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Bull riding
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Bull riding
Bull riding is a rodeo sport that involves a rider getting on a bucking bull and attempting to stay mounted while the animal tries to buck off the rider.
In the American tradition, the rider must stay on top of the bucking bull while holding onto the bull rope with one hand for eight seconds and not touching the bull or himself with his free hand. A bull rope is a fiber rope wrapped around the chest of the bull directly behind the bull's front legs, which the rider grips while riding. If he does that, it is a qualified ride. If he gets bucked off before eight seconds, it is a no score. In most bull riding circuits, four judges mark scores for the rider and the bull. Two judges score the rider based on his ability up to 25 points each for up to a total of 50 points. The other two judges score the bull on his bucking performance for up to 25 points each for a total of up to 50 points. Thus, the ride is scored up to 100 points. Most professional riders score between the mid-70s and high 80s. American Bull riding has been called "the most dangerous eight seconds in sports."[1]
Outside of the United States, bull riding traditions with varying rules and histories also exist in Canada, Mexico, Guatemala, El Salvador, Honduras, Nicaragua, Costa Rica, Panama, Cuba, Argentina, Brazil, Chile, Australia and New Zealand with the majority of them following similar rules, especially with the Professional Bull Riders organization.[2]
Contents
[hide]
1 History
2 Rules and regulations
2.1 Points and scoring
3 Equipment
3.1 Rider equipment
3.2 Bull equipment
3.3 The arena
4 North America
5 Australia and New Zealand
6 Animal welfare
7 See also
8 References
9 External links
History[edit]
The taming of bulls has ancient roots in contests dating as far back as Minoan culture.[3] Bull riding itself has its direct roots in Mexican contests of equestrian and ranching skills now collectively known as charreada.[3] During the 16th century, a hacienda contest called jaripeo developed. Originally considered a variant of bull fighting, in which riders literally rode a bull to death, the competition evolved into a form where the bull was simply ridden until it stopped bucking.[3] By the mid-19th century, charreada competition was popular on Texas and California cattle ranches where Anglo and Hispanic ranch hands often worked together.[3]
Many early Texas rangers, who had to be expert horsemen and later went on to become ranchers, learned and adapted Hispanic techniques and traditions to ranches in the United States. Many also enjoyed traditional Mexican celebrations, and H. L. Kinney, a rancher, promoter and former Texas Ranger staged what is thought to be the first Anglo-American organized bullfight in the southwest in 1852. This event also included a jaripeo competition and was the subject of newspaper reports from as far away as the New Orleans Daily Delta.[3] However, popular sentiment shifted away from various blood sports and both bullfighting and prize fighting were banned by the Texas legislature in 1891.[3] In the same time period, however, Wild West Shows began to add steer riding to their exhibitions, choosing to use castrated animals because steers were easier to handle and transport than bulls.[3] Additionally, informal rodeos began as competitions between neighboring ranches in the American Old West. The location of the first formal Rodeo is debated. Deer Trail, Colorado claims the first rodeo in 1869 but so does Cheyenne, Wyoming in 1872.[4]
Although steer riding contests existed into the 1920s, the sport did not gain popularity until bulls were returned to the arena and replaced steers as the mount of choice.[3] The first-known rodeo to use brahma bulls was in Columbia, Mississippi, produced in 1935 by Canadian brothers Earl and Weldon Bascom with Jake Lybbert and Waldo Ross. This rodeo was the first to feature a bull riding event at a night rodeo held outdoors under electric lights. A pivotal moment for modern bull riding, and rodeo in general, came with the founding of the Rodeo Cowboy Association (RCA) in 1936, which later became the Professional Rodeo Cowboys Association (PRCA). Through this organization many hundreds of rodeos are held each year. Since that time, the popularity of all aspects of the rodeo has risen. In addition to the PRCA, which has PRCA ProRodeo with bull riding and the Xtreme Bulls events for bull riding only, there are two separate organizations that promote and produce shows for stand-alone professional bull riding in the United States: Championship Bull Riding (CBR) and Professional Bull Riders (PBR). CBR tours all over the United States and its major league tour, the Road to Cheyenne Tour, is broadcast on Fox Sports Networks. The CBR world championships take place at Cheyenne Frontier Days. The Professional Bull Riders (PBR) stages a large number of events in the United States, Canada, Mexico, Brazil, and Australia. For many years the annual PBR World Finals were held at the Thomas and Mack Center in Las Vegas, Nevada. However, starting in 2016, the Finals are now held at the T-Mobile Arena in Las Vegas.[5] The PBR's major league tour, currently titled the Unleash the Beast Series, is broadcast on CBS Sports Network, with the primary broadcast network televising selected bonus rounds (known as 15/15 bucking battles). The previous tour name, which ran from 2003 until 2017 was titled the Built Ford Tough Series.[6][7] From these roots, bull riding as a competitive sport has spread to a number of other nations worldwide.
Rules and regulations[edit]
Bull riding at the Calgary Stampede. The "bullfighter" or "rodeo clown" is standing just to the right of the bull
Each bull has a unique name and number used to help identify it. A sufficient number of bulls, each judged to be of good strength, health, agility, and age, are selected to perform. The rider and bull are matched randomly before the competition, although starting in 2008, some ranked riders are allowed to choose their own bulls from a bull draft for selected rounds in PBR events.
A rider mounts a bull and grips a flat braided rope. After they secure a good grip on the rope, the rider nods to signal they are ready. The bucking chute (a small enclosure which opens from the side) is opened and the bull storms out into the arena. The rider must attempt to stay on the bull for at least eight seconds, while only touching the bull with their riding hand. The other hand must remain free for the duration of the ride. Originally, the rules required a 10-second ride, but that was changed to the current eight seconds.
The bull bucks, rears, kicks, spins, and twists in an effort to throw the rider off. This continues for a number of seconds until the rider bucks off or dismounts after completing the ride. A loud buzzer or whistle announces the completion of an eight-second ride.
Throughout the ride, bullfighters, also popularly known as rodeo clowns, stay near the bull to aid the rider if necessary. When the ride ends, either intentionally or not, the bullfighters distract the bull to protect the rider from harm.
Many competitions have a format that involves multiple rounds, sometimes called "go-rounds". Generally, events span two to three nights. The rider is given a chance to ride one bull per night. The total points scored by the end of the event are recorded, and after the first or first two go rounds, the top 20 riders are given a chance to ride one more bull. This final round is called the "short go". After the end of the short go, the rider with the most total points wins the event.
Points and scoring[edit]
The ride is scored from 0–100 points. Both the rider and the bull are awarded points. There are usually two judges, each judge scoring the bull from 0–50 points, and the rider from 0–50 points. The combined point totals from both judges make up the final score for the ride. This system was spearheaded by former PRCA president Dale Smith.[8] Scores of zero are quite common as many riders lose control of the animal almost immediately after the bull leaves the bucking chute. Many experienced professionals are able to earn scores of 75 or more. Scores above 80 are considered excellent, and a score in the 90s exceptional.
Judges award points based on several key aspects of the ride. Judges look for constant control and rhythm in the rider in matching their movements with the bull. Points are usually deducted if a rider is constantly off balance. For points actually to be awarded the rider must stay mounted for a minimum of 8 seconds, and they are scored only for actions during those 8 seconds. The ability to control the bull well allows riders to gain extra style points. These are often gained by spurring the animal. A rider is disqualified for touching the bull, the rope, or themselves with their free arm.[9]
Bulls have more raw power and a different style of movement from bucking horses. One move particular to bulls is a belly roll or sunfishing, in which the bull is completely off the ground and kicks either his hind feet or all four feet to the side in a twisting, rolling motion. Bulls also are more likely than horses to spin in tight, quick circles, while they are less likely to run or to jump extremely high and "break in two".
