pirates of Penzance/The Mikado
- 1976: Al Green with Ashford & Simpson
- 1976: Porgy and Bess
- 1976: Bing Crosby
- 1976: Barry Manilow
- 1977: Nureyev
- 1977: Béjart: Ballet of the Twentieth Century
- 1977: The King and I
- 1979: Sweeney Todd: The Demon Barber of Fleet Street
- 1980: Dance Theatre of Harlem
- 1980: The Bat
- 1980: Coppelia
- 1980: Makarova and Company
- 1980: Boston Ballet Company
- 1981: The Pirates of Penzance
- 1981: My Fair Lady
- 1981: Annie
- 1983: Show Boat

### Gershwin Theatre

- 1983: Mame
- 1984: Shirley MacLaine on Broadway
- 1984: Twyla Tharp Dance on Broadway
- 1984: Nureyev and Friends
- 1984: Gladys Knight & the Pips & Kashif
- 1984: Much Ado About Nothing
- 1984: Cyrano de Bergerac
- 1985: Patti LaBelle on Broadway
- 1985: An Evening with Smokey Robinson
- 1985: Singin' in the Rain
- 1987: Starlight Express
- 1989: Barry Manilow Live on Broadway
- 1989: Meet Me in St. Louis
- 1990: Bugs Bunny on Broadway
- 1990: Fiddler on the Roof
- 1991: Moscow Circus
- 1992: Grand Hotel
- 1992: Tommy Tune Tonite!
- 1993: Raffi
- 1993: Yanni
- 1993: Camelot
- 1993: The Red Shoes
- 1994: Show Boat
- 1997: Men Are from Mars, Women Are from Venus
- 1997: Candide
- 1997: 1776
- 1998: On the Town
- 1999: Peter Pan
- 1999: Tango Argentino
- 2000: Riverdance on Broadway
- 2001: Linda Eder at the Gershwin
- 2002: Oklahoma!
- 2003: Wicked

## Box office records

When Starlight Express opened in 1987, it had the highest single-week gross of any show in both the Gershwin Theatre's history and Broadway history. Starlight Express broke this record several times, ultimately grossing \$617,022 during the last week of 1987. Fiddler on the Roof set the record for the highest number of tickets sold for a Broadway production in a single week during the last week of 1990. From October 4 to 9, 1994, Show Boat sold \$842,636 worth of tickets. This was the highest single-week ticket sale for any Broadway production, in terms of monetary profit, as well as the second-highest in number of tickets sold.

Wicked set the box office record for the Gershwin Theatre multiple times. In 2010, the musical became the first Broadway show to gross over \$2 million in a single week. Wicked held the record for the highest single-week gross of any Broadway show from its opening until 2011, when the musical Spider-Man: Turn Off the Dark earned \$58 more during a single week (both shows had earned \$1.5 million). The theater's current record was set in 2018, when Wicked grossed \$3,411,819 over nine performances for the week ending December 30, 2018.

## See also

- List of Broadway theaters

Broadway theater in Manhattan, New York

Art Nouveau architecture in New York City


Arrival (film)

Arrival is a 2016 American science fiction drama film directed by Denis Villeneuve and adapted by Eric Heisserer, who conceived the project as a spec script based on the 1998 short story "Story of Your Life" by Ted Chiang. The film stars Amy Adams as Louise Banks, a linguist enlisted by the United States Army to discover how to communicate with extraterrestrials who have arrived on Earth, before tensions lead to war. Jeremy Renner, Forest Whitaker, Michael Stuhlbarg, and Tzi Ma appear in supporting roles.

Arrival had its world premiere at the Venice Film Festival on September 1, 2016, and was released theatrically in the United States by Paramount Pictures on November 11, 2016. It grossed \$203 million worldwide and received critical acclaim, with particular praise for Adams's performance, Villeneuve's direction, and the exploration of communication with extraterrestrial intelligence. Considered one of the best films of 2016, Arrival appeared on numerous critics' year-end lists and was selected by the American Film Institute as one of ten "Movies of the Year".

It received eight nominations at the 89th Academy Awards, including Best Picture, Best Director, Best Cinematography, Best Adapted Screenplay, and won Best Sound Editing. For her performance, Adams received nominations for a BAFTA, SAG, Critics' Choice, and at the 74th Golden Globe Awards, Adams was nominated for the Golden Globe Award for Best Actress and Jóhann Jóhannsson was nominated for the Golden Globe Award for Best Original Score. The film was awarded the Ray Bradbury Award for Outstanding Dramatic Presentation and the Hugo Award for Best Dramatic Presentation in 2017. The score by Jóhannsson was nominated for Best Score Soundtrack for Visual Media at the 60th Grammy Awards.

## Plot

Linguist Louise Banks's daughter Hannah dies at the age of twelve from an incurable illness.

Twelve extraterrestrial spacecraft hover over various locations around the Earth. In the ensuing widespread panic, affected nations send military and scientific experts to monitor and study them. In the United States, US Army Colonel Weber recruits Banks and physicist Ian Donnelly to study the craft above Montana. On board, Banks and Donnelly make contact with two cephalopod-like, seven-limbed aliens, whom they call "heptapods"; Donnelly nicknames them Abbott and Costello. Banks and Donnelly research the complex written language of the aliens, consisting of palindromic phrases written with circular symbols, and share the results with other nations. As Banks studies the language, she starts to have flashback-like visions of her daughter.

When Banks is able to establish sufficient shared vocabulary to ask why the aliens have come, they answer with a statement that could be translated as "offer weapon". China interprets this as "use weapon", prompting it to break off communications, and other nations follow. Banks argues that the symbol interpreted as "weapon" can be more abstractly related to the concepts of "means" or "tool"; China's translation likely results from interacting with the aliens using mahjong, a highly competitive game.

Rogue soldiers plant a bomb in the Montana craft. Unaware, Banks and Donnelly re-enter the alien vessel, and the aliens give them a more complex message. Just before the bomb explodes, one of the aliens ejects Donnelly and Banks from the vessel, knocking them unconscious. When they wake, the alien craft has moved beyond reach and the US military is preparing to evacuate in case of retaliation.

China's General Shang issues an ultimatum to his local alien craft, demanding that it leave China within 24 hours. Russia, Pakistan, and Sudan follow suit; communications between the international research teams are terminated as worldwide panic sets in.

Donnelly discovers that the symbol for time is present throughout the message and that the writing occupies exactly one-twelfth of the 3D space into which it is projected. Banks suggests that the full message is split among the twelve craft and that the aliens want all the nations to share what they learn.

Banks goes alone to the Montana craft, which sends down a transport pod. Abbott has been mortally injured as a result of the explosion. Costello explains that they have come to help humanity, for in 3,000 years they will need humanity's help in return. Banks realizes the "weapon" is their language. Learning the language alters humans' linear perception of time, allowing them to experience memories of future events. Banks's visions of her daughter are revealed to be premonitions; her daughter will not be born until sometime in the future.

Banks returns to the camp as it is being evacuated and tells Donnelly that the aliens' language is the "tool" that was meant by the word "weapon". She has a premonition of a United Nations event celebrating newfound unity, following the alien arrival, in which Shang thanks her for persuading him to stop the attack when she called his private number and recited his wife's dying words. He then shows her his private number.

In the present, Banks takes CIA agent Halpern's satellite phone from a table and calls Shang's private number to recite the words. The Chinese announce that they are standing down and releasing their twelfth of the message. The other countries follow suit, and the twelve spacecraft depart.

Based on what she has learned, she writes and publishes a book called "The Universal Language", a guide to the heptapod language, which will eventually teach humanity to perceive time the same way as the heptapods.

During the evacuation, Donnelly expresses his love for Banks. They talk about life choices and whether he would change them if he could see his life from beginning to end. Banks knows that she will agree to have a child with him despite knowing their fate: that Hannah will die from an incurable disease and Donnelly will leave them both after she reveals that she knew this.

## Cast

## Production

### Development and pre-production

Arrival is based on the Nebula-winning science fiction novella "Story of Your Life" by Ted Chiang, written in 1998. The novella involves Earth's first communication with heptapods who speak in a cryptic language. Screenwriter Eric Heisserer had been introduced to the story through another of Chiang's stories, "Understand", and had begun reading through Chiang's collected works when "Story of Your Life" had a "profound emotional effect" on him. As a result, he decided to try to adapt the story into a film script as he wanted to share it with a wider audience. After writing an initial spec script, Heisserer pitched it to production companies for several years without receiving any interest and nearly gave up on the project. Heisserer believes it was not until he had successfully completed and produced 2013's Hours that others took interest in his work, his having proved himself capable. Eventually, Dan Levine and Dan Cohen of 21 Laps Entertainment expressed interest in Heisserer's script. Shawn Levy of 21 Laps said they had become aware of "Story of Your Life" around 2011 and considered it a powerful work; when they learned of Heisserer's script adaptation, they started working closely with him, helping him refine the script before they began seeking a director and distribution studio.

