title: Liver

text: Other anatomical landmarks include the ligamentum venosum and the round ligament of the liver, which further divide the left side of the liver in two sections. An important anatomical landmark, the porta hepatis, divides this left portion into four segments, which can be numbered starting at the caudate lobe as I in an anticlockwise manner. From this parietal view, seven segments can be seen, because the eighth segment is only visible in the visceral view.


title: Liver

text: On the diaphragmatic surface, apart from a triangular bare area where it connects to the diaphragm, the liver is covered by a thin, double-layered membrane, the peritoneum, that helps to reduce friction against other organs. This surface covers the convex shape of the two lobes where it accommodates the shape of the diaphragm. The peritoneum folds back on itself to form the falciform ligament and the right and left triangular ligaments.


title: Liver

text: These peritoneal ligaments are not related to the anatomic ligaments in joints, and the right and left triangular ligaments have no known functional importance, though they serve as surface landmarks. The falciform ligament functions to attach the liver to the posterior portion of the anterior body wall.


title: Liver

text: The visceral surface or inferior surface is uneven and concave. It is covered in peritoneum apart from where it attaches the gallbladder and the porta hepatis. The fossa of gallbladder lies to the right of the quadrate lobe, occupied by the gallbladder with its cystic duct close to the right end of porta hepatis.


title: Liver

text: Several impressions on the surface of the liver accommodate the various adjacent structures and organs. Underneath the right lobe and to the right of the gallbladder fossa are two impressions, one behind the other and separated by a ridge. The one in front is a shallow colic impression, formed by the hepatic flexure and the one behind is a deeper renal impression accommodating part of the right kidney and part of the suprarenal gland.


title: Liver

text: The suprarenal impression is a small, triangular, depressed area on the liver. It is located close to the right of the fossa, between the bare area and the caudate lobe, and immediately above the renal impression. The greater part of the suprarenal impression is devoid of peritoneum and it lodges the right suprarenal gland.


title: Liver

text: Medial to the renal impression is a third and slightly marked impression, lying between it and the neck of the gall bladder. This is caused by the descending portion of the duodenum, and is known as the duodenal impression.


title: Liver

text: The inferior surface of the left lobe of the liver presents behind and to the left of the gastric impression. This is moulded over the upper front surface of the stomach, and to the right of this is a rounded eminence, the tuber omentale, which fits into the concavity of the lesser curvature of the stomach and lies in front of the anterior layer of the lesser omentum.


title: Liver

text: Microscopically, each liver lobe is seen to be made up of hepatic lobules. The lobules are roughly hexagonal, and consist of plates of hepatocytes, and sinusoids radiating from a central vein towards an imaginary perimeter of interlobular portal triads. The central vein joins to the hepatic vein to carry blood out from the liver. A distinctive component of a lobule is the portal triad, which can be found running along each of the lobule's corners. The portal triad consists of the hepatic artery, the portal vein, and the common bile duct. The triad may be seen on a liver ultrasound, as a Mickey Mouse sign with the portal vein as the head, and the hepatic artery, and the common bile duct as the ears.


title: Liver

text: Histology, the study of microscopic anatomy, shows two major types of liver cell: parenchymal cells and nonparenchymal cells. About 70–85% of the liver volume is occupied by parenchymal hepatocytes. Nonparenchymal cells constitute 40% of the total number of liver cells but only 6.5% of its volume. The liver sinusoids are lined with two types of cell, sinusoidal endothelial cells, and phagocytic Kupffer cells. Hepatic stellate cells are nonparenchymal cells found in the perisinusoidal space, between a sinusoid and a hepatocyte.


title: Liver

text: The central area or hepatic hilum, includes the opening known as the porta hepatis which carries the common bile duct and common hepatic artery, and the opening for the portal vein. The duct, vein, and artery divide into left and right branches, and the areas of the liver supplied by these branches constitute the functional left and right lobes. The functional lobes are separated by the imaginary plane, Cantlie's line, joining the gallbladder fossa to the inferior vena cava. The plane separates the liver into the true right and left lobes. The middle hepatic vein also demarcates the true right and left lobes. The right lobe is further divided into an anterior and posterior segment by the right hepatic vein. The left lobe is divided into the medial and lateral segments by the left hepatic vein.


title: Liver

text: The hilum of the liver is described in terms of three "plates" that contain the bile ducts and blood vessels. The contents of the whole plate system are surrounded by a sheath. The three plates are the "hilar plate", the "cystic plate" and the "umbilical plate" and the plate system is the site of the many anatomical variations to be found in the liver.


title: Liver

text: In the widely used Couinaud system, the functional lobes are further divided into a total of eight subsegments based on a transverse plane through the bifurcation of the main portal vein. The caudate lobe is a separate structure that receives blood flow from both the right- and left-sided vascular branches. The Couinaud classification divides the liver into eight functionally independent liver segments. Each segment has its own vascular inflow, outflow and biliary drainage. In the centre of each segment are branches of the portal vein, hepatic artery, and bile duct. In the periphery of each segment is vascular outflow through the hepatic veins. The classification system uses the vascular supply in the liver to separate the functional units (numbered I to VIII) with unit 1, the caudate lobe, receiving its supply from both the right and the left branches of the portal vein. It contains one or more hepatic veins which drain directly into the inferior vena cava. The remainder of the units (II to VIII) are numbered in a clockwise fashion:


title: Liver

text: About 20,000 protein coding genes are expressed in human cells and 60% of these genes are expressed in a normal, adult liver. Over 400 genes are more specifically expressed in the liver, with some 150 genes highly specific for liver tissue. A large fraction of the corresponding liver-specific proteins are mainly expressed in hepatocytes and secreted into the blood and constitute plasma proteins and hepatokines. Other liver-specific proteins are certain liver enzymes such as HAO1 and RDH16, proteins involved in bile synthesis such as BAAT and SLC27A5, and transporter proteins involved in the metabolism of drugs, such as ABCB11 and SLC2A2. Examples of highly liver-specific proteins include apolipoprotein A II, coagulation factors F2 and F9, complement factor related proteins, and the fibrinogen beta chain protein.


title: Liver

text: Organogenesis, the development of the organs, takes place from the third to the eighth week during embryogenesis. The origins of the liver lie in both the ventral portion of the foregut endoderm (endoderm being one of the three embryonic germ layers) and the constituents of the adjacent septum transversum mesenchyme. In the human embryo, the hepatic diverticulum is the tube of endoderm that extends out from the foregut into the surrounding mesenchyme. The mesenchyme of septum transversum induces this endoderm to proliferate, to branch, and to form the glandular epithelium of the liver. A portion of the hepatic diverticulum (that region closest to the digestive tube) continues to function as the drainage duct of the liver, and a branch from this duct produces the gallbladder. Besides signals from the septum transversum mesenchyme, fibroblast growth factor from the developing heart also contributes to hepatic competence, along with retinoic acid emanating from the lateral plate mesoderm. The hepatic endodermal cells undergo a morphological transition from columnar to pseudostratified resulting in thickening into the early liver bud. Their expansion forms a population of the bipotential hepatoblasts. Hepatic stellate cells are derived from mesenchyme.


title: Liver

text: After migration of hepatoblasts into the septum transversum mesenchyme, the hepatic architecture begins to be established, with liver sinusoids and bile canaliculi appearing. The liver bud separates into the lobes. The left umbilical vein becomes the ductus venosus and the right vitelline vein becomes the portal vein. The expanding liver bud is colonized by hematopoietic cells. The bipotential hepatoblasts begin differentiating into biliary epithelial cells and hepatocytes. The biliary epithelial cells differentiate from hepatoblasts around portal veins, first producing a monolayer, and then a bilayer of cuboidal cells. In ductal plate, focal dilations emerge at points in the bilayer, become surrounded by portal mesenchyme, and undergo tubulogenesis into intrahepatic bile ducts. Hepatoblasts not adjacent to portal veins instead differentiate into hepatocytes and arrange into cords lined by sinusoidal epithelial cells and bile canaliculi. Once hepatoblasts are specified into hepatocytes and undergo further expansion, they begin acquiring the functions of a mature hepatocyte, and eventually mature hepatocytes appear as highly polarized epithelial cells with abundant glycogen accumulation. In the adult liver, hepatocytes are not equivalent, with position along the portocentrovenular axis within a liver lobule dictating expression of metabolic genes involved in drug metabolism, carbohydrate metabolism, ammonia detoxification, and bile production and secretion. WNT/β-catenin has now been identified to be playing a key role in this phenomenon.