For the bull, judges look at the animal's overall agility, power and speed; its back end kicks; and its front end drops. In general, if a bull gives a rider a very hard time, more points will be awarded. If a rider fails to stay mounted for at least 8 seconds the bull is still awarded a score.[9] The PBR, CBR, PRCA, IPRA and PRS record bulls' past scores so that the best bulls can be brought to the finals, ensuring that riders will be given a chance to score highly. All five organizations also award one bull the "Bucking Bull of the Year" award, decided by scores and the number of riders it has bucked off. The award brings prestige to the ranch at which the bull was raised.
If a rider scores sufficiently low due to poor bull performance, the judges may offer the rider the option of a re-ride. By taking the option, the rider gives up the score received, waits until all other riders have ridden, and rides again. This can be risky because the rider loses their score and risks being bucked off and receiving no score. A re-ride may also be given if a bull stumbles or runs into the fence or gate.
Equipment[edit]
Rider equipment[edit]
Bull riders use many pieces of equipment both functionally and to ensure maximum safety, both to themselves and to the animals involved.
The primary piece of equipment used is the bull rope. The bull rope is a braided rope made of polypropylene, grass, or some combination. A handle is braided into the center of the rope and is usually stiffened with leather. One side of the rope is tied in an adjustable knot that can be changed for the size of bull. The other side of the rope (the tail) is a flat braid and is usually coated with rosin to keep it from sliding through the rider's hand. A metallic bell is strapped to the knot and hangs directly under the bull throughout the ride. In addition to the sound the bell produces, it also gives the rope some weight, allowing it to fall off the bull once a rider has dismounted.
Chaps are probably the most noticeable piece of bull rider clothing, as their distinctive coloring and patterns add flair to the sport. Usually made of leather, chaps also provide protection for the rider's legs and thighs.
Bull riders are required to wear a protective vest, most usually wear one made of high impact foam that allows the shock to disperse over a wide area, thereby reducing pain and injury.
To prevent a rope burn, riders must wear a protective glove, usually of leather. This glove must be fastened to the rider's hand since the force the animal is able to exert could tear the glove away. The rider often applies rosin to the glove, which allows for additional grip.
Cowboy boots are also worn. The dull and loosely locked spurs help keep the rider balanced and is crucial piece of equipment to the sport as a whole. The bulls are unharmed by the rowels, as their hide is roughly seven times thicker than a human being's skin. Truly skilled riders will often spur the bull in the hope of achieving extra style points from the judges.
Cowboy hats remain the primary headwear used. While the professional organizations permit protective helmets and masks, some riders continue to believe that this equipment can detrimentally affect balance, and many professionals still avoid wearing them. However, the trend is changing, as more champion riders begin to wear helmets for added safety.
Public health researchers found evidence suggesting that bull riding helmets are protective, when riders wearing one particular type of helmet suffered approximately 50% fewer head and facial injuries.[10][11] In 2004, at the 1st International Rodeo Research and Clinical Care Conference in Calgary, Alberta, Canada, a group of top rodeo medicine researchers and clinical care providers came to a consensus on the use of helmets declaring that all youth rodeo participants should wear helmets, and that helmets should be recommended for adult bull riders.[12]
For competitors under the age of 18, protective headgear incorporating a helmet and ice hockey style face mask are worn. While optional at the upper levels of the sport, it has become mandatory at younger levels, and riders who use helmets and face masks as youths tend to continue to wearing them as they reach adulthood and turn professional.[13]
Bull equipment[edit]
This bull is wearing a flank strap.
The flank strap is a rope made of a soft cotton rope at least 5/8” in diameter is acceptable as a flank strap and does not require extra padding with sheepskin or neoprene. It is tied around the bull's flank.[14] Contrary to popular belief, the flank strap is not tied around the bull's testicles. This rope is to encourage the bull to use its hind legs more in a bucking motion, as this is a true test of a rider's skill in maintaining the ride. If it is applied improperly a rider may request to ride again, as the bull will not buck well if the flank strap is too tight. The flank strap is applied by the stock contractor or his designate.
The arena[edit]
The arenas used in professional bull riding vary. Some are rodeo arenas that are used only for bull riding and other rodeo events. Others are event centers that play host to many different sports. Common to all arenas is a large, open area that gives the bulls, bull riders, and bull fighters plenty of room to maneuver. The area is fenced, usually 6 to 7 feet high, to protect the audience from escaped bulls. There are generally exits on each corner of the arena for riders to get out of the way quickly. Riders can also hop onto the fence to avoid danger. One end of the arena contains the bucking chutes from which the bulls are released. There is also an exit chute where the bulls can exit the arena.
North America[edit]
In the United States and Canada, most professional bull riders start out riding in high school rodeo or other junior associations. From there, riders may go on the college rodeo circuit or to one of several semi-pro associations including the Southern Extreme Bull Riding Association (SEBRA), the Southern States Bull Riders Association (SSBR), the International Bull Riders Association (IBR), the Professional Championship Bull Riders Tour (PCB), Bull Riders Canada (BRC), the American Bull Riders Tour (ABT), the International Professional Rodeo Association (IPRA), the Cowboys Professional Rodeo Association (CPRA), the United Professional Rodeo Association (UPRA), the Southern Rodeo Association (SRA), the Professional Western Rodeo Association (PWRA), the Canadian Cowboys Association (CCA), among others. Bull riders compete in these organizations as they are climbing the ladder to the professional ranks and to supplement their income.
The top bull riders in the world compete on the Professional Bull Riders (PBR), Championship Bull Riding (CBR) and Professional Rodeo Cowboys Association (PRCA) circuits. Most of the riders who compete in the CBR tour also compete in the PRCA's rodeos and 'Xtreme Bulls' tour (a small series of one day bull riding events sanctioned by the PRCA), while only a handful of PBR riders also compete in the PRCA. Professional bull riders can win in excess of $100,000 a year while competing in any of these three organizations.
In Mexico, there are several American-style bull riding organizations. The big five include PBR Mexico, Cuernos Chuecos (Crooked Horns), Jinete Supremo (Supreme Bull Rider), Danger Bull Riding Company and Bull Masters Championship. La Federacion Mexicana de Rodeo (Mexican Rodeo Federation) is Mexico’s top organization that includes all of American Rodeo’s standard events, including bull riding. There are also a number of regional associations.
Australia and New Zealand[edit]
There are approximately 200 rodeos and bushmen's carnivals held annually across Australia. At most of these events bull riding is one of the featured competitions.
