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Welcome Back, Kotter
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Welcome Back, Kotter
Created by
Gabe Kaplan
Alan Sacks
Starring
Gabe Kaplan
Marcia Strassman
John Sylvester White
Robert Hegyes
Lawrence Hilton-Jacobs
Ron Palillo
John Travolta
Opening theme
"Welcome Back"
performed by John Sebastian
Country of origin
United States
Original language(s)
English
No. of seasons
4
No. of episodes
95 (list of episodes)
Production
Running time
24–25 minutes, 30 minutes with commercials
Production company(s)
The Komack Company
Wolper Productions
Distributor
Warner Bros. Television Distribution
Release
Original network
ABC
Original release
September 9, 1975 – May 17, 1979
Welcome Back, Kotter is an American sitcom starring Gabe Kaplan as a wisecracking high school teacher in charge of a racially and ethnically diverse remedial class called the "Sweathogs." It marked John Travolta's television debut role. Recorded in front of a live studio audience, it originally aired on ABC from September 9, 1975, to May 17, 1979.[1]
Contents
[hide]
1 Premise
2 Characters
2.1 Gabe Kotter
2.2 Julie Kotter
2.3 Michael Woodman
2.4 Vincent "Vinnie" Barbarino
2.5 Arnold Dingfelder Horshack
2.6 Freddie Percy "Boom Boom" Washington
2.7 Juan Luis Pedro Felipo de Huevos Epstein
2.8 Recurring characters
2.8.1 Rosalie "Hotsie" Totsie
2.8.2 Judy Borden
2.8.3 Beauregarde "Beau" De LaBarre
3 Other recurring characters
4 Show history
5 Popularity
6 Theme song
7 Comic books
8 Novels
9 Action figures
10 Episodes
11 DVD releases
12 Nominations
13 Guest stars
14 Spin-offs
15 Broadcast history and Nielsen ratings
16 International airing
17 After the show
18 Reruns
19 See also
20 References
21 External links
Premise[edit]
The show stars stand-up comedian and actor Gabriel 'Gabe' Kaplan as the title character, Gabe Kotter, a wisecracking teacher who returns to his alma mater, James Buchanan High School in Brooklyn, New York, to teach a remedial class of loafers, called "Sweathogs." Kotter's class is held in Room 11. The school's principal is referred to, but rarely seen on-screen. The rigid vice principal, Michael Woodman (John Sylvester White), dismisses the Sweathogs as witless hoodlums, and only expects Kotter to contain them until they drop out or are otherwise banished. As a former remedial student, and a founding member of the original class of Sweathogs, Kotter befriends the current Sweathogs and stimulates their potential. A pupil-teacher rapport is formed, and the students often visit Kotter's Bensonhurst apartment, sometimes via the fire-escape window, much to the chagrin of his wife, Julie (Marcia Strassman).
The Sweathogs celebrate a winning lottery ticket as Mr. Kotter looks on.
The fictional James Buchanan High is based on the Brooklyn high school that Kaplan attended in real life, New Utrecht High School,[2] which is also shown in the opening credits. Many of the show's characters were also based on people Kaplan knew during his teen years as a remedial student, several of whom were described in one of Kaplan's stand-up comic routines entitled "Holes and Mellow Rolls." "Vinnie Barbarino" was inspired by Eddie Lecarri and Ray Barbarino; "Freddie 'Boom Boom' Washington" was inspired by Freddie "Furdy" Peyton; "Juan Epstein" was partially inspired by Epstein "The Animal"; however, "Arnold Horshack" was unchanged.
Characters[edit]
Gabe Kotter[edit]
Played by Gabe Kaplan
Gabe Kotter is a flippant, but well-meaning teacher who returns to his alma mater, Buchanan High, to teach a group of remedial students known as the Sweathogs. Being a founding member of the original Sweathogs, Kotter has a special understanding of the potential of these supposedly "unteachable" students. On his first day on the job, he launches into a Groucho Marx impersonation. Kotter is married to Julie, with whom he eventually has twin girls, Robin and Rachel. It is confirmed by Julie in the episode "Follow the Leader (part 1)" that Gabe is Jewish. During season four, Kaplan had contract issues with the executive producer, and only appeared in a handful of episodes. In season four, the invisible principal John Lazarus retires, and Kotter becomes the vice-principal. Though he is said to maintain some social studies teaching duties, most of that season's shows are filmed outside his classroom (#11), or if in room 11, Mr. Woodman is teaching. To minimize Kotter's absence, scenes were shot in either the school's hallway, the schoolyard, or the principal's waiting area. Season four ended the series.
Julie Kotter[edit]
Played by Marcia Strassman
Julie Kotter is Gabe's wife and closest friend. Though she has a sense of humor, she often wishes Gabe would take matters more seriously. She is occasionally upset with the amount of time her husband spends with his students, and she is troubled that he allows them to visit their apartment regularly; in the two-part story arc "Follow the Leader", the Sweathogs' constant intrusions lead Julie to separate briefly from Gabe and even seriously consider divorce. Originally from Nebraska, with a college degree in anthropology, Julie eventually became a secretary, and later a substitute teacher at Buchanan after Gabe's promotion to vice-principal. She makes several references to her "world famous tuna casserole", a common meal at the Kotter dinner table, which Gabe and the Sweathogs dislike.
Michael Woodman[edit]
Played by John Sylvester White
Michael Woodman is the curmudgeonly vice-principal (and later principal) of Buchanan High. He makes no secret of his dislike for the Sweathogs, whom he considers the bottom of the social register at his school. He refers to non-Sweathogs as "real" students. When Kotter was a student at Buchanan, Woodman taught social studies, the same class Kotter returns to Buchanan to teach. His old age, and sometimes his diminutive height, are common jokes with the Sweathogs. Woodman was totally against Kotter's unorthodox teaching methods (though as the series progresses, he begins to tolerate them marginally), and at one point even put Kotter in front of the school's review board in an unsuccessful attempt to have him fired. Nonetheless, in the season one episode "No More Mr. Nice Guy", Woodman is shown to be a gifted teacher, willing to wear historic costumes, and role-play in front of the class during his lessons.
Vincent "Vinnie" Barbarino[edit]
Played by John Travolta
Vinnie Barbarino is a cocky Italian-American, the "unofficial official" leader and resident heartthrob of the Sweathogs. He has a need to be the center of attention, as seen when he admits to making it rain in the school gymnasium. In the two-episode "Follow the Leader," Barbarino quits the Sweathogs and drops out of school in anger when Freddy Washington is chosen as the "leader" of the group, though he returns as leader at the finish of the story. Barbarino's prowess with women is a source of envy (and more often amusement) among his classmates. On occasion, he breaks out in song about his last name sung to the tune of Jan and Deans' song, "Barbara Ann". He was the first of the Sweathogs to move out on his own when he got a job as a hospital orderly. In the first episode of the series and fourth season, he has a girlfriend, Sally. Vinnie is Catholic (often describing his mother as a saint), and, as shown in "I'm Having Their Baby", is a Star Trek fan. Little is known about Vinnie's home life other than that his parents argue a lot ("Follow the Leader (part 2)") and take turns beating him when in a mutual rage. His mother's name is Margie ("The Great Debate"), and he shares a bed with his brother. The episode "Don't Come Up And See Me Sometime" implies that Vinnie is the older of the two. Travolta himself was a high school drop-out.[3] In Travolta's screen test for the series, Barbarino is Barbarini.
Arnold Dingfelder Horshack[edit]
Played by Ron Palillo
The class clown of the Sweathogs, Arnold Horshack, is completely comfortable with his oddball, if naïve, personality. Horshack was known for his unique observations and his wheezing laugh, similar to that of a hyena. (Palillo revealed on a 1995 episode of The Jenny Jones Show that it originated from the way his father breathed during the last two weeks of his life as he lay dying from lung cancer.) It is possible that academically he is the smartest Sweathog. He is the only central Sweathog character to be promoted out of remedial academics class, but he soon returns after feeling out of place. He has an affection for acting and enjoys old movies, particularly 1930s musicals. He eventually marries Mary Johnson, a co-worker and fellow Sweathog. Although his surname sounds like a term for a bordello, he claimed it is a "very old and respected name" meaning "the cattle are dying." His middle name (and his mother's maiden name) is "Dingfelder."
