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Santa Claus: The Movie
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For films with similar titles, see Santa Claus (disambiguation).
Santa Claus
Theatrical release poster
Directed by
Jeannot Szwarc
Produced by
Pierre Spengler
Ilya Salkind
Screenplay by
David Newman
Story by
David Newman
Leslie Newman
Starring
Dudley Moore
John Lithgow
David Huddleston
Judy Cornwell
Burgess Meredith
Music by
Henry Mancini (Score)
Leslie Bricusse (Lyrics)
Cinematography
Arthur Ibbetson
Edited by
Peter Hollywood
Distributed by
TriStar Pictures
Release date
November 27, 1985 (1985-11-27)
Running time
108 minutes
Country
United Kingdom
United States
Language
English
Budget
$30–50 million
Box office
$23.7 million
Santa Claus: The Movie (known on-screen as simply Santa Claus) is a 1985 British-American Christmas film starring Dudley Moore, John Lithgow, and David Huddleston in the title role. It is the last major fantasy film produced by the Paris-based father-and-son production team of Alexander and Ilya Salkind. The film was directed by Jeannot Szwarc and released in North America on November 27, 1985, by TriStar Pictures. The 2005 DVD release was released by Anchor Bay Entertainment, now known as Starz Home Entertainment, under license from the film's current owner, StudioCanal; however, the current, 25th Anniversary home video release (which also now includes Blu-ray) is by Lionsgate Home Entertainment, again under StudioCanal's license.
Santa Claus: The Movie is a straightforward attempt to explore the mysteries of Santa Claus with the key objective being to answer some of the basic questions many children have about the Santa mythos, such as how his reindeer fly, how he and his wife made it to the North Pole, and how he ascends chimneys, among other things.
The film chronicles the origins of Santa Claus, who, along with his wife Anya (Judy Cornwell), goes from being a simple working man to becoming an international icon of Christmas. At the same time, the film also tells a contemporary story in which one of Santa's elves (alternately referred to as the "Vendequm" onscreen), a visionary named Patch (Moore), sets out to employ Santa's toymaking methods on his own, unaware that he might be ruining the magic of Christmas in the process.
The film was a financial failure at the time of release and received mostly negative reviews from critics. Since then it has gained a cult following and has become one of the most watched Christmas movies of all time.[citation needed]
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development and Filming
3.2 Casting
3.3 Santa's elves
4 Reception
5 Soundtrack
6 Comic book adaptation
7 See also
8 References
9 External links
Plot[edit]
Sometime in the 14th century, Claus is a woodcarver in his mid-50s who, with his wife Anya, delivers his gifts to the children of local villages. One night, Claus, Anya and their two reindeer, Donner and Blitzen, are caught in a blizzard and succumb to the cold weather. In death, they are transported to the vast "ice mountains, way up at the top of the world." Their expected arrival is heralded with the appearance of several elves, or as Claus's people call them in their legends, the Vendequm, led by the venerable and wise elf named Dooley. Claus and Anya also meet inventive elf Patch, and the more down-to-earth Puffy. Dooley tells Claus it is his destiny to deliver toys to the children of the world every Christmas Eve, which the elves will make in their large workshops. Donner and Blitzen are joined by six other reindeer and fed magic food that allows them to fly. When Christmas Eve comes, Claus is approached by the oldest of elves, the Ancient One, who renames him as "Santa Claus".
Centuries pass as the mythology of Santa is created, until the 20th century, where Santa is exhausted by the continuous workload he must do every year due to the world's increasing population. Anya suggests he enlist an assistant, to which Patch and Puffy compete to earn via a competition to produce the most toys in a limited amount of time. Patch uses a machine he has invented, and although he wins, it begins to produce shoddy works without his knowledge (due to putting the machines on a faster speed). During his annual deliveries, Santa befriends a homeless 10-year-old orphan boy named Joe in New York City and takes him for a flight around the skyscrapers of Manhattan in his sleigh. Santa lets Joe take the reins, who flies the sleigh underneath the Brooklyn Bridge much to Santa's horror, who then playfully gets his own back on Joe by having his reindeer perform the "Super Duper Looper", around the Twin Towers of the World Trade Center - an aerial trick that involves them doing a complete 360 degree turn, but Donner always fails due to acrophobia. Santa takes Joe on his deliveries where they meet 9-year-old Cornelia, a wealthy child and also an orphan who fed Joe one previous night.
On Christmas Day, Patch's toys begin to fall apart, prompting him to quit his job and let Puffy take over. Traveling to New York, Patch meets B.Z., Cornelia's step-uncle and a scheming executive of a toy company that faces a total shutdown by Congressional investigation due to unsafe products. Believing B.Z.'s toys are popular due to witnessing several toys being removed from a shop window, Patch decides to help B.Z. make better toys, using some of the reindeer feed to create lollipops which can make people fly and giving them to children for free (the latter fact causing B.Z. to sputter and yell, "FOR FREEEEE?!"). Patch also constructs a hovercraft called the Patchmobile to deliver the products like Santa and helps create a new holiday on March 25, which B.Z. deems "Christmas 2". Santa disapproves of Patch's actions (unaware the plan is to make Santa appreciate him again) and feels disheartened about continuing his job if the children of the world do not care anymore. Meanwhile, Patch is disturbed when B.Z. plans to turn himself into the face of Christmas, and asks Patch to develop candy canes which enable flight.
While Patch works at night, B.Z.'s assistant, Dr. Eric Towzer, appears at his house and reveals the candy canes will explode if exposed to heat. B.Z. proposes they flee to Brazil and let Patch take the fall for their criminal neglect, which Towzer eventually approves of, despite initially urging B.Z. to reconsider his actions as children are involved. Joe and Cornelia eavesdrop on the conversation, but Joe is caught and locked up in the basement of B.Z.'s factory. Patch finds Joe and discovers Santa made a carving for Joe that resembles him (which was unintentional, but pointed out by Anya). Thrilled that Santa remembers him, Patch and Joe set off in the Patchmobile to the North Pole. Cornelia sends a letter to Santa informing him of the situation. Despite Comet and Cupid having the Flu, Santa gathers up the other six reindeer and he arrives to pick Cornelia up. Santa and Cornelia pursue the Patchmobile, which is carrying a huge supply of candy canes on the verge of exploding. Santa convinces his reindeer to perform the Super Duper Looper in order to catch Patch and Joe as the Patchmobile explodes. Meanwhile, B.Z.'s crimes are uncovered when Cornelia calls the police. As Dr. Towzer and B.Z.'s chauffeur, Grizzard, are arrested, B.Z. attempts to evade the cops by eating several candy canes and tries to fly out of his office window only to fly up into the sky.
The film ends with the inhabitants of the North Pole celebrating the triumph with a joyous dance party, where Cornelia and Joe have been adopted by Santa, his wife and his elves, whilst B.Z., in spite of his pleas for help, is doomed to float off into the depths of space, among the equally-affected remains of the Patchmobile as the end credits roll.
Cast[edit]
David Huddleston as Santa Claus, the Christmas figure who delivers presents to every child in the world on Christmas Eve.
Dudley Moore as Patch, a creative, inventive elf whose passion for and faith in the 20th Century is put to the test throughout the story.
John Lithgow as B.Z., the main antagonist – an unscrupulous toy manufacturer who uses Patch in a larger scheme to take over Christmas.
Judy Cornwell as Anya Claus, Santa's caring and supportive wife.
Burgess Meredith as the Ancient One, the oldest and wisest of the elves.
Jeffrey Kramer as Dr. Eric Towzer, B.Z.'s head of Research & Development.
Christian Fitzpatrick as Joe, a homeless 10-year-old orphan boy living on the hard streets of New York who befriends Santa and becomes Cornelia's best friend and conscience.
Carrie Kei Heim as Cornelia, B.Z.'s 9-year-old step-niece and orphan, who becomes Joe's conscience and best friend.
John Barrard as Dooley, Santa's #2 at the North Pole.
Anthony O'Donnell as Puffy, a bearded elf whose methodicalness foils against Patch's more radical progressiveness.
Melvyn Hayes as Goober, head of the Sewing Department.