title: Liver

text: At birth, the liver comprises roughly 4% of body weight and weighs on average about . Over the course of further development, it will increase to but will only take up 2.5–3.5% of body weight.


title: Liver

text: In the growing fetus, a major source of blood to the liver is the umbilical vein, which supplies nutrients to the growing fetus. The umbilical vein enters the abdomen at the umbilicus and passes upward along the free margin of the falciform ligament of the liver to the inferior surface of the liver. There, it joins with the left branch of the portal vein. The ductus venosus carries blood from the left portal vein to the left hepatic vein and then to the inferior vena cava, allowing placental blood to bypass the liver. In the fetus, the liver does not perform the normal digestive processes and filtration of the infant liver because nutrients are received directly from the mother via the placenta. The fetal liver releases some blood stem cells that migrate to the fetal thymus, creating the T-cells or T-lymphocytes. After birth, the formation of blood stem cells shifts to the red bone marrow. After 2–5 days, the umbilical vein and ductus venosus are obliterated; the former becomes the round ligament of liver and the latter becomes the ligamentum venosum. In the disorders of cirrhosis and portal hypertension, the umbilical vein can open up again.


title: Liver

text: The various functions of the liver are carried out by the liver cells or hepatocytes. The liver is thought to be responsible for up to 500 separate functions, usually in combination with other systems and organs. Currently, no artificial organ or device is capable of reproducing all the functions of the liver. Some functions can be carried out by liver dialysis, an experimental treatment for liver failure. The liver also accounts for about 20% of resting total body oxygen consumption.


title: Liver

text: The liver receives a dual blood supply from the hepatic portal vein and hepatic arteries. The hepatic portal vein delivers around 75% of the liver's blood supply and carries venous blood drained from the spleen, gastrointestinal tract, and its associated organs. The hepatic arteries supply arterial blood to the liver, accounting for the remaining quarter of its blood flow. Oxygen is provided from both sources; about half of the liver's oxygen demand is met by the hepatic portal vein, and half is met by the hepatic arteries. The hepatic artery also has both alpha- and beta-adrenergic receptors; therefore, flow through the artery is controlled, in part, by the splanchnic nerves of the autonomic nervous system.


title: Liver

text: Blood flows through the liver sinusoids and empties into the central vein of each lobule. The central veins coalesce into hepatic veins, which leave the liver and drain into the inferior vena cava.


title: Liver

text: The biliary tract is derived from the branches of the bile ducts. The biliary tract, also known as the biliary tree, is the path by which bile is secreted by the liver then transported to the first part of the small intestine, the duodenum. The bile produced in the liver is collected in bile canaliculi, small grooves between the faces of adjacent hepatocytes. The canaliculi radiate to the edge of the liver lobule, where they merge to form bile ducts. Within the liver, these ducts are termed intrahepatic bile ducts, and once they exit the liver, they are considered extrahepatic. The intrahepatic ducts eventually drain into the right and left hepatic ducts, which exit the liver at the transverse fissure, and merge to form the common hepatic duct. The cystic duct from the gallbladder joins with the common hepatic duct to form the common bile duct. The biliary system and connective tissue is supplied by the hepatic artery alone.


title: Liver

text: Bile either drains directly into the duodenum via the common bile duct, or is temporarily stored in the gallbladder via the cystic duct. The common bile duct and the pancreatic duct enter the second part of the duodenum together at the hepatopancreatic ampulla, also known as the ampulla of Vater.


title: Liver

text: The liver is responsible for the mainstay of protein metabolism, synthesis as well as degradation. All plasma proteins except Gamma-globulins are synthesised in the liver. It is also responsible for a large part of amino acid synthesis. The liver plays a role in the production of clotting factors, as well as red blood cell production. Some of the proteins synthesized by the liver include coagulation factors I (fibrinogen), II (prothrombin), V, VII, VIII, IX, X, XI, XII, XIII, as well as protein C, protein S and antithrombin. The liver is a major site of production for thrombopoietin, a glycoprotein hormone that regulates the production of platelets by the bone marrow.


title: Liver

text: The liver plays several roles in lipid metabolism: it performs cholesterol synthesis, lipogenesis, and the production of triglycerides, and a bulk of the body's lipoproteins are synthesized in the liver. The liver plays a key role in digestion, as it produces and excretes bile (a yellowish liquid) required for emulsifying fats and help the absorption of vitamin K from the diet. Some of the bile drains directly into the duodenum, and some is stored in the gallbladder. The liver produces insulin-like growth factor 1, a polypeptide protein hormone that plays an important role in childhood growth and continues to have anabolic effects in adults.


title: Liver

text: The liver is responsible for the breakdown of insulin and other hormones. The liver breaks down bilirubin via glucuronidation, facilitating its excretion into bile.


title: Liver

text: The liver is responsible for the breakdown and excretion of many waste products. It plays a key role in breaking down or modifying toxic substances (e.g., methylation) and most medicinal products in a process called drug metabolism. This sometimes results in toxication, when the metabolite is more toxic than its precursor. Preferably, the toxins are conjugated to avail excretion in bile or urine. The liver converts ammonia into urea as part of the ornithine cycle or the urea cycle, and the urea is excreted in the urine.


title: Liver

text: the hepatic sinuses, is about 450 milliliters, or almost 10 percent of the body's total blood volume. When high pressure


title: Liver

text: in the hepatic veins and sinuses. This occurs especially in cardiac failure with peripheral congestion. Thus, in effect, the liver is a large, expandable, venous organ capable of acting as a valuable blood reservoir in times of excess blood volume and capable of supplying extra blood in times of diminished blood volume.


title: Liver

text: Because the pores in the hepatic sinusoids are very permeable and allow ready passage of both fluid and proteins into the perisinusoidal space, the lymph draining from the liver usually has a protein concentration of about 6 g/dl, which is only slightly less than the protein concentration of plasma.


title: Liver

text: Also, the high permeability of the liver sinusoid epithelium allows large quantities of lymph to form. Therefore, about half of all the lymph formed in the body under resting conditions arises in the liver.


title: Liver

text: The oxidative capacity of the liver decreases with aging, and therefore any medications that require oxidation (for instance, benzodiazepines) are more likely to accumulate to toxic levels. However, medications with shorter half-lives, such as lorazepam and oxazepam, are preferred in most cases when benzodiazepines are required in regard to geriatric medicine.


title: Liver

text: The liver is a vital organ and supports almost every other organ in the body. Because of its strategic location and multidimensional functions, the liver is prone to many diseases. The bare area of the liver is a site that is vulnerable to the passing of infection from the abdominal cavity to the thoracic cavity. Liver diseases may be diagnosed by liver function tests–blood tests that can identify various markers. For example, acute-phase reactants are produced by the liver in response to injury or inflammation.


title: Liver

text: Hepatitis is a common condition of inflammation of the liver. The most usual cause of this is viral, and the most common of these infections are hepatitis A, B, C, D, and E. Some of these infections are sexually transmitted. Inflammation can also be caused by other viruses in the family Herpesviridae such as the "herpes simplex virus". Chronic (rather than acute) infection with hepatitis B virus or hepatitis C virus is the main cause of liver cancer. Globally, about 248 million individuals are chronically infected with hepatitis B (with 843,724 in the U.S.), and 142 million are chronically infected with hepatitis C (with 2.7 million in the U.S.). Globally there are about 114 million and 20 million cases of hepatitis A and hepatitis E respectively, but these generally resolve and do not become chronic. Hepatitis D virus is a "satellite" of hepatitis B virus (it can only infect in the presence of hepatitis B), and co-infects nearly 20 million people with hepatitis B, globally.


title: Liver

text: Hepatic encephalopathy is caused by an accumulation of toxins in the bloodstream that are normally removed by the liver. This condition can result in coma and can prove fatal. Budd–Chiari syndrome is a condition caused by blockage of the hepatic veins (including thrombosis) that drain the liver. It presents with the classical triad of abdominal pain, ascites and liver enlargement. Many diseases of the liver are accompanied by jaundice caused by increased levels of bilirubin in the system. The bilirubin results from the breakup of the hemoglobin of dead red blood cells; normally, the liver removes bilirubin from the blood and excretes it through bile.