Initially bullocks and steers were used for roughriding events and these were owned by local graziers that lent them for these events. Nowadays bulls are used for the open events and stock contractors supply the various roughriding associations. Contract stock has produced a more uniform range of bucking stock which is also quieter to handle. The competitions are run and scored in a similar style to that used in the United States.[15]
In May 1992 the National Rodeo Council of Australia (NRCA) was formed to promote and further the sport of rodeo and has represented the following associations, which also control bull riding:
Australian Bushmen’s Campdraft & Rodeo Association (ABCRA)
Australian Professional Bull Riders Association (APBA)
Central Rodeo Cowboys Association (CRCA)
Indigenous Rodeo Riders Australia (IRRA)
National Student Rodeo Association (NSRA)
National Rodeo Association (NRA)
Northern Cowboys Association (NCA)
Queensland Rodeo Association (QRA)
Rodeo Services Association (RSA)
West Coast Rodeo Circuit (WCRC)[16]
There are strict standards for the selection, care and treatment of rodeo livestock, arenas, plus equipment requirements and specifications.[17]
Chainsaw was one of Australia's most famous bucking bulls. Only nine contestants scored on him and he won the Australian national title of Bull of the Year a world record eight times during 1987 to 1994.[18]
Some of Australia’s best bull riders travel and compete internationally in Canada, New Zealand and the United States. Some of Australia's leading bull riders conduct bull riding clinics to assist learners and novice riders.[19]
A World Challenge of Professional Bull Riders (PBR) was held on 29 May 2010 at the Brisbane Entertainment Centre (BEC). The 2010 PBR Finals were held over two nights at the Australian Equine and Livestock Events Centre (AELEC), with five top-ranked professional bull riders from the United States and 25 of Australia’s best bull riders contesting the event.[20]
Rodeo is also popular in country regions of New Zealand where approximately 32 rodeos, which include bull riding contests, are held each summer.[21]
Animal welfare[edit]
It is anatomically impossible for a flank strap to bind the genitals of a bull
Further information: Rodeo § Animal treatment controversies
There is debate between animal rights/welfare organizations and bull riding enthusiasts over many aspects of the sport. One source of controversy is the flank strap. The flank strap is placed around a bull's flank, just in front of the hind legs, to encourage bucking. Critics say that the flank strap encircles or otherwise binds the genitals of the bull. However, the flank strap is anatomically impossible to place over the testicles. Many point out that the bull's genes are valuable and that there is a strong economic incentive to keep the animal in good reproductive health. Further, particularly in the case of bulls, an animal that is sick and in pain usually will not want to move at all, will not buck as well, and may even lie down in the chute or ring rather than buck.[22]
Critics also claim that electric cattle prods ("hot shots") are used to injure and torture bulls, while supporters of bull riding claim that the cattle prod simply gets the bull out of the chute quickly and is only a moderate irritation due to the thickness of the animal's hide. Cattle prods have not been used in the Professional Bull Riders (PBR) tour for several years. However, in smaller associations, a cattle prod is still sometimes used to ensure that the animal leaves the chute as soon as the rider nods their head. Cattle prods are not allowed by any major association.
Spurs are also a source of controversy, though modern rodeo rules place strict regulations on the type and use of spurs and participants point out that they are a tool commonly used in other non-rodeo equestrian disciplines. Spurs used in bull riding do not have a fixed rowel, nor can they be sharpened. The PBR currently allows only two types of rowels to ensure the safety of the animals.
Bull riding has the highest rate of injury to humans of any rodeo sport. It accounts for approximately 50% of all traumatic injuries to rodeo contestants, and the bullfighters have the highest injury rate of any non-contestant group.[23]
See also[edit]
Steer riding
Miniature bull riding
Bucking bull
Mutton busting
Mechanical bull
Jaripeo
Jineteada gaucha
Bronc riding
References[edit]
Jump up ^ "Facing the Bull: The Most Dangerous Eight Seconds in Sports". news.nationalgeographic.com. National Geographic News. Retrieved 4 July 2017.
Jump up ^ Kubke, Jane & Kubke Jessica 2006. "Bull Riding". The Rosen Publishing Group
^ Jump up to: a b c d e f g h LeCompte, Mary Lou. (1985) "The Hispanic influence on Rodeo" (PDF). (109 KB) . Journal of Sport History. volume 12. Issue 1.
Jump up ^ Melody Groves (2006), Ropes, reins, and rawhide, ISBN 0-8263-3822-4, ISBN 978-0-8263-3822-8 https://books.google.com/books?id=ztGsU7ISp50C&pg=PA51&dq=Cowboy+Up:+The+History+of+Bull+Riding&client=firefox-a#PPA4,M1
Jump up ^ REVIEW-JOURNAL, BETSY HELFAND LAS VEGAS (1 November 2016). "Here are 5 reasons to pay attention to the PBR at T-Mobile Arena". Las Vegas Review-Journal. Retrieved 17 February 2017.
Jump up ^ "The Professional Bull Riders Usher in 10th Season with Ford Trucks as the New Title Sponsor". Professional Bull Riders. www.pbr.com. Archived from the original on December 8, 2002. Retrieved January 30, 2018.
Jump up ^ "Monster Energy Expands Relationship with Professional Bull Riders". Professional Bull Riders. www.pbr.com. Retrieved 8 January 2018.
Jump up ^ "Wild Ride: The History and Lore of Rodeo - Joel H. Bernstein - Google Books". Books.google.com. Retrieved 2017-01-28.
^ Jump up to: a b "Bull Riding Basics" Professional Bull Rider, Inc. Archived February 10, 2008, at the Wayback Machine. Web site accessed February 27, 2008
Jump up ^ Brandenburg1998/ Brandenburg MA, Archer P (April 1998). "A Survey Analysis to Assess the Effectiveness of the Bull Tough Helmet in Preventing Head Injuries in Bull Riders" (PDF). Clinical Journal of Sports Medicine. 31: 360–366. Archived from the original (PDF) on 2013-12-12.
Jump up ^ Brandenburg MA, Archer P. Mechanisms of Head Injury in Bull Riders with and without the Bull Tough Helmet- A Case Series. J Okla State Med Assoc, 2005;98(12):591-95[1].pdf |url=http://www.bulltough.com/Medical%20Studies%20PDFs/Bull_Riding_Injury_Mechanisms%7Cdate=November 2016[permanent dead link]
Jump up ^ Butterwick2005/ Butterwick DJ, Brandenburg MA (April 2005). "Agreement Statement from the 1st International Rodeo Research and Clinical Care Conference Calgary, Alberta, Canada July 7-9, 2004". Clinical Journal of Sports Medicine. 15 (12): 192–195. doi:10.1097/01.jsm.0000160553.87755.2a.
Jump up ^ Texas law mandates competitors under 18 in rodeos, including bull riding, must wear a helmet.
Jump up ^ "Livestock Welfare Rules". www.prorodeo.com. Professional Rodeo Cowboy Association. Retrieved 2 October 2017.
Jump up ^ Hicks Jenny, “Australian Cowboys, Roughriders & Rodeos”, CQU Press, Rockhampton, QLD, 2000
Jump up ^ NCRA. Retrieved 2009-11-22.
Jump up ^ Code of practice for the welfare of rodeo and rodeo school livestock Archived October 11, 2009, at the Wayback Machine.. Retrieved 2009-11-22.
Jump up ^ Isa Rotary Rodeo. Retrieved 2010-12-31.
Jump up ^ "Archived copy". Archived from the original on 2011-07-08. Retrieved 2010-12-31. . Retrieved 2010-12-31.
Jump up ^ PBRA Archived 2011-07-15 at the Wayback Machine.. Retrieved 2010-12-31.
Jump up ^ Jock Phillips. 'Rural recreation - Rural horse sports', Te Ara - the Encyclopedia of New Zealand, updated 1-Mar-09 URL: http://www.TeAra.govt.nz/en/rural-recreation/7. Retrieved 2010-12-31.
Jump up ^ "Livestock Welfare Rules". www.prorodeo.com. Retrieved 28 May 2017.
Jump up ^ Mullen, Frank X. Jr. "Rodeo injuries: Mess with the bull, you get the horns" Reno Gazette-Journal 21 June 2005[permanent dead link]
External links[edit]
Wikimedia Commons has media related to Bull riding.