Don Estelle as Groot, the elves' Senior Chef.
Tim Stern as Boog, first of Patch's three best friends.
Peter O'Farrell as Honka, second of Patch's three best friends.
Christopher Ryan as Vout, third of Patch's three best friends.
Keith Hayden as an Elf.
Shannon Spruill as Bratty Kid at Ballet Class
Nigel Paterson as bass-playing Elf in 'Season's Greetings' scene.
Production[edit]
Development and Filming[edit]
Conceived by Ilya Salkind in the wake of the apparently waning critical and U.S. box office success of 1983's Superman III and its immediate follow-up, 1984's Supergirl, Santa Claus: The Movie was directed by Jeannot Szwarc, who had directed Supergirl, from a story by David and Leslie Newman. David Newman, however, took sole screenplay credit. Pierre Spengler, Ilya's longtime partner, and the third key element of Team Salkind, joined Alexander's son as the project's producer. John Carpenter was originally offered the chance to direct, but also wanted a say in the writing, musical score and final cut of the movie. Carpenter's original choice for the role of Santa was Brian Dennehy.
Among the original choices to direct the film other than Carpenter were Lewis Gilbert, who, despite initial interest, could not agree with the Salkinds over certain aspects of the script. Robert Wise was also offered the chance to direct, but Wise had a different approach to the story. Guy Hamilton, who'd had to withdraw from directing Superman: The Movie in 1976 (because he was a tax exile, and, as such, could only spend 30 days in England, where the movie would be filming), was very interested in directing and lobbied hard for the chance to do so, but only on the condition that the film be shot either in Los Angeles, Vancouver or Rome. Ultimately, the Salkinds chose Szwarc because of their excellent working relationship on Supergirl which many executives at TriStar Pictures believed was a masterpiece and would also become a mega hit.
Santa Claus: The Movie was filmed in Buckinghamshire, England at Pinewood Studios, between August and November 1984. The film was photographed by Arthur Ibbetson, whose credits, among others, included the original Willy Wonka and the Chocolate Factory (1971). Santa Claus: The Movie was his final feature film. Serving as film editor was Peter Hollywood.
The production was designed by Anthony Pratt, with costume design concepts by Bob Ringwood. The visual effects unit, as well as several of the production staff, were Salkind stalwarts from the Superman films: Derek Meddings, director of visual and miniature effects; Roy Field, optical visual effects supervisor; and David Lane, flying and second unit director.
The documentary, Santa Claus: The Making of The Movie, which chronicles the film's production, is introduced by David Huddleston, speaking straight to the camera in character as Santa, with Dudley Moore serving as on-screen host. The voice over commentary is performed by Ted Maynard, who had also done voice-overs for the film's original UK trailer. The documentary originally aired in the United States on ABC, on Christmas Eve, 1987. Anchor Bay Entertainment's now-out-of-print 20th anniversary DVD of the film included this documentary as a bonus feature; the Lionsgate DVD and Blu-ray versions currently feature the 50-minute feature as well. The Blu-ray version, however, also features a brief chronicle of the filming of the " 'Christmas II' Press Conference" sequence, as well as additional deleted scenes cut from the original theatrical version.
Casting[edit]
Moore had always been the top choice to play the lead Elf in the movie, Ilya Salkind having remembered a scene in Arthur in which Liza Minnelli's character asks Moore if he is Santa's Little Helper. Moore was attached to the project virtually from the outset, and therefore had a say on both scripting and choice of director. Originally, David Newman's first-draft script called for the character to be named Ollie; but Moore decided instead that the name should be changed to Patch, Patch being the nickname of his own young son, Patrick. Moore was briefly considered to play the role of the 5th dimension imp "Mr. Mxyzptlk" in the Salkind's aborted original script from Superman III and for the role of Nigel in Supergirl. He turned down that role, but suggested his long time friend and comic partner Peter Cook for the part. Ilya Salkind, from the very beginning, had wanted an American actor to portray Santa Claus because he felt that the movie focused on a primary piece of Americana in much the same way that Superman: The Movie did. Brian Dennehy was the top choice of John Carpenter when he discussed the possibility of directing the film with the Salkinds. Jeannot Szwarc, however, felt that he needed an actor with more warmth than Dennehy, and toward that end, he had screen-tested such actors as David White (who, being in his late 60's, was considered too old for the role), and Moore's Arthur co-star Barney Martin. For a while, Ilya Salkind actively pursued Carroll O'Connor for the role before Szwarc showed him David Huddleston's screen-test, which won Salkind over.
For the role of B.Z., the producers wanted a star with a similar stature to Gene Hackman when he had played Lex Luthor in Superman: The Movie. To this end, they offered the role to Harrison Ford who turned them down. They made offers to Dustin Hoffman, Burt Reynolds and Johnny Carson --- all of whom, for one reason or another, turned the part down. Eventually, John Lithgow was settled on after Salkind watched Terms of Endearment and realised that he had a Grinch-type look to him. The role of the Ancient Elf was written with James Cagney in mind; however, with Cagney being very weak in his old age, the legendary actor could not adequately assume the role, despite the fact that he liked the film's overall idea. Nonetheless, Cagney had no other choice but to turn the offer down, so Fred Astaire was considered. When this eventually came to nothing, Dudley Moore suggested his friend Burgess Meredith for the role, which he in the end won. At the time of the movie's announcement in the middle of 1983, the British Press carried reports that diminutive actors such as David Jason, Patrick Troughton and Norman Wisdom would be cast alongside Dudley as fellow Elves. This ultimately came to nothing.
Santa's elves[edit]
The elves in the film are portrayed as legendary beings known as the Vendequm. According to the Santa Claus: The Movie novelization written by science fiction/fantasy novelist Joan D. Vinge, the elves keep watch over all that happens in the world that borders their own magical realm. The Vendequm are described as being extremely fond of children since, after all, only children can see them, due to the innocence of their youth. The elves are fond of making things for children, and so they often journeyed out into the children's world, leaving their newly crafted toys where children would find them. According to the novel, with the passing of each new century, and as civilizations continued to rise and fall, it became more and more difficult and dangerous for the elves to venture too far out into the human world. Thus, the vast majority of the toys the elves made could not be given out, and were left to gather dust in their magnificent storeroom, the Toy Tunnel.
The novel also describes how, on a certain long-winter's night, the oldest and wisest elf of all, the Ancient One, foresaw the arrival of a man whose love for children would be equal to that of the elves. The Ancient One believed that this man would be the one to whom the elves would grant full immortality, along with the ability to deliver the elves' gifts to children all over the world.
In addition to Patch, Dooley, Puffy, Boog, Honka, and Vout, the film's screenplay and cast listing features three additional elves: Groot, the Elves' Senior Chef; Goober, the head of the Elves' tailoring shop, who crafts Santa's full red robes; and Goobler, who trains several of his fellow elves in the art of painting toys with their own beards.
Reception[edit]
Santa Claus: The Movie received negative reviews upon release, with a rating of 17% on Rotten Tomatoes, from the 17 reviews counted.[1] Box Office Mojo lists the film's total United States box office gross as $23,717,291,[2] less than its $30–50 million production budget.[3]
Chicago Sun-Times critic Roger Ebert noted some positive points to the film, writing that the film "does an interesting job of visualizing Santa's workshop" and Santa's elves. He also praised the film's special effects, particularly the New York City fly-over sequence involving Santa. Ebert also had some praise for Lithgow's "nice, hateful performance", but wrote that "the villain is not drawn big enough." He ceded that young children would probably like most of the film, but that older children and adults are "likely to find a lot of it a little thin."[4]
Vincent Canby of The New York Times was less positive than Ebert, calling the production "elaborate and tacky". He described the film as having "the manner of a listless musical without any production numbers". Unlike Ebert, he offered little praise for the film's production design. Canby quipped that "Santa's workshop must be the world's largest purchaser of low-grade plywood" and that the flyover sequences with Santa "aren't great." The only praise he had for the film's acting was for John Lithgow, who Canby wrote "(gave) the film's only remotely stylish performance."[5] A more recent review by William Mager on BBC.co.uk's review section echoed Canby and Ebert's comments.[6]
In his book Have Yourself a Movie Little Christmas, critic Alonso Duralde lists Santa Claus: The Movie in his chapter of worst Christmas movies ever. His reasons include weak plot, garish production design, blatant product placement (particularly for McDonald's, though Coke and Pabst Blue Ribbon are also prominent), and scenery-chewing overacting on the part of Lithgow. Duralde ultimately concludes that the film is "a train-wreck of a Christmas movie that's so very wrong that you won't be able to tear yourself away from it."[7]
Despite all this though the film has developed a cult following amongst those who have grown up with it, and become one of the definitive films to watch at Christmas, often being a seasonal television staple.