title: Liver

text: Other disorders caused by excessive alcohol consumption are grouped under alcoholic liver diseases and these include alcoholic hepatitis, fatty liver, and cirrhosis. Factors contributing to the development of alcoholic liver diseases are not only the quantity and frequency of alcohol consumption, but can also include gender, genetics, and liver insult. Liver damage can also be caused by drugs, particularly paracetamol and drugs used to treat cancer. A rupture of the liver can be caused by a liver shot used in combat sports.


title: Liver

text: Primary biliary cholangitis is an autoimmune disease of the liver. It is marked by slow progressive destruction of the small bile ducts of the liver, with the intralobular ducts (Canals of Hering) affected early in the disease. When these ducts are damaged, bile and other toxins build up in the liver (cholestasis) and over time damages the liver tissue in combination with ongoing immune related damage. This can lead to scarring (fibrosis) and cirrhosis. Cirrhosis increases the resistance to blood flow in the liver, and can result in portal hypertension. Congested anastomoses between the portal venous system and the systemic circulation, can be a subsequent condition.


title: Liver

text: There are also many pediatric liver diseases, including biliary atresia, alpha-1 antitrypsin deficiency, alagille syndrome, progressive familial intrahepatic cholestasis, Langerhans cell histiocytosis and hepatic hemangioma a benign tumour the most common type of liver tumour, thought to be congenital. A genetic disorder causing multiple cysts to form in the liver tissue, usually in later life, and usually asymptomatic, is polycystic liver disease. Diseases that interfere with liver function will lead to derangement of these processes. However, the liver has a great capacity to regenerate and has a large reserve capacity. In most cases, the liver only produces symptoms after extensive damage.


title: Liver

text: Hepatomegaly refers to an enlarged liver and can be due to many causes. It can be palpated in a liver span measurement.


title: Liver

text: The diagnosis of liver disease is made by liver function tests, groups of blood tests, that can readily show the extent of liver damage. If infection is suspected, then other serological tests will be carried out. A physical examination of the liver can only reveal its size and any tenderness, and some form of imaging such as an ultrasound or CT scan may also be needed.


title: Liver

text: Sometimes a liver biopsy will be necessary, and a tissue sample is taken through a needle inserted into the skin just below the rib cage. This procedure may be helped by a sonographer providing ultrasound guidance to an interventional radiologist.


title: Liver

text: The liver is the only human internal organ capable of natural regeneration of lost tissue; as little as 25% of a liver can regenerate into a whole liver. This is, however, not true regeneration but rather compensatory growth in mammals. The lobes that are removed do not regrow and the growth of the liver is a restoration of function, not original form. This contrasts with true regeneration where both original function and form are restored. In some other species, such as zebrafish, the liver undergoes true regeneration by restoring both shape and size of the organ. In the liver, large areas of the tissues are formed but for the formation of new cells there must be sufficient amount of material so the circulation of the blood becomes more active.


title: Liver

text: This is predominantly due to the hepatocytes re-entering the cell cycle. That is, the hepatocytes go from the quiescent G0 phase to the G1 phase and undergo mitosis. This process is activated by the p75 receptors. There is also some evidence of bipotential stem cells, called hepatic oval cells or ovalocytes (not to be confused with oval red blood cells of ovalocytosis), which are thought to reside in the canals of Hering. These cells can differentiate into either hepatocytes or cholangiocytes. Cholangiocytes are the epithelial lining cells of the bile ducts. They are cuboidal epithelium in the small interlobular bile ducts, but become columnar and mucus secreting in larger bile ducts approaching the porta hepatis and the extrahepatic ducts. Research is being carried out on the use of stem cells for the generation of an artificial liver.


title: Liver

text: Scientific and medical works about liver regeneration often refer to the Greek Titan Prometheus who was chained to a rock in the Caucasus where, each day, his liver was devoured by an eagle, only to grow back each night. The myth suggests the ancient Greeks may have known about the liver's remarkable capacity for self-repair.


title: Liver

text: Human liver transplants were first performed by Thomas Starzl in the United States and Roy Calne in Cambridge, England in 1963 and 1967, respectively.


title: Liver

text: Liver transplantation is the only option for those with irreversible liver failure. Most transplants are done for chronic liver diseases leading to cirrhosis, such as chronic hepatitis C, alcoholism, and autoimmune hepatitis. Less commonly, liver transplantation is done for fulminant hepatic failure, in which liver failure occurs rapidly over a period of days or weeks.


title: Liver

text: Liver allografts for transplant usually come from donors who have died from fatal brain injury. Living donor liver transplantation is a technique in which a portion of a living person's liver is removed (hepatectomy) and used to replace the entire liver of the recipient. This was first performed in 1989 for pediatric liver transplantation. Only 20 percent of an adult's liver (Couinaud segments 2 and 3) is needed to serve as a liver allograft for an infant or small child.


title: Liver

text: More recently, adult-to-adult liver transplantation has been done using the donor's right hepatic lobe, which amounts to 60 percent of the liver. Due to the ability of the liver to regenerate, both the donor and recipient end up with normal liver function if all goes well. This procedure is more controversial, as it entails performing a much larger operation on the donor, and indeed there were at least two donor deaths out of the first several hundred cases. A 2006 publication addressed the problem of donor mortality and found at least fourteen cases. The risk of postoperative complications (and death) is far greater in right-sided operations than that in left-sided operations.


title: Liver

text: With the recent advances of noninvasive imaging, living liver donors usually have to undergo imaging examinations for liver anatomy to decide if the anatomy is feasible for donation. The evaluation is usually performed by multidetector row computed tomography (MDCT) and magnetic resonance imaging (MRI). MDCT is good in vascular anatomy and volumetry. MRI is used for biliary tree anatomy. Donors with very unusual vascular anatomy, which makes them unsuitable for donation, could be screened out to avoid unnecessary operations.


title: Liver

text: Some cultures regard the liver as the seat of the soul. In Greek mythology, the gods punished Prometheus for revealing fire to humans by chaining him to a rock where a vulture (or an eagle) would peck out his liver, which would regenerate overnight. (The liver is the only human internal organ that actually can regenerate itself to a significant extent.) Many ancient peoples of the Near East and Mediterranean areas practiced a type of divination called haruspicy or hepatomancy, where they tried to obtain information by examining the livers of sheep and other animals.


title: Liver

text: In Plato, and in later physiology, the liver was thought to be the seat of the darkest emotions (specifically wrath, jealousy and greed) which drive men to action. The Talmud (tractate "Berakhot 61b") refers to the liver as the seat of anger, with the gallbladder counteracting this. The Persian, Urdu, and Hindi languages ( or or ) refer to the liver in figurative speech to indicate courage and strong feelings, or "their best"; e.g., "This Mecca has thrown to you the pieces of its liver!". The term , literally "the strength (power) of my liver", is a term of endearment in Urdu. In Persian slang, is used as an adjective for any object which is desirable, especially women. In the Zulu language, the word for liver () is the same as the word for courage. In English the term 'lily-livered' is used to indicate cowardice from the medieval belief that the liver was the seat of courage.


title: Liver

text: In biblical Hebrew, the word for liver, (, stemmed or , similar to Arabic ), also means heavy and is used to describe the rich ("heavy" with possessions) and honor (presumably for the same reason). In the Book of Lamentations (2:11) it is used to describe the physiological responses to sadness by "my liver spilled to earth" along with the flow of tears and the overturning in bitterness of the intestines. On several occasions in the book of Psalms (most notably 16:9), the word is used to describe happiness in the liver, along with the heart (which beats rapidly) and the flesh (which appears red under the skin). Further usage as the self (similar to "your honor") is widely available throughout the old testament, sometimes compared to the breathing soul (Genesis 49:6, Psalms 7:6, etc.). An honorable hat was also referred to with this word (Job 19:9, etc.) and under that definition appears many times along with - grandeur.