Professional Rodeo Cowboys Association
Professional Bull Riders
Championship Bull Riding
International Bull Riders
Professional Championship Bullriders
American Bullriders Tour
PBR-Australia
International Professional Rodeo Association
Professional Roughstock Series
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Manila Metropolitan Theater
From Wikipedia, the free encyclopedia
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Manila Metropolitan Theater
Tanghalang Pangkalakhan ng Maynila
Manila Metropolitan Theater
General information
Status
Under renovation
Type
Theater building
Architectural style
Art deco
Location
Lawton, Manila
Address
Padre Burgos Avenue corner Arroceros Street, Ermita
Town or city
Manila
Country
Philippines
Coordinates
14°35′39″N 120°58′50″E / 14.594205°N 120.980421°E / 14.594205; 120.980421Coordinates: 14°35′39″N 120°58′50″E / 14.594205°N 120.980421°E / 14.594205; 120.980421
Groundbreaking
1930
Inaugurated
December 10, 1931
Renovated
Ongoing
Owner
NCCA
Technical details
Floor area
8,239.58 m2 (88,690.1 sq ft)
Design and construction
Architect
Juan M. Arellano
Civil engineer
Pedro Siochi y Angeles (1886-1951) who is a native of Malabon, Rizal and graduated with a degree in Civil Engineering from the University of Ghent, Belgium[citation needed]
Main contractor
Pedro Siochi and Company
Renovating team
Architect
Otilio Arellano (1978)
Other information
Seating capacity
1,670
The Manila Metropolitan Theater (Filipino: Tanghalang Pangkalakhan ng Maynila, or MET) is a Philippine Art Deco building found near the Mehan Garden located on Padre Burgos Avenue corner Arroceros Street, near the Manila Central Post Office. It was designed by architect Juan M. Arellano and inaugurated on December 10, 1931.[1]
Contents
[hide]
1 Conception of theater
2 History of theater
3 Architecture
4 Events hosted
5 References
Conception of theater[edit]
In 1862, the Teatro del Príncipe Alfonso XII was built within Plaza Arroceros, near the present-day Metropolitan Theater. This theater stood until 1876, when the old theater was burnt down.
It was in 1924, during the American Colonial period that the idea of constructing a theater in Manila came about. The Philippine Legislature then approved Senator Alegre’s proposal to build a theater within the Mehan Garden (now Sining Kayumanggi). The construction began in 1930 under the supervision of the engineering firm Pedro Siochi and Company in a 8,239.58 square meter area of the park. It was inaugurated on December 10, 1931. This new theater housed different performances from zarzuelas, dramas to translations of foreign classics.[2]
History of theater[edit]
Juan Arellano, one of the first pensionados in architecture, also known for his other major projects such as the Legislative Building and Manila Central Post Office Building, designed the Manila Metropolitan Theater in January 1930. He was sent to the United States to be guided by one of the experts in designing theaters, Thomas W. Lamb of Shreve and Lamb.[3]
The theater’s roof and walls were partially destroyed during World War II. During the post-war period, it was misused as a boxing arena, low-quality motel, gay bar, basketball court and as a home for squatters. In 1978, a restoration of the theater was initiated by the then Governor of Metro Manila Imelda Marcos which was headed by Otilio, the nephew of Juan Arellano.[4] Its prestige as a cultural center was redeemed but proved to be short-lived. It closed down its doors again in 1996 because of conflicts of ownership between the Manila City Administration and the Government Service Insurance System (GSIS). In 2010, President Gloria Macapagal-Arroyo and Manila mayor Alfredo Lim tried to revive the theater but to no avail.[1]
The theater was used again once for a Wolfgang concert in 2011. But since 2012, the theater was closed again due to decays inside the building. The structure continued to deteriorate and vandalism, political advertisements, promotional materials and trash now degrade the heritage theater. The theater has been protected using pieces of wood, scrap electrical wires and rundown plywood. Help continued to pour in but lacked any concrete direction.[5]
In May 2015, the Department of Budget and Management released Php 270 Million from the National Endowment Fund for Culture and the Arts for the sale of the theater from its owner, the GSIS. In June 2015, the GSIS transferred the right of ownership of the theater to the National Commission for Culture and the Arts to start the rehabilitation process of the Met.
Clean-up drives were started in December 2015, paving the way for the eventual restoration of the building by 2016.[6]
It is currently undergoing renovations with Consulting Architect Gerard Lico spearheading the project.
Architecture[edit]
The concept of the theater was explained by Juan Arellano during one of his interviews in January 1930.
“The Philippines needed a modern cultural center for operas, concerts, and plays, and he planned to achieve a monumental one through its dimensions, elevations, and splendid decorations, and through its harmonious liens it would symbolize an organ or a cathedral.”
Arellano was influenced by early Filipino art which uses local motifs and diverse imagery of Philippine flora. Aside from his knowledge on Filipino art was the factor of economy which both helped the architect in having a modern design approach to the theater. Meanwhile, the phrase “on wings of song” gave the structural configuration, a box-shaped auditorium flanked by pavilions on both sides. The mix of modernization and romanticization resulted in A. V. H. Hartendrop labeling it as modern expressionism.[3]
The Metropolitan Theater façade resembles a stage being framed by a proscenium-like central window of stained glass which carries the name “Metropolitan” with flora and fauna motif surrounding the label. This helps bring in light to the lobby. It was highlighted on both ends by the curving walls with colorful decorated tiles in resemblance with the batik patterns from Southeast Asia. There are also moldings of zigzag and wavy lines that go with the sponged and painted multi-colored massive walls. The wall that framed the stained glass is a segmented arch with rows of small finials on the upper edge of the wall.[3] Angkor Wat-inspired minarets crown the top of the concave roof which suggested its status as a theater back in its prime days. Located in the entrance are elaborate wrought iron gates which are patterned into leaf designs and various lines. Accenting the ground level are Capiz lamps and banana-leaf formed pillars which go alternately with the theater’s entrances.[1]
Close up of the art deco ornaments of the Metropolitan Theater
Manila Metropolitan Theater Entrance Facade
The main facade with the glass mural and other decorative elements
Arcade
A sculpture at the topmost part
Typical bay
Play of levels of massing
Side entrances
The theater block
Organic ornaments
View from the foot of Quezon Bridge.
The Theater from the air
Standing at the back is a huge vertical box decorated on the sides by geometric motifs. The ceiling profile of the auditorium was reflected in the exterior through stepped vaults.[3]
There were different artists who collaborated in this project especially inside the theater. Located at the main lobby were sculptures of Adam and Eve done by Francesco Riccardo Monti,who resided in Manila from 1930 up to his death in 1958.[7] Isabelo Tampingco, a Filipino artist designed the Philippine plant-themed carvings in the interior spaces including the lobby while National Artist Fernando Amorsolo painted the murals The Dance and The History of Music located at the ends of the balcony. The grillwork on small balconies looking out into the foyer was exceptionally elegant transitions from Art Nouveau to Art Deco, expressed by Lourdes Montinola in her book.[1] The two black posts at the bottom of the staircases were decorated with glass mosaic tiles.
The main auditorium projects a different character as compared to the building envelope’s ornamentality. A sequence of gradually lowered arches made of local wood, enhanced by panels with colorful motifs. These motifs were a combination of mangoes, bananas, and foliage painted by the brother of Juan Arellano, Arcadio. On top of the proscenium are figures symbolic of Music, Tragedy, Poetry and Comedy. Resembling bamboo stalks are the tapering lamps of translucent glass which surround the theater space.[1] The focal point is the rectangular stage adorned with mango fruits and leaves motif.[8]
The crystal lamps made from bamboo stalks which vertically light up the hall are the first in the country in terms of indirect lighting. It is also a new character of Art Deco during that period. The theater, according to some people has good acoustics and lighting and a large seating capacity of 1,670 (846 orchestra, 116 in loge, and 708 in balcony) which housed performances, operas, concerts, and plays for more than a decade.[9] It also continued up to the Japanese occupation where Zarzuelas, Filipino operas, films and stage were shown.
Events hosted[edit]
The Manila Metropolitan Theaters housed performances by international artists like Ted Shawn, Jascha Heifetz, Amelita Galli-Curci and Fritz Kreisler and local shows such as the “Smiles of 1936,” “Querer Ranchero” and “Luisa Fernando” were all part of the decade that followed its inauguration.
It was still active during the Japanese occupation showing support even for the guerrilla underground.[2] The concert of the Manila Symphony Orchestra was cancelled because the performers ran away from the Japanese.[10] The Metropolitan Theater has not been used for a long time.