Soundtrack[edit]
The soundtrack score was composed and conducted by Henry Mancini, composer of the themes from The Pink Panther and Peter Gunn, with veteran lyricist and screenwriter Leslie Bricusse contributing five original songs. The song "It's Christmas (All Over The World)" was written by Bill House and John Hobbs with Freddie Mercury in mind. While it is known that Mercury recorded a demo for the House/Hobbs song at Pinewood Studios, he was never to make a full commitment to the project, as he and his Queen bandmates had already committed themselves to the Highlander soundtrack. In the end, Mercury turned down the project, stating that he felt that Queen had become overcrowded with requests to work on film soundtracks; as a result, Sheena Easton was ultimately chosen to record the tune. As mentioned on the DVD commentary of the movie by Jeannot Szwarc, Paul McCartney was asked to compose songs for the film. It is unknown why he did not do so in the end, but his song "Once Upon a Long Ago" had been indeed originally composed with the movie in mind.[8]
Track listing
"Main Title: Every Christmas Eve 1 and Santa's Theme (Giving)" (Mancini/Bricusse)
"Arrival of the Elves" (Mancini)
"Making Toys" (Mancini/Bricusse)2
"Christmas Rhapsody: Deck the Halls/Joy to the World/Hark! The Herald Angels Sing/12 Days of Christmas/O Tannenbaum/The First Noel/Silent Night"
"It's Christmas Again" (Mancini/Bricusse)2
"March of the Elves" (Mancini)
"Patch, Natch!" (Mancini/Bricusse) 3
"It's Christmas (All Over The World)" (Bill House, John Hobbs)5
"Shouldn't Do That" (Nick Beggs, Stuart Croxford, Neal Askew, Steve Askew) 4
"Sleigh Ride over Manhattan" (Mancini)
"Sad Patch" (Mancini)
"Patch Versus Santa" (Mancini)
"Thank You, Santa" (Mancini/Bricusse) 2
1Sung by Aled Jones
2Performed by the Ambrosian Children's Choir.
3Performed by the Ambrosian Singers
4Produced by Ken Scott and performed by Kaja
5Produced by Keith Olsen for Pogologo Corporation, and performed by Sheena Easton.
The soundtrack was originally released on record and cassette by EMI Records in 1985. Soon after, it went out of print and remained unavailable until 2009 when it was released on CD by Singular Soundtrack of Spain. This was a limited run of 1000 copies which sold out immediately upon release. In a rare situation for the label, this production suffered from several issues, most notably a master which had been subjected to heavy noise reduction resulting in a loss of sound quality. Additionally, the left & right channels had been erroneously flipped, a superficial re-edit had been performed on "It's Christmas (All Over the World)", and the song "Shouldn't Do That" by Kaja (Kajagoogoo) had been omitted due to licensing issues. These issues necessitated a replacement pressing to correct many of the problems, save for the licensing issue. The replacement pressing had the unfortunate side-effect of introducing the lossy copies into the secondary market. (To differentiate, the original lossy edition has SER 808 #1 stamped in the center. The replacement disc has SER 879 #1 stamped in the center.[9])
At the time of the 2009 release, Singular Soundtrack became merged with Quartet Records, allowing the label to produce increasingly high-profile projects. Though problematic, the Singular edition had been well-received and had garnered enough ongoing interest to warrant an expansion. In 2012, following a run of successful releases, Quartet Records revisited the earlier release of Santa Claus: The Movie, this time with an ambitious goal: a complete score release from the original scoring tapes.
The resultant December 2012 release was an unlimited deluxe three-disc set including sixty-four tracks totaling just under three hours of music, and a 32-page analysis by celebrated historian Jeff Bond.[10] Every piece of score music used in the film was included, as well as several outtakes and alternates. The original soundtrack, which differs from the music recorded for the film, was remastered from the original source material, and the pop songs found on the original soundtrack were all represented, including the Kaja song "Shouldn't Do That."
Comic book adaptation[edit]
Marvel Comics published a comic book adaptation of the film by writer Sid Jacobson and artist Frank Springer in Marvel Super Special #39.[11][12]
See also[edit]
Santa Claus in film
References[edit]
Jump up ^ "Santa Claus: The Movie - Rotten Tomatoes". Rotten Tomatoes. Retrieved 2006-12-14.
Jump up ^ "Santa Claus: The Movie total gross". Box Office Mojo. Retrieved 2006-12-14.
Jump up ^ Harmetz, Aljean (November 29, 1985). "At the Movies". The New York Times. Retrieved June 13, 2011.
Jump up ^ Ebert, Roger (1985-11-27). "Rogerebert.com - Santa Claus: The Movie review". Chicago Sun-Times. Retrieved 2006-12-14.
Jump up ^ Canby, Vincent (1985-11-27). "FILM: 'SANTA CLAUS,' WITH MOORE AND LITHGOW". The New York Times. Retrieved 2006-12-14.
Jump up ^ Mager (2000-12-01). "BBC - Santa Claus: The Movie film review". BBC.co.uk. Retrieved 2006-12-14.
Jump up ^ Duralde, Alonso (2010). Have Yourself a Movie Little Christmas. Limelight Editions. pp. 186–187. ISBN 0879103760.
Jump up ^ Soundtrack: Santa Claus: The Movie soundtrack at Amazon.com
Jump up ^ http://www.filmscoremonthly.com/board/posts.cfm?threadID=68678&forumID=1&archive=0
Jump up ^ Soundtrack: [1] at QuartetRecords.com
Jump up ^ Friedt, Stephan (December 2015). "Santa Claus: The Movie". Back Issue!. TwoMorrows Publishing (85): 62–64.
Jump up ^ Marvel Super Special #39 at the Grand Comics Database
External links[edit]
Wikiquote has quotations related to: Santa Claus: The Movie
Santa Claus: The Movie on IMDb
Santa Claus: The Movie at AllMovie
Santa Claus: The Movie at Box Office Mojo
Santa Claus: The Movie at Rotten Tomatoes
[hide]
v
t
e
Films directed by Jeannot Szwarc
The Devil's Daughter (1973)
Extreme Close-Up (1973)
Bug (1975)
Code Name: Diamond Head (1977)
Jaws 2 (1978)
Somewhere in Time (1980)
Enigma (1982)
Supergirl (1984)
Santa Claus: The Movie (1985)
Grand Larceny (1987)
Honor Bound (1988)
La Vengeance d'une blonde (1994)
Hercule et Sherlock (1996)
Les Soeurs Soleil (1997)
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text:
MMMBop
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
This article is about the song. For the demo album, see MMMBop (album).
"MMMBop"
Single by Hanson
from the album Middle of Nowhere
Released
April 15, 1997 (1997-04-15)
Format
CD single
Genre
Pop rock, teen pop
Length
4:28 (album version)
3:58 (single version)
Label
Mercury, PolyGram
Songwriter(s)
Isaac Hanson, Taylor Hanson, Zac Hanson
Producer(s)
Dust Brothers, Stephen Lironi
Hanson singles chronology
"MMMBop"
(1997) "Where's the Love"
(1997)
Music video
"MMMBop" on YouTube
Audio sample
file
help
"MMMBop" is a song written and performed by the American pop rock band Hanson. It was released in April 1997 as the lead single from their debut full length studio album, Middle of Nowhere (1997). The song was nominated for two Grammys at the 40th Annual Grammy Awards and is the band's most successful single to date. "MMMBop" was phenomenally successful, especially for a debut single, reaching number one in 27 countries including the United States, the United Kingdom, Germany, Australia and Mexico.[1] In the United Kingdom, the song sold 710,000 copies and stayed at number one for 3 weeks.