title: Liver

text: These four meanings were used in preceding ancient Afro-Asiatic languages such as Akkadian and Ancient Egyptian preserved in classical Ethiopic Ge'ez language.


title: Liver

text: Humans commonly eat the livers of mammals, fowl, and fish as food. Domestic pig, ox, lamb, calf, chicken, and goose livers are widely available from butchers and supermarkets. In the Romance languages, the anatomical word for "liver" (French "foie", Spanish "hígado", etc.) derives not from the Latin anatomical term, "jecur", but from the culinary term "ficatum", literally "stuffed with figs," referring to the livers of geese that had been fattened on figs. Animal livers are rich in iron, vitamin A and vitamin B; and cod liver oil is commonly used as a dietary supplement.


title: Liver

text: Liver can be baked, boiled, broiled, fried, stir-fried, or eaten raw ("asbeh nayeh" or "sawda naye" in Lebanese cuisine, or liver sashimi in Japanese cuisine). In many preparations, pieces of liver are combined with pieces of meat or kidneys, as in the various forms of Middle Eastern mixed grill (e.g. "meurav Yerushalmi"). Well-known examples include liver pâté, foie gras, chopped liver, and leverpastej. Liver sausages, such as Braunschweiger and liverwurst, are also a valued meal. Liver sausages may also be used as spreads. A traditional South African delicacy, skilpadjies, is made of minced lamb's liver wrapped in "netvet" (caul fat), and grilled over an open fire. Traditionally, some fish livers were valued as food, especially the stingray liver. It was used to prepare delicacies, such as poached skate liver on toast in England, as well as the "beignets de foie de raie" and "foie de raie en croute" in French cuisine.


title: Liver

text: The Humr are one of the tribes in the Baggara ethnic group, native to southwestern Kordofan in Sudan who speak "Shuwa" (Chadian Arabic), make a non-alcoholic drink from the liver and bone marrow of the giraffe, which they call "umm nyolokh". They claim it is intoxicating (Arabic سكران "sakran"), causing dreams and even waking hallucinations. Anthropologist Ian Cunnison accompanied the Humr on one of their giraffe-hunting expeditions in the late 1950s, and noted that:


title: Liver

text: Cunnison's remarkable account of an apparently psychoactive mammal found its way from a somewhat obscure scientific paper into more mainstream literature through a conversation between W. James of the Institute of Social and Cultural Anthropology at the University of Oxford and specialist on the use of hallucinogens and intoxicants in society, and R. Rudgley, who discussed it in a book on psychoactive drugs for general readers. He speculated that a hallucinogenic compound N,N-Dimethyltryptamine in the giraffe liver might account for the intoxicating properties claimed for "umm nyolokh".


title: Liver

text: Cunnison, on the other hand, writing in 1958 found it hard to believe in the literal truth of the Humr's assertion that the drink was intoxicating:


title: Liver

text: The study of entheogens in general – including entheogens of animal origin (e.g. hallucinogenic fish and toad venom) – has, however, made considerable progress in the sixty-odd years since Cunnison's report; the idea that some intoxicating substance might reside in giraffe livers may no longer be as far-fetched as it seemed to Cunnison. However, to date, proof (or disproof) still waits on detailed analyses of the organ and the beverage made from it.


title: Liver

text: Certain Tungusic peoples of northeast Asia formerly prepared a type of arrow poison from rotting animal livers, which was, in later times, also applied to bullets. Russian anthropologist S. M. Shirokogoroff wrote that:


title: Liver

text: The liver is found in all vertebrates and is typically the largest internal organ. The internal structure of the liver is broadly similar in all vertebrates, though its form varies considerably in different species, and is largely determined by the shape and arrangement of the surrounding organs. Nonetheless, in most species it is divided into right and left lobes; exceptions to this general rule include snakes, where the shape of the body necessitates a simple cigar-like form.


title: Liver

text: An organ sometimes referred to as a liver is found associated with the digestive tract of the primitive chordate "Amphioxus". Although it performs many functions of a liver, it is not considered a "true" liver but rather a "homolog" of the vertebrate liver. The amphioxus hepatic caecum produces the liver-specific proteins vitellogenin, antithrombin, plasminogen, alanine aminotransferase, and insulin/Insulin-like growth factor (IGF)


title: Parker Posey

text: Parker Christian Posey (born November 8, 1968) is an American actress and musician. Posey is the recipient of a Golden Globe Award nomination, a Satellite Award nomination and two Independent Spirit Award nominations.


title: Parker Posey

text: Posey made her film debut in "Joey Breaker" (1993). Following small roles in "Coneheads" and the cult classic "Dazed and Confused" (both also 1993), she was labeled "Queen of the Indies" for starring in a succession of independent films throughout the 1990s, such as "Sleep with Me" (1994), "Frisk", "Party Girl", "The Doom Generation", "Kicking and Screaming" (all 1995), "The Daytrippers" (1996), "Henry Fool", "The House of Yes" and "Clockwatchers" (all 1997). Her other notable film appearances include "You've Got Mail" (1998), "Scream 3" (2000), "Josie and the Pussycats" (2001), "", "The Sweetest Thing" (both 2002), "" (2004), "Superman Returns", "Fay Grim" (both 2006), "Broken English" (2007), "The Eye" (2008), "Spring Breakdown" (2009), "Inside Out" (2011), "Irrational Man" (2015), "Café Society" (2016), and "Columbus" (2017).


title: Parker Posey

text: She frequently works with Christopher Guest and has appeared in several of his mockumentaries: "Waiting for Guffman" (1996), "Best in Show" (2000), "A Mighty Wind" (2003), "For Your Consideration" (2006), and "Mascots" (2016).


title: Parker Posey

text: Outside of film, Posey starred in the television movie "" (2002) and has guest-starred on numerous series, such as "Futurama" (2000), "The Simpsons" (2000), "Will & Grace" (2001), "Boston Legal" (2006), "Parks and Recreation" (2011), "The Good Wife" (2011–12), "Louie" (2012), "Inside Amy Schumer" (2014), and "Search Party" (2016). From 2018 to 2021, she starred as Dr. Smith on the Netflix series "Lost in Space".


title: Parker Posey

text: Posey was born November 8, 1968, in Baltimore, Maryland, to Lynda (née Patton), a chef, and Chris Posey, owner of a car dealership. She has a twin brother, Christopher. After Posey's birth, her family lived in Monroe, Louisiana, for 11 years. They later moved to Laurel, Mississippi, where her mother worked as a chef and culinary instructor for the Viking Range Corporation in Greenwood and her father operated a car dealership. Posey was raised Catholic.


title: Parker Posey

text: Posey got her first break in television with the role of Tess Shelby on the daytime soap opera "As the World Turns". Posey's first major role in a feature film was in "Dazed and Confused" (1993). The film received favorable reviews from critics and has been identified as a cult classic.


title: Parker Posey

text: In 1994, she appeared in Hal Hartley's short film "Opera No. 1". Throughout the late 1990s, Posey co-starred in 32 independent films and was nicknamed "Queen of the Indies". These films include "", "Basquiat", "Clockwatchers", "The Daytrippers", "Party Girl" and "The House of Yes". In particular, she received positive reviews for "The House of Yes", for her role as a delusional woman in love with her own brother. In an interview in January 2012, Parker said that the unofficial title has sometimes been a hindrance:


title: Parker Posey

text: She has co-starred in many of Christopher Guest's films, including five of his mock documentaries, the first being "Waiting for Guffman" in 1996. In 1998, Posey appeared in Hartley's film "Henry Fool", and the big-budget studio film "You've Got Mail".


title: Parker Posey

text: In 2000, she starred in Guest's third mock documentary "Best in Show" and in the big-budget horror film "Scream 3". Critical reaction to Posey's performance in the latter film was highly positive and earned her an MTV Movie Award nomination. The next year she starred in "Josie and the Pussycats". From 2001 to 2002, she appeared in a supporting role in the popular NBC sitcom "Will & Grace".


title: Parker Posey

text: In 2003, she starred in Guest's "A Mighty Wind". The next year she appeared in "Sisters of Mercy", "Laws of Attraction", and "". Posey then co-starred in the 2005 film "Adam & Steve".