Freddie Percy "Boom Boom" Washington[edit]
Played by Lawrence Hilton-Jacobs
The hip, black student known as the athletic Sweathog for his skills on the basketball court, Washington claimed his nickname came from his habit of "pretending to play the bass" and singing "Boom-boom-boom-boom!". His trademark phrase is, "Hi, there" (spoken with a deep voice and a broad smile). Though often the voice of reason among his classmates, Washington nonetheless is a willing participant in the Sweathogs' various antics and pranks. Freddie also finds success as a radio disc jockey along with another former Sweathog, Wally "The Wow" (played by George Carlin). At one point, Washington challenges Barbarino for leadership of the Sweathogs, and even replaces him for a time until the group grows tired of his dictatorial style.
Washington has an older sister, who got divorced twice while living in Vermont ("The Longest Weekend"), and a brother, Leroy. In "The Great Debate" it is revealed that he has another brother, Douglas, and that his father's name is Lincoln. Kotter uses his own past to bond with Freddie, because in addition to being a former Sweathog he was also a former star of Buchanan's basketball team.
Juan Luis Pedro Felipo de Huevos Epstein[edit]
Played by Robert Hegyes
A fiercely proud Puerto Rican Jew (when asked if his mother was Puerto Rican, Juan replies that his mother's maiden name was Bibbermann and that his grandfather saw Puerto Rico from the ship as he was making his way to America and decided to settle there instead of Miami, making him one of the earliest Puerto Rican Jews; Juan is thus Puerto Rican on his father's side and Jewish on both parents' sides), Epstein is one of the toughest students at Buchanan High, despite his short stature. He normally walks with a tough-man strut, wears a red handkerchief hanging out of his right back pocket, and was voted "Most Likely to Take a Life" by his peers. In the season one episode, "One of Our Sweathogs Is Missing", Epstein was said to be the sixth of ten children (When speaking on the phone to his mother (who had failed to notice that he had been missing for three days), she apparently failed to recognize his name and he had to further identify himself as "Number Six."), although he later mentions, in "I'm Having Their Baby," that his mother only gave birth eight times, implying two of them were twin births. Only four of his siblings are mentioned by name: his brothers Pedro, Irving, and Sanchez ("One of Our Sweathogs Is Missing"), establishing that some of his siblings had Jewish names and others Puerto Rican names, and a younger sister, Carmen ("A Love Story"). Epstein's toughness was downplayed later on, and he became more of a wiseguy. He was also known to have a "buddy" relationship with Principal Lazarus as he often refers to him by his first name, Jack. On a few occasions, when Kotter did his Groucho Marx impersonation, Epstein would jump in and impersonate Chico Marx or Harpo Marx. Epstein's diminutive height, large hair, and fake excuse notes (always signed, "Epstein's Mother"), are common jokes associated with him.
Recurring characters[edit]
Rosalie "Hotsie" Totsie[edit]
Played by Debralee Scott
Rosie Totsie is the femme fatale purported to have put the "sweat" in Sweathog, though her reputation is largely exaggerated by the Sweathogs' word of mouth. Her promiscuity is at least in part a reaction to the strict discipline enforced by her father, the Reverend Totsie. To restore her good name, and to prove a point, she fabricates a story about one of the Sweathogs getting her pregnant.
The character was a favorite among male viewers but was phased out of the series at the end of the first season when Scott was picked to co-star in the syndicated Norman Lear comedy, Mary Hartman, Mary Hartman.[citation needed] She reprised the role in a 1978 episode, "The Return of Hotsie Totsie", in which it was revealed that she dropped out of school because she became pregnant and had to become a stripper to support her infant child.
Judy Borden[edit]
Played by Helaine Lembeck
A recurring non-Sweathog character in the earlier seasons, Borden is a Straight A student and editor of the Buchanan Bugle, the school newspaper. She was Barbarino's tutor, and even dated him at one point. Despite her academic superiority, she can easily hold her own in a Dozens contest against any Sweathog.
Beauregarde "Beau" De LaBarre[edit]
Played by Stephen Shortridge
Introduced as a regular character in the fourth and final season, Beau is a handsome, friendly, blond, silver-tongued southerner who transfers from New Orleans after being kicked out of several other schools. He ends up in Kotter's class. The producers sought a heart throb who was not a direct knock-off of the "Italian-Stallion" trend that was permeating Hollywood in the mid-1970s who would improve ratings in the South where the show's New York setting was seen as unrelatable. They wanted to retain female viewers, but avoid a Travolta clone. Beau's first reaction to the term "Sweathog" is, "That sounds gross." He seems to have a way with women, as shown in later episodes. One of his running jokes involves imparting whimsical sayings, such as one about how a real man never steps on a pregnant alligator.
Other recurring characters[edit]
Vernee Watson as Verna Jean Williams, Freddie's girlfriend.
Susan Lanier as Bambi, a female addition to the Sweathogs introduced mostly as eye candy.
Charles Fleischer as Carvelli, introduced as a student foil to the Sweathogs in Season 2.
Bob Harcum as Murray, Carvelli's loyal, and extremely dim, sidekick.
Dennis Bowen as Todd Ludlow, a nerdy academic high achiever.
Geoffrey Stump as Kyle "the Heartbreaker" Lucas
Irene Arranga as Mary Johnson, later became Arnold Horshack's wife.
Melonie Haller as Angie Grabowski, introduced in Season 3 as the only official female Sweathog but was gone by the end of the season.
Show history[edit]
Welcome Back, Kotter's first season was controversial. In Boston, the local ABC affiliate (WCVB-TV) initially refused to air the show.[4] The city was going through a tumultuous school busing program that involved widespread protests and riots, and the local affiliate felt Kotter's fictional integrated classroom would only add fuel to the fire. However, the show became an early ratings success and the affiliate relented, picking it up from its fifth episode.
Teachers in other cities had concerns about how Kotter would be portrayed, so producers allowed a union representative on the set to ensure the show protected the image of those in the profession. Kaplan opposed the idea, at one point asking a reporter if there was a junkman on the set of Sanford and Son to protect the reputation of junkmen.[citation needed]
Censor sentiments of Juvenile delinquency faded after the Sweathogs' antics proved to be silly rather than criminal. Like Kaplan, Hegyes was a fan of the Marx Brothers. Hegyes claimed that he suggested that the Sweathogs be modeled after the Marx Brothers in order to reduce tension.[5]
Ratings slipped greatly in the third season. Kaplan later attributed the decline to the age of the actors playing the Sweathogs, all then in their mid to late twenties, claiming that they were no longer believable as high school students. His idea was to have Kotter join the faculty of a community college attended by the Sweathogs;[6] however, this storyline never materialized. In order to increase viewership, the Kotters had twin girls, but this did not prove to be enough to regain the show's earlier momentum. The show introduced a female Sweathog, Angie Grabowski, played by Melonie Haller.
Major changes took place in the fourth and final season.
Shortly before the season began, the series was moved from its successful Thursday 8:00 pm time slot to Monday 8:00 pm to make way for the impending hit series Mork & Mindy.
Virtually the entire writing staff was fired after season 3, and replaced with veteran writers from family-based series (such as Bob Claver from Leave It To Beaver and The Munsters).
Travolta, who had already starred in box office hits such as Grease, Saturday Night Fever, and Carrie, began to focus more time on his film career. He was featured in eight episodes, earning $2,000 for each one, and he was billed as a special guest star.
Mr. Woodman was promoted to Principal of the school (Principal Lazarus quit to take a "less stressful" job at a high-security prison), and Kotter was promoted to Vice-Principal, purposefully moving the show's focus away from Kotter's class.
Major off-screen disputes led Kaplan to break his contract and reduce his appearances. To help fill the voids, Stephen Shortridge joined the cast as smooth-talking Southerner Beau De LaBarre, and Kotter's wife, Julie, became a school secretary and occasional fill-in teacher, despite having one-year-old twin daughters.