It was voted the best single of the year in The Village Voice Pazz & Jop critics poll, while also topping critics' polls from such media as Rolling Stone, Spin, and VH1, and was ranked No. 98 on VH1's "100 Greatest Songs of the Past 25 Years", as well as No. 20 on VH1's "100 Greatest Songs of the 90s".[2]
Contents
1 Background
2 Track listing
2.1 CD single
2.2 US 7" single
2.3 US 12" single
3 Charts and certifications
3.1 Weekly charts
3.2 Year-end charts
3.3 Decade-end charts
3.4 Certifications
4 References
5 External links
Background[edit]
The song originally appeared on the 1996 independent album MMMBop with a slower tempo, but was reworked as an upbeat pop track by hit producers The Dust Brothers.
In an August 2004 interview with Songfacts, Zac Hanson explained the song's origins:
That song started out really as the background part for another song. We were making our first independent album and we were trying to come up with a background part. We started singing a slightly different incarnation of what is now the chorus of "MMMbop." That sort of stuck in our heads and never really worked as a background part, and over a couple of years, that piece really has stuck in our heads and we really crafted the rest of the song - the verses and bridge and so on.
What that song talks about is, you've got to hold on to the things that really matter. MMMbop represents a frame of time or the futility of life. Things are going to be gone, whether it's your age and your youth, or maybe the money you have, or whatever it is, and all that's going to be left are the people you've nurtured and have really built to be your backbone and your support system.
They [the lyrics] weren't inspired by one artist in particular. The first music that we got into was '50s and '60s music. If anything, "MMMbop" was inspired by The Beach Boys and vocal groups of that era - using your voice as almost a Doo-Wop kind of thing. It was something we almost stumbled upon.[3]
Track listing[edit]
"MMMBop" written by Isaac Hanson, Taylor Hanson and Zac Hanson.
CD single[edit]
"MMMBop" (album version) – 4:28
"MMMBop" (Dust Brothers Mix) – 4:28
"MMMBop" (Hex Mix) – 3:26
"MMMBop" (single version) – 4:01
US 7" single[edit]
"MMMBop" (LP version) – 4:27
"Where's the Love" – 4:12
US 12" single[edit]
"MMMBop" (Berman Brothers Club Mix) – 5:14
"MMMBop" (Berman Brothers Club Instrumental) – 5:14
"MMMBop" (Soulful Club Mix) – 5:27
"MMMBop" (Berman Brothers Radio Mix) – 3:17
"MMMBop" (LP version) – 4:27
Charts and certifications[edit]
Weekly charts[edit]
Chart (1997–98)
Peak
position
Australia (ARIA)[4] 1
Austria (Ö3 Austria Top 40)[5] 1
Belgium (Ultratop 50 Flanders)[6] 1
Belgium (Ultratop 50 Wallonia)[7] 4
Canada Top Singles (RPM)[8] 1
Europe (European Hot 100)[9] 1
Finland (Suomen virallinen lista)[10] 4
France (SNEP)[11] 4
Germany (Official German Charts)[12] 1
Iceland (Íslenski Listinn Topp 40)[13] 8
Ireland (IRMA)[14] 1
Italy (FIMI)[15] 6
Netherlands (Dutch Top 40)[16] 2
New Zealand (Recorded Music NZ)[17] 1
Norway (VG-lista)[18] 2
Scotland (Official Charts Company)[19] 1
Spain (AFYVE)[20] 1
Sweden (Sverigetopplistan)[21] 1
Switzerland (Schweizer Hitparade)[22] 1
UK Singles (Official Charts Company)[23] 1
US Billboard Hot 100[24] 1
US Adult Contemporary (Billboard)[25] 21
US Adult Top 40 (Billboard)[26] 5
US Mainstream Top 40 (Billboard)[27] 1
Year-end charts[edit]
Chart (1997)
Position
Australian Singles Chart[28] 5
Canadian RPM Singles Chart[29] 4
Europe (Eurochart Hot 100)[30] 10
Germany (Official German Charts)[31] 16
New Zealand (Recorded Music NZ)[32] 4
UK Singles Chart 11
US Billboard Hot 100[33] 12
Decade-end charts[edit]
Chart (1990–1999)
Position
US Billboard Hot 100[34] 69
Certifications[edit]
Region
Certification
Certified units/Sales
Australia (ARIA)[35]
2× Platinum 140,000^
Belgium (BEA)[36]
Platinum 0*
Germany (BVMI)[37]
Platinum 500,000^
New Zealand (RMNZ)[38]
Platinum 10,000*
Sweden (GLF)[39]
Platinum 30,000^
Switzerland (IFPI Switzerland)[40]
Gold 25,000^
United Kingdom (BPI)[41]
Platinum 758,000[42]
United States (RIAA)[43]
Platinum 1,500,000[44]
*sales figures based on certification alone
^shipments figures based on certification alone
References[edit]
Jump up ^ KFM - The Cape's No. 1 Hit Music Station Archived 2007-11-30 at the Wayback Machine.
Jump up ^ "VH1: 100 Greatest Songs of the '90s". VH1. Archived from the original on 2015-01-27. Retrieved 2015-01-27.
Jump up ^ "Zac Hanson: Songwriter Interviews". Songfacts. Retrieved January 30, 2018.
Jump up ^ "Australian-charts.com – Hanson – MmmBop". ARIA Top 50 Singles.
Jump up ^ "Austriancharts.at – Hanson – MmmBop" (in German). Ö3 Austria Top 40.
Jump up ^ "Ultratop.be – Hanson – MmmBop" (in Dutch). Ultratop 50.
Jump up ^ "Ultratop.be – Hanson – MmmBop" (in French). Ultratop 50.
Jump up ^ "Item Display – RPM – Library and Archives Canada". RPM.
Jump up ^ "Hanson – Chart history". Billboard.
Jump up ^ "Hanson: MmmBop" (in Finnish). Musiikkituottajat – IFPI Finland.
Jump up ^ "Lescharts.com – Hanson – MmmBop" (in French). Les classement single.
Jump up ^ "Musicline.de – Hanson Single-Chartverfolgung" (in German). Media Control Charts. PhonoNet GmbH.
Jump up ^ "Íslenski Listinn NR. 222 Vikuna 22.5. '97 - 28.5. '97" (PDF). Dagblaðið Vísir. May 23, 1997. p. 16. Retrieved April 8, 2018.
Jump up ^ "Irish Singles Chart, database". Irish Recorded Music Association.
Jump up ^ "Italiancharts.com – Hanson – MmmBop". Top Digital Download.
Jump up ^ "Nederlandse Top 40 – week 24, 1997" (in Dutch). Dutch Top 40
Jump up ^ "Charts.nz – Hanson – MmmBop". Top 40 Singles.
Jump up ^ "Norwegiancharts.com – Hanson – MmmBop". VG-lista.
Jump up ^ "Official Scottish Singles Sales Chart Top 100". Official Charts Company.
Jump up ^ "The World's Music Charts (Song artist 100 - Hanson)". Retrieved April 7, 2013.
Jump up ^ "Swedishcharts.com – Hanson – MmmBop". Singles Top 100.
Jump up ^ "Swisscharts.com – Hanson – MmmBop". Swiss Singles Chart.
Jump up ^ "Official Singles Chart Top 100". Official Charts Company.
Jump up ^ "Hanson Chart History > Hot 100". Billboard. Retrieved October 28, 2017.
Jump up ^ "Hanson Chart History > Adult Contemporary". Billboard. Retrieved October 28, 2017.
Jump up ^ "Hanson Chart History > Adult Top 40". Billboard. Retrieved October 28, 2017.
Jump up ^ "Hanson Chart History > Mainstream Top 40". Billboard. Retrieved October 28, 2017.
Jump up ^ "ARIA Charts - End of Year Charts - Top 100 Singles 1997".
Jump up ^ "Top Singles - Volume 66, No. 15, December 15, 1997". RPM. Retrieved 2012-10-05.