title: Parker Posey

text: In 2006, Posey appeared in "Superman Returns" as Kitty Kowalski, Lex Luthor's ditzy sidekick, a character based on Eve Teschmacher from the 1978 film "Superman". Posey was the only actress considered for the role. "Superman Returns" was a box-office success. The film was also successful at the 33rd Saturn Awards. Posey, a few fellow cast members, and the visual effects department were all nominated. Later the same year, she played the title character in "Fay Grim", the sequel to "Henry Fool", and appeared in "For Your Consideration".


title: Parker Posey

text: In 2007, Posey was cast in the lead role in the television series "The Return of Jezebel James". The show was originally given a 13-episode order, but the show was cut to seven episodes in anticipation of a pending scriptwriters’ strike. It premiered on the Fox television network in 2008 as a mid-season replacement. However, the show was officially canceled after the third episode aired owing to low ratings.


title: Parker Posey

text: Posey starred in Zoe Cassavetes' 2007 film "Broken English". "Broken English" screened at the 2007 Sundance Film Festival. It was also entered into the 29th Moscow International Film Festival. The film was nominated at the 23rd Independent Spirit Awards for Best First Screenplay and Posey was nominated for Best Female Lead. She was set to co-star in John Waters' film "Fruitcake". The film was to be set in her hometown of Baltimore, Maryland. However, in 2018, Waters announced that he has canceled "Fruitcake", saying "I can't get it made... I thought it would do well, but it's not. In this economy, I'm going to have to do a puppet show."


title: Parker Posey

text: In 2012, Posey starred in four episodes of the third season of "Louie" as Liz, Louis C.K.'s love interest. She received positive reviews for her stint on the show. The website "Vulture" stated: "Posey is superb in a brilliantly written role." Lindsay Bahr of "Entertainment Weekly" said "Posey used her arsenal of talent and the material written and directed by C.K. to bring Liz to life". Andy Greenwald of "GrantLand" felt Posey was "funny, engaging, and breathless" and went on to call Posey "one of the most gifted actors alive". Later the same year, she was honored with the Excellence in Acting Award at the Provincetown International Film Festival.


title: Parker Posey

text: Posey appeared in "Ned Rifle", the third and final film in Hartley's "Henry Fool" trilogy, again reprising her role of Fay Grim. On November 6, 2013, Hartley launched a fundraising campaign through Kickstarter to produce the film, netting a total of $384,000. Posey, along with several other cast members as well as some crew members, appeared in several videos promoting the campaign. The film premiered on September 7, 2014, at the 2014 Toronto International Film Festival. It was also screened in the Panorama section of the 65th Berlin International Film Festival on February 6, 2015.


title: Parker Posey

text: In July 2014, it was announced that Posey had signed on to co-star in Woody Allen's mystery drama "Irrational Man". The film had its world premiere on May 16, 2015, at the 2015 Cannes Film Festival. In July 2015, Parker revealed that before being cast in the film, she had considered quitting acting, as she feared that she "saw the independent film movement go away from me... it's a world market now. They're made from real star power. Whoever's hot at the moment." When Allen cast her, she cried, as "the independent film way of working is something that was in my bones. It's like being a part of a punk band but no one's singing punk rock anymore. Only a few bands are able to play, and Woody Allen is one of them. That's why I cried. It was a relief."


title: Parker Posey

text: From 2018-2021, she appeared as Dr. Smith in "Lost in Space", the Netflix remake of the 1965 TV series.


title: Parker Posey

text: In 2022 she starred in episode two of Tales of the Walking Dead, an anthology series based on the AMC series The Walking Dead


title: Parker Posey

text: In late 2019, Posey starred in an audio fiction podcast called "Hunted" wherein she plays the part of U.S. Deputy Marshal tracking four escaped convicts from a federal maximum-security correctional facility. The eight-episode show is produced by Wolf Entertainment and Endeavor Audio.


title: Parker Posey

text: Posey appeared on Broadway in 2000, playing in Elaine May's "Taller Than a Dwarf", which was directed by Alan Arkin. She later appeared off Broadway in David Rabe's "Hurlyburly" in 2005, and then originated the role of Pony Jones in Will Eno's "The Realistic Joneses" in 2012.


title: Parker Posey

text: She learned to play the mandolin to prepare for her role in "A Mighty Wind" (2003), a film in which she also sang. She provided vocals on several of her ex-boyfriend Ryan Adams' records. She also played the mandolin on The Dandy Warhols track "I Am Sound" from their "Welcome to the Monkey House" LP.


title: Parker Posey

text: "You're on an Airplane: A Self-Mythologizing Memoir" is Parker Posey's first book. Centered on the idea that the reader is sitting next to Posey on an airplane, the book mixes personal anecdotes from her career, random observations, stories about her life, and homemade photo collages. The book received critical acclaim. "Vogue" wrote "Excellent...a celebration of peculiarity." According to "Elle" magazine, the memoir is "a humour-packed, irreverent, eccentric book packed with personal stories, whimsical how-tos and recipes, as well as collages made by her." "Esquire" wrote "Posey is a natural storyteller; performing, in any way really, is mostly about sharing stories. And she's gathered some good ones for her memoir, which also perfectly encapsulates the delightful weirdo you assume she is just by watching her play different people on screen."


title: Parker Posey

text: In a 2000 interview Posey recounted a time in 1998 when she left her life in the U.S. "I just dropped out. I went all over – Morocco, Australia, Sweden, Finland, France. I was gone for, God, like a year and a half."


title: Progressive rock

text: Progressive rock (shortened as prog rock or simply prog; sometimes conflated with art rock) is a broad genre of rock music that developed in the United Kingdom and United States through the mid- to late 1960s, peaking in the early 1970s. Initially termed "progressive pop", the style was an outgrowth of psychedelic bands who abandoned standard pop traditions in favour of instrumentation and compositional techniques more frequently associated with jazz, folk, or classical music. Additional elements contributed to its "progressive" label: lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", and the studio, rather than the stage, became the focus of musical activity, which often involved creating music for listening rather than dancing.


title: Progressive rock

text: Progressive rock is based on fusions of styles, approaches and genres, involving a continuous move between formalism and eclecticism. Due to its historical reception, the scope of progressive rock is sometimes limited to a stereotype of long solos, long albums, fantasy lyrics, grandiose stage sets and costumes, and an obsessive dedication to technical skill. While the genre is often cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, and only a handful of groups, such as Emerson, Lake & Palmer, purposely emulated or referenced classical music.


title: Progressive rock

text: The genre coincided with the mid-1960s economic boom that allowed record labels to allocate more creative control to their artists, as well as the new journalistic division between "pop" and "rock" that lent generic significance to both terms. It saw a high level of popularity in the early-to-mid-1970s, but faded soon after. Conventional wisdom holds that the rise of punk rock caused this, but several more factors contributed to the decline. Music critics, who often labelled the concepts as "pretentious" and the sounds as "pompous" and "overblown", tended to be hostile towards the genre or to completely ignore it. After the late 1970s, progressive rock fragmented in numerous forms. Some bands achieved commercial success well into the 1980s (albeit with changed lineups and more compact song structures) or crossed into symphonic pop, arena rock, or new wave.


title: Progressive rock

text: Early groups who exhibited progressive features are retroactively described as "proto-prog". The Canterbury scene, originating in the late 1960s, denotes a subset of progressive rock bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, and when combined with the Canterbury style, created avant-prog. In the 1980s, a new subgenre, neo-progressive rock, enjoyed some commercial success, although it was also accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in popular music and the avant-garde since the mid-1970s.


title: Progressive rock

text: The term "progressive rock" is synonymous with "art rock", "classical rock" (not to be confused with classic rock), and "symphonic rock". Historically, "art rock" has been used to describe at least two related, but distinct, types of rock music. The first is progressive rock as it is generally understood, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favour of a modernist, avant-garde approach. Similarities between the two terms are that they both describe a mostly British attempt to elevate rock music to new levels of artistic credibility. However, art rock is more likely to have experimental or avant-garde influences. "Prog" was devised in the 1990s as a shorthand term, but later became a transferable adjective, also suggesting a wider palette than that drawn on by the most popular 1970s bands.