One of the directors that 21 Laps approached was Denis Villeneuve. Villeneuve had wanted to make a science fiction film for some time, although he "never found the right thing". Cohen and Levine, however, introduced Villeneuve to the novella, which the director immediately took to, although his work on Prisoners meant that he did not have the time to properly adapt it into a screenplay with Heisserer. Heisserer completed a first draft, which Villeneuve and Heisserer reworked into the final script. Villeneuve changed the title, as he felt the original sounded like a romantic comedy and that the script had become very different from the short story. While Villeneuve went through "hundreds" of possible titles, Arrival was the first one his team of producers and writers had suggested.

Heisserer had made several changes from "Story of Your Life" between writing his original screenplays and the final script, the main one being that the heptapods actually arrived on Earth in a type of first contact situation, as he felt this helped to create the tension and conflict needed for a film. Heisserer said that earlier versions of the script had a different ending: the gift from the heptapods was to have been "blueprints to an interstellar ship, like an ark of sorts", to enable humanity to help them in 3,000 years. But after the release of Interstellar in 2014, Heisserer and Villeneuve agreed that this would not work, and decided that the heptapods' gift would be what was "there in front of us ... the power of their language".

Amy Adams entered negotiations to star in the film in April 2014, and would be confirmed by the time Jeremy Renner joined the film in March 2015. Forest Whitaker signed on in April, with Michael Stuhlbarg joining soon after in June. Adams, who was playing a linguistics professor in the film, consulted with linguist Jessica Coon to prepare for her role.

### Filming

Principal photography lasted for 56 days, beginning on June 7, 2015, after Renner had fulfilled his obligations to Captain America: Civil War. Filming was done mainly in and around Montreal, Quebec, with Saint-Fabien serving as Montana. The team took some time to find the right site to represent the landing of the spacecraft because producers wanted to avoid a mountainous site that might dwarf the scale of the ship, but thought that a barren location would be clichéd. Most of the filming that did not involve the exterior of a ship was done indoors on sound stages, although a real house located in Chemin de l'Île, Vaudreuil-Dorion, was used as Banks's home. The scenes of the university where Banks teaches were shot at HEC Montréal. Bradford Young was sought out by Villeneuve as he was looking for a cinematographer with a sensibility toward natural lighting. Said Villeneuve: "I wanted the movie to have strong roots in realism. I wanted a cinematographer who would not be afraid to deal with intimacy. It’s a very specific sensibility that I felt in Bradford’s previous work." Color timing was used as a means of matching Louise's state of mind at a given moment. Young stated "I went for cooler colors when I wanted Amy to feel worn down. We tried to pull back on that a little bit, but then Denis stopped me in the [color timing] and told me not to be so concerned about skin tone and let her be pasty, let her exist in that melancholy space, let us feel that visually." When discussing the film with Villeneuve, Young described the director's goal of making a "dirty" science fiction film, by making the look of the film more grounded and "slightly boring" as Villeneuve put it. Additionally, Young looked towards the book Speedway by photographer Martina Hoogland Ivanow as a reference for the look of the film.

### Visual effects

Production designer Patrice Vermette discussed the film in a February 2017 interview with Popular Mechanics, stating that a big influence on the look of the film was the works of artist James Turrell, particularly the design of the meeting room aboard the alien craft. "I wanted the simplicity and the sensorial experience you feel in a room like that. That big screen was always there in the script, and I used it as an element to unite Louise's world. For me, that big screen is more than a screen—that room, which they called in the script 'the interview room,' is a classroom. That big white screen, [you see it] represented in Louise's house with the big window. You also see it in her school, in her classroom."

Rodeo FX completed 60 visual shots for the film, and stated that the biggest challenge for them was the sequence in which Louise and Ian first enter the alien craft.

The asteroid 15 Eunomia is the inspiration for the look of the heptapod ships.

### Linguistics

Both the book and the screenwriting required the invention of a form of alien linguistics which recurs in the plot. The film uses a script designed by the artist Martine Bertrand (wife of the production designer Patrice Vermette), based on scriptwriter Heisserer's original concept. Computer scientists Stephen and Christopher Wolfram analyzed it to provide the basis for Banks's work in the film. Their works are summarized in a GitHub repository. Three linguists from McGill University were consulted. The sound files for the alien language were created with consultation from Morgan Sonderegger, a phonetics expert. Lisa Travis was consulted for set design during the construction of the scientist's workplaces. Jessica Coon, a Canada Research Chair in Syntax and Indigenous Languages, was consulted for her linguistics expertise during the review of the script. Heisserer said at the Alamo Drafthouse's Fantastic Fest premiere of Arrival at the end of September 2016 that Shang's wife's last words, translated into English, were "In war, there are no winners, only widows". Villeneuve decided not to include subtitles for the line; Heisserer said he would have preferred it not be kept secret, and was happy to reveal the translation.

### Music and soundtrack

Jóhann Jóhannsson began writing the score as the shooting started, drawing on the screenplay and concept art for inspiration. He developed one of the main themes in the first week using vocals and experimental piano loops. The original soundtrack was released by Deutsche Grammophon on November 11, 2016.

Max Richter's pre-existing piece "On the Nature of Daylight" is featured in the film's opening and closing scenes. Due to the prominent use of Richter's music, which had also featured in Martin Scorsese's film Shutter Island, Jóhannsson's score was deemed ineligible for the Academy Award for Best Original Score, the rationale being that voters would be influenced by the use of pre-existing music when judging the merits of the score.

## Marketing and release

A teaser trailer was released in August 2016, followed the next week by the first official trailer. Paramount Pictures released a series of promotional posters, with one showing a UFO hovering above a Hong Kong skyline that included Shanghai's Oriental Pearl Tower. The inaccuracy angered Hong Kong social media users. The posters were withdrawn and a statement attributed the inaccuracy to a third-party vendor.

In May 2014, while titled Story of Your Life, Paramount acquired the US and Canadian distribution rights. Shortly after, Sony Pictures Releasing International and Stage 6 Films acquired some international distribution rights, while Entertainment One acquired the UK distribution rights and Roadshow Films acquired Australian distribution rights. Spentzos Films acquired distribution rights for Greece, Reliance Entertainment for India (ultimately it was MVP Entertainment that released it there), Lev Cinemas for Israel, Italia Films for the UAE, and Chantier Films for Turkey. The film had its world premiere at the Venice Film Festival on September 1, 2016. It also screened at the Toronto International Film Festival, the Telluride Film Festival, and the BFI London Film Festival. The film was released on November 11, 2016.

### Home media

Arrival was released on Digital HD on January 31, 2017 and on Ultra HD Blu-ray, Blu-ray and DVD on February 14, 2017.

## Reception

### Box office

Arrival grossed \$100.5 million in the United States and Canada, and \$102.8 million in other countries, for a worldwide total of \$203.4 million, against a production budget of \$47 million.

In the United States and Canada, Arrival was released alongside Almost Christmas and Shut In, and was originally expected to gross around \$17 million from 2,317 theaters in its opening weekend, with the studio projecting a more conservative debut of \$12–15 million. The film made \$1.4 million from Thursday night previews at 1,944 theaters and \$9.4 million on its first day, pushing projections up to \$24 million. It ended up grossing \$24.1 million over the weekend, finishing third at the box office. In its second weekend, the film grossed \$12.1 million (a drop of 49.6%), and in its third made \$11.5 million (dropping just 5.6%). Following its eight Oscar nominations, the film returned to 1,221 theaters on January 27, 2017 (an increase of 1,041 from the week before) and grossed \$1.5 million (up 357.4% from its previous week's \$321,411).

### Critical response

On Rotten Tomatoes, the film has an approval rating of 94% based on 439 reviews, with an average rating of 8.40/10. The website's critical consensus reads, "Arrival delivers a must-see experience for fans of thinking person's sci-fi that anchors its heady themes with genuinely affecting emotion and a terrific performance from Amy Adams." On Metacritic, the film has a score of 81 out of 100, based on 52 reviews, indicating "universal acclaim". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.