Knowing the series was in a nosedive, producer James Komack attempted to spin-off a newly married Arnold Horshack into a new sitcom (see section below).[citation needed]
Popularity[edit]
The show enjoyed ratings success during its first two seasons, spawning a host of merchandising tie-ins including: lunch boxes, dolls, comic books, novels, and even a board game, advertised as "The 'Up Your Nose With A Rubber Hose' Game" in a commercial with a class full of Sweathog look-alikes featuring Steve Guttenberg as Barbarino. The Sweathogs (or at least an impressionist's version of them) even made a crossover appearance with characters from the Happy Days universe on one track (the disco-themed "Fonzarelli Slide") of a 1976 TV-promoted oldies compilation album.
In 2010, the cast, including: Gabe Kaplan, Marcia Strassman, John Travolta, Robert Hegyes, Lawrence Hilton-Jacobs, and Ellen Travolta were honored at the TV Land Award ceremonies that year. Co-star Ron Palillo was not in attendance.
Theme song[edit]
Main article: Welcome Back (John Sebastian song)
Welcome Back, Kotter theme song, (reduced quality)
from Welcome Back by John B. Sebastian, Reprise Records 1976. Sample from The Best of John Sebastian, Rhino Entertainment/WEA Corp., 1989, 1990
Problems playing this file? See media help.
The popular theme song, "Welcome Back", written and recorded by former Lovin' Spoonful frontman John Sebastian, became a No. 1 hit in the spring of 1976. The show was originally going to be called Kotter, but that was changed because of the theme song lyrics. Sebastian has said he tried to find a more general theme for the song after being unable to find any reasonable rhymes for Kotter.
Sebastian performed the song on Saturday Night Live (April 24, 1976 – Season 1, Episode 18), and memorably flubbed the opening lyrics.
Comic books[edit]
DC Comics published ten issues of a Welcome Back, Kotter comic book starting in 1976.[7] Following its cancellation in 1978, a Limited Collectors' Edition was issued, incorporating a 4-page "On the Set" section and photographs from the show.[8]
Novels[edit]
A series of novels based on characters and dialog of the series was written by William Johnston and published by Tempo Books in the 1970s.
Action figures[edit]
Mattel produced a series of 9 inch Welcome Back, Kotter action figures in 1977. Figures produced included Barbarino, Horshack, Epstein, Washington, and Mr. Kotter.[9]
Episodes[edit]
Main article: List of Welcome Back, Kotter episodes
Season
Episodes
Originally aired
First aired
Last aired
1 22 September 9, 1975 February 26, 1976
2 23 September 23, 1976 March 3, 1977
3 27 September 10, 1977 May 18, 1978
4 23 September 11, 1978 June 8, 1979
DVD releases[edit]
Warner Home Video released a 6-episode Television Favorites collection on February 28, 2006. Due to the success of this release, Warner released the Complete first Season on DVD in Region 1 on June 12, 2007.
On May 7, 2014, it was announced that Shout! Factory had acquired the rights to the series. Ultimately, they released Welcome Back, Kotter: The Complete Series on DVD in Region 1 on August 26, 2014,[10] and have since released the second, third, and fourth seasons as individual sets.[11]
DVD Name
Ep #
Release Date
The Complete First Season 22 June 12, 2007
The Complete Second Season 23 January 20, 2015
The Complete Third Season 27 May 26, 2015
The Complete Fourth Season 23 August 18, 2015
The Complete Series 95 August 26, 2014
Nominations[edit]
Kotter failed to receive any major awards, though it was nominated for an Emmy Award for Outstanding Comedy Series in 1976 [12] after its first season; it lost to The Mary Tyler Moore Show. The series was also nominated for three technical Emmy Awards: Outstanding Achievement in Videotape Editing for a Series (to Editors Susan Jenkins and Manuel Martinez) in 1976, Outstanding Art Direction for a Comedy Series (to Art Directors Roy Christopher and James Shanahan) in 1978, and Outstanding Individual Achievement – Creative Technical Crafts (to Dick Wilson for sound effects) in 1979.[12]
Guest stars[edit]
Several noteworthy performers enjoyed guest stints on Kotter either during or prior to their widespread fame. James Woods guest starred in the first season ("The Great Debate") as Alex Welles, a drama teacher who leads the school debate team ("the Turkeys") in a competition against the Sweathogs. Pat Morita appears in the 1976 episode "Career Day" as Mr. Takahashi. Comedian George Carlin was featured, as was John Astin. Other guest stars included Scott Brady, Ellen Travolta, Richard Moll, Della Reese, and Dinah Manoff who would work with John Travolta again in Grease.
Groucho Marx was set to have a brief walk-on role in one episode. He arrived on-set, but was deemed to be too sick to appear. Pictures of Marx with the cast were taken, but were never released because of his sickly appearance.[13][14]
Spin-offs[edit]
At least three spin-offs of Kotter were seriously considered, but only one ever became a series. The short-lived Mr. T and Tina starred Pat Morita as Taro Takahashi (Mr. T for short), a brilliant Japanese inventor whom he portrayed in one episode of Kotter. The show was not received well by critics and lasted for five episodes on ABC. There was also talk of developing a spin-off built around the Horshack character and his family, Rich Man, Poor Man; Horshack!, but it never went beyond the backdoor pilot stage, shown as an episode of Kotter. In the mid-1990s, Hegyes announced on The Jenny Jones Show that plans were in the works to create a spin-off featuring the Sweathogs (minus Travolta's Barbarino) all grown up. The project, however, never got off the ground, and little information about it was ever made public.
Broadcast history and Nielsen ratings[edit]
Season
Time slot (ET)
Rank
Rating[15]
1975–1976 Tuesday at 8:30-9:00 PM (Episodes 1-16)
Thursday at 8:00-8:30 PM (Episodes 17-22) 18 22.1
1976–1977 Thursday at 8:00-8:30 PM (Episodes 1-18, 20-23)
Thursday at 8:30-9:00 PM (Episode 19)[16] 13 22.7
1977–1978 Saturday at 8:00-8:30 PM (Episode 1)[17]
Thursday at 8:00-8:30 PM (Episodes 2, 4-27)
Thursday at 8:30-9:00 PM (Episode 3)[18] 26 19.9 (Tied with The Incredible Hulk and Family)
1978–1979 Monday at 8:00-8:30 PM (Episodes 1, 3-6)
Monday at 8:30-9:00 PM (Episode 2)[19]
Saturday at 8:00-8:30 PM (Episodes 7-14)
Saturday at 8:30-9:00 PM (Episodes 15-19)
Friday at 8:00-8:30 PM (Episode 20)[20]
Friday at 8:30-9:00 PM (Episodes 21-23) N/A
International airing[edit]
In Germany, 23 episodes of Welcome Back, Kotter were shown dubbed, but under its original name – first from September 1979 till May 1980 by the ZDF, then again from April to July 1985 by Sat.1.
In the United Kingdom, 26 episodes were shown from December 1981 until July 1983 on ITV.
In Australia, the show was broadcast on The Seven Network from June 1976 and rated very well for the first two seasons
In New Zealand, the show was screened on Television New Zealand's TV ONE. As in Australia, the first two seasons rated highly.
In Italy, the show was aired by the Italian TV second channel RAI 2 in the spring of 1980. Since at the time there were only 2 national TV networks, the rating was high. The show was dubbed, and the title was translated in Italian into I ragazzi del sabato sera (Saturday Night Guys), clearly aiming to build on the success of Saturday Night Fever. As a matter of fact, most viewers believed that the show had been shot after the movie.
In Greece, the show was screened on ANT1 really late, in the summer of 1992, on a morning slot (07.30). It passed unnoticed.
After the show[edit]
Kaplan welcomed back Hegyes and Jacobs on his short-lived 1981 sitcom Lewis & Clark. Their characters joked that Kaplan seemed familiar and being a smart guy, "should become a teacher."