Other shows that took place in the theater were:
Metro Manila Film Festival Awards Night (1975-1980, 1984, 1995-2000)
Jesus is Lord Church Sunday Service (1981-1989)
Vilma Variety Show (1987-1990)
Awit Awards (1991)
PMPC Star Awards For TV (1991-1995)
Ibong Adarna Musical Play (1994)
Romeo and Juliet
Florante At Laura Musical Play (1994)
Noli Me Tangere Musical Play (1995)
El Filibusterismo Musical Play (1995)
Wolfgang Live At The MET (2011)
References[edit]
Wikimedia Commons has media related to Manila Metropolitan Theater.
^ Jump up to: a b c d e Montinola, Lourdes (2010). Art Deco in the Philippines. Manila: ArtPositAsia. ISBN 978-971-057-905-1.
^ Jump up to: a b de la Torre, Visitacion (1981). Landmarks of Manila: 1571-1930. Makati: Filipinas Foundation, Inc. pp. 94–95.
^ Jump up to: a b c d Lico, Gerard (2008). Arkitekturang Filipino: A History of Architecture and Urbanism in the Philippines. Quezon City: The University of the Philippines Press. pp. 336–337. ISBN 978-971-542-579-7.
Jump up ^ Alarcon, Norma (2008). The Imperial Tapestry: American Colonial Architecture in the Philippines. Manila: University of Santo Tomas Publishing House. p. 138. ISBN 978-971-506-474-3.
Jump up ^ I-Witness, GMA-7. (July 13, 2013). "Kasaysayan at Misteryo ng Manila Metropolitan Theater, aalamin sa I-Witness"
Jump up ^ Nabong, Pat (13 December 2015). "Restoring the MET, reviving culture". Rappler. Retrieved 17 December 2015.
Jump up ^ Sculptural treasures by Francesco Riccardo Monti - 1INQUIRER.net, Philippine News for Filipinos
Jump up ^ Coconuts Manila. (February 11, 2014). 15 Heritage Buildings that Need to be Rescued.
Jump up ^ Tiongson, Nicanor (1978) Reopening souvenir of the Metropolitan Theatre during President Ferdinand Marcos
Jump up ^ Pablo A.Tariman. New MSO Season Opens June 5.
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Dragon Ball Z: Lord Slug
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Dragon Ball Z: Lord Slug
Japanese box art
Japanese
ドラゴンボールZ 超 (スーパー)サイヤ人だ孫悟空
Hepburn
Doragon Bōru Zetto Sūpā Saiyajin da Son Gokū
Directed by
Mitsuo Hashimoto
Produced by
Chiaki Imada (ja)
Rikizō Kayano (ja)
Screenplay by
Takao Koyama
Based on
Dragon Ball
by Akira Toriyama
Starring
See cast
Music by
Shunsuke Kikuchi
Cinematography
Masaru Sakanishi
Motoi Takahashi
Edited by
Shin'ichi Fukumitsu
Production
company
Toei Animation
Distributed by
Toei Company, in association with Fuji Television
Release date
March 9, 1991 (1991-03-09) (Japan)
Running time
52 minutes
Country
Japan
Language
Japanese
Box office
¥2.05 billion ($15 million)
Dragon Ball Z: Lord Slug, also known by its Japanese title Dragon Ball Z: Son Goku the Super Saiyan (Japanese: ドラゴンボールZ 超 (スーパー)サイヤ人だ孫悟空, Hepburn: Doragon Bōru Zetto Sūpā Saiyajin da Son Gokū), is the fourth Dragon Ball Z feature movie. It was originally released in Japan on March 9, 1991 between episodes 81 and 82 at the Toei Anime Fair as part of a double feature with the first Magical Tarurūto-kun movie. An American English dub was produced by Funimation and released to VHS and DVD on August 7, 2001. Two other English dubs were also produced, one in France by AB Groupe done for European markets which was released under the misspelt title Super Saiya Son Goku, and another one for a Malaysian VCD release by Speedy Video which had the title Super Saiya People, Goku. While the Malaysian dub's cast remains unknown, the AB Groupe dub was revealed to have been recorded by English-speaking actors based in France who have also done voices for animated television series such as Code Lyoko and Chris Colorado.[1]
This is the first Dragon Ball Z movie to be dubbed with Funimation's English voice cast, and also the first to have songs by bands replace the original Japanese score (although the original Japanese score was restored for tracks on later releases). It was later remastered and released in a Double Feature set with Tree of Might on Blu-Ray and DVD on May 27, 2008. The film was released to DVD again on November 1, 2011 in a remastered box set containing the first five Dragon Ball Z movies.[2]
Contents
[hide]
1 Plot
2 Cast
3 Music
3.1 Funimation dub soundtrack
4 References
5 External links
Plot[edit]
While meditating beside a waterfall, Piccolo is approached by Gohan and Icarus, with Gohan showing Piccolo a tune he has just learned to whistle. To his shock, Piccolo finds the noise excruciatingly painful due to his enhanced Namekian hearing, and angrily orders Gohan to stop. As Gohan apologizes to Piccolo, they both soon sense something coming from space. Meanwhile, at the Capsule Corporation compound, Bulma and her father discover that a meteor is heading toward the Earth and will most likely destroy the planet upon impact. Amidst mass panic throughout the Earth, Goku and Krillin rush to intercept the meteor, blasting it with Kamehameha waves, but fail to damage it. The meteor, however, does not hit Earth, instead passing it and exploding in orbit. When the dust clears, a strange building-like spaceship is present on the Earth.
An army of armored soldiers comes out of the ship and declares the Earth to be under the rule of their leader, Lord Slug, and terrorize the citizens for laughing at them. Gohan and Chi-Chi appear and fight the soldiers, whose eyes appear to be hypersensitive to the sunlight, but Chi-Chi is easily subdued and Gohan loses his hat with the four-star Dragon Ball as Slug himself appears and takes it. Bulma appears and defies Slug's henchmen, who reveal their intentions to Terra-freeze the Earth and turn it into their own star cruiser. After his henchmen knock out Gohan, Slug reads Bulma's mind and learns about the Dragon Radar, and orders his men to find the remaining six Dragon Balls in one hour.
Slug's men eventually bring the Dragon Balls back to base and summon the Eternal Dragon, Shenron. The elderly Slug wishes for eternal youth, which is granted, and he launches a pod into space, where it summons dark clouds to cover the sky, blocking out the sunlight, modifying the atmosphere to accommodate Slug and his men, while proving deadly for the human race. Goku, still exhausted from his ordeal with the meteor, is found by Yajirobe, who gives him and Krillin some of the Senzu Beans.
At Slug's base, Gohan resumes his assault against Slug's army and manages to bring down scores of them, only to get injured. Piccolo appears and rescues Gohan from death. Slug's top men, Angila, Medamatcha and Wings appear and engage them in battle. Piccolo kills Wings while Medamatcha smothers Gohan into unconsciousness by draining his energy with her small clone minions, the Medas. But as Medamatcha moves in to finish Gohan, Piccolo throws himself in front of Gohan and takes the blast. They are almost killed by Angila and Medmatcha, but Goku and Krillin arrive on the scene in time. Goku kills Angila and Medamatcha, but Slug then enters the fray.
Slug blasts Krillin aside and fights Goku one on one, easily taking the upper hand despite Goku's efforts. However, as Slug moves in to finish the seemingly weakened Goku with one punch, overcome by his rage at the damage done to the Earth and its inhabitants, Goku quickly blocks him and transforms into a Super Saiyan. With his power boosted, Goku easily takes control of the battle and pummels Slug, breaking his arm in the process. To Goku's horror, however, Slug tears his damaged arm off and regenerates it, also removing his helmet and revealing that he is actually a Namekian. As Slug grows into a giant, King Kai telepathically contacts Goku and tells him that Slug is the last Super Namek, a branch of Namekians who grew obsessed with power and were banished from Planet Namek by use of the Dragon Balls.