Robbie Collin of The Telegraph praised the film, calling it "introspective, philosophical and existentially inclined—yet [it] unfolds in an unwavering tenor of chest-tightening excitement. And there is a mid-film revelation—less a sudden twist than sleek unwinding of everything you think you know—that feels, when it hits you like your seat is tipping back." Brian Tallerico of RogerEbert.com gave the film three out of four: "It's a movie designed to simultaneously challenge viewers, move them and get them talking. For the most part, it succeeds." For Time, Sam Lansky described it as "sophisticated, grownup sci-fi: a movie about aliens for people who don't like movies about aliens". IGN reviewer Chris Tilly gave it a score of 8.5 out of 10, saying: "Arrival is a language lesson masquerading as a blockbuster, though much more entertaining than that sounds... it's smart, sophisticated sci-fi that asks big questions, and does a pretty good job of answering them". Kenneth Turan of the Los Angeles Times praised Adams's performance, stating "Arrival is really Adams’ film, a showcase for her ability to quietly and effectively meld intelligence, empathy, and reserve". Writing for USA Today, Brian Truitt referred to Adams as a "definite Oscar contender", and credited Adams as "spectacular in giving Louise the right emotional balance".

Conversely, Forrest Wickman of Slate had a more mixed opinion of the film, praising the cinematography and musical score, but stating that he thought it was similar to Christopher Nolan's "only intermittently stellar" Interstellar, and criticizing the dialogue as "clunky".

Rex Reed, writing for the New York Observer, gave the film one out of four, calling it Villeneuve's "latest exercise in pretentious poopery" and referring to a lack of action in the storyline.

The Guardian rated it as the third-best film of 2016. Critic Catherine Shoard said that it "amounts to something transcendent; something to reignite your excitement for cinema, for life". Numerous other publications and websites, including io9, Den of Geek, Mir Fantastiki, The Atlantic, Blastr, and Digital Trends named Arrival the best film of 2016.

### Response from academics

David Adger, a linguistics professor who teaches at Queen Mary University of London, had a favorable view of the accuracy of the linguistics in Arrival, saying that "the portrayal of trying different hypotheses about the language, coming up with generalizations, and testing them out was spot on."

Similarly, Jessica Coon, a linguistics professor who teaches at McGill University and helped with the film's linguistics, stated that "what the film gets exactly right is both the interactive nature but also that you really have to start small." She noted that the creators had not invented a complete language.

Linguistics professor Betty Birner, who teaches at Northern Illinois University, said that the film's use of the Sapir–Whorf hypothesis went "beyond anything that is plausible". She also felt the film oversimplified the process of translating the aliens' language, skipping straight from Banks establishing the basic vocabulary of the language, to her being able to understand abstract concepts such as "weapon".

### Accolades, awards and nominations

Arrival received numerous nominations and awards. At the 89th Academy Awards, it won the Academy Award for Best Sound Editing, and had received nominations for Best Picture, Best Director, Best Adapted Screenplay, Best Cinematography, Best Film Editing, Best Production Design and Best Sound Mixing. Additionally, at the 74th Golden Globes, Adams had received a nomination for Best Actress in a Motion Picture – Drama, and composer Jóhann Jóhannsson had received a nomination for Best Original Score.

## See also

- Alien language in science fiction
- List of films featuring extraterrestrials

2016 science fiction film by Denis Villeneuve

Films about interpreting and translation

Films based on science fiction short stories

Films that won the Best Sound Editing Academy Award

Hugo Award for Best Dramatic Presentation, Long Form winning works


Princely Abbey of Stavelot-Malmedy

The Princely Abbey of Stavelot-Malmedy, also Principality of Stavelot-Malmedy, sometimes known with its German name Stablo, was an ecclesiastical principality of the Holy Roman Empire. Princely power was exercised by the Benedictine abbot of the imperial double monastery of Stavelot and Malmedy, founded in 651. Along with the Duchy of Bouillon and the Prince-Bishopric of Liège, it was one of only three principalities of the Southern Netherlands that were never part of the Spanish Netherlands, later the Austrian Netherlands, which after 1500 were assigned to the Burgundian Circle while the principalities were assigned to the Lower Rhenish Imperial Circle.

As a prince-abbot, the abbot of Stavelot-Malmedy sat on the Ecclesiastical Bench of the College of Ruling Princes of the Imperial Diet alongside the prince-bishops. Along with the handful of other prince-abbots, he cast a full vote (votum virile), in contrast to the majority of imperial abbots who were only entitled to collectively determine the votes of their respective curial benches.

In 1795, the principality was abolished and its territory was incorporated into the French département of Ourthe. The Congress of Vienna in 1815 assigned Stavelot to the United Kingdom of the Netherlands, and Malmedy became part of the Prussian district of Eupen-Malmedy. Both are currently parts of the Kingdom of Belgium—since the 1830 Belgian Revolution and the 1919 Treaty of Versailles, respectively (Malmedy annexed to Bejgium in 1925). In 1921 the Abbey church of Malmedy became the Cathedral of the short-lived Diocese of Eupen-Malmedy.

## History

### Establishment

Saint Remaclus founded the Abbey of Stavelot on the Amblève river, circa 650, on lands along the border between the bishoprics of Cologne and Tongeren, this territory belonged at that time to Grimoald, the Austrasian mayor of the palace and member of the Arnulfinger-Peppinid family. A charter of Sigebert III, king of Austrasia entrusted Remaclus with the monasteries of both Stavelot and Malmedy, which was located a few kilometres eastwards in the Ardennes forest, "a place of horror and solitary isolation which abounds with wild beasts". Sigebert granted forest land; charged his Mayor of the Palace, Grimoald the Elder, with furnishing money to build the two monasteries; and continued to foster these communities with personal gifts.

The site of Malmedy was probably already settled before the foundation of the abbey, despite etymology seeming to indicate Malmedy's unsuitability. Mal(u)mund(a)-arium was "a place with winding waters", or, most probably, Malmund-arium, a "bad confluency". The Warchenne was partially canalised and its banks strengthened, to prevent the flooding that Malmedy often experienced. The abbey church in Malmedy was dedicated to St Benedict. The monastery of Malmedy is considered by historians and hagiographers to be slightly older than the monastery of Stavelot, with the town claiming its foundation date as 648. Malmedy is listed on earlier maps than Stavelot, and the commission appointed in 670 by Childeric II, in order to delimit the abbey territory, started from Malmedy (Latin: de Monasterio Malmunderio). Afterwards, the territory of the abbey was enlarged westwards, so that Stavelot became the geographical centre and the capital of the principality.

The first church in Stavelot was built by abbot Godwin and, on 25 June 685, was dedicated to saints Martin, Peter, and Paul. The relics of Saint Remaclus were housed in this new church.

### Development and the High Middle Ages

In 747, Carloman, Duke of the Franks and Mayor of the Palace of Austrasia, enlarged the abbeys' lands with gifts from his own, on his abdication. Throughout the ninth century, the abbeys played an important cultural role in Lotharingia, particularly thanks to abbot Christian. Around 875, the relics of St Quirinus were translated from Gasny to Malmedy Abbey after the intercession of Emperor Charles the Bald, partly to secure relics comparable to those of St. Remaclus at Stavelot.

Through the seventh and eighth centuries, the two abbeys followed their mission of evangelism, along with forest clearance. With the decline of the Carolingian Empire, however, the abbeys suffered the same decay as elsewhere, leaving the principality in the custody of lay abbots—temporal guardians—from 844 to 938, including Ebbo, archbishop of Rheims, Adalard the Seneschal, and Reginar and Giselbert, dukes of Lorraine.

Welcoming pilgrims and the sick was a part of the monks' mission. The Miracula sancti Remacli mention the xenodochium, the monastery's hospice, where poor pilgrims were granted hospitality, including food for almost eight days, whilst they made their devotions; this hospice differs from the abbey's hospital: hospitale coenobii. On 13 April 862, Lothair II of Lotharingia, while dealing with the distribution of property ad hospital ejusdem coenobii, ordered that local tithes be paid to the hospital absque netligentia et tarditate, an order he confirmed on 10 June 873.

In December 881, Normans, including Godfrid, Duke of Frisia, invaded the area, burning both abbeys and causing the monks to flee with their treasures and relics. Several historical sources provide evidence of the raid of 881, which was well prepared and organised. The monks rushed to dig up the relics of Remaclus and fled to the county of Porcien in present-day Bogny-sur-Meuse, in the French Ardennes; the surrounding region was largely unaffected by the invasion. Stavelot and Malmedy were both burned, with the monks not returning until just before Christmas 882, with a stay in Chooz, to allow them to repair the roofs of the monastic buildings. Relics from Aachen, which had been entrusted to the monks at Stavelot because of the Norman threat, were returned intact. In gratitude, on 13 November 882, Charles the Fat—Carolingian emperor and king of East Francia, Alemannia, and Italy—granted the abbeys the lands of Blendef, a dependency of Louveigné, and restored to them the chapel in Bra (now a part of Lierneux in Liège).