title: Progressive rock

text: Progressive rock is varied and is based on fusions of styles, approaches, and genres, tapping into broader cultural resonances that connect to avant-garde art, classical music and folk music, performance and the moving image. Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes. When the "progressive" label arrived, the music was dubbed "progressive pop" before it was called "progressive rock", with the term "progressive" referring to the wide range of attempts to break with standard pop music formula. A number of additional factors contributed to the acquired "progressive" label: lyrics were more poetic; technology was harnessed for new sounds; music approached the condition of "art"; some harmonic language was imported from jazz and 19th-century classical music; the album format overtook singles; and the studio, rather than the stage, became the focus of musical activity, which often involved creating music for listening, not dancing.


title: Progressive rock

text: Critics of the genre often limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, and an obsessive dedication to technical skill. While progressive rock is often cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, and only a handful of groups purposely emulated or referenced classical music. Writer Emily Robinson says that the narrowed definition of "progressive rock" was a measure against the term's loose application in the late 1960s, when it was "applied to everyone from Bob Dylan to the Rolling Stones". Debate over the genre's criterion continued to the 2010s, particularly on Internet forums dedicated to prog.


title: Progressive rock

text: According to musicologists Paul Hegarty and Martin Halliwell, Bill Martin and Edward Macan authored major books about progressive rock while "effectively accept[ing] the characterization of progressive rock offered by its critics. ... they each do so largely unconsciously." Academic John S. Cotner contests Macan's view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock. Author Kevin Holm-Hudson agrees that "progressive rock is a style far more diverse than what is heard from its mainstream groups and what is implied by unsympathetic critics."


title: Progressive rock

text: In early references to the music, "progressive" was partly related to progressive politics, but those connotations were lost during the 1970s. On "progressive music", Holm-Hudson writes that it "moves continuously between explicit and implicit references to genres and strategies derived not only from European art music, but other cultural domains (such as East Indian, Celtic, folk, and African) and hence involves a continuous aesthetic movement between formalism and eclecticism". Cotner also says that progressive rock incorporates both formal and eclectic elements, "It consists of a combination of factors – some of them intramusical ('within), others extramusical or social ('without')."


title: Progressive rock

text: One way of conceptualising rock and roll in relation to "progressive music" is that progressive music pushed the genre into greater complexity while retracing the roots of romantic and classical music. Sociologist Paul Willis believes: "We must never be in doubt that 'progressive' music followed rock 'n' roll, and that it could not have been any other way. We can see rock 'n' roll as a deconstruction and 'progressive' music as a reconstruction." Author Will Romano states that "rock itself can be interpreted as a progressive idea ... Ironically, and quite paradoxically, 'progressive rock', the classic era of the late 1960s through the mid- and late 1970s, introduces not only the explosive and exploratory sounds of technology ... but traditional music forms (classical and European folk) and (often) a pastiche compositional style and artificial constructs (concept albums) which suggests postmodernism."


title: Progressive rock

text: In 1966, the level of social and artistic correspondence among British and American rock musicians dramatically accelerated for bands like the Beatles, the Beach Boys and the Byrds who fused elements of cultivated music with the vernacular traditions of rock. Progressive rock was predicated on the "progressive" pop groups from the 1960s who combined rock and roll with various other music styles such as Indian ragas, oriental melodies and Gregorian chants, like the Beatles and the Yardbirds. The Beatles' Paul McCartney said in 1967: "we [the band] got a bit bored with 12 bars all the time, so we tried to get into something else. Then came Dylan, the Who, and the Beach Boys. ... We're all trying to do vaguely the same kind of thing." Rock music started to take itself seriously, paralleling earlier attempts in jazz (as swing gave way to bop, a move which did not succeed with audiences). In this period, the popular song began signalling a new possible means of expression that went beyond the three-minute love song, leading to an intersection between the "underground" and the "establishment" for listening publics.


title: Progressive rock

text: Hegarty and Halliwell identify the Beatles, the Beach Boys, the Doors, the Pretty Things, the Zombies, the Byrds, the Grateful Dead and Pink Floyd "not merely as precursors of progressive rock but as essential developments of progressiveness in its early days". According to musicologist Walter Everett, the Beatles' "experimental timbres, rhythms, tonal structures, and poetic texts" on their albums "Rubber Soul" (1965) and "Revolver" (1966) "encouraged a legion of young bands that were to create progressive rock in the early 1970s". Dylan's poetry, the Mothers of Invention's album "Freak Out!" (1966) and the Beatles' "Sgt. Pepper's Lonely Hearts Club Band" (1967) were all important in progressive rock's development. The productions of Phil Spector were key influences, as they introduced the possibility of using the recording studio to create music that otherwise could never be achieved. The same is said for the Beach Boys' "Pet Sounds" (1966), which Brian Wilson intended as an answer to "Rubber Soul" and which in turn influenced the Beatles when they made "Sgt. Pepper".


title: Progressive rock

text: Dylan introduced a literary element to rock through his fascination with the Surrealists and the French Symbolists, and his immersion in the New York City art scene of the early 1960s. The trend of bands with names drawn from literature, such as the Doors, Steppenwolf and the Ides of March, were a further sign of rock music aligning itself with high culture. Dylan also led the way in blending rock with folk music styles. This was followed by folk rock groups such as the Byrds, who based their initial sound on that of the Beatles. In turn, the Byrds' vocal harmonies inspired those of Yes, and British folk rock bands like Fairport Convention, who emphasised instrumental virtuosity. Some of these artists, such as the Incredible String Band and Shirley and Dolly Collins, would prove influential through their use of instruments borrowed from world music and early music.


title: Progressive rock

text: "Pet Sounds" and "Sgt. Pepper", with their lyrical unity, extended structure, complexity, eclecticism, experimentalism, and influences derived from classical music forms, are largely viewed as beginnings in the progressive rock genre and as turning points wherein rock, which previously had been considered dance music, became music that was made for listening to. Between "Pet Sounds" and "Sgt. Pepper", the Beach Boys released the single "Good Vibrations" (1966), dubbed a "pocket symphony" by Derek Taylor, the band's publicist. The song contained an eclectic array of exotic instruments and several disjunctive key and modal shifts. Scott Interrante of "Popmatters" wrote that its influence on progressive rock and the psychedelic movement "can't be overstated". Martin likened the song to the Beatles' "A Day in the Life" from "Sgt. Pepper", in that they showcase "the same reasons why much progressive rock is difficult to dance to".


title: Progressive rock

text: Although "Sgt. Pepper" was preceded by several albums that had begun to bridge the line between "disposable" pop and "serious" rock, it successfully gave an established "commercial" voice to an alternative youth culture and marked the point at which the LP record emerged as a creative format whose importance was equal to or greater than that of the single. Bill Bruford, a veteran of several progressive rock bands, said that "Sgt. Pepper" transformed both musicians' ideas of what was possible and audiences' ideas of what was acceptable in music. He believed that: "Without the Beatles, or someone else who had done what the Beatles did, it is fair to assume that there would have been no progressive rock." In the aftermath of "Sgt. Pepper", magazines such as "Melody Maker" drew a sharp line between "pop" and "rock", thus eliminating the "roll" from "rock and roll" (which now refers to the 1950s style). The only artists who remained "rock" would be those who were considered at the vanguard of compositional forms, far from "radio friendly" standards, as Americans increasingly used the adjective "progressive" for groups like Jethro Tull, Family, East of Eden, Van der Graaf Generator and King Crimson.


title: Progressive rock

text: According to AllMusic: "Prog-rock began to emerge out of the British psychedelic scene in 1967, specifically a strain of classical/symphonic rock led by the Nice, Procol Harum, and the Moody Blues ("Days of Future Passed")." The availability of newly affordable recording equipment coincided with the rise of a London underground scene at which the psychedelic drug LSD was commonly used. Pink Floyd and Soft Machine functioned as house bands at all-night events at locations such as Middle Earth and the UFO Club, where they experimented with sound textures and long-form songs. Many psychedelic, folk rock and early progressive bands were aided by exposure from BBC Radio 1 DJ John Peel. Jimi Hendrix, who rose to prominence in the London scene and recorded with a band of English musicians, initiated the trend towards guitar virtuosity and eccentricity in rock music. The Scottish band 1-2-3, later renamed Clouds, were formed in 1966 and began performing at London clubs a year later. According to "Mojo" George Knemeyer: "some claim [that they] had a vital influence on prog-rockers such as Yes, The Nice and Family."