Goku and Slug continue their fight, but with Slug's increased strength and Goku's superior speed, neither can best the other. Slug eventually grabs Goku and starts to crush him, but Piccolo, knowing his own weaknesses, intervenes and pulls on Slug's antennae. Slug drops Goku and grabs Piccolo in his hands, preparing to kill him instead. But remembering his sensitive hearing, Piccolo rips his own ears off and calls for Gohan to start whistling. The noise deafens and weakens Slug, especially in his giant form, leaving Piccolo to transfer his remaining energy to Goku. After Slug blasted away Gohan and destroys his own ship, Goku powers up with the Kaioken and manages to fly straight through Slug's stomach, knocking him out. Goku then flies into the sky and begins preparing a Spirit Bomb in order to destroy the Terra-freezing pod, but Slug gives chase. Immediately, Goku fires the Spirit Bomb at Slug, hitting him and sending him directly into the Terra-freezing pod which explodes, destroying Slug and removing the dark clouds from Earth's atmosphere.
In the aftermath, Yajirobe appears and provides everyone with Senzu Beans. At Kame House, Master Roshi, who slept through all the events, wakes up and wishes for something exciting to happen.
Cast[edit]
Character name
Japanese voice actor
English voice actor
(Funimation, 2001)
English voice actor
(AB Groupe, c. 2003)[1]
Goku Masako Nozawa Sean Schemmel David Gasman
Gohan Masako Nozawa Stephanie Nadolny Jodi Forrest
Piccolo Toshio Furukawa Christopher R. Sabat Paul Bandey as Big Green
Kuririn Mayumi Tanaka Sonny Strait as Krillin Sharon Mann as Clearin
Yajirobe Mayumi Tanaka Mike McFarland Ed Marcus
Bulma Hiromi Tsuru Tiffany Vollmer Sharon Mann as Blooma
Dr. Brief Jōji Yanami Chris Forbis as Dr. Briefs Paul Bandey
Chichi Naoko Watanabe Cynthia Cranz Sharon Mann
Oolong Naoki Tatsuta Brad Jackson David Gasman
Kame-sen'nin (Turtle Hermit) Kōhei Miyauchi Mike McFarland as Master Roshi Ed Marcus
Shenron Kenji Utsumi Christopher R. Sabat Ed Marcus
Kaiō Jōji Yanami Sean Schemmel as King Kai Paul Bandey
Hire Dragon (ハイヤードラゴン, Haiyā Doragon) Naoki Tatsuta Christopher R. Sabat as Icarus Jodi Forrest
Angira (アンギラ) Keiichi Nanba John Burgmeier Paul Bandey
Gyoshu (ギョーシュ, Gyōshu) Shigeru Chiba Sonny Strait Doug Rand
Kakuja (カクージャ, Kakūja) Shōzō Iizuka Christopher R. Sabat Doug Rand
Commander Zeeun (ゼエウン, Zeeun) Kōji Totani Brad Jackson Paul Bandey
Dorodabo (ドロダボ) Daisuke Gōri John Freeman as Wings David Gasman
Medamatcha (メダマッチャ, Medamaccha) Yukitoshi Hori Kent Williams Doug Rand
Lord Slug Kenji Utsumi (old)
Yusaku Yara (young) Brice Armstrong Ed Marcus
Narrator Jōji Yanami Kyle Hebert Ed Marcus
A third English version produced and released exclusively in Malaysia by Speedy Video, features an unknown voice cast.
Music[edit]
OP (Opening Theme):
"CHA-LA HEAD-CHA-LA"
Lyrics by Yukinojō Mori
Music by Chiho Kiyooka[ja]
Arranged by Kenji Yamamoto
Performed by Hironobu Kageyama
IN (Insert Song):
Kuchibue no Kimochi (口笛の気持ち, "The Feeling of Whistling")
Lyrics by Dai Satō
Music by Chiho Kiyooka[ja]
Arranged by Kenji Yamamoto
Performed by Hajime Ueshiba
ED (Ending Theme):
"Ya" na Koto ni wa Genki-Dama!! (「ヤ」なことには　元気玉!!, "There's a Genki-Dama in Bad Things!!")
Lyrics by Dai Satō
Music by Takeshi Ike[ja]
Arranged by Kenji Yamamoto
Performed by Hironobu Kageyama with Shines
Funimation dub soundtrack[edit]
The following songs were present in Funimation's in-house English adaptation of Lord Slug.[3]
Finger Eleven - "First Time"
Dust for Life - "Dragonfly"
Dust for Life - "Step Into the Light
American Pearl - "Free Your Mind
Deftones - "Elite"
Boy Hits Car - "I'm a Cloud"
Finger Eleven - "Drag You Down"
Dust for Life - "Seed"
American Pearl - "Automatic"
Disturbed - "Fear"
Boy Hits Car - "The Rebirth"
Disturbed - "Stupify"
Breaking Point - "Coming of Age"
Bruce Faulconer produced an alternate opening theme for this version (which would be replaced in the 2008 remastered version with another original track composed by Mark Menza) and the remaining pieces of background music were composed by Faulconer and Evan Jones. However, in a double feature in which it was released along with Tree of Might, there is an alternate audio track containing the English dialogue and Japanese background music.
References[edit]
^ Jump up to: a b http://www.behindthevoiceactors.com/forums/showthread.php?t=15614
Jump up ^ https://www.amazon.com/dp/B005HVWW3K
Jump up ^ Imada, Chiaki (Producer), & Hashimoto, Mitsuo (Director). (2001 Aug 7). Lord Slug [Motion picture]. Japan: FUNimation.
External links[edit]
Official anime website of Toei Animation
MyFavoriteGames - Movie Summary
Dragon Ball Z: Lord Slug on IMDb
Dragon Ball Z: Lord Slug (anime) at Anime News Network's encyclopedia
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text:
City of Angels (soundtrack)
From Wikipedia, the free encyclopedia
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City of Angels
Soundtrack album by Various Artists
Released
March 31, 1998 (U.S.)
Genre
Pop, Rock
Length
71:48
Label
Warner Bros.
Singles from City of Angels: Music from the Motion Picture
"Uninvited"
Released: 24 February 1998[1]
"If God Will Send His Angels (Remix)"
Released: 2 March 1998[1]
"Iris"
Released: 7 April 1998[1]
"Angel"
Released: 24 November 1998
City of Angels: Music from the Motion Picture is the soundtrack album for the film City of Angels, released by Warner Bros. Records on March 31, 1998 (see 1998 in music).