The Simpsons referenced the sitcom in the fourth-season episode "Selma's Choice" (episode 9F11), first aired on January 21, 1993. Marge is impressed to find one of the Sweathogs listed as a donor in the Springfield Sperm Bank’s “101 Frozen Pops” catalog. She is disappointed, however, to learn from Selma that it’s not Horshack.[21]
In 1997, Ron Palillo, Robert Hegyes, and Lawrence Hilton-Jacobs reprised their respective roles in a dream sequence in the Mr. Rhodes episode "The Welcome Back Show".
In the mid-2000s, WPIX-TV, Channel 11 in New York City, aired the series in its old Saturday night at 8pm timeslot, pulling surprisingly strong ratings.
In 2012, both Ron Palillo and Robert Hegyes died.[22] Other members of the cast who have died include Marcia Strassman in 2014, John Sylvester White in 1988, and Debralee Scott in 2005.
The show's lunchbox was the subject of the season one finale of the podcast Mystery Show.
Reruns[edit]
In March 2016, the show aired on Me-TV Sunday mornings at 8:00 am and 8:30 am Eastern Time. In September 2017, Antenna TV began airing the show weekdays at 6:30 pm and 1:30 am Eastern.
See also[edit]
Head of the Class (1986)
References[edit]
Jump up ^ "Welcome Back Kotter | Archive of American Television". Emmytvlegends.org. Retrieved 2016-01-17.
Jump up ^ "www.genreonline.net". www.genreonline.net. Retrieved 2016-01-17.
Jump up ^ Michael, Reeves (9 September 1978). "The Phoneix". Retrieved 19 September 2016 – via Google News.
Jump up ^ http://www.metv.com/lists/11-things-you-never-knew-about-welcome-back-kotter
Jump up ^ [1] Archived April 11, 2012, at the Wayback Machine.
Jump up ^ "Yahoo TV". Tv.yahoo.com. Retrieved 2016-01-17.
Jump up ^ McAvennie, Michael; Dolan, Hannah, ed. (2010). "1970s". DC Comics Year By Year A Visual Chronicle. Dorling Kindersley. p. 171. ISBN 978-0-7566-6742-9. The first issue [was] written by Elliot S! Maggin with spot-on likenesses rendered by Jack Sparling. CS1 maint: Extra text: authors list (link)
Jump up ^ "Limited Collectors' Edition #57 - Welcome Back Kotter (Issue)". Comicvine.com. 1978-01-01. Retrieved 2016-01-17.
Jump up ^ Figure Realm, LLC. "Welcome Back Kotter (Mattel) Action Figure Checklist". Figurerealm.com. Retrieved 2016-01-17.
Jump up ^ "Welcome Back, Kotter DVD news: Press Release for Welcome Back, Kotter - The Complete Series". TVShowsOnDVD.com. Retrieved 2016-01-17.
Jump up ^ "Welcome Back, Kotter DVD news: Announcement for The Complete 4th Season: The Final Season". TVShowsOnDVD.com. 2015-06-05. Retrieved 2016-01-17.
^ Jump up to: a b "Welcome Back, Kotter | Television Academy". Emmys.com. 2015-11-13. Retrieved 2016-01-17.
Jump up ^ Evanier, Mark (11 June 1999). "Groucho, Part 2". Archived from the original on July 17, 2012. Retrieved 7 September 2013.
Jump up ^ Hegyes, Robert. "kotter4". Archived from the original on April 11, 2012. Retrieved 7 September 2013.
Jump up ^ Brooks, Tim; Marsh, Earle (2007). The Complete Directory to Prime Time Network and Cable TV Shows 1946-Present (Ninth Edition). Ballantine Books. pp. 1687–1688. ISBN 978-0-345-49773-4.
Jump up ^ "TV Listings for February 3, 1977". TV Tango. Retrieved January 7, 2017.
Jump up ^ "TV Listings for September 10, 1977". TV Tango. Retrieved January 7, 2017.
Jump up ^ "TV Listings for September 15, 1977". TV Tango. Retrieved January 7, 2017.
Jump up ^ "TV Listings for September 11, 1978". TV Tango. Retrieved January 7, 2017.
Jump up ^ "TV Listings for May 25, 1979". TV Tango. Retrieved January 7, 2017.
Jump up ^ [2] Archived August 1, 2012, at the Wayback Machine.
Jump up ^ "'Welcome Back, Kotter' Cast: 40 Years Later Photos - ABC News". Abcnews.go.com. Retrieved 2016-01-17.
External links[edit]
Wikiquote has quotations related to: Welcome Back, Kotter
Wikimedia Commons has media related to Welcome Back, Kotter.
Welcome Back, Kotter on IMDb
Welcome Back, Kotter at TV.com
Welcome Back, Kotter-related interview videos at the Archive of American Television
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Ode to the West Wind
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1820 publication in the collection Prometheus Unbound with Other Poems.
1820 cover of Prometheus Unbound, C. and J. Collier, London.
"Ode to the West Wind" is an ode, written by Percy Bysshe Shelley in 1819 near Florence, Italy. It was originally published in 1820 by Charles and Edmund Ollier in London as part of the collection Prometheus Unbound, A Lyrical Drama in Four Acts, With Other Poems. Some have interpreted the poem as the speaker lamenting his inability to directly help those in England owing to his being in Italy. At the same time, the poem expresses the hope that its words will inspire and influence those who read or hear it.[1] Perhaps more than anything else, Shelley wanted his message of reform and revolution spread, and the wind becomes the trope for spreading the word of change through the poet-prophet figure. Some also believe that the poem was written in response to the loss of his son, William (born to Mary Shelley) in 1819. The ensuing pain influenced Shelley. The poem allegorises the role of the poet as the voice of change and revolution. At the time of composing this poem, Shelley without doubt had the Peterloo Massacre of August 1819 in mind. His other poems written at the same time—The Masque of Anarchy, Prometheus Unbound, and "England in 1819"—take up these same themes of political change, revolution, and role of the poet.[2]
Contents
[hide]
1 Structure
2 Interpretation of the poem
2.1 First Canto
2.2 Second Canto
2.3 Third Canto
2.4 Fourth Canto
2.5 Fifth Canto
3 Conclusion
4 References
5 Sources
6 External links
Structure[edit]
Percy Bysshe Shelley's fair draft of lines 1–42, 1819, Bodleian Library.
The poem "Ode to the West Wind" consists of five sections (cantos) written in terza rima. Each section consists of four tercets (ABA, BCB, CDC, DED) and a rhyming couplet (EE). The Ode is written in iambic pentameter.
The poem begins with three sections describing the wind's effects upon earth, air, and ocean. In the last two sections, the poet speaks directly to the wind, asking for its power, to lift him up and make him its companion in its wanderings. The poem ends with an optimistic note which is that if winter days are here then spring is not very far.
Interpretation of the poem[edit]
The poem "Ode to the West Wind" can be divided in two parts: the first three cantos are about the qualities of the Wind and each ends with the invocation "Oh hear!". The last two cantos give a relation between the Wind and the speaker.
First Canto[edit]
The first stanza begins with the alliteration "wild West Wind" (line 1). The form of the apostrophe makes the wind also a personification. However, one must not think of this ode as an optimistic praise of the wind; it is clearly associated with autumn. The first few lines contain sinister elements, such as "leaves dead" (2), the aspect of death being highlighted by the inversion which puts "dead" (2) at the end of the line. These leaves haunt as "ghosts" (3) that flee from something that panics them.
"chariotest" (6) is the second person singular. The "corpse within its grave" (8) in the next line is in contrast to the "azure sister of the Spring" (9)—a reference to the east wind—whose "living hues and odours" (12) evoke a strong contrast to the colours of the fourth line of the poem that evoke death. In the last line of this canto the west wind is considered the "Destroyer" (14) because it drives the last signs of life from the trees, and the "Preserver" (14) for scattering the seeds which will come to life in the spring,
Second Canto[edit]
The second canto of the poem is much more fluid than the first one. The sky's "clouds"(16) are "like earth's decaying leaves" (16). They are a reference to the second line of the first canto ("leaves dead", 2).They also are numerous in number like the dead leaves. Through this reference the landscape is recalled again. The "clouds" (16) are "Shook from the tangled boughs of Heaven and Ocean" (17). This probably refers to the fact that the line between the sky and the stormy sea is indistinguishable and the whole space from the horizon to the zenith is covered with trailing storm clouds. The "clouds" can also be seen as "Angels of rain" (18). In a biblical way, they may be messengers that bring a message from heaven down to earth through rain and lightning. These two natural phenomena with their "fertilizing and illuminating power" bring a change.