In 885, Normans extracted ransom from Hesbaye and passed through the Meuse valley, marching on Prüm, causing the monks of Stavelot to flee again, finding refuge in the county of Logne and Chèvremont; the Miracula Remacli details the flight from the invaders and follows the monks' wanderings. After the invasions, abbot Odilon began to rebuild the ruined abbey of Stavelot, with support from bishops of Liège—including Notker, the first prince-bishop. The abbots Odilon and Werinfride rebuilt the abbeys, with new building; re-established the monastic community; re-organised the principality. By the time of the Ottonian dynasty in the early 10th century, the abbeys were once again of suitable Imperial stature. A new abbey church was built in Malmedy in 992, dedicated to St Quirinus; in 1007, a parish church was consecrated to Saint Gereon.

Another danger threatened the abbey—and the Western Empire—in the 10th century: the Hungarian invasions. Having been deposed as duke of Lotharingia, Conrad the Red invited the Hungarians to undermine his opponents, Bruno the Great, archbishop of Cologne, and Reginar III, Count of Hainaut. The Annales Stabulensis reports: Anno 954 Ungri populantur regiones Galliæ ... Anno 955. Victoria des Ungris ["In the year 954, Hungarians ravage the regions of Gaul ... In the year 955, victory over the Hungarians"]. On 1 July 960, Eraclus, bishop of Liège, driven by the fears of the time, granted the monks a place to build a refuge in Liège, although five years earlier, the victory of emperor Otto I over the Hungarians at Lechfeld had removed the danger of Hungarian sack.

The key building period at the abbey of Stavelot corresponds to the rule of prince-abbot Poppo of Deinze, the second founder of the abbey, who was made abbot by Holy Roman Emperor Henry II in 1020. He built an imposing church over 100 metres (330 ft) in length, which was consecrated in the presence of Emperor Henry III on 5 June 1040. Thietmar was the lay patron who assembled carpenters and stonemasons to build the abbey church. As well as confirming the authenticity of the relics of St Quirinus at Malmedy in 1042, Poppo revived the cult of St Remaclus. Poppo died in 1048; his cult, which began almost immediately, focused on his resting place in the crypt. Malmedy developed around the monastery; until the end of the tenth century, the villagers used the chapel of Saint Laurent, an apsidiole of the abbey church, as their place of worship.

In 1065, controversy arose when Anno II, Archbishop of Cologne, named Tegernon of Brauweiler abbot of Malmedy, on dubious authority—whilst Malmedy was in the archdiocese of Cologne, the two abbeys were linked and, thus, under the purview of the diocese of Liège, where Stavelot lay. This occurred despite several previous Imperial bulls reinforcing the position that the two abbeys should be subject to a single abbot. The monks from Stavelot processed to Malmedy with the crosier and relics of St Remaclus to remind the rebellious monks of the traditional ordering of the abbeys that the saint had instituted. The relics and crosier were also transported to an Imperial Diet of Henry IV in Goslar. In 1066, they processed again, this time to Aachen and Fritzlar; they processed to Bitburg and Bamberg the following year. That their prayers were not answered apparently led the monks to despair that the relics were becoming impotent or that the monks were being punished by their patron; in 1067 and 1068, abbot Thierry even went to Rome to appeal to Pope Alexander II. This impasse lasted for a further three years, until Henry held court at Liège during Easter in 1071; with great ceremony, the monks processed with Remaclus's relics to meet with his legendary fellow bishop St Lambert, joined en route by the relics of St Symmetrus. Numerous miracles convinced the emperor to recognise the union of the two abbeys and reiterate the superiority of Stavelot, forcing Anno eventually to capitulate. A rejoiceful procession back to Stavelot paused en route to celebrate Mass on the banks of the Meuse; finally, the monks processed with Remaclus's relics to the abbey at Malmedy, to symbolise the restoration of his and their authority. This series of episodes is recounted in the heroic narrative of the Triumph of St Remaclus and confirmed by several contemporary sources.

In 1098, Wibald was born in the hamlet of Chevrouheid, near Stavelot. Elected prince-abbot in 1130, he played a key role in the religious life of the region and the abbeys. In 1138, he granted permission for the castle to be built in Logne, first mentioned in an 862 abbey charter. In the 12th to 15th centuries, however, the abbacy experienced a slow decline. In the 14th and 15th centuries, several Imperial edicts, initially issued by Emperor Charles IV, put the abbacy under the protection of the counts of Luxembourg.

### Early Modern Age

In 1509, William of Manderscheid organised a procession to induce the recalcitrant county of Logne, a fief of the abbey, to submit to his jurisdiction. The cortège was pious, rather than fraught with tension; with Stavelot monks carrying the shrines of Remaclus and Babolene with other reliquaries; and the monks of Malmedy with reliquaries of Quirinus, Just, Peter, and Philip; joined by parishioners from Lierneux with the relics of Symmetrus. In 1521, after the castle in Logne had been dismantled, William added "Count of Logne" to the abbots' titles, with the county representing most of the western portion of the principality's territory.

The abbey church served as a monastic church and as a church of pilgrimage until the French Revolution. Its imposing gatehouse tower was rebuilt in 1534; (its ground floor and some further foundation still remain). Malmedy began to flourish particularly in the 16th century with the development of tannery; in 1544 there were only 216 houses with a thousand inhabitants, but that more than tripled by 1635.

After the death of abbot Christopher of Manderscheid, there was a series of absent abbots, including Maximilian Henry of Bavaria (also bishop of Liège and of Hildesheim), who reformed the abbey in 1656. In the 17th century, Stavelot and Malmedy were major centres of tanning in Europe. Papermaking was particularly important to Malmedy, as was the manufacture of gunpowder. Other industries included cotton manufacturing, manufacture of chess sets and dominoes, and gingerbread baking. In 1659, a Capuchin convent was built in Stavelot.

Despite the abbacy's neutrality and the protection of the prince-abbots, the territory was invaded at least 50 times by troops passing through, whose depredations had disastrous consequences for the population, including the 4 October 1689 razing of both Stavelot and Malmedy on the orders of Nicolas Catinat, general to Louis XIV of France, during the Nine Years' War. In Stavelot, the entire town, including over 360 houses, was destroyed, leaving just the abbey and its farmyard standing. In Malmedy, some 600 out of the 660 houses of the town were destroyed and it took more than a century to completely rebuild. Malmedy's 1601 city walls had previously been destroyed by French troops in 1658, during the 1635–59 Franco-Spanish War. The wars—and passage by troops of Brandenburg-Prussia, the Dutch Republic, France, and Liège—had cost the principality the sum of 2.75 million Reichsthaler. The abbey had to borrow 134 000 thalers from Liège and Verviers; another loan, shared amongst the communities, totalled 109 000 thalers, with annual interest of 14 161 thalers and arrears of 26 000 thalers.

By the start of the 18th century the principality had lost a third of its territory, as a result of war, fires, pillage, and unjust encroachments. The deputies to the Imperial Diet complained that, in the 16th century, the Spanish Netherlands had seized several territories and that the Bishopric of Liège had stolen over half a dozen seigneuries totalling over 2000 households; adding that the principality itself retained only 1693 households, having had 3780 households before the upheavals and that the suffering of the principality had caused some of the richest and most powerful families to emigrate. The Imperial Diet was moved to halve the Reichsmatrikel for the abbeys (reducing the sums and troops the abbeys needed to provide towards the Imperial army) and exempting any need for the abbeys to send troops to the Imperial army for three years, an exemption extended for four more years on 24 March 1715.

### Abolition

During the French Revolutionary Wars, from 1793 to 1804, the abbey was abandoned by the monks and the principality extinguished. Stavelot was incorporated into the French Republic by a decree of 2 March 1793, along with Franchimont and Logne. Despite opposition from local notables, Malmedy was similarly incorporated by a decree of 9 Vendémiaire of the Year IV (1 October 1795). Stavelot abbey itself was sacked and the church sold and demolished; of the church just the western doorway remains, as a free-standing tower. Two cloisters—one secular, one for the monks—survive as the courtyards of the brick-and-stone 17th-century domestic ranges. The foundations of the abbey church are presented as a footprint, with walls and column bases that enable the visitor to visualize the scale of the Romanesque abbey.