Jump up ^ Inc, Nielsen Business Media (10 January 1998). Billboard. Nielsen Business Media, Inc. – via Google Books.
Jump up ^ "Top 100 Single-Jahrescharts". GfK Entertainment (in German). offiziellecharts.de. Retrieved July 15, 2015.
Jump up ^ "End of Year Charts 1997". Recorded Music NZ. Retrieved December 3, 2017.
Jump up ^ "Billboard Top 100 - 1997". Archived from the original on 2009-06-11. Retrieved 2010-08-28.
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 – 1997 Singles". Australian Recording Industry Association. Retrieved 2011-09-28.
Jump up ^ "Ultratop 50 Albums Wallonie 1997". Ultratop. Retrieved 2012-01-05.
Jump up ^ "Gold-/Platin-Datenbank (Hanson)" (in German). Bundesverband Musikindustrie. Retrieved 2011-09-28.
Jump up ^ "Top 50 Singles Chart, 24 August 1997". Recording Industry Association of New Zealand. Retrieved 2012-01-05.
Jump up ^ "Guld- och Platinacertifikat − År 1987−1998" (PDF) (in Swedish). IFPI Sweden. Retrieved 2011-09-28.
Jump up ^ "The Official Swiss Charts and Music Community: Awards (Hanson)". IFPI Switzerland. Hung Medien. Retrieved 2011-09-28.
Jump up ^ "British single certifications – Hanson". British Phonographic Industry. Retrieved 2011-09-28. Select singles in the Format field. Select Platinum in the Certification field. Enter Hanson in the search field and then press Enter.
Jump up ^ "Flashback: Hanson's MmmBop was Number 1 19 years ago this week".
Jump up ^ "American single certifications – Hanson". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Single, then click SEARCH
Jump up ^ Jeffrey, Don (31 January 1998). Best-selling Records of 1997. Billboard. Retrieved 2012-01-05.
External links[edit]
Lyrics of this song at MetroLyrics
hide
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Hanson
Isaac Hanson
Taylor Hanson
Zac Hanson
Studio albums
Boomerang
MMMBop
Middle of Nowhere
Snowed In
This Time Around
Underneath
The Walk
Shout It Out
Anthem
Finally It's Christmas
Singles
"MMMBop"
"Where's the Love"
"I Will Come to You"
"Weird"
"Thinking of You"
"If Only"
"This Time Around"
"Penny & Me"
"Lost Without Each Other"
"Great Divide"
"Go"
"Thinking 'bout Somethin'"
"Give a Little"
"Get the Girl Back"
Compilations
3 Car Garage
MMMBop: The Collection
Middle of Everywhere: The Greatest Hits
Live albums
Live from Albertane
The Best of Hanson: Live & Electric
Middle of Nowhere Acoustic
EPs
Underneath Acoustic
Stand Up, Stand Up
Videos and DVDs
The Road to Albertane
At the Fillmore
Strong Enough to Break
Underneath Acoustic Live
Concert tours
Albertane Tour (1998)
Anthem World Tour (2013–2014)
Middle of Everywhere: 25th Anniversary Tour (2017)
Related articles
Discography
Tinted Windows
3CG Records
"Someone (Laissons nous une chance)"
Retrieved from "https://en.wikipedia.org/w/index.php?title=MMMBop&oldid=856135701"
Categories:
1997 singles
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Billboard Hot 100 number-one singles
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European Hot 100 Singles number-one singles
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Songs written by Isaac Hanson
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Music videos directed by Tamra Davis
1996 songs
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Hidden categories:
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text:
Grand Ole Opry
From Wikipedia, the free encyclopedia
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Grand Ole Opry
Genre
Country, bluegrass, gospel
Running time
30-minute segments (7:00 pm–9:30 pm)
Country of origin
United States
Language(s)
English
Home station
WSM radio
Sirius XM satellite radio
Announcer
Eddie Stubbs
Created by
George D. Hay
Recording studio
Nashville, Tennessee
Original release
November 28, 1925 (1925-11-28) – present
Sponsored by
Humana
Website
www.opry.com
The Grand Ole Opry is a weekly country music stage concert in Nashville, Tennessee founded on November 28, 1925, by George D. Hay as a one-hour radio "barn dance" on WSM. Currently owned and operated by Opry Entertainment (a division of Ryman Hospitality Properties, Inc.), it is the longest running radio broadcast in US history.[1][2] Dedicated to honoring country music and its history, the Opry showcases a mix of famous singers and contemporary chart-toppers performing country, bluegrass, Americana, folk, and gospel music as well as comedic performances and skits.[3] It attracts hundreds of thousands of visitors from around the world and millions of radio and internet listeners.
The Opry's current primary slogan is "The Show That Made Country Music Famous."[4] Other slogans include "Home of American Music" and "Country’s Most Famous Stage."[3]
In the 1930s, the show began hiring professionals and expanded to four hours. Broadcasting by then at 50,000 watts, WSM made the program a Saturday night musical tradition in nearly 30 states.[5] In 1939, it debuted nationally on NBC Radio. The Opry moved to a permanent home, the Ryman Auditorium, in 1943. As it developed in importance, so did the city of Nashville, which became America's "country music capital."[6] The Grand Ole Opry holds such significance in Nashville that its name is included on the city/county line signs on all major roadways. The signs read "Music City|Metropolitan Nashville Davidson County|Home of the Grand Ole Opry."
Membership in the Opry remains one of country music's crowning achievements.[7] Such country music legends as Hank Williams, Johnny Cash, Patsy Cline, Marty Robbins, Roy Acuff, the Carter family, Bill Monroe, Ernest Tubb, Kitty Wells, and Minnie Pearl were regulars on the Opry's stage throughout its history. In recent decades, the Opry has hosted such contemporary country stars as Dolly Parton, Loretta Lynn, Alan Jackson, Garth Brooks, Reba McEntire, Josh Turner, Carrie Underwood, Brad Paisley, Rascal Flatts, Dierks Bentley, Little Big Town, Blake Shelton, Chris Young, and Ricky Skaggs. Since 1974, the show has been broadcast from the Grand Ole Opry House east of downtown Nashville, with an annual three-month winter foray back to the Ryman since 1999. In addition to the radio programs, performances have been sporadically televised over the years.
Contents
1 History
1.1 Beginnings
1.2 Name
1.3 Larger venues
1.4 1960s
1.5 Grand Ole Opry House
1.6 Return to Ryman Auditorium
1.7 2010 flooding
2 Broadcasts
3 Membership
4 Controversies
5 Commercialization
6 Honors
7 See also
8 Notes
9 References
10 External links
History[edit]
Beginnings[edit]
Decorative brickwork at Opryland Hotel depicting Ryman Auditorium with Minnie Pearl and Roy Acuff
The Grand Ole Opry started as the WSM Barn Dance in the new fifth-floor radio studio of the National Life & Accident Insurance Company in downtown Nashville on November 28, 1925. On October 18, 1925, management began a program featuring "Dr. Humphrey Bate and his string quartet of old-time musicians." On November 2, WSM hired long-time announcer and program director George D. "Judge" Hay, an enterprising pioneer from the National Barn Dance program at WLS in Chicago, who was also named the most popular radio announcer in America as a result of his radio work with both WLS and WMC in Memphis, Tennessee. Hay launched the WSM Barn Dance with 77-year-old fiddler Uncle Jimmy Thompson on November 28, 1925, and that date is celebrated as the birth date of the Grand Ole Opry.[8]
Some of the bands regularly on the show during its early days included Bill Monroe, the Possum Hunters (with Dr. Humphrey Bate), the Fruit Jar Drinkers with Uncle Dave Macon, the Crook Brothers, the Binkley Brothers' Dixie Clodhoppers, Sid Harkreader, Deford Bailey, Fiddlin' Arthur Smith, and the Gully Jumpers.[9]
Judge Hay liked the Fruit Jar Drinkers and asked them to appear last on each show because he wanted to always close each segment with "red hot fiddle playing." They were the second band accepted on Barn Dance, with the Crook Brothers being the first. When the Opry began having square dancers on the show, the Fruit Jar Drinkers always played for them. In 1926, Uncle Dave Macon, a Tennessee banjo player who had recorded several songs and toured on the vaudeville circuit became its first real star.[9]
Signs welcoming motorists to Nashville on all major roadways include the phrase "Home Of The Grand Ole Opry".