Line 21 begins with "Of some fierce Maenad" and again the west wind is part of the second canto of the poem; here he is two things at once: first he is "dirge/Of the dying year" (23–24) and second he is "a prophet of tumult whose prediction is decisive"; a prophet who does not only bring "black rain, and fire, and hail" (28), but who "will burst" (28) it. The "locks of the approaching storm" (23) are the messengers of this bursting: the "clouds".
Shelley also mentions that when the West Wind blows, it seems to be singing a funeral song about the year coming to an end and that the sky covered with a dome of clouds looks like a "sepulchre", i.e., a burial chamber or grave for the dying year or the year which is coming to an end.
Shelley in this canto "expands his vision from the earthly scene with the leaves before him to take in the vaster commotion of the skies". This means that the wind is now no longer at the horizon and therefore far away, but he is exactly above us. The clouds now reflect the image of the swirling leaves; this is a parallelism that gives evidence that we lifted "our attention from the finite world into the macrocosm". The "clouds" can also be compared with the leaves; but the clouds are more unstable and bigger than the leaves and they can be seen as messengers of rain and lightning as it was mentioned above.
Third Canto[edit]
This refers to the effect of west wind in the water. The question that comes up when reading the third canto at first is what the subject of the verb "saw" (33) could be. On the one hand there is the "blue Mediterranean" (30). With the "Mediterranean" as subject of the canto, the "syntactical movement" is continued and there is no break in the fluency of the poem; it is said that "he lay, / Lull'd by the coil of his crystalline streams, / Beside a pumice isle in Baiae's bay, / And saw in sleep old palaces and towers" (30–33). On the other hand it is also possible that the lines of this canto refer to the "wind" again. Then the verb that belongs to the "wind" as subject is not "lay", but the previous line of this canto, that says Thou who didst waken . . . And saw" (29, 33). But whoever—the "Mediterranean" or the "wind"—"saw" (33) the question remains whether the city one of them saw, is real and therefore a reflection on the water of a city that really exists on the coast; or the city is just an illusion. Pirie is not sure of that either. He says that it might be "a creative you interpretation of the billowing seaweed; or of the glimmering sky reflected on the heaving surface". Both possibilities seem to be logical. To explain the appearance of an underwater world, it might be easier to explain it by something that is realistic; and that might be that the wind is able to produce illusions on the water. With its pressure, the wind "would waken the appearance of a city". From what is known of the "wind" from the last two cantos, it became clear that the wind is something that plays the role of a Creator. Whether the wind creates real things or illusions does not seem to be that important. Baiae's bay (at the northern end of the Gulf of Naples) actually contains visible Roman ruins underwater (that have been shifted due to earthquakes.) Obviously the moss and flowers are seaweed. It appears as if the third canto shows—in comparison with the previous cantos—a turning-point. Whereas Shelley had accepted death and changes in life in the first and second canto, he now turns to "wistful reminiscence [, recalls] an alternative possibility of transcendence". From line 26 to line 36 he gives an image of nature. But if we look closer at line 36, we realise that the sentence is not what it appears to be at first sight, because it obviously means, so sweet that one feels faint in describing them. This shows that the idyllic picture is not what it seems to be and that the harmony will certainly soon be destroyed. A few lines later, Shelley suddenly talks about "fear" (41). This again shows the influence of the west wind which announces the change of the season.
Fourth Canto[edit]
Whereas the cantos one to three began with "O wild West Wind" and "Thou" (15, 29) and were clearly directed to the wind, there is a change in the fourth canto. The focus is no more on the "wind", but on the speaker who says "If I . . ." (43–44). Until this part, the poem has appeared very anonymous and was only concentrated on the wind and its forces so that the author of the poem was more or less forgotten. Pirie calls this "the suppression of personality" which finally vanishes at that part of the poem. It becomes more and more clear that what the author talks about now is himself. That this must be true, shows the frequency of the author's use of the first-person pronouns "I" (43–44, 48, 51, 54), "my" (48, 52), and "me" (53). These pronouns appear nine times in the fourth canto. Certainly the author wants to dramatise the atmosphere so that the reader recalls the situation of canto one to three. He achieves this by using the same pictures of the previous cantos in this one. Whereas these pictures, such as "leaf", "cloud", and "wave have existed only together with the wind, they are now existing with the author. The author thinks about being one of them and says "If I were a . . ." (43 ff.). Shelley here identifies himself with the wind, although he knows that he cannot do that, because it is impossible for someone to put all the things he has learned from life aside and enter a "world of innocence". That Shelley is deeply aware of his closedness in life and his identity shows his command in line 53. There he says "Oh, lift me up as a wave, a leaf, a cloud" (53). He knows that this is something impossible to achieve, but he does not stop praying for it. The only chance Shelley sees to make his prayer and wish for a new identity with the Wind come true is by pain or death, as death leads to rebirth. So, he wants to "fall upon the thorns of life" and "bleed" (54).
At the end of the canto the poet tells us that "a heavy weight of hours has chain'd and bow'd" (55). This may be a reference to the years that have passed and "chained and bowed" (55) the hope of the people who fought for freedom and were literally imprisoned. With this knowledge, the West Wind becomes a different meaning. The wind is the "uncontrollable" (47) who is "tameless" (56).
One more thing that one should mention is that this canto sounds like a kind of prayer or confession of the poet. This confession does not address God and therefore sounds very impersonal.
Shelley also changes his use of metaphors in this canto. In the first cantos the wind was a metaphor explained at full length. Now the metaphors are only weakly presented—"the thorns of life" (54). Shelley also leaves out the fourth element: the fire. In the previous cantos he wrote about the earth, the air and the water. The reader now expects the fire—but it is not there. This leads to a break in the symmetry.
Fifth Canto[edit]
Again the wind is very important in this last canto. At the beginning of the poem the wind was only capable of blowing the leaves from the trees. In the previous canto the poet identified himself with the leaves. In this canto the wind is now capable of using both of these things mentioned before.
Everything that had been said before was part of the elements—wind, earth, and water. Now the fourth element comes in: the fire.
There is also a confrontation in this canto: Whereas in line 57 Shelley writes "me thy", there is "thou me" in line 62. This "signals a restored confidence, if not in the poet’s own abilities, at least in his capacity to communicate with [. . .] the Wind".
It is also necessary to mention that the first-person pronouns again appear in a great frequency; but the possessive pronoun "my" predominates. Unlike the frequent use of the "I" in the previous canto that made the canto sound self-conscious, this canto might now sound self-possessed. The canto is no more a request or a prayer as it had been in the fourth canto—it is a demand. The poet becomes the wind's instrument, his "lyre" (57). This is a symbol of the poet's own passivity towards the wind; he becomes his musician and the wind's breath becomes his breath. The poet's attitude—towards the wind has changed: in the first canto the wind has been an "enchanter" (3), now the wind has become an "incantation" (65).
And there is another contrast between the two last cantos: in the fourth canto the poet had articulated himself in singular: "a leaf" (43, 53), "a cloud" (44, 53), "A wave" (45, 53) and "One too like thee" (56). In this canto, the “sense of personality as vulnerably individualised led to self-doubt" and the greatest fear was that what was "tameless, and swift, and proud" (56) will stay "chain'd and bow'd" (55). The last canto differs from that. The poet in this canto uses plural forms, for example, "my leaves" (58, 64), "thy harmonies" (59), "my thoughts" (63), "ashes and sparks" (67) and "my lips" (68). By the use of the plural, the poet is able to show that there is some kind of peace and pride in his words. It even seems as if he has redefined himself because the uncertainty of the previous canto has been blown away. The "leaves" merge with those of an entire forest and "Will" become components in a whole tumult of mighty harmonies. The use of this "Will" (60) is certainly a reference to the future. Through the future meaning, the poem itself does not only sound as something that might have happened in the past, but it may even be a kind of "prophecy" (69) for what might come—the future.