## Geography and administration

Based largely in the Amblève and Ourthe river valleys, the principality occupied a substantial proportion of what is now the arrondissement of Verviers in the province of Liège. By the time of the French Revolution, the principality was bounded on the north by the duchy of Limburg, on the south and east by the duchy of Luxembourg and on the north-west by the marquisate of Franchimont and the Condroz. The principality was divided into three administrative districts: the postelleries of Stavelot and Malmedy, and the county of Logne, totalling around 28,000 inhabitants. The postellerie of Stavelot contained 14 communities and that of Malmedy contained the town itself and the bans of Waimes and Francorchamps. The county of Logne was divided into four quartiers: Hamoir (7 communities), Ocquier (6), Comblain (5) and Louveigné (2), with public assemblies being based in Bernardfagne. In addition, six other communities were exclaves, and there were the seigneuries of Anthisnes and Vien, in the Confroz. In 1768, these two seigneuries were exchanged with Liège for Chooz, Sclessin, and Ougrée.

Several sources note that there were disputes between the two abbeys, with Stavelot assuming primacy over Malmedy, to the latter's discontent; though new abbots were invested in Stavelot on behalf of both abbeys. Whilst an absolute principality, in some matters the prince-abbot would consult a general assembly or états of clergy, dignitaries, prince's officers, mayors, and aldermen, whose main role was to vote for taxes. Each of the three districts had its own provincial assembly and court, with a Princely Council for highly contested cases. As a court of last resort, citizens could appeal to the Reichskammergericht (Imperial Chamber Court), created by Emperor Maximilian I (reigned 1508–19) on the model of the parliaments in Paris and Mechelen and headquartered in Frankfurt (1495–1527), Speyer (1527–1693) and Wetzlar (1693–1806).

Shortly before the principality's extinction, it contributed just over 81 Reichsthaler per session for the maintenance of the Imperial Chamber Court, from annual revenues of around 25 000 Rhenish guilder.

## Art

The abbeys at Stavelot and Malmedy commissioned some of the finest surviving works of Mosan art, one of the leading schools of Romanesque art, especially in goldsmith metalwork, which was then the most prestigious art form. Their collections were dispersed by wars and, finally, the French Revolution. Works from the abbeys are now in museums across the world. The illuminated manuscript Stavelot Bible (now in the British Library) was probably the abbey's main bible, and was created there by several hands over a four-year period ending in 1097 (other works have been identified as being from the same scriptorium). The bible has been described as "a perfect microcosm of the influences and interests that gave rise to the first Romanesque painting". A group of manuscripts from the less productive scriptorium at Malmedy were donated to the Vatican Library in 1816 by Pope Pius VII, including the Malmedy Bible and two lectionaries from about 1300. Malmedy illuminations show a particular closeness with metalwork styles.

Abbot Wibald (ruled 1130–58) was an important Imperial minister and diplomat, and was regarded as one of the greatest patrons of Mosan art in its best period, although much of the evidence for this is circumstantial. Some of his surviving letters discuss works which may be identifiable with existing pieces, and an "aurifaber G", who some have identified with Godefroid de Claire, a shadowy figure to whom many masterpieces are attributed. Several important commissions were certainly placed by Wibald with Mosan workshops of goldsmiths and metalworkers, and other works later connected with Stavelot are also presumed to have been commissioned by him. The works, mostly champlevé enamels of very high quality, include the Stavelot Triptych, a portable altar reliquary for two fragments of the True Cross, c. 1156, (now in the Morgan Library & Museum in New York), the Stavelot Portable Altar of 1146, and a head-shaped reliquary of Pope Alexander II, c. 1150, possibly by Godefroid (both now Cinquantenaire Museum, Brussels). A gold relief retable of the Pentecost (1160–70) is in the Musée national du Moyen Âge in Paris. An important and more elaborate retable of Saint Remaclus, of about 1150, about nine square metres in extent, was broken up during the French Revolution; and only two round enamel plaques survive, in Berlin and Frankfurt, though a 17th-century drawing survives in Liège.

## Coat of arms

The coat of arms granted to the town of Stavelot, in 1819, is also that of the abbey—parted fesswise between an image of St Remaclus and the wolf, which in Stavelot's founding legend carried bricks for the building of the abbey after having killed Remaclus's donkey.

## See also

- List of Carolingian monasteries
- Carolingian architecture

Ecclesiastical state of the Holy Roman Empire

Prince-bishoprics of the Holy Roman Empire in Belgium

States and territories established in the 650s


Be the One (Dua Lipa song)

"Be the One" is a song recorded by English-Albanian singer Dua Lipa for her eponymous debut studio album (2017). The song was written by Lucy Taylor, Jack Tarrant and Digital Farm Animals, with the latter of the three also handling the production. They wrote it about a relationship that Taylor was in and gave the song to Lipa, who was originally reluctant to record it due to the writing credits. It is a dream pop, Europop and synth-pop song with elements of gospel and power pop. Lyrically, it sees Lipa begging her boyfriend for a romantic redemption. The song received acclaim from music critics, with many hailing it as a standout on the album and praising the anthemic qualities in the production.

Released through Dua Lipa Limited for digital download and streaming on 30 October 2015, "Be the One" received limited attention at the time as it was only intended to be promoted on blogs and online outlets. However, after being picked up by German radio stations, it became a sleeper hit the following year. Due to this success, the song was re-released on 6 December 2016, being promoted in the United Kingdom and the United States. It reached the top ten of charts in nine territories worldwide, including the Flanders region of Belgium where it reached the summit and Lipa's native region of the United Kingdom, where it peaked at number nine becoming her first solo top 10 single. The song is currently certified gold or higher in eleven regions, including a double platinum in the UK.

The music video for "Be the One" was directed by Nicole Nodland. It features several scenes of Lipa in London. With the song's re-release, a second music video was released. Directed by Daniel Kaufman, it stars Ansel Elgort as Lipa's love interest and was created in a collaboration between Vevo and Lexus, where a Lexus IS covered in LEDs appears. The video features Elgort following Lipa out of a motel after the two had an argument. Lipa promoted the song with numerous live performances, including ones for Jimmy Kimmel Live!, Good Morning America, and Later... with Jools Holland. Remixes by Paul Woolford, Take a Daytrip and Netsky were also released for promotion.

## Background and composition

"Be the One" was written by Lucy Taylor, Digital Farm Animals and Jack Tarrant. They wrote it about the miscommunication in a relationship Taylor was in at the time. A good friend of Dua Lipa's, Taylor played the song for her and offered her to record it, prior to Lipa releasing any music. Lipa immediately fell in love with the song, specifically citing the melodies and "persistent" lyrics as why; she thought it would be a perfect fit on her album. However, she was reluctant to record the song due to the fact that she did not write it.

Following much pressure from her management and after she sang it once and realized how fun it was to sing, Lipa formed a personal connection to it, which she described as "different" than that to ones she has written due to the fact that when performing a song, she reminisces about having written it. Lipa then went into the studio with Taylor and Digital Farm Animals to complete the song. Lipa recalled having a fun time with them and felt as though she made the song her own. The song was recorded by Evelyn Yard at Sony/ATV Recording Studios while Lipa's vocals were recorded at TaP Studio / Strongroom 7 in London. The mixing was done by Serban Ghenea at MixStar Studios in Virginia Beach, Virginia while John Davis mastered the song at Metropolis Studios in London. "Be the One" is one of the two songs on Lipa's self-titled debut studio album that Lipa does not have a writing credit on, with the other being "New Rules".

Musically, "Be the One" is a soulful, dream pop, Europop and synth-pop song, with gospel and power pop elements. Constructed in verse–chorus form, the song runs for 3 minutes and 22 seconds and is composed in time and the key of B major, with a tempo of 176 beats per minute and a chord progression of F–E6–Emaj7. It has an airy production, containing a tropical R&B beat, 1980s grooves, electropop riffs, layered melodies, a programmed drum loop, calypso synths, handclaps, a vinyl hiss, and a guitar arpeggio. Lipa uses sensuous alto vocals, spanning a range of F3 to D5. Described by Lipa as about "self belief, perseverance, and fighting for what you want," the song sees her pleading for a romantic redemption after a falling out with her boyfriend.

## Release and promotion

"Be the One" was first announced by Lipa during an interview with Nylon in October 2015. The song was released for digital download and streaming on 30 October 2015 through the singer's independent record label Dua Lipa Limited. Discussing releasing the single, Lipa admitted that she lacked excitement due to the writing credits. A "Bedtime Mix" was made available on 5 January 2016 to Phil Taggart for airplay on BBC Radio 1. The song was sent for radio airplay in Italy on 29 January 2016. The same day, an extended play including a dark trap remix of the song by Shy Luv, as well as remixes by Dillistone, Paul Woolford, Take a Daytrip, Ten Ven and With You was released; They were sent for radio airplay in Italy on 9 February 2016. An extended play for the song was released on 19 February 2016, exclusively in Austria, Germany and Switzerland. It featured Lipa's singles "New Love" (2015) and "Last Dance" (2016), as well as the "Be the One" remix by With You and a Max + Johann remix of the song. The first music video for "Be the One" and the "Last Dance" music video are also included.