Name[edit]
The phrase "Grand Ole Opry" was first uttered on the air on December 10, 1927.[10] At the time, Barn Dance followed the NBC Red Network's Music Appreciation Hour, a program with classical music and selections from grand opera presented by classical conductor Walter Damrosch. On that particular night, Damrosch remarked that "there is no place in the classics for realism." In response, Opry presenter George Hay said:
Friends, the program which just came to a close was devoted to the classics. Doctor Damrosch told us that there is no place in the classics for realism. However, from here on out for the next three hours, we will present nothing but realism. It will be down to earth for the "earthy."
Hay then introduced DeFord Bailey, the man he had dubbed the "Harmonica Wizard", saying:
For the past hour, we have been listening to music taken largely from Grand Opera. From now on, we will present the "Grand Ole Opry."
Bailey then stepped up to the mic to play "The Pan-American Blues," his song inspired by the Pan-American, a premier L&N Railroad passenger train.[10][11]
Larger venues[edit]
As audiences for the live show increased, National Life & Accident Insurance's radio venue became too small to accommodate the hordes of fans. They built a larger studio, but it was still not large enough. After several months with no audiences, National Life decided to allow the show to move outside its home offices. In October 1934, the Opry moved into then-suburban Hillsboro Theatre (now the Belcourt) before moving to the Dixie Tabernacle in East Nashville on June 13, 1936. The Opry then moved to the War Memorial Auditorium, a downtown venue adjacent to the State Capitol, and a 25-cent admission fee was charged to try to curb the large crowds, but to no avail. On June 5, 1943, the Opry moved to Ryman Auditorium.
Roy Acuff
Ryman Auditorium, the "Mother Church of Country Music"
Top-charting country music acts performed at the Opry during the Ryman years, including Roy Acuff – called the King of Country Music – Hank Williams, Webb Pierce, Faron Young, Martha Carson, Lefty Frizzell, and many others.
One hour of the Opry was nationally broadcast by the NBC Red Network from 1939 to 1956, and for much of its run, it aired one hour after the program that had inspired it, National Barn Dance. The NBC segment, originally known by the name of its sponsor, The Prince Albert Show, was first hosted by Acuff, who was succeeded by Red Foley from 1946 to 1954. From October 15, 1955 to September 1956, ABC-TV aired a live, hour-long television version once a month on Saturday nights (sponsored by Ralston-Purina) that pre-empted one hour of the then-90-minute Ozark Jubilee. From 1955 to 1957, Al Gannaway owned and produced both The Country Show and Stars of the Grand Ole Opry, both filmed programs syndicated by Flamingo Films. Gannaway's Stars of the Grand Ole Opry was the first television show shot in color.[12]
On October 2, 1954, a teenage Elvis Presley had his only Opry performance. Although the audience reacted politely to his revolutionary brand of rockabilly music, Opry manager Jim Denny told Presley's producer Sam Phillips after the show that the singer's style did not suit the program.[13]
1960s[edit]
In the 1960s, as the hippie counterculture movement spread, the Opry maintained a strait-laced, conservative image with "longhairs" not being featured on the show. The Byrds were a notable exception. Country rock pioneer Gram Parsons, who was a member of The Byrds at the time, was in Nashville to work on the band's country rock album, Sweetheart of the Rodeo.[14] The band's record label, Columbia Records, had arranged for The Byrds to perform at the Ryman on March 15, 1968, a prospect that thrilled Parsons.[14] However, when the band took the stage the audience's response was immediately hostile, resulting in derisive heckling, booing, and mocking calls of "tweet, tweet" and "cut your hair"[15][16] The Byrds further outraged the Opry establishment by ignoring accepted protocol when they performed Parsons' song "Hickory Wind" instead of the Merle Haggard song "Life in Prison," as had been announced by Tompall Glaser.[14] Two decades later, long after Parsons's death, members of The Byrds reconciled with the Opry and collaborated on the 1989 album Will the Circle Be Unbroken: Volume Two.
Another artist that ran afoul of the Opry's stringent standards was Jerry Lee Lewis, who made his first and only appearance on the show on January 20, 1973, after several years of success on the country charts. Lewis was given two conditions for his appearance – no rock and roll and no profanity – and he proceeded to disregard both, even referring to himself as a certain unairable maternal insult at one point. In a continuous 40-minute set, Lewis played a mixture of his rock and roll hits and covers of other singers' country songs. It has been said that he was bitter about how he was treated when he first arrived in Nashville in 1955, and he supposedly used his Opry appearance to exact revenge on the Nashville music industry.[17]
Grand Ole Opry House[edit]
Grand Ole Opry House
U.S. National Register of Historic Places
Grand Ole Opry House
Show map of Tennessee Show map of the US Show all
Location
2804 Opryland Drive, Nashville, Tennessee 37214[19]
Coordinates
36°12′24″N 86°41′32″W / 36.20667°N 86.69222°W / 36.20667; -86.69222Coordinates: 36°12′24″N 86°41′32″W / 36.20667°N 86.69222°W / 36.20667; -86.69222
Area
4 acres (approx.)[19]
Built
1972-74[19]
Architect
Welton Becket & Associates; Pierre Cabrol[19]
Architectural style
Modern/Brutalist[19]
Restored
2010 (flood damage remediation)
NRHP reference #
14001222[18]
Added to NRHP
January 27, 2015
Ryman Auditorium was home to the Opry until 1974. By the late 1960s, National Life & Accident desired a new, larger, more modern home for the long-running radio show. Already 51 years old at the time the Opry moved there, the Ryman was beginning to suffer from disrepair as the downtown neighborhood around it fell victim to increasing urban decay. Despite these shortcomings, the show's popularity continued to increase, and its weekly crowds were outgrowing the 3,000-seat venue. The Opry's operators wanted to build a new air-conditioned theater, with greater seating capacity, ample parking, and the ability to serve as a television production facility. The ideal location would be in a less urbanized part of town to provide visitors with a safer, more controlled, and more enjoyable experience.[20]
National Life & Accident purchased farmland owned by a local sausage manufacturer (Rudy's Farm) in the Pennington Bend area of Nashville, nine miles east of downtown and adjacent to the newly constructed Briley Parkway. The new Opry venue was the centerpiece of a grand entertainment complex at that location, which later included Opryland USA Theme Park and Opryland Hotel. The theme park opened to the public on June 30, 1972,[21] well ahead of the 4,000-seat Opry House, which debuted nearly two years later, on Saturday, March 16, 1974.
Opening night was attended by sitting U.S. President Richard Nixon, who played a few songs on the piano.[22] To carry on the tradition of the show's run at the Ryman, a six-foot circle of oak was cut from the corner of the Ryman's stage and inlaid into center stage at the new venue.[23] Artists on stage usually stood on the circle as they performed, and most modern performers still follow this tradition.
The theme park was closed and demolished following the 1997 season, but the Grand Ole Opry House remains in use. The immediate area around it was left intact, even throughout the construction of Opry Mills, which opened in May 2000.
The Grand Ole Opry continues to be performed every Tuesday, Friday, and Saturday at the Grand Ole Opry House from March through November each year, and the site was added to the National Register of Historic Places on January 27, 2015.[24][25].
Grand Ole Opry logo used from 2005 to 2015
Return to Ryman Auditorium[edit]
Following the departure of the Opry, Ryman Auditorium sat mostly vacant and decaying for 20 years. An initial effort by National Life & Accident to tear down the Ryman and use its bricks to build a chapel at Opryland USA was met with resounding resistance from the public, including many influential musicians of the time. The plans were abandoned, and the building remained standing with an uncertain future. Despite the absence of performances, the building remained a tourist attraction with tours.[26]
In 1991 and 1992, Emmylou Harris performed a series of concerts there and released some of the recordings as an album entitled At the Ryman. The concert and album's high acclaim renewed interest in reviving Ryman Auditorium as an active venue. Beginning in September 1993, Gaylord Entertainment initiated a full renovation of the Ryman, restoring it to a world-class concert hall that reopened with a broadcast of A Prairie Home Companion on June 4, 1994.[26]
On Sunday, October 18, 1998, the Opry held a benefit show at Ryman Auditorium, marking its return to the venue for the first time since its final show on March 15, 1974.[27] The show was well received by fans, performers, and management alike, and the decision was made to host the Opry's regular shows there on January 15 & 16, 1999, as part of the celebration to commemorate 25 years at the new venue.