At last, Shelley again calls the Wind in a kind of prayer and even wants him to be "his" Spirit: "My spirit! Be thou me, impetuous one!" (62). Like the leaves of the trees in a forest, his leaves will fall and decay and will perhaps soon flourish again when the spring comes. That may be why he is looking forward to the spring and asks at the end of the last canto "If Winter comes, can Spring be far behind?" (70). This is of course a rhetorical question because spring does come after winter, but the "if" suggests that it might not come if the rebirth is strong and extensive enough, and if it is not, another renewal—spring—will come anyway. Thus the question has a deeper meaning and does not only mean the change of seasons, but is a reference to death and rebirth as well. It also indicates that after the struggles and problems in life, there would always be a solution. It shows us the optimistic view of the poet about life which he would like the world to know. It is an interpretation of his saying, If you are suffering now, there will be good times ahead. But the most powerful call to the Wind are the lines: "Drive my dead thoughts over the universe/like withered leaves to quicken a new birth!" Here Shelley is imploring—or really chanting to—the Wind to blow away all of his useless thoughts so that he can be a vessel for the Wind and, as a result, awaken the Earth.
Conclusion[edit]
This poem is a highly controlled text about the role of the poet as the agent of political and moral change.[citation needed] This was a subject Shelley wrote a great deal about, especially around 1819, with this strongest version of it articulated the last famous lines of his "Defence of Poetry": "Poets are the hierophants of an unapprehended inspiration; the mirrors of the gigantic shadows which futurity casts upon the present; the words which express what they understand not; the trumpets which sing to battle, and feel not what they inspire; the influence which is moved not, but moves. Poets are the unacknowledged legislators of the world."
References[edit]
Jump up ^ MacEachen, Dougald B. CliffsNotes on Shelley's Poems. 29 July 2011. Archived 5 March 2013 at the Wayback Machine.
Jump up ^ SparkNotes Editors. "SparkNote on Shelley’s Poetry". SparkNotes LLC. 2002. (accessed July 11, 2011).
Sources[edit]
Anderson, Phillip B. "Shelley's 'Ode to the West Wind' and Hardy's 'The Darkling Thrush' ". Publications of the Arkansas Philological Association, 8.1 (1982): 10–14.
Chayes, Irene H. "Rhetoric as Drama: An Approach to the Romantic Ode." PMLA, 79 (March 1964): 71–74. In Reiman, D., and Powers, S. (Eds.), Shelley's Poetry and Prose: Authoritative Texts, Criticism. NY: W. W. Norton, 1977. pp. 620–25.
Duffy, Edward. "Where Shelley Wrote and What He Wrote For: The Example of 'The Ode to the West Wind' ". Studies in Romanticism, 23.3 (1984): 351–77.
Edgecombe, Rodney Stenning. "'Creative Unbundling': Henry IV Parts I and II and Shelley's 'Ode to the West Wind'". Keats-Shelley Review, 11 (1997): 133–39.
Fogle, Richard Harter. "The Imaginal Design of Shelley's 'Ode to the West Wind' ". ELH, Vol. 15, No. 3 (Sep. 1948), pp. 219–226.
Forman, Harry Buxton. "How Shelley Approached the 'Ode to the West Wind' ". Bulletin and Review of the Keats-Shelley Memorial, Rome (London, 1913), I, No. 2, 6.
Friederich, R. H. "The Apocalyptic Mode and Shelley's 'Ode to the West Wind'." Renascence, vol. 36, no. 3, (1984), pp. 161–170.
Gonzalez Groba, Constante. "Structure and Development of Shelley's 'Ode to the West Wind' ". Senara, 3 (1981): 247–52.
Haworth, Helen E. "'Ode to the West Wind' and the Sonnet Form". Keats-Shelley Journal, Vol. 20, (1971), pp. 71–77.
Jost, François. "Anatomy of an Ode: Shelley and the Sonnet Tradition". Comparative Literature, Vol. 34, No. 3 (Summer, 1982), pp. 223–246.
Joukovsky, Nicholas A. "Contemporary Notices of Shelley: Addenda to 'The Unextinguished Hearth' ". Keats-Shelley Journal, Vol. 56, (2007), pp. 173–195.
Kapstein, I. J. "The Symbolism of the Wind and the Leaves in Shelley's 'Ode to the West Wind' ". PMLA, Vol. 51, No. 4 (December 1936), pp. 1069–1079.
Leyda, Seraphia D. "Windows of Meaning in 'Ode to the West Wind' ". Hall, Spencer (ed.). Approaches to Teaching Shelley's Poetry. New York: MLA, 1990. 79–82.
MacEachen, Dougald B. CliffsNotes on Shelley's Poems. 29 July 2011.
Pancoast, Henry S. "Shelley's 'Ode to the West Wind' ". MLN, (1920), XXXV, 97.
Parsons, Coleman O. "Shelley's Prayer to the West Wind." Keats-Shelley Journal, Vol. 11, (Winter, 1962), pp. 31–37.
SparkNotes Editors. "SparkNote on Shelley’s Poetry". SparkNotes LLC. 2002. (accessed July 11, 2011).
Wagner, Stephen and Doucet Devin Fischer. "The Pforzheimer Collection of Shelley and His Circle: The Collection and the Collector." Biblion, 5.1 (1996): 52–57.
White, Newman Ivey. The Unextinguished Hearth: Shelley and His Contemporary Critics. Durham, N.C., Duke University Press, 1938.
Wilcox, Stewart C. "The Prosodic Structure of 'Ode to the West Wind'." Notes and Queries, Volume CXCV, (18 February 1950), pp. 77–78.
Wilcox, Stewart C. "Imagery, Ideas, and Design in Shelley's 'Ode to the West Wind' ". Studies in Philology, Vol. 47, No. 4 (Oct. 1950), pp. 634–49.
Wright, John W. Shelley's Myth of Metaphor. Athens, GA: University of Georgia Press, 1970.
Yan, Chen. "Research on the Translation of 'Ode to the West Wind' in China". Journal of Jixi University, 2008.
External links[edit]
Wikisource has original text related to this article:
Ode to the West Wind
Ode to the West Wind text
Italian translation
Reading of Ode to the West Wind
Ode to the West Wind Analysis, Percy Shelley's Praise of Nature
Audiorecording of "Ode to the West Wind" on Keats-Shelley website.
Audiorecording of "Ode to the West Wind" by LibriVox, selection .