Contents
[hide]
1 Reception
2 Commercial performance
3 Singles
4 Track listing
5 Record charts and certifications
5.1 Weekly charts
5.2 Year-end charts
5.3 End of decade charts
5.4 Sales and certifications
6 Personnel
7 See also
8 References
Reception[edit]
Professional ratings
Review scores
Source
Rating
AllMusic [2]
National Catholic Reporter (positive)[3]
Yahoo! Music's Craig Rosen, who called the album "a stroke of marketing genius", speculated that executive producer Rob Cavallo, who was head of Morissette and the Goo Goo Dolls' management firm, "was instrumental in making sure the soundtrack provided a nice set-up for the forthcoming Morissette and Goo Goo Dolls albums [Supposed Former Infatuation Junkie and Dizzy Up the Girl, respectively] ... Record executives and managers love big hits from soundtracks, especially when they dovetail into a new release by one of their artists. That's the case with both Morissette and the Goo Goo Dolls and it's not a mere coincidence."[4] Bob Bell, a new release buyer for the Wherehouse Entertainment chain of stores in Torrance, California, said the marketing of the album was "amazing" and attributed its early strong sales to "Uninvited". He said of the Goo Goo Dolls that the soundtrack "helped to re-establish them ... [it] brought them back into our minds".[4] Robert Scally wrote of "Uninvited", "Placing exclusives on soundtracks ... has been a successful tactic for creating a buzz around the album while highlighting the musical artist".[5]
Commercial performance[edit]
The City of Angels soundtrack debuted at number twenty-three on the Billboard 200 chart on the issue dated 18 April 1998.[6] The following week it entered the top ten at number seven and eventually reached the runner-up position for three weeks until it topped the charts in early June, selling 165,000 copies.[7] City of Angels finished the year as the seventh highest-selling album of 1998.[8] To date the soundtrack has sold 5.5 million units in the United States and has been certified five times Platinum by the Recording Industry Association of America.[9][10] Additionally, it peaked at number three on the Canadian charts and has sold over 700,000 copies in the country.[11]
Elsewhere, the soundtrack also performed well, reaching number one in Australia, Germany, New Zealand and Switzerland. It has been certified Platinum in Japan and multi-Platinum in Australia.[12]
Singles[edit]
Its two singles, the Goo Goo Dolls' "Iris" and Alanis Morissette's "Uninvited", were released to U.S. radio in March and were still receiving substantial radio airplay by the following August.[4] An internet and radio leak of "Uninvited" in early March forced Warner Bros. to release the entire soundtrack to radio before it became available in stores. According to a publicity manager for Warner Music Canada, the measure was "an inconvenience" taken to stop radio stations from playing low-quality versions of the song downloaded from the internet.[13] "Iris" reached number one on Billboard's Modern Rock Tracks, Top 40 Mainstream and Adult Top 40 charts in the U.S., and it spent a record amount of time atop the Hot 100 Airplay chart.[14] "Uninvited" reached number one on the Top 40 Mainstream and peaked inside the top five on the Adult Top 40.
Track listing[edit]
No.
Title
Writer(s)
Performer
Length
1. "If God Will Send His Angels"
Bono
Adam Clayton
The Edge
Larry Mullen, Jr.
U2
4:31
2. "Uninvited"
Alanis Morissette
Alanis Morissette
4:34
3. "Red House"
Jimi Hendrix
Jimi Hendrix
3:49
4. "Feelin' Love"
Paula Cole
Paula Cole
5:37
5. "Mama, You Got A Daughter"
John Lee Hooker
John Lee Hooker
3:41
6. "Angel"
Sarah McLachlan
Sarah McLachlan
4:29
7. "Iris"
John Rzeznik
Goo Goo Dolls
4:50
8. "I Grieve"
Peter Gabriel
Peter Gabriel
8:09
9. "I Know"
Jude Cristobal
Cristobal
4:34
10. "Further On Up the Road"
Joe Medwick
Don Robey
Eric Clapton
7:26
11. "An Angel Falls"
Gabriel Yared
Gabriel Yared
4:54
12. "The Unfeeling Kiss"
Gabriel Yared
Gabriel Yared
3:42
13. "Spreading Wings"
Gabriel Yared
Gabriel Yared
4:25
14. "City of Angels"
Gabriel Yared
Gabriel Yared
7:07
Total length: 71:48
Record charts and certifications[edit]
Weekly charts[edit]
Chart (1998)
Peak
position
Australian Albums (ARIA)[15]
1
Austrian Albums (Ö3 Austria)[16]
2
Belgian Albums (Ultratop Flanders)[17]
8
Belgian Albums (Ultratop Wallonia)[18]
21
Canadian Albums (Nielsen SoundScan)[19] 3
Dutch Albums (MegaCharts)[20]
28
European Albums (Billboard)[21] 2
French Albums (SNEP)[22]
31
German Albums (Offizielle Top 100)[23]
1
Irish Albums (IRMA)[24] 9
Malaysian Albums (RIM)[24] 4
New Zealand Albums (RMNZ)[25]
1
Norwegian Albums (VG-lista)[26]
3
Swedish Albums (Sverigetopplistan)[27]
29
Swiss Albums (Schweizer Hitparade)[28]
1
US Billboard 200[29]
1
Year-end charts[edit]
Chart (1998)
Position
German Albums Chart[30]
25
End of decade charts[edit]
Chart (1990-1999)
Position
U.S. Billboard 200[31] 49
Sales and certifications[edit]
Region
Certification
Certified units/Sales
Australia (ARIA)[32]
2× Platinum 140,000^
Austria (IFPI Austria)[33]
Gold 25,000*
Canada (Music Canada)[34]
7× Platinum 700,000^
Germany (BVMI)[35]
Gold 250,000^
Japan (RIAJ)[36]
Platinum 200,000^
New Zealand (RMNZ)[37]
Platinum 15,000^
Switzerland (IFPI Switzerland)[38]
Gold 25,000^
United States (RIAA)[39]
5× Platinum 5,500,000[10]
*sales figures based on certification alone
^shipments figures based on certification alone
Preceded by
It's Dark and Hell Is Hot by DMX
MP Da Last Don by Master P Billboard 200 number-one album
June 13–19, 1998
July 4–17, 1998 Succeeded by
MP Da Last Don by Master P
Armageddon (soundtrack) by Various artists
Preceded by
Adore by The Smashing Pumpkins Australian ARIA Albums Chart number-one album
June 21–27, 1998
July 12–18, 1998 Succeeded by
Try Whistling This by Neil Finn
Personnel[edit]
Howie B – Producer, Engineer, Mixing
James Barton – Mixing
John Bell – Orchestration
Dario Rossetti Bonell – Guitar (Acoustic)
Carlos Bonnell – Guitar (Acoustic)
Danny Bramson – Producer, Music Supervisor
Francis Buckley – Engineer
Greg Burns – Second Engineer
David Campbell – String Arrangements
Rob Cavallo – Guitar (Acoustic), Producer
Chas Chandler – Producer
Chris Chaney – Bass
Dickie Chappell – Programming, Engineer
Jude Christodal – Guitar (Acoustic), Vocals
Jason Cienkus – Soundtrack Coordination
Eric Clapton – Performer
Paula Cole – Producer, Performer
Alan Coleman – Assistant Engineer
Katherine Delaney – Design
Tom Dowd – Producer
Flood – Producer
Meabh Flynn – Assistant Engineer
Peter Gabriel – Bass, Keyboards, Programming, Producer, Sampling, Performer
Ben Georgiades – Engineer
The Goo Goo Dolls – Producer, Performer
Keith Grant – Engineer
Steve Griffen – Engineer, Associate Producer
Isobel Griffiths – Orchestra Contractor
Steve Hall – Mastering
Chris Haynes – Second Engineer
Jimi Hendrix – Performer
Ben Hillier – Mixing Assistant
John Lee Hooker – Performer
Paul Hulme – Engineer
Alan Jenkins – Programming
Jude – Performer
Manu Katche – Drums
Paul Kimble – Chamberlin
Rob Kirwan – Assistant Engineer
Carys Lane – Vocals
Nick Lashley – Guitar (Acoustic)
Dave Lawson – Programming
Tony Levin – Bass
Jolie Levine-Aller – Project Coordinator
Brian MacLeod – Drums
Pat Magnarella – Executive Producer
Clif Magness – Guitar (Electric), Producer
Dominique Mahut – Percussion
Mike Malinin – Percussion, Drums
Pierre Marchand – Producer, Engineer, Mixing
Conal Markey – Assistant Engineer, Mixing Assistant
Sarah McLachlan – Performer
Metro Voices – Choir, Chorus
Alanis Morissette – Vocals, Producer, Performer
Roger Moutenot – Engineer, Mixing
Jamie Muhoberac – Piano, Keyboards
Gary Novak – Percussion, Drums
Jennie O'Grady – Director
Steve Osborne – Producer, Mixing
Matt Palmer – Assistant Engineer
Tim Pierce – Mandolin
Damir Prcic – Chamberlin
Jack Joseph Puig – Mixing
Harry Rabinowitz – Conductor
David Rhodes – Guitar
Carmen Rizzo – Programming
Georges Rodi – Programming
Charles Roven – Executive Producer
Johnny Rzeznik – Guitar, Vocals
Rafa Sardina – Second Engineer
Bill Sewell – Bass (Upright)
Allen Sides – Engineer, Mixing
Kenneth Sillito – Violin, Leader
Mark "Spike" Stent – Engineer, Mixing
Alex Swift – Programming
Robby Takac – Bass
U2 – Performer
Scott Welch – Executive Producer
Kirsty Whalley – Programming
Will White – Percussion
Rolf Wilson – Violin, Leader
Nick Wollage – Assistant Engineer
Gabriel Yared – Producer, Orchestration
See also[edit]
Best-selling albums in the United States since Nielsen SoundScan tracking began
Number-one albums of 1998 (U.S.)