Beginning in November 1999, the Opry was held at Ryman Auditorium for three months, partly due to the ongoing construction of Opry Mills. The Opry has returned to the Ryman for the three winter months every year since then, allowing the show to acknowledge its roots while also taking advantage of a smaller venue during an off-peak season for tourism.[27] While still officially the Grand Ole Opry, the shows there are billed as Opry at the Ryman. From 2002 to 2014, a traveling version of the Radio City Christmas Spectacular took up residence at the Grand Ole Opry House each holiday season while the Opry was away. It was replaced by Dr. Seuss' How the Grinch Stole Christmas! The Musical beginning in 2015.[28]
2010 flooding[edit]
In May 2010, the Opry House was flooded, along with much of Nashville, when the Cumberland River overflowed its banks. Repairs were made, and the Opry itself remained uninterrupted. Over the course of the summer of 2010, the broadcast temporarily originated from alternate venues in Nashville, with Ryman Auditorium hosting the majority of the shows. Other venues included TPAC War Memorial Auditorium, another former Opry home; TPAC's Andrew Jackson Hall; Nashville Municipal Auditorium; Allen Arena at Lipscomb University; and Two Rivers Baptist Church.[29]
Much of the auditorium's main floor seating, the backstage areas, and the entire stage – including the inlaid circle of wood from Ryman's stage – was underwater during the flood. While the Grand Ole Opry House's stage was replaced, the Ryman circle was restored and again placed at center stage in the Grand Ole Opry House before shows resumed.[30][31] The renovations following the flood also resulted in an updated backstage area, including the construction of more dressing rooms and a performer's lounge.
The Opry returned to the Grand Ole Opry House on September 28, 2010, in a special edition of the Opry entitled Country Comes Home that was televised live on Great American Country. The evening was filled with one-of-a-kind Opry moments. Martina McBride and Connie Smith sang Smith's signature hit "Once a Day" together, and other collaborations included Dierks Bentley and Del McCoury ("Roll On Buddy, Roll On"), Josh Turner and Lorrie Morgan ("Golden Ring"), and Montgomery Gentry and Charlie Daniels Band ("Devil Went Down To Georgia"), among others. The show closed with an all-star guitar jam featuring Brad Paisley, Keith Urban, Steve Wariner, Ricky Skaggs, and Marty Stuart.[32]
Broadcasts[edit]
Dolly Parton at the Opry in 2005
The Grand Ole Opry is broadcast live on WSM-AM at 7 p.m. CT on Saturday nights, changed from a previous time start of 6:30. A similar program, Friday Night Opry, airs live on Friday nights.From February through December, Tuesday Night Opry is also aired live.[33] Wednesday shows are typically presented in the summer months, while an "Opry Country Classics" program sporadically airs on Thursdays devoted solely to older artists. The length of each of the various shows varies; typically, the show runs three nights a week for just over two hours each night, with Saturday night shows often extended as late as midnight.
The Opry can also be heard live on Willie's Roadhouse on channel 59 on Sirius XM Satellite Radio, and the program streams on WSM's website.[33] ABC broadcast the Grand Ole Opry as a monthly series from 1955 to 1956, and PBS televised annual live performances from 1978 to 1981.[34] In 1985, The Nashville Network began airing an edited half-hour version of the program as Grand Ole Opry Live. The show moved to Country Music Television, where it expanded to an hour, and then to the Great American Country (GAC) cable network,[35] which no longer televised its Opry Live show.[36] RFD-TV carries reruns of Opry telecasts under the title Opry Encore.[37]
Membership[edit]
Main article: List of Grand Ole Opry Members
Little Jimmy Dickens, at the time the second-oldest living Opry member, at Opry House in 2004. The circle of wood is from the Ryman Auditorium's stage.
Regular performers at the Grand Ole Opry can be inducted into the organization as a member; the Opry management, when it decides to induct a new member, directs an existing member to publicly ask them to join, usually during a live episode. As the Opry is a running series, membership in the show's cast must be maintained throughout an artist's career, through frequent performances, and expires when the performer dies (in the case of duos, membership continues until both members die, with the survivor allowed to maintain membership after the other's death). The Opry maintains a wall of fame listing every member of the Opry in the show's history, including those that have died, lost or relinquished their membership. Receiving Opry membership is considered an honor that is similar in prestige to a hall of fame induction, with the caveat that a number of prominent country musicians (Conway Twitty, George Strait, Buck Owens and Merle Haggard being some of the most successful examples) never received it.
The Opry also maintains a list of active "guest musicians" without official Opry membership (over 400 as of July 2018) who appear on the show.
Controversies[edit]
In April 1963, Opry management made a rule that members had to perform on at least 26 shows a year to keep their memberships active.[38] WSM dropped the number of required performances to 20 in January 1964,[38] and the minimum number was 12 in 2000.[39] Although the minimum number of performances has been reduced over the years, artists offered membership are expected to show their dedication to the Opry with frequent attendance.[39]
Another controversy raged for years over allowable instrumentation, especially the use of drums and electrically amplified instruments. Some purists were appalled at the prospect; traditionally a string bass provided the rhythm component in country music, and percussion instruments were seldom used. Electric amplification, new in the beginning days of the Opry, was regarded as the province of popular music and jazz in the 1940s. Although the Opry allowed electric guitars and steel guitars by World War II, the restrictions against drums and horns continued, causing a conflict when Bob Wills[40] and Pee Wee King[41] defied the show's ban on drums.
Stonewall Jackson, the Opry's longest-tenured standing member as of 2018, sued the Opry management in 2008 alleging that manager Pete Fisher was trying to purge older members of the Opry from its membership and committing age discrimination.[42] Jackson settled the lawsuit later that year.[43]
Commercialization[edit]
June Carter Cash at the Opry in 1999
The company has enforced its trademark on the name "Grand Ole Opry," with trademark registrations in the United States and in numerous countries around the world. It has taken court action to limit use of the word "Opry" – not directly trademarked – to members of the Opry and products associated with or licensed by it and to discourage use of the word in ways that would imply a connection to the Grand Ole Opry.[44] In late 1968, for instance, WSM sued Opry Records, a record label that was independent of WSM,[45] and the court decided that "the record is replete with newspaper and magazine articles and clippings which demonstrate conclusively that the term 'Opry,' standing alone as defendant has used it, is constantly used in country and western music circles in referring to plaintiff's 'Grand Ole Opry'."[46] The court also stated "the defendant has appropriated, at its peril, the dominant or salient term in the plaintiff's mark, a term which identified the 'Grand Ole Opry' in the mind of the public many years before the inception of 'Opry Records' – the name adopted by defendant."[47]
In another case, the Trademark Trial and Appeal Board granted summary judgment that the term "Opry" is a generic term (and thus no more protected than the words "Grand" or "Ole"), but the Federal Circuit court reversed this decision.[48] As recently as 2009, the Trademark Trial and Appeal Board granted judgment against Texas Opry House, LLC, which had filed a trademark application for TEXAS OPRY HOUSE.[49]
In 2004, it was announced that the Grand Ole Opry had contracted for the first time with a "presenting sponsor," Cracker Barrel, and the sponsoring company's name would be associated with Grand Ole Opry in all its advertising.[50] Humana, Inc., Cracker Barrel, and Dollar General are the present sponsors of the Opry.[51]
Honors[edit]
Peabody Award, 1983
National Radio Hall of Fame induction, 1992
See also[edit]
Country music portal
Country Music Association
Country Music Hall of Fame and Museum
Music & the Spoken Word - "The longest-running continuous network radio program in the world" (began July 15th, 1929).[1]
Notes[edit]
^ Jump up to: a b "Music & the Spoken Word". National Radio Hall of Fame. Retrieved December 21, 2017.