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v
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e
Percy Bysshe Shelley
Plays
The Cenci (1819)
Hellas (1822)
Fiction
Zastrozzi (1810)
St. Irvyne (1811)
Non-fiction
"The Necessity of Atheism" (1811)
"Poetical Essay on the Existing State of Things" (1811)
"A Letter to Lord Ellenborough" (1812)
A Vindication of Natural Diet (1813)
History of a Six Weeks' Tour (1817)
A Philosophical View of Reform (1819-20, published 1920)
"A Defence of Poetry" (published posthumously, 1840)
Poetry collections
Original Poetry by Victor and Cazire (1810)
Posthumous Fragments of Margaret Nicholson (1810)
Short poems
"The Devil's Walk" (1812)
"Mutability" (1816)
"Hymn to Intellectual Beauty" (1817)
"Ozymandias" (1818)
"Love's Philosophy" (1819)
"Ode to the West Wind" (1820)
"To a Skylark" (1820)
"The Cloud" (1820)
"One Word is Too Often Profaned" (1822)
"Music, When Soft Voices Die" (1824)
"A Dirge" (1824)
"England in 1819" (1834)
Long poems
Queen Mab (1813)
Alastor, or The Spirit of Solitude (1816)
The Revolt of Islam (1818)
Rosalind and Helen, A Modern Eclogue (1819)
Prometheus Unbound (1820)
Epipsychidion (1821)
Adonaïs (1821)
Julian and Maddalo (1824)
The Witch of Atlas (1824)
The Triumph of Life (1824)
The Masque of Anarchy (1832)
Chapbooks
Wolfstein; or, The Mysterious Bandit (1822)
Wolfstein, The Murderer; or, The Secrets of a Robber's Cave (1830)
Collaborations with
Mary Shelley
History of a Six Weeks' Tour (1817)
Frankenstein; or, The Modern Prometheus (1818)
Proserpine (1820)
Midas (1820)
Places
Keats–Shelley Memorial House
Carl H. Pforzheimer Collection of Shelley and His Circle
Rising Universe
Shelley's Cottage
Shelley Memorial
Shelley's Ghost
People
Mary Shelley (wife)
Percy Florence Shelley (son)
Timothy Shelley (father)
Lord Byron
Claire Clairmont
William Godwin (father-in-law)
Thomas Jefferson Hogg
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2016 College Football Playoff National Championship
From Wikipedia, the free encyclopedia
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2016 College Football Playoff National Championship
College Football Playoff
Alabama Crimson Tide Clemson Tigers
(13–1) (14–0)
SEC ACC
45 40
Head coach:
Nick Saban Head coach:
Dabo Swinney
AP Coaches CFP
2 2 2
AP Coaches CFP
1 1 1
1
2
3
4
Total
Alabama 7 7 7 24 45
Clemson 14 0 10 16 40
Date
January 11, 2016
Season
2015
Stadium
University of Phoenix Stadium
Location
Glendale, Arizona
MVP
Offensive: #88 TE O.J. Howard, Jr., Alabama
Defensive: #4 SS Eddie Jackson, Jr. Alabama
Favorite
Alabama by 7[1][2]
National anthem
Ciara[3][4]
Eric Church (Championship Tailgate)
Canaan Smith (America the Beautiful)
Referee
Terry Leyden (Pac-12)
Attendance
75,765
United States TV coverage
Network
ESPN/ESPN Radio/ESPN Deportes
Announcers
Chris Fowler, Kirk Herbstreit, Heather Cox and Tom Rinaldi (ESPN)
Eduardo Varela and Pablo Viruega (ESPN Deportes)
Mike Tirico, Todd Blackledge, Holly Rowe and Joe Schad (ESPN Radio)
International TV coverage
Network
ESPN (Spanish and Portuguese)
Announcers
Eduardo Varela and Pablo Viruega
College Football Playoff National Championship
< 2015 2017 >
The 2016 College Football Playoff National Championship was a bowl game that determined the national champion of NCAA Division I FBS college football for the 2015 season. It was played at University of Phoenix Stadium in Glendale, Arizona on January 11, 2016, and was the culminating game of the 2015–16 bowl season.
The game was played between the winners of two pre-designated semifinal bowls played on December 31, 2015: the No. 1 Clemson Tigers, who beat the No. 4 Oklahoma Sooners 37–17 at the Orange Bowl, coached by Dabo Swinney in his 8th season, and the No. 2 Alabama Crimson Tide, who shut out the No. 3 Michigan State Spartans 38–0 at the Cotton Bowl Classic, coached by Nick Saban.
The 13–1 Alabama Crimson Tide won the game, holding off the undefeated Clemson Tigers 45–40 in the fourth quarter. Accompanied by a talented receiving corps, Clemson's Heisman Finalist quarterback Deshaun Watson had a historic performance, setting the record for most total yards in national championship game history, with 478 yards (405 passing / 73 rushing) against the nation's third-ranked defense in Alabama, breaking the record previously set by Vince Young in the 2006 Rose Bowl.[5][6][7] Following the game, the AP Poll also named Alabama as its top team of the season, giving Alabama their fourth title in seven seasons.[8][9] Both Clemson and Alabama finished the season 14–1.
Contents
[hide]
1 2016 College Football Playoff
2 Host selection
3 Starting lineups
4 Game summary
4.1 Scoring summary
4.2 Statistics
5 Broadcasting
5.1 Local Radio
6 See also
7 References
2016 College Football Playoff[edit]
Semifinals 2016 Championship Game
December 31 – Orange Bowl
1 Clemson 37
4 Oklahoma 17
January 11 – National Championship
1 Clemson 40
2 Alabama 45
December 31 – Cotton Bowl
2 Alabama 38
3 Michigan State 3
This bracket:
view
talk
edit

Host selection[edit]
University of Phoenix Stadium in Glendale, Arizona was announced as the host site in December 2013, along with 2017 host Raymond James Stadium. The Arizona Organizing Committee, co-chaired by Brad Wright and Win Holden, hosted the game.
Starting lineups[edit]
Selected in an NFL Draft (number corresponds to draft round)
†= 2015 All-American
Alabama
Position
Position
Clemson
Offense
Calvin Ridley WR Artavis Scott
Cam Robinson 2 LT Mitch Hyatt
Ross Pierschbacher LG Eric Mac Lain
† Ryan Kelly 1 C Jay Guillermo
Alphonse Taylor RG Tyrone Crowder Jr.
Dominick Jackson RT Joe Gore
O. J. Howard 1 TE Jordan Leggett 5
ArDarius Stewart 3 WR Hunter Renfrow
Jake Coker QB † Deshaun Watson 1
† Derrick Henry 2 RB Wayne Gallman 4
Defense
† A'Shawn Robinson 2 DE | DE † Shaq Lawson 1
Jonathan Allen 1 NG | DT D. J. Reader 5
Jarran Reed 2 DE DT Carlos Watkins 4
Denzel Devall JLB DE Kevin Dodd 2
† Reggie Ragland 2 MLB SLB Travis Blanks
Reuben Foster 1 WLB MLB B. J. Goodson 4
Minkah Fitzpatrick CB WLB Ben Boulware
Cyrus Jones 2 CB Mackensie Alexander 2
Marlon Humphrey 1 CB Cordrea Tankersley 3
Eddie Jackson 4 SS Jayron Kearse 7
Geno Matias-Smith FS T. J. Green 2
Game summary[edit]
Alabama came off a stellar defensive performance in the semifinal game, and was looking to contain Clemson's QB Deshaun Watson, but Alabama defense was quickly forced into conceding most of the field and stopping Clemson in the redzone. Alabama's offense was stressed at the line of scrimmage by Clemson's defensive line led by Shaq Lawson. Despite being statistically outplayed by Clemson (550 Clemson offensive yards to 473 Alabama) offensively and statistically tied in other areas, Alabama was able to capitalize on three key plays: an interception of Deshaun Watson's pass early in the second quarter, a surprise Alabama onside kick early in the fourth quarter, and an Alabama kickoff return for a touchdown in the middle of the fourth quarter. These plays accounted for 21 points, and Alabama won the game 45 to 40.
Having won the coin toss to start the game, Clemson elected to defer to the second half. Characteristic of Alabama, the offensive opening drive was slow and cautious but notable for utilizing Derrick Henry four times, a change from the semifinal game against Michigan State. Alabama and Clemson would trade punting drives before, on the next Alabama possession, Derrick Henry was utilized three times. On the third run, Derrick found an opening for a 50-yard touchdown run (7-0). However, on the next two Clemson possessions Deshaun Watson used his speed, agility, and elusiveness to sustain drives with a mixture of QB runs and fade routes against Alabama's top-ranked defense. Both drives ended in TD throws to Hunter Renfrow (7-14), the latter of which ended the first quarter.
On Alabama's next possession to start the second quarter, despite a promising start in a 29-yard pass to Richard Mullaney, Alabama's offensive line conceded a sack by Kevin Dodd and a tackle for loss on Derrick Henry. Characteristic of Alabama, facing third and long offensive coordinator Lane Kiffin opted for extra field position on a punt with a short throw to Ridley rather than attempting a first down pass. On the ensuing Clemson drive Deshaun Watson was intercepted by Eddie Jackson at the Clemson 42 yard line. The resulting Alabama possession culminated in a 1-yard TD run by Derrick Henry (14-14). After this flurry, both Clemson and Alabama played more cautiously as each of the three following possessions by both teams went no further than 40 yards. Clemson's last possession of the half resulted in a blocked field goal.