title: Progressive rock

text: Symphonic rock artists in the late 1960s had some chart success, including the singles "Nights in White Satin" (the Moody Blues, 1967) and "A Whiter Shade of Pale" (Procol Harum, 1967). The Moody Blues established the popularity of symphonic rock when they recorded "Days of Future Passed" together with the London Festival Orchestra, and Procol Harum began to use a greater variety of acoustic instruments, particularly on their 1969 album "A Salty Dog". Classical influences sometimes took the form of pieces adapted from or inspired by classical works, such as Jeff Beck's "Beck's Bolero" and parts of the Nice's "Ars Longa Vita Brevis". The latter, along with such Nice tracks as "Rondo" and "America", reflect a greater interest in music that is entirely instrumental. "Sgt. Pepper's" and "Days" both represent a growing tendency towards song cycles and suites made up of multiple movements.


title: Progressive rock

text: Focus incorporated and articulated jazz-style chords, and irregular off-beat drumming into their later rock based riffs, and, several bands that included jazz-style horn sections appeared, including Blood, Sweat & Tears and Chicago. Of these, Martin highlights Chicago in particular for their experimentation with suites and extended compositions, such as the "Ballet for a Girl in Buchannon" on "Chicago II". Jazz influences appeared in the music of British bands such as Traffic, Colosseum and If, together with Canterbury scene bands such as Soft Machine and Caravan. Canterbury scene bands emphasised the use of wind instruments, complex chord changes and long improvisations. Martin writes that in 1968, "full-blown progressive rock" was not yet in existence, but three bands released albums who would later come to the forefront of the music: Jethro Tull, Caravan and Soft Machine.


title: Progressive rock

text: The term "progressive rock", which appeared in the liner notes of Caravan's 1968 self-titled debut LP, came to be applied to bands that used classical music techniques to expand the styles and concepts available to rock music. The Nice, the Moody Blues, Procol Harum and Pink Floyd all contained elements of what is now called progressive rock, but none represented as complete an example of the genre as several bands that formed soon after. Almost all of the genre's major bands, including Jethro Tull, King Crimson, Yes, Genesis, Van der Graaf Generator, ELP, Gentle Giant, Barclay James Harvest and Renaissance, released their debut albums during the years 1968–1970. Most of these were folk-rock albums that gave little indication of what the bands' mature sound would become, but King Crimson's "In the Court of the Crimson King" (1969) and Yes’ self-titled debut album (1969) were early, fully-formed examples of the genre.


title: Progressive rock

text: Most of the genre's major bands released their most critically acclaimed albums during the years 1971–1976. The genre experienced a high degree of commercial success during the early 1970s. Jethro Tull, ELP, Rush, Yes and Pink Floyd combined for four albums that reached number one in the US charts, and sixteen of their albums reached the top ten. Mike Oldfield's "Tubular Bells" (1973), an excerpt of which was used as the theme for the film "The Exorcist", sold 16 million copies.


title: Progressive rock

text: Progressive rock came to be appreciated overseas, but it mostly remained a European, and especially British, phenomenon. Few American bands engaged in it, and the purest representatives of the genre, such as Starcastle and Happy the Man, remained limited to their own geographic regions. This is at least in part due to music industry differences between the US and Great Britain. Cultural factors were also involved, as US musicians tended to come from a blues background, while Europeans tended to have a foundation in classical music. North American progressive rock bands and artists often represented hybrid styles such as the complex arrangements of Todd Rundgren's Utopia and Rush, the hard rock of Captain Beyond, the Southern rock-tinged prog of Kansas, the jazz fusion of Frank Zappa and Return to Forever, and the eclectic fusion of the all-instrumental Dixie Dregs. British progressive rock acts had their greatest US success in the same geographic areas in which British heavy metal bands experienced their greatest popularity. The overlap in audiences led to the success of arena rock bands, such as Boston, Kansas, and Styx, who combined elements of the two styles.


title: Progressive rock

text: Progressive rock achieved popularity in Continental Europe more quickly than it did in the US. Italy remained generally uninterested in rock music until the strong Italian progressive rock scene developed in the early 1970s. Progressive rock emerged in Yugoslavia in the late 1960s, dominating the Yugoslav rock scene until the late 1970s. Few of the European groups were successful outside of their own countries, with the exceptions of Dutch bands like Focus and Golden Earring who wrote English-language lyrics, and the Italians Le Orme and PFM, whose English lyrics were written by Peter Hammill and Peter Sinfield, respectively. Some European bands played in a style derivative of English bands. The "Kosmische music" scene in Germany came to be labelled as "krautrock" internationally and is frequently cited as part of the progressive rock genre or an entirely distinct phenomenon. Krautrock bands such as Can, which included two members who had studied under Karlheinz Stockhausen, tended to be more strongly influenced by 20th-century classical music than the British progressive rock bands, whose musical vocabulary leaned more towards the Romantic era. Many of these groups were very influential even among bands that had little enthusiasm for the symphonic variety of progressive rock.


title: Progressive rock

text: Concurrently, African-American popular musicians drew from progressive rock's conceptual album-oriented approach. This led to a progressive-soul movement in the 1970s that inspired a newfound sophisticated musicality and ambitious lyricism in black pop. Among these musicians were Sly Stone, Stevie Wonder, Marvin Gaye, Curtis Mayfield, and George Clinton. In discussing the development, Martin cites 1970s albums by Wonder ("Talking Book", "Innervisions", "Songs in the Key of Life"), War ("All Day Music", "The World Is a Ghetto", "War Live"), and the Isley Brothers ("3 + 3"), while noting that the Who's progressive rock-influenced "Who Are You" (1978) also drew from the soul variant. Dominic Maxwell of "The Times" calls Wonder's mid-1970s albums "prog soul of the highest order, pushing the form yet always heartfelt, ambitious and listenable".


title: Progressive rock

text: Political and social trends of the late 1970s shifted away from the early 1970s hippie attitudes that had led to the genre's development and popularity. The rise in punk cynicism made the utopian ideals expressed in progressive rock lyrics unfashionable. Virtuosity was rejected, as the expense of purchasing quality instruments and the time investment of learning to play them were seen as barriers to rock's energy and immediacy. There were also changes in the music industry, as record companies disappeared and merged into large media conglomerates. Promoting and developing experimental music was not part of the marketing strategy for these large corporations, who focused their attention on identifying and targeting profitable market niches.


title: Progressive rock

text: Four of progressive rock's most successful bands – King Crimson, Yes, ELP and Genesis – went on hiatus or experienced major personnel changes during the mid-1970s. Macan notes the September 1974 breakup of King Crimson as particularly significant, calling it the point when "all English bands in the genre should have ceased to exist". More of the major bands, including Van der Graaf Generator, Gentle Giant and U.K., dissolved between 1978 and 1980. Many bands had by the mid-1970s reached the limit of how far they could experiment in a rock context, and fans had wearied of the extended, epic compositions. The sounds of the Hammond, Minimoog and Mellotron had been thoroughly explored, and their use became clichéd. Those bands who continued to record often simplified their sound, and the genre fragmented from the late 1970s onwards. In Robert Fripp's opinion, once "progressive rock" ceased to cover new ground – becoming a set of conventions to be repeated and imitated – the genre's premise had ceased to be "progressive".


title: Progressive rock

text: The era of record labels investing in their artists, giving them freedom to experiment and limited control over their content and marketing ended with the late 1970s. Corporate artists and repertoire staff exerted an increasing amount of control over the creative process that had previously belonged to the artists, and established acts were pressured to create music with simpler harmony and song structures and fewer changes in meter. A number of symphonic pop bands, such as Supertramp, 10cc, the Alan Parsons Project and the Electric Light Orchestra, brought the orchestral-style arrangements into a context that emphasised pop singles while allowing for occasional instances of exploration. Jethro Tull, Gentle Giant and Pink Floyd opted for a harder sound in the style of arena rock.