Jump up ^ "Grand Ole Opry". National Radio Hall of Fame. National Radio Hall of Fame. Retrieved December 21, 2017. radio's longest-running musical program
^ Jump up to: a b "About The Opry". Grand Ole Opry. Gaylord Entertainment. Retrieved January 26, 2010.
Jump up ^ "Grand Ole Opry". Gaylord Opryland. Gaylord Hotels. Retrieved January 26, 2010.
Jump up ^ "Music/Grand Ole Opry". The Radio Hall of Fame. Archived from the original on September 8, 2008. Retrieved January 26, 2010.
Jump up ^ "Grand Ole Opry". The Columbia Electronic Encyclopedia, 6th ed. Columbia University Press. Missing or empty |url= (help); |access-date= requires |url= (help)
Jump up ^ "Country Music History". Country Music Hall of Fame and Museum. Country Music Foundation, Inc. Archived from the original on November 3, 2010. Retrieved January 28, 2010.
Jump up ^ "History of the Opry". Grand Ole Opry. Retrieved August 8, 2012.
^ Jump up to: a b Tassin, Myron (1975), Fifty Years at the Grand Ole Opry (1st ed.), Pelican Publishing, ISBN 978-0882890890
^ Jump up to: a b "Deford Bailey". Country Music Hall of Fame. Archived from the original on August 19, 2011. Retrieved July 21, 2011.
Jump up ^ "Lost and Found Sound: The Pan American Blues". NPR. November 20, 2000. Retrieved July 21, 2011.
Jump up ^ "ABC-TV to Air 'Ole Opry' Live Once Monthly" (October 8, 1955), The Billboard, p. 1
Jump up ^ Gaar, Gillian G. "Box Set Spotlights Elvis Presley's Surviving Early Work at Sun Studio." Goldmine Feb. 2013: 40-44. Print.
^ Jump up to: a b c Rogan, Johnny. (1998). The Byrds: Timeless Flight Revisited. Rogan House. ISBN 0-9529540-1-X.
Jump up ^ Allen, Michael. (2005). "I Just Want to Be a Cosmic Cowboy".
Jump up ^ Fricke, David. (2003). Sweetheart of the Rodeo: Legacy Edition (2003 CD liner notes).
Jump up ^ Dunkerley, Beville. Flashback: Jerry Lee Lewis Drops an F-Bomb on the Grand Ole Opry. Rolling Stone. Retrieved August 21, 2015.
Jump up ^ National Park Service (2010-07-09). "National Register Information System". National Register of Historic Places. National Park Service.
^ Jump up to: a b c d e f "National Register of Historic Places Registration Form: Grand Ole Opry House" (PDF). Archived from the original (PDF) on April 2, 2015. Retrieved March 16, 2015.
Jump up ^ The Grand Ole Opry: The Making of an American Icon - Colin Escott - Google Boeken. Books.google.com. Retrieved August 9, 2012.
Jump up ^ "Theme Park Timelines". Timelines.home.insightbb.com. Archived from the original on September 4, 2012. Retrieved August 9, 2012.
Jump up ^ Hurst, Jack Nashville's Grand Ole Opry (New York: H.N. Abrams, 1975)
Jump up ^ Smith, Loran (January 24, 2013). "A visit to the Grand Ole Opry brings precious memories". The News-Reporter. Retrieved November 29, 2014.
Jump up ^ Eleanor Kennedy, "Nashville's newest historic place: The Grand Ole Opry House", Nashville Business Journal, February 26, 2015.
Jump up ^ Todd Barnes, [Grand Ole Opry House added to National Register], The Tennessean, February 27, 2015.
^ Jump up to: a b The Encyclopedia of Country Music. Oxford University Press, USA. January 4, 2012. p. 444. ISBN 978-0-19-992083-9.
^ Jump up to: a b Fay, Byron (January 25, 2010). "Grand Ole Opry Ryman Reunion Celebration-October 18, 1998". Fayfare's Opry Blog. Retrieved June 29, 2015.
Jump up ^ "The Grinch to Steal Christmas in Nashville". PR Newswire. May 13, 2015. Retrieved June 29, 2015.
Jump up ^ "Home | Grand Ole Opry". Search2.opry.com. Retrieved February 5, 2014.
Jump up ^ Cooper, Peter (May 10, 2010). "Opry House's famed circle stays center stage after flood". USA Today. Retrieved June 29, 2015.
Jump up ^ Hackett, Vernell (August 25, 2010). "Grand Ole Opry Floor Restored for September 28 Reopening". TheBoot.com. Retrieved June 29, 2015.
Jump up ^ [1] Archived August 31, 2013, at the Wayback Machine.
^ Jump up to: a b "Tune In". Grand Ole Opry. Retrieved December 9, 2012.
Jump up ^ Fay, Byron. "First Televised Opry Show on PBS-March 4, 1978". FayFare's Opry Blog. Retrieved December 9, 2012.
Jump up ^ "History of the Opry". Grand Ole Opry. Retrieved December 9, 2012.
Jump up ^ "GAC's Presents Opry Live". GAC (Great American Country). Archived from the original on September 6, 2012. Retrieved December 9, 2012.
Jump up ^ "Opry Encore".
^ Jump up to: a b "Four Dropped From 'Opry' To Return on Christmas". Billboard: 50. November 27, 1965.
^ Jump up to: a b Morris, Edward (April 20, 2000). "Grand Ole Opry Looking Toward Building Its Audience". CMT/CMT News. Retrieved December 9, 2012.
Jump up ^ Kienzle, Richard. (2003). Southwest shuffle: pioneers of honky-tonk, Western swing, and country jazz. New York: Routledge. pp. 254-257.
Jump up ^ Hall, Wade. (1998). "Pee Wee King". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 283–4.
Jump up ^ Yahoo! News, 1/12/07
Jump up ^ "Stonewall Jackson's Lawsuit Against Opry Settled" Cmt.com, October 6, 2008
Jump up ^ "WSM Back in Court Again - Files 2d Suit Over Name". Billboard. 81 (21): 51. May 24, 1969.
Jump up ^ "Opry Records Sued For Infringement". Billboard. 80 (50): 29. December 14, 1968. Retrieved December 9, 2012.
Jump up ^ WSM v. Bailey, United States District Court for the Middle District of Tennessee.297 F. Supp. 870 (M.D. Tenn. 1969), at 872-3.
Jump up ^ WSM v. Bailey, 297 F. Supp. 870 (M.D. Tenn. 1969), at 873.
Jump up ^ Opryland USA, Inc. v. The Great American Music Show, Inc., 970 F.2d 847 (Fed. Cir. 1992).
Jump up ^ US Trademark Trial and Appeal Board, opposition number 91188534.
Jump up ^ Lovel, Jim (December 20, 2004). "Cracker Barrel Reloads Marketing Arsenal". AdWeek. Retrieved December 9, 2012.
Jump up ^ "Sponsors". Grand Ole Opry. Retrieved December 9, 2012.
References[edit]
Hay, George D. A Story of the Grand Ole Opry. 1945.
Kingsbury, Paul (1998). "Grand Ole Opry". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 208–9.
Wolfe, Charles K. A Good-Natured Riot: The Birth of the Grand Ole Opry. Nashville: Country Music Foundation Press, 1999. ISBN 0-8265-1331-X.
External links[edit]
Wikimedia Commons has media related to Grand Ole Opry.
Official website
Grand Ole Opry on TV Internet Archive Complete show of April 28, 1956 in black & white
Library of Congress Local Legacies Project: Grand Ole Opry
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Grand_Ole_Opry&oldid=854669315"
Categories:
Grand Ole Opry
Ryman Hospitality Properties
Concerts in the United States
1920s American radio programs
1925 radio programme debuts
American country music radio programs
Country music television series
Culture of Nashville, Tennessee
History of Tennessee
Landmarks in Tennessee
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NBC radio programs
National Register of Historic Places in Nashville, Tennessee
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