Going into the third quarter, Clemson opted to receive the ball but was forced into a quick three and out. On Alabama's next possession, TE OJ Howard found himself open in space for a 53-yard touchdown (21-14). Clemson responded with a mixture of QB runs, pass plays by Deshaun Watson, and key run plays by RB Wayne Gallman on its next two drives to get a 37-yard field goal by Greg Hugel (21-17) and a 1-yard touchdown run by Wayne Gallman (21-24). Both teams were then stalled for three and outs or near three and outs on their next two possessions to close the Third quarter.
On Alabama's first possession of the fourth quarter, Jake Coker found ArDarius Stewart in single man coverage for 38 yards. This gain, however, did not translate into a touchdown as the offense was stalled by good secondary play from Clemson. Alabama settled for a field goal from 33 yards to tie the game (24-24). On the ensuing kickoff Alabama gambled on a surprise onside kick, executed to perfection by Adam Griffith and caught by Marlon Humphrey. Alabama capitalized almost immediately with another 50+ touchdown pass to a wide open OJ Howard (31-24). Clemson pulled within 4 once again. However, Alabama's defense held in the red zone and forced a field goal from Clemson (31-27). On the ensuing kickoff, Alabama RB Kenyan Drake stunned Clemson by taking the ball 95 yards for an Alabama touchdown (38-27). Deshaun Watson quickly answered with an 8 play 75 yard touchdown drive which culminated in a 15-yard touchdown pass to WR Artavius Scott. In attempt to pull within three points of Alabama (and thus within a field goal of tying the game), Clemson attempted a two-point conversion with what morphed into a naked bootleg QB run by Deshaun Watson which was stopped short (38-33). On Alabama's next possession QB Jake Coker passed the ball in a checkdown screen to OJ Howard who, getting good blocking, ran for 63 yards. With less than 3 minutes left in the game, ran the ball up the middle to convert downs. After a key third down scramble for a first down by Jake Coker, Derrick Henry, on third down, broke the touchdown plane with the nose of the ball over the top of the goal line pile of players for a 1-yard TD run (45-33). A stellar performance by Deshaun Watson on a 55-second drive culminated in a 24-yard touchdown pass to Jordan Leggett with 12 seconds left on the clock (45-40). Clemson attempted an onside kick but the ball was recovered by Alabama sealing their victory. This was the fourth Alabama national championship win in seven years, first of the College Football Playoff era, and Head Coach Nick Saban's fifth overall.
Scoring summary[edit]
[hide]Scoring summary
Quarter
Time
Drive
Team
Scoring information
Score
Plays
Yards
TOP
ALA
CLEM
1 7:55 3 59 0:55 ALA Derrick Henry 50-yard touchdown run, Adam Griffith kick good 7 0
1 5:18 6 59 2:37 CLEM Hunter Renfrow 31-yard touchdown reception from Deshaun Watson, Greg Huegel kick good 7 7
1 0:00 7 73 2:17 CLEM Hunter Renfrow 11-yard touchdown reception from Deshaun Watson, Greg Huegel kick good 7 14
2 9:35 7 42 2:23 ALA Derrick Henry 1-yard touchdown run, Adam Griffith kick good 14 14
3 12:53 3 64 0:53 ALA O. J. Howard 53-yard touchdown reception from Jake Coker, Adam Griffith kick good 21 14
3 10:10 9 55 2:43 CLEM 37-yard field goal by Greg Huegel 21 17
3 4:48 9 60 3:38 CLEM Wayne Gallman 1-yard touchdown run, Greg Huegel kick good 21 24
4 10:34 8 64 2:33 ALA 33-yard field goal by Adam Griffith 24 24
4 9:45 2 50 0:49 ALA O. J. Howard 51-yard touchdown reception from Jake Coker, Adam Griffith kick good 31 24
4 7:47 6 61 1:58 CLEM 31-yard field goal by Greg Huegel 31 27
4 7:31 - - - ALA Kick returned 95 yards for touchdown by Kenyan Drake, Adam Griffith kick good 38 27
4 4:40 8 75 2:51 CLEM Artavis Scott 15-yard touchdown reception from Deshaun Watson, 2-point run failed 38 33
4 1:07 8 75 3:33 ALA Derrick Henry 1-yard touchdown run, Adam Griffith kick good 45 33
4 0:12 6 68 0:55 CLEM Jordan Leggett 24-yard touchdown reception from Deshaun Watson, Greg Huegel kick good 45 40
"TOP" = time of possession. For other American football terms, see Glossary of American football.
45
40
Statistics[edit]
Statistics
Alabama
Clemson
First Downs 18 31
Plays–yards 71–473 85–550
Rushes–yards 46–138 38–145
Passing yards 335 405
Passing: Comp–Att–Int 11–25–0 37–47–1
Time of possession 30:31 29:29
Broadcasting[edit]
The game was broadcast in the United States by ESPN, ESPN Deportes, and ESPN Radio, with Chris Fowler and Kirk Herbstreit as English commentators on TV, and Eduardo Varela and Pablo Viruega as Spanish commentators. In Brazil, the game was broadcast on ESPN Brazil by Everaldo Marques (play by play) and Antony Curti (color commentator). As in 2015, ESPN provided Megacast coverage of the game, which supplemented coverage with analysis and additional perspectives of the game on different ESPN channels and platforms.[10][11]
An average of 23.6 million viewers watched the game, representing a 29% decrease over the 2015 title game, which was seen by 33.4 million viewers. The game was the sixth-highest-rated broadcast in U.S. cable television history (by contrast, the 2015 game was the highest-rated), and ESPN reported that the game brought the network its third-highest overnight ratings (behind the 2010 and 2015 title games).[12][13]
Local Radio[edit]
Network
Play-by-play
Color commentator(s)
Sideline reporter(s)
Studio Host(s)
WFFN–FM 95.3, WDGM-FM 99.1 and Crimson Tide Sports Network (Alabama)
WCCP-FM 105.5 and Clemson Tigers Sports Network (Clemson) Eli Gold
Don Munson Phil Savage
Rodney Williams Chris Stewart
Patrick Sapp
See also[edit]
College football national championships in NCAA Division I FBS
References[edit]
Jump up ^ "Alabama 6½- to 7-point favorite in title game vs. Clemson". FoxSports. Retrieved September 7, 2016.
Jump up ^ "Vegas experts' guide to betting Alabama-Clemson". ABC News. Retrieved September 7, 2016.
Jump up ^ "College Football Playoff Announces National Championship Pregame Entertainment" (Press release). College Football Playoff. December 17, 2015. Retrieved January 1, 2016.
Jump up ^ "Ciara To Sing National Anthem At College Football Playoff". dfw.cbslocal.com. CBS Local DFW. December 18, 2015. Retrieved December 18, 2015.
Jump up ^ http://www.ncaa.com/stats/football/fbs/current/team/22
Jump up ^ "Deshaun Watson has record night in national championship loss". Retrieved November 17, 2016.
Jump up ^ Hutchins, Andy. "How Deshaun Watson became a superstar". SBNation.com. Retrieved November 17, 2016.
Jump up ^ "Final AP Poll: Alabama finishes No. 1 for 10th time; Stanford, OSU move up". Sports Illustrated. Retrieved January 13, 2016.
Jump up ^ "Alabama claims it has 16 national titles, but several are disputed". Sports Illustrated. Retrieved January 13, 2016.
Jump up ^ "ESPN brings the Megacast back for the College Football Playoff National Championship". Awful Announcing. Retrieved January 8, 2016.
Jump up ^ "Details for ESPN's Megacast of the College Football Playoff title game". Sports Illustrated. Retrieved January 8, 2016.
Jump up ^ "ESPN College Football Title Game Ratings Drop 19% From 2015 Record". Broadcasting & Cable. NewBay Media. Retrieved January 13, 2016.
Jump up ^ Chicago Tribune (January 13, 2015). "New college football playoff draws larger TV audience for title game". chicagotribune.com. Retrieved January 13, 2015.
[show]
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[show]
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Championship games for each season are played in January of the following year
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