In Germany, a CD single with "Last Dance" as its B-side was released on 11 March 2016. Universal Music Germany held a contest for fans to win signed versions of the CD, only three of which were available. A live version of "Be the One" appears as the fourth track on Lipa's extended play Spotify Sessions, released 8 July 2016. After finding commercial success, "Be the One" was re-released on 6 December 2016 in the United Kingdom. In the United States, the song was promoted to contemporary hit radio formats as a promotional single on 22 February 2017, before officially impacting the format on 21 March 2017, becoming the album's second single in the US following "Blow Your Mind (Mwah)" (2016). With the re-release, a remix by Netsky on 24 February 2017. The remix is a "blissful and laid back" drum and bass track with daydream vibes. It uses the song's original arrangement with a "pounding" percussion and synths. "Be the One" is included on Lipa's 21 April 2017-released, Urban Outfitters-exclusive vinyl extended play The Only, serving as the fourth track on the EP. The song also appears as the fourth track on Lipa's eponymous debut studio album, released on 2 June 2017 and serving as the album's second single. Lipa revealed that the song was never intended to be promoted to radio, only to blogs and online outlets.

## Critical reception

"Be the One" was met with acclaim from music critics. In The Guardian, Paul Lester called the song "fabulous" while comparing Lipa's "smoky" vocals to that of Lana Del Rey's "younger, poppier" style. Claire Biddles of The Line of Best Fit named it a standout on Dua Lipa and compared it to Shura, while she also called the song "gorgeous enough to warrant a reappraisal [in 2017]." In a separate review for the same magazine, Paul Bridgewater labelled it a "fresh breath of pop air." Writing for musicOMH, Ben Hogwood called the song "utterly beguiling," praising the production and also stating that it is "arguably her best song to date." For DIY, Jamie Milton described the song as "a sweet club track given pop takeover potential," as well as comparing it to Justin Bieber's My World 2.0 (2010).

Alim Kheraj, also of DIY, stated that the song has an "airy wistfulness," while he also viewed it as "transcendent" and a "euphoria." Carl Williott of Idolator called the track "bouncier and catchier" than Lipa's "New Love". For The Fader, Jeff Ihaza branded the song "blissful." In a review for Clash, Alex Green stated that "Be the One" "sparkles" with the "zeal" that "Hotter than Hell" (2016) misses. Richard Jones, in a separate Clash review, called the song a "dark and seductive anthem." In the Evening Standard, Rick Pearson labelled its chorus "irresistible." Sean Ward of The 405 called the song a standout on Dua Lipa, categorizing the chorus as "rushing" and lyrical structure as "sophisticated," as well as comparing the song to Body Talk by Robyn.

Nylon's Laura Studarus described the song as "perfect club music," while also calling its hooks "sticky" and melodies "moody." For Vice, Alexandra Hayward branded the song "glossily" and "anthemic" as well as commenting on the "desperation" of Lipa's vocals. The staff at The Singles Jukebox gave the song an average of 6.83. Crystal Leww praised the production but criticized its meaning, writing that the song does not "make sense," while Thomas Inskeep praised Lipa's vocals for being "rich" and "luscious." Popjustice ranked "Be the One" at number 44 on their 2015 year-end list for best songs of the year. In April 2020, Glamour's Christopher Rosa ranked "Be the One" as Lipa's third best song, calling it "ethereal" and comparing the song to the music of Florence and the Machine.

## Commercial performance

After its release in October 2015, "Be the One" failed to chart and received little airplay. However, it became a sleeper hit the following year after being picked up by radio stations in Germany, and later, across the rest of Europe. The song debuted at number 77 in Germany on the chart dated 25 December 2015. It spent a total on 28 weeks on the chart and reached a peak of number 11 in its eighth week. The song was awarded a platinum certification in the country from the Bundesverband Musikindustrie (BVMI) for track-equivalent sales of 400,000 units. In Belgium, "Be the One" reached number 42 in the Wallonia region, however, it performed significantly better in the Flanders region. In 2015, the song spent five weeks on the Ultratip Flanders chart, before entering the Ultratop 50 chart at number 43, dated 23 January 2016. In its ninth week, the song rose to the chart's summit and lasted for 13 weeks following. In 2017, it was awarded a platinum certification by the Belgian Entertainment Association (BEA) for 30,000 track-equivalent unit sales.

"Be the One" peaked at number seven on the Euro Digital Song Sales chart, and reached number seven in Austria, three in Hungary, two in Slovenia, one in Poland and four in Scotland. Additionally, the song holds a double platinum certification in Italy and a diamond certification Poland. The song reached number 11 in the Netherlands and was given a double platinum certification in the country for selling 60,000 track-equivalent units. In Australia, "Be the One" debuted at number 46 on the ARIA Singles Chart dated 3 April 2016, becoming her first entry on the chart. In its fifth week, the song rose to a peak of number six and spent a total of 18 weeks on the chart. That year, it was awarded a double platinum certification from the Australian Recording Industry Association (ARIA) for 140,000 track-equivalent sales in the country. In New Zealand, the song sold 7,500 track-equivalent units, resulting in it being awarded a gold certification from Recorded Music NZ (RMNZ). It spent seven weeks on their singles chart, reaching a peak of number 20.

"Be the One" debuted at number 70 on the UK Singles Downloads Chart dated 13 January 2017. The following week, the song entered the UK Singles Chart at number 54, becoming Lipa's fourth entry on the chart. It peaked at number nine on the chart issue dated 17 February 2017, becoming Lipa's highest-charting single for that occasion as well as her first solo top 10 single. The song lasted for 25 weeks on the chart. In May 2021, it received a double platinum certification by the British Phonographic Industry (BPI) for sales of 1,200,000 track-equivalent units in the United Kingdom. As of February 2022, "Be the One" has sales figures of 1,300,000 in the country that includes 106,000,000 streams. In the United States, the song reached number 40 on the Mainstream Top 40 chart and the summit of the Dance Club Songs chart. For track-equivalent sales of 500,000 units, the Recording Industry Association of America awarded the song a gold certification. The song also has that certification from Music Canada for 40,000 track-equivalent unit sales.

## Music videos

### Version 1

The music video for "Be the One" was directed by Nicole Nodland, who was also director of the video for "New Love". Following the recording of the video for "New Love" in Los Angeles, Lipa recalled having lots of fun and decided to attempt to re-create it with the music video for "Be the One", except in London. The singer stated that the video had no concept. Filming it, they went around to some of Lipa's favourite places in London, as well as exploring Soho, playing dress-up and dancing. Lipa cited 1990s fashion and vintage clothing as her inspirations for the visual. Nodland also produced it, while editing and cinematography was handled by Jackson Ducasse. The visual premiered through Nylon on 29 October 2015.

The video showcases several different colour effects. In an abandoned room, Lipa wears a black outfit and sings while sitting on a white chair. At some points she gets down to her knees and walks around the space. She is also seen laying in a field wearing a pink fur coat and glasses. In other scenes, she rides a limo with her head out the sun roof, roams the streets of Soho and sings in front of dark, white and rose backgrounds. Writing for Nylon, Sydney Gore praised the video's wardrobe. Ihaza wrote the music video "skips the melancholy, though, instead opting to dance in the face of vulnerability, and who wouldn't." Courtney Buck of The 405 stated that the video complements the song "seamlessly."

### Version 2

The second music video for "Be the One" was released through Vevo on 5 December 2016, in promotion of the song's re-release. It was directed by Daniel Kaufman and stars Ansel Elgort as Lipa's love interest. The video was made as a collaboration between Lexus and Vevo, and features a Lexus IS wrapped in 41,999 LEDs, which generates visuals based on the song. It was created after Lipa noticed fans asking her on social media for a second video to be shot. With it, Lipa wanted to show the darker side of the song, showing its themes of miscommunication in a relationship. The video begins with Lipa and Elgort having an argument in a neon-lit motel room, followed by Lipa storming out while Elgort follows. Elgort follows Lipa down an empty motorway, where flashback scenes are shown. The video concludes with Elgort catching up to Lipa, where she eventually escapes in the Lexus IS. For V, William Defebaugh named the music video "futuristic".