title: Progressive rock

text: Few new progressive rock bands formed during this era, and those who did found that record labels were not interested in signing them. The short-lived supergroup U.K. was a notable exception since its members had established reputations; they produced two albums that were stylistically similar to previous artists and did little to advance the genre. Part of the genre's legacy in this period was its influence on other styles, as several European guitarists brought a progressive rock approach to heavy metal and laid the groundwork for progressive metal. Michael Schenker, of UFO; and Uli Jon Roth, who replaced Schenker in Scorpions, expanded the modal vocabulary available to guitarists. Roth studied classical music with the intent of using the guitar in the way that classical composers used the violin. Finally, the Dutch-born and classically trained Alex and Eddie Van Halen formed Van Halen, featuring ground-breaking whammy-bar, tapping and cross-picking guitar performances that influenced "shred" music in the 1980s.


title: Progressive rock

text: Some established artists moved towards music that was simpler and more commercially viable. Arena rock bands like Journey, Kansas, Styx, GTR, ELO and Foreigner either had begun as progressive rock bands or included members with strong ties to the genre. These groups retained some of the song complexity and orchestral-style arrangements, but they moved away from lyrical mysticism in favour of more conventional themes such as relationships. These radio-friendly groups have been called "prog lite". Genesis transformed into a successful pop act, the prog supergroup Asia (consisting of members of Yes, King Crimson, and ELP) scored a number-one album in 1982, and a re-formed Yes released the relatively mainstream "90125" (1983), which yielded their only US number-one single, "Owner of a Lonely Heart". One band who remained successful into the 1980s while maintaining a progressive approach was Pink Floyd, who released "The Wall" late in 1979. The album, which brought punk anger into progressive rock, was a huge success and was later filmed as "Pink Floyd – The Wall".


title: Progressive rock

text: Punk and progressive rock were not necessarily as opposed as is commonly believed. Both genres reject commercialism, and punk bands did see a need for musical advancement. Author Doyle Green noted that post-punk emerged as "a kind of 'progressive punk. Post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined rock as "progressive", "art", or "studio perfectionism". In contrast to punk rock, it balances punk's energy and skepticism with art school consciousness, Dadaist experimentalism, and atmospheric, ambient soundscapes. World music, especially African and Asian traditions, was also a major influence. Progressive rock's impact was felt in the work of some post-punk artists, although they tended not to emulate classical rock or Canterbury groups but rather Roxy Music, King Crimson, and krautrock bands, particularly Can. Punishment of Luxury's music borrowed from both progressive and punk rock, whilst Alternative TV, who were fronted by the founder of the influential punk fanzine "Sniffin' Glue" Mark Perry, toured and released a split live album with Gong offshoot Here & Now.


title: Progressive rock

text: The term "post-progressive" identifies progressive rock that returns to its original principles while dissociating from 1970s progressive rock styles, and may be located after 1978. Martin credits Roxy Music's Brian Eno as the sub-genre's most important catalyst, explaining that his 1973–77 output merged aspects of progressive rock with a prescient notion of new wave and punk. New wave, which surfaced around 1978–79 with some of the same attitudes and aesthetic as punk, was characterised by Martin as "progressive" multiplied by "punk". Bands in the genre tended to be less hostile towards progressive rock than the punks, and there were crossovers, such as Fripp and Eno's involvement with Talking Heads, and Yes' replacement of Rick Wakeman and Jon Anderson with the pop duo the Buggles. When King Crimson reformed in 1981, they released an album, "Discipline", which Macan says "inaugurated" the new post-progressive style. The new King Crimson line-up featured guitarist and vocalist Adrian Belew, who also collaborated with Talking Heads, playing live with the band and featuring on their 1980 album "Remain in Light". According to Martin, Talking Heads also created "a kind of new-wave music that was the perfect synthesis of punk urgency and attitude and progressive-rock sophistication and creativity. A good deal of the more interesting rock since that time is clearly 'post-Talking Heads' music, but this means that it is post-progressive rock as well."


title: Progressive rock

text: A second wave of progressive rock bands appeared in the early 1980s and have since been categorised as a separate "neo-progressive rock" subgenre. These largely keyboard-based bands played extended compositions with complex musical and lyrical structures. Several of these bands were signed by major record labels, including Marillion, IQ, Pendragon and Pallas. Most of the genre's major acts released debut albums between 1983 and 1985 and shared the same manager, Keith Goodwin, a publicist who had been instrumental in promoting progressive rock during the 1970s. The previous decade's bands had the advantage of appearing during a prominent countercultural movement that provided them with a large potential audience, but the neo-progressive bands were limited to a relatively niche demographic and found it difficult to attract a following. Only Marillion and Saga experienced international success.


title: Progressive rock

text: Neo-progressive bands tended to use Peter Gabriel-era Genesis as their "principal model". They were also influenced by funk, hard rock and punk rock. The genre's most successful band, Marillion, suffered particularly from accusations of similarity to Genesis, although they used a different vocal style, incorporated more hard rock elements, and were very influenced by bands including Camel and Pink Floyd. Authors Paul Hegarty and Martin Halliwell have pointed out that the neo-progressive bands were not so much plagiarising progressive rock as they were creating a new style from progressive rock elements, just as the bands of a decade before had created a new style from jazz and classical elements. Author Edward Macan counters by pointing out that these bands were at least partially motivated by a nostalgic desire to preserve a past style rather than a drive to innovate.


title: Progressive rock

text: A third wave of progressive rock bands, who can also be described as a second generation of neo-progressive bands, emerged in the 1990s. The use of the term "progressive" to describe groups that follow in the style of bands from ten to twenty years earlier is somewhat controversial, as it has been seen as a contradiction of the spirit of experimentation and progress. These new bands were aided in part by the availability of personal computer-based recording studios, which reduced album production expenses, and the Internet, which made it easier for bands outside of the mainstream to reach widespread audiences. Record stores specialising in progressive rock appeared in large cities.


title: Progressive rock

text: The shred music of the 1980s was a major influence on the progressive rock groups of the 1990s. Some of the newer bands, such as the Flower Kings, Spock's Beard and Glass Hammer, played a 1970s-style symphonic prog, but with an updated sound. A number of them began to explore the limits of the CD in the way that earlier groups had stretched the limits of the vinyl LP.


title: Progressive rock

text: Progressive rock and heavy metal have similar timelines. Both emerged from late-1960s psychedelia to achieve great early-1970s success despite a lack of radio airplay and support from critics, then faded in the mid-to-late 1970s and experienced revivals in the early 1980s. Each genre experienced a fragmentation of styles at this time, and many metal bands from the new wave of British heavy metal – most notably Iron Maiden – onwards displayed progressive rock influences. Progressive metal reached a point of maturity with Queensrÿche's 1988 concept album "," Voivod's 1989 "Nothingface", which featured abstract lyrics and a King Crimson-like texture, and Dream Theater's 1992 "Images and Words".


title: Progressive rock

text: Progressive rock elements appear in other metal subgenres. Black metal is conceptual by definition, due to its prominent theme of questioning the values of Christianity. Its guttural vocals are sometimes used by bands who can be classified as progressive, such as Mastodon, Mudvayne and Opeth. Symphonic metal is an extension of the tendency towards orchestral passages in early progressive rock. Progressive rock has also served as a key inspiration for genres such as post-rock, post-metal and avant-garde metal, math rock, power metal and neo-classical metal.


title: Progressive rock

text: New prog describes the wave of progressive rock bands in the 2000s who revived the genre. According to "Entertainment Weekly"s Evan Serpick: "Along with recent success stories like System of a Down and up-and-comers like the Dillinger Escape Plan, Lightning Bolt, Coheed and Cambria, and the Mars Volta create incredibly complex and inventive music that sounds like a heavier, more aggressive version of '70s behemoths such as Led Zeppelin and King Crimson."


title: Progressive rock

text: The Progressive Music Awards were launched in 2012 by the British magazine "Prog" to honour the genre's established acts and to promote its newer bands. Honorees, however, are not invited to perform at the awards ceremony, as the promoters want an event "that doesn't last three weeks".


title: Progressive rock

text: Many prominent progressive rock bands got their initial exposure at large rock festivals that were held in Britain during the late 1960s and early 1970s. King Crimson made their first major appearance at the 1969 Hyde Park free concert, before a crowd estimated to be as large as 650,000, in support of the Rolling Stones. Emerson, Lake & Palmer