References[edit]
^ Jump up to: a b c "Billboard". 110 (11). Nielsen Business Media, Inc. 19 March 1998: 144. Retrieved 28 January 2014.
Jump up ^ Allmusic review
Jump up ^ National Catholic Reporter review
^ Jump up to: a b c Rosen, Craig. "'City' A Set-Up For New Alanis, Goo Goo Dolls Albums". Yahoo! Music. August 27, 1998. Retrieved November 11, 2006.
Jump up ^ Scally, Robert. "The charts are alive with the Sound of Movies". Discount Store News. September 7, 1998. Retrieved November 11, 2006.
Jump up ^ "Billboard". 110 (16). Nielsen Business Media, Inc. 1 August 1998: 84. Retrieved 28 January 2014.
Jump up ^ "Billboard". 110 (24). Nielsen Business Media, Inc. 13 June 1998: 120. Retrieved 28 January 2014.
Jump up ^ Pollack, Mark. "Dion named recording industry's top artist of '98". Milwaukee Journal Sentinel. December 24, 1998. Retrieved on 24 January 1998.
Jump up ^ Searchable database of U.S. certifications. Recording Industry Association of America. Retrieved on 24 January 2014.
^ Jump up to: a b Caulfield, Keith. "Ask Billboard: Answers to readers' questions about the 'Grease' Soundtrack, Whitney Houston and Crossfade". Billboard. Retrieved 28 January 2014.
Jump up ^ "City of Angels (Original Soundtrack) - Billboard Albums". Allmusic and Billboard. Retrieved on 28 January 2014.
Jump up ^ "GOLD ALBUM 他認定作品 1999年1月度" [Gold Albums, and other certified works. January 1999 Edition] (PDF). The Record (Bulletin) (in Japanese). Chūō, Tokyo: Recording Industry Association of Japan. 472: 9. March 10, 1999. Archived from the original (PDF) on September 28, 2013. Retrieved January 23, 2014.
Jump up ^ Cairney, Richard. "Cover Story" Archived 2006-10-18 at the Wayback Machine.. SEE Magazine. March 19, 1998. Retrieved November 11, 2006.
Jump up ^ Feniak, Jenny. "Dolls still dancing" Archived 2007-06-23 at Archive.is. Edmonton Sun. November 6, 2006. Retrieved November 11, 2006.
Jump up ^ "Australiancharts.com – Soundtrack – City of Angels". Hung Medien.
Jump up ^ "Austriancharts.at – Soundtrack – City of Angels" (in German). Hung Medien.
Jump up ^ "Ultratop.be – Soundtrack – City of Angels" (in Dutch). Hung Medien.
Jump up ^ "Ultratop.be – Soundtrack – City of Angels" (in French). Hung Medien.
Jump up ^ "Billboard". 110 (18). Nielsen Business Media, Inc. 2 May 1998: 92. Retrieved 28 January 2014.
Jump up ^ "Dutchcharts.nl – Soundtrack – City of Angels" (in Dutch). Hung Medien.
Jump up ^ "Billboard". 110 (35). Nielsen Business Media, Inc. 2 May 1998: 126. Retrieved 28 January 2014.
Jump up ^ "Lescharts.com – Soundtrack – City of Angels". Hung Medien.
Jump up ^ "Officialcharts.de – Soundtrack – City of Angels". GfK Entertainment Charts.
^ Jump up to: a b "Billboard". 110 (31). Nielsen Business Media, Inc. 1 August 1998: 92. Retrieved 28 January 2014.
Jump up ^ "Charts.org.nz – Soundtrack – City of Angels". Hung Medien.
Jump up ^ "Norwegiancharts.com – Soundtrack – City of Angels". Hung Medien.
Jump up ^ "Swedishcharts.com – Soundtrack – City of Angels". Hung Medien.
Jump up ^ "Swisscharts.com – Soundtrack – City of Angels". Hung Medien.
Jump up ^ "Soundtrack – Chart history" Billboard 200 for Soundtrack.
Jump up ^ "Top 100 Album-Jahrescharts" (in German). GfK Entertainment. Retrieved September 8, 2016.
Jump up ^ Geoff Mayfield (December 25, 1999). 1999 The Year in Music Totally '90s: Diary of a Decade - The listing of Top Pop Albums of the '90s & Hot 100 Singles of the '90s. Billboard. Retrieved October 15, 2010.
Jump up ^ "ARIA Charts – Accreditations – 1999 Albums". Australian Recording Industry Association. Retrieved 28 January 2014.
Jump up ^ "Austrian album certifications – Soundtrack – City of Angels" (in German). IFPI Austria. Retrieved 28 January 2014. Enter Soundtrack in the field Interpret. Enter City of Angels in the field Titel. Select album in the field Format. Click Suchen
Jump up ^ "Canadian album certifications – Various Artists – City of Angels". Music Canada. Retrieved 25 January 2014.
Jump up ^ "Gold-/Platin-Datenbank (O.S.T. - Various; 'City of Angels')" (in German). Bundesverband Musikindustrie. Retrieved 25 January 2014.
Jump up ^ "The Record" (PDF). Recording Industry Association of Japan. March 1999. Archived from the original (PDF) on 28 September 2013. Retrieved 28 January 2014.
Jump up ^ "New Zealand album certifications – Soundtrack – City of Angels". Recorded Music NZ. Retrieved 5 November 2016.
Jump up ^ "The Official Swiss Charts and Music Community: Awards (Soundtrack; 'City of Angels')". IFPI Switzerland. Hung Medien. Retrieved 25 January 2014.
Jump up ^ "American album certifications – Various Artists – City of Angels". Recording Industry Association of America. Retrieved 28 January 2014. If necessary, click Advanced, then click Format, then select Album, then click SEARCH
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City of Angels: Music from the Motion Picture
Tracks
U2 - "If God Will Send His Angels"
Alanis Morissette - "Uninvited"
Jimi Hendrix - "Red House"
Paula Cole - "Feelin' Love"
John Lee Hooker - "Mama, You Got a Daughter"
Sarah McLachlan - "Angel"
Goo Goo Dolls - "Iris"
Peter Gabriel - "I Grieve"
Jude - "I Know"
Eric Clapton - "Further On Up the Road"
Gabriel Yared - "An Angel Falls"
Gabriel Yared - "The Unfeeling Kiss"
Gabriel Yared - "Spreading Wings"
Gabriel Yared - "City of Angels"
Related articles
City of Angels
Retrieved from "https://en.wikipedia.org/w/index.php?title=City_of_Angels_(soundtrack)&oldid=797253244"
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