## Live performances

Lipa delivered her first live performance of "Be the One" at BBC's Sound of... ceremony on 8 January 2016. Five days later, she performed it at the Eurosonic festival for that year. It was also included on the set lists of both Lipa's Hotter than Hell Tour and the Self-Titled Tour. On 29 January 2016, Lipa performed the song for BBC Radio 1's Live Lounge. She performed the song at the Glastonbury Festival in 2016 and 2017. In 2017, Lipa performed "Be the One" at the Brit Awards for the Critics' Choice Award, EBBA Awards, and the NME Awards. Also in 2017, Lipa performed the song during Capital FM's Summertime Ball and Jingle Bell Ball, at The O2 Arena. That same year, in the US, Lipa performed the song on iHeartRadio, Jimmy Kimmel Live!, and Good Morning America. The song was part of Lipa's setlists for 2017s BBC Radio 1's Big Weekend as well as Bonnaroo, and 2018s Tomorrowland. On 31 October 2017, she performed it on Later... with Jools Holland. On 16 November 2018, Lipa performed the song at the Bambi Awards. 2018 UEFA Champions League Final in Kyiv, Ukraine. "Be the One" was also included in the setlist for Lipa's 2022 Future Nostalgia Tour.

## Track listings

- Digital download and streaming

1. "Be the One" – 3:22

- Digital EP – remixes

1. "Be the One" (Shy Luv remix) – 3:28
2. "Be the One" (Dillistone remix) – 3:47
3. "Be the One" (Paul Woolford remix) – 6:21
4. "Be the One" (Take a Daytrip remix) – 4:08
5. "Be the One" (Ten Ven remix) – 5:24
6. "Be the One" (With You remix) – 5:45

- Digital download and streaming – Netsky remix

1. "Be the One" (Netsky remix) – 4:17

- Digital EP

1. "Be the One" – 3:23
2. "New Love" – 3:59
3. "Last Dance" – 3:49
4. "Be the One" (With You remix) – 5:45
5. "Be the One" (Max + Johann Remix) – 4:06
6. "Be the One" (music video) – 3:25
7. "Last Dance" (music video) – 3:48

- CD single

1. "Be the One" – 3:22
2. "Last Dance" – 3:49

## Personnel

- Dua Lipa –  lead vocals, backing vocals
- Digital Farm Animals –  production
- Lucy Taylor –  backing vocals
- Jack Tarrant –  vocal production, guitar
- Evelyn Yard –  recording
- John Hanes –  engineering for mix
- Serban Ghenea –  mixing
- John Davis –  mastering

## Charts

### Weekly charts

### Year-end charts

## Certifications

## Release history

## See also

- List of Live Lounge cover versions
- List of interpolated songs
- List of Platinum singles in the United Kingdom awarded since 2000
- List of Ultratop 50 number-one singles of 2016
- List of number-one singles of 2016 (Poland)
- List of Billboard Dance Club Songs number ones of 2017
- List of UK top-ten singles in 2017
- List of top 10 singles in 2016 (Australia)

2015 single by Dua Lipa

Song recordings produced by Digital Farm Animals

Ultratop 50 Singles (Flanders) number-one singles


Ben Revere

Ben Daniel Revere (born May 3, 1988) is an American former professional baseball outfielder. He played in Major League Baseball (MLB) for the Minnesota Twins, Philadelphia Phillies, Toronto Blue Jays, Washington Nationals, and Los Angeles Angels.

Revere played baseball at Lexington Catholic High School, where he received several awards during his junior and senior seasons. Revere was selected in the first round of the 2007 Major League Baseball draft by the Minnesota Twins and played in their farm system for three seasons before being called up to Major League Baseball in late 2010. He played with the Twins for two more seasons before being traded to the Phillies in the 2012 offseason.

Revere began the 2013 season as the Phillies’ leadoff hitter before suffering an injury and being moved down in the lineup. His primary strengths were his speed and his defense; he struggled to hit for power, hitting just seven home runs in the major leagues. Writers and teammates have described Revere as being a genuine, goofy, energetic player.

## Early life

Revere was born in Atlanta and raised in LaGrange, Georgia. In the early 2000s, he moved to Richmond, Kentucky, where he attended Lexington Catholic High School from 2003 to 2007. He led the varsity baseball team to a state championship his junior season (2006), and was named most valuable player. After his senior season, he was named the Gatorade Kentucky Baseball Player of the Year, 2007 Mr. Baseball for Kentucky, and a member of the All-USA Today high school baseball team. The Minnesota Twins selected him in the first round (28th overall pick) of the 2007 Major League Baseball draft and signed shortly thereafter. He had previously committed to play college baseball at Georgia.

## Professional career

### Minor league career

After his first-round selection, the Twins assigned Revere to the Gulf Coast League Twins, with whom he posted a .325 batting average (BA) in his first season of professional ball, and was named a 2007 Gulf Coast League Postseason All-Star. The following season with the Beloit Snappers of the Class A Midwest League, Revere's batting average increased to .379 with 44 stolen bases and ten triples. He won several awards for his performance, including a Midwest League All-Star selection, Mid-season MVP, Postseason All-Star, Most Valuable Player, Prospect of the Year, and the Sherry Robertson Award as Twins' minor league player of the year. Baseball America placed him on their 2008 High Class A All-Star team and called him the Twins' second best prospect, behind Aaron Hicks.

Revere began the 2009 season with the Fort Myers Miracle of the Florida State League (FSL). In the first half of the season, he batted .342 with 23 RBIs, 32 runs scored and 22 stolen bases. He was named the FSL Player of the Week for May 11–17, and was an All-star for the FSL's Southern division. He did not commit an error all season in 225 chances playing both center field and left field. He finished the season with a .311 batting average, two home runs, and 48 RBIs.

Before the season, Baseball America ranked him the Twins' fifth-best prospect. Revere began the 2010 season with the New Britain Rock Cats of the Class AA Eastern League. He was named the Twins minor league player of the month in May after hitting .336 with 6 doubles, a home run, and 15 runs batted in (RBIs). He played in the 2007 All-Star Futures Game at Angel Stadium in Anaheim. After totaling a .305 BA with 36 stolen bases during the season, his contract was purchased by the Twins on September 4, 2010.

### Minnesota Twins

He made his major league debut on September 7, 2010, as a pinch hitter for Denard Span, striking out against Kansas City Royals' pitcher Jesse Chavez. He remained in the game, replacing Span in center field. He recorded his first major league run batted in (RBI) on September 18, 2010, when he grounded out to score J. J. Hardy in a game against the Oakland Athletics. He recorded his first major league hit a day later.

Revere began the 2011 season with the Twins' Class AAA affiliate, the Rochester Red Wings of the International League. In May, Revere was called up to Minnesota to play left field for the injured Delmon Young. Soon after Young's return, Span was placed on the seven-day disabled list with a concussion. As a result, Revere was given another position to play.

In late 2012, Revere amassed a 21-game hitting streak, his career best. He finished the 2012 season playing 124 major league games with a .294 batting average, no home runs, and 32 RBIs.

### Philadelphia Phillies

On December 6, 2012, Revere was traded to the Philadelphia Phillies for Vance Worley and Trevor May. Revere was picked to lead off the Phillies' Opening Day lineup for the 2013 season against the Atlanta Braves over Jimmy Rollins after a strong spring training performance. After acquiring Revere, Phillies General Manager (GM) Rubén Amaro Jr. said, "He can go to the top of the order or bottom of the order. Either way, for us it was about the defense and the speed. We like athletic players and he's certainly that. He has great energy, a fantastic defender. And those are priorities for us."

On April 15, 2013, the day of the Boston Marathon bombing, Revere inscribed "Pray for Boston" onto a piece of masking tape and taped it to his glove, which he left sitting out while he stretched. A photographer from Getty Images photographed the glove, and Revere later commented that his phone was "ringing off the hook" with thanks for the gesture. Revere commented,

> "A bunch of people who live in Boston said it was all over the news out there", Revere said. "I just showed my appreciation. Even when I'm playing, I'm thinking of the people in Boston. It's just terrible that it happened. For me, I'm just playing the game for them a little bit."

In the subsequent game, Revere made an incredible leaping, diving catch with the glove, robbing Todd Frazier of an extra base hit.

Near the beginning of the season, Revere sustained an injury to his quadriceps that he worsened in the April 24 game against the Pittsburgh Pirates. He missed multiple consecutive games and was replaced in the lineup by Freddy Galvis. Revere finally returned on May 3, his 25th birthday. He injured his elbow in a game against the Boston Red Sox on May 27 after jamming it into the metal fence at Fenway Park. He remained in the game, and x-rays later turned up negative. Revere later said of the injury, "Luckily, I've got strong enough bones. If it was somebody else it may have been bad, but luckily it wasn't serious."

By the end of May, Revere was back hitting mainly at the top of the order after manager Charlie Manuel decided to adjust the lineup in hopes of sparking some offense. He managed two hits in a game against the Miami Marlins on June 3, stole two bases, and stopped an extra-base hit from Adeiny Hechavarria. "I just have to take it one game at a time and not put any pressure on myself. I'm finding my stroke", Revere later said of the game. On July 13, Revere suffered a fractured foot after a foul ball hit him while at-bat. He had surgery for the fracture on July 16. Although the initial timetable for Revere's return was six to eight weeks, the Phillies official website later published an article stating that there was no timetable for his return and they were unsure whether or not he will return for a remainder of the 2013 season. He ended up missing the rest of the 2013 season, and finished with a .305 batting average, 0 home runs, 17 runs batted in and 22 stolen bases.

Revere entered the 2014 season healthy, and, amidst chaos and position battles elsewhere, he was the preeminent starter in center field. Before the season, Pat Egan of Phillies Nation published an article declaring the Phillies as the clear winners of the trade that brought Revere to Philadelphia. Though initially writers thought the Twins received a terrific return and it was a terrible trade for the Phillies, Worley was ultimately outrighted of the Twins' roster and traded, and May's status as a top prospect languished, whereas Revere had emerged as a viable everyday center fielder who was under contract with the Phillies through 2018. On April 1, 2014, Revere set a new MLB record for most plate appearances without a home run (1,410) by a non-pitcher. Despite his initial preeminence, because of sore ribs (caused by a diving catch in the outfield), backup Tony Gwynn Jr. started four consecutive games in center field (beyond the time Revere needed to recover from his injury due to Gwynn's success at the plate) while Revere, who had recently struggled at the plate, was on the bench. However, a few days later, Revere came up to bat in the eighth inning in a scoreless game, and hit an RBI single, which re-implanted him atop the Phillies' starting lineup. As for Gwynn, Revere commented,

> We're kind of the same player. He's like my older brother. If I do something wrong, he's right there telling me how to correct myself. I'm the same way with him. If I see something, I tell him. He's definitely a great motivator for me. I just learn from him, since he's been in the game for a while. I'm still learning. I kind of just watched him those few days to help me out and improve my game, and he watches me to improve his. We kind of feed off each other

On May 27, 2014, Revere hit his first MLB home run in his 1,466th career at-bat, the longest streak without a home run to begin a career since Frank Taveras in 1977. On September 5, Revere hit another home run, the second of his career, against Washington Nationals right-handed pitcher Rafael Soriano. In the waning weeks of the season, Revere was firmly embroiled in the battle for the National League batting title with Justin Morneau, Josh Harrison, and others. In 151 games of 2014, Revere hit .306 with an NL-leading 184 hits, 49 stolen bases, two home runs, and 28 RBIs. Paul Boye wrote, "The fact of the matter boils down to this: Ben Revere is the best option in center field for this team, given both internal and external options at this point." On October 1, 2014, Revere underwent right ankle surgery to remove two screws.

After having played center field exclusively during his first two years with the Phillies, Revere spent some time in left field during spring training in 2015 while Odubel Herrera played in center; manager Ryne Sandberg noted that Revere's arm may fit better in left field. In 96 games with the Phillies, Revere batted .298 with 24 stolen bases, 1 home run, and 26 RBI.

### Toronto Blue Jays

On July 31, 2015, Revere was traded to the Toronto Blue Jays for Alberto Tirado and Jimmy Cordero. Revere struggled early in his tenure with the Blue Jays, going hitless in his first 13 at-bats. He would return to form for the remainder of August, making several highlight-reel catches in left field and extending a hit streak to 9 games on August 29. During those 9 games, Revere batted .514. He played in 56 games for the Blue Jays in the 2015 regular season, and batted .319 with 1 home run, 19 RBI, and 7 stolen bases. He played 152 total games in 2015 with a .306 batting average, 2 home runs, 31 stolen bases, and 45 RBI.

With the Blue Jays finishing the season 93–69, the team clinched the AL-East pennant for their first postseason berth in 22 years. During Game 6 of the 2015 ALCS against the Kansas City Royals, Revere was involved in controversy where Jeff Nelson called a strike on a pitch that was up and outside on a 2–1 count. The very next pitch, Revere struck out swinging. He attacked a garbage can with his bat in frustration in the dugout, and the Blue Jays would end up losing the game 3–4, eliminating them from further postseason contention. In 11 postseason games, Revere batted .256 with 2 stolen bases.

### Washington Nationals

On January 8, 2016, Revere and a player to be named later were traded to the Washington Nationals in exchange for Drew Storen and cash considerations.

Revere was placed on the 15-day disabled list on April 6 after suffering a strained right oblique in the season opener on April 4. He batted .217/.260/.300 for the 2016 season. The Nationals opted not to tender Revere a contract after the 2016 season, making him a free agent.

### Los Angeles Angels

On December 23, 2016, Revere signed a one-year, \$4 million contract with the Los Angeles Angels that included unspecified incentives. Revere began the season as the team's 4th outfielder but after inconsistent play, Revere was entrusted as the left fielder. In 109 games, Revere hit .275/.308/.344 with 1 home run and 21 stolen bases.

### Cincinnati Reds

On February 25, 2018, Revere signed a minor league contract with the Cincinnati Reds. He was released on March 25.

### Second stint with the Angels

On March 30, 2018, Revere signed a minor league contract with the Los Angeles Angels. He was released on July 26, 2018.

### Texas Rangers

On February 17, 2019, Revere signed a minor league contract with the Texas Rangers that included an invitation to spring training. The Rangers released Revere on March 26, 2019.

### Second stint with the Blue Jays

On April 27, 2019, Revere signed a minor league contract with the Toronto Blue Jays. He was released on May 22.

### Lexington Legends

During the COVID-19 Pandemic, Revere played with the Lexington Legends during their "Battle of the Bourbon Trail" series due to the cancellation of the 2020 MiLB season.

#### Player-coach

On May 18, 2021, Revere was named hitting coach for the Lexington Legends (now members of the independent Atlantic League of Professional Baseball) for the 2021 season.

On July 31, 2021, the team activated him as a player. In his first game, he went 2-3 with a triple and 2 RBI's. Revere did not return to the organization after the season.

## Coaching career

On February 17, 2023, it was announced that Revere would be joining the Florida Complex League Braves, the rookie-level affiliate of the Atlanta Braves, as a coach for the 2023 season.

## Scouting report

### Offense

Revere's former teammate Denard Span described him as having the "ability to change games with his speed both offensively and defensively" and saying that he is always "looking to steal second and third" to gain offense momentum. A slap hitter, he has struggled to hit for power during his career; it took him 1,466 at-bats to hit his first home run, the most since 1977. According to a hot zone chart generated by ESPN Stats and Information, Revere has the best batting average and slugging percentage on pitches on the lower-outside part of the plate. Revere hits left-handed pitchers as well as he does right-handed pitchers. Lindy's Sports noted that despite having a long swing with a "big timing hitch", he makes "excellent line-drive contact" and is a productive leadoff hitter with excellent speed. The Baseball Cube's player ratings, which are based solely on statistics on a 0-100 scale, rated Revere as a 98 for contact and a 97 for speed.

### Defense

Defensively, Revere has excellent range in the outfield and, during the 2012 season, amassed a 16.4 ultimate zone rating (UZR), which is well above average. FanGraphs described him as being an "elite" defensive player due to his speed and range. Even when he has struggled offensively, his defense kept him in the lineup during his early career with the Twins as a right fielder and during his 2013 slump with the Phillies. Though Revere used his speed efficiently in covering ground in the outfield, he struggled to produce outs with his below-average arm. In 2014, some writers asserted that his speed covered for poor range in the outfield, and that he was a below-average outfielder.

## Personal life

Described by writer Craig Hughner as embodying a "full-throttle" style of play along with a "genuine, charismatic personality", Revere is known for his energy on the field. Revere called his personality a product of the manner in which he was raised, and that he always tries to be "goofy" and to keep things loose. Former teammate Denard Span corroborated Revere being "goofy", that he is a "real good teammate", and that he comes to play the right way every day. Revere is a devout Christian; he says that he prays nightly and reads his Bible weekly. A self-proclaimed history buff, Revere said he wants to explore Philadelphia museums and famous sites when he no longer has to focus so much on baseball.

American baseball player (born 1988)

American expatriate baseball players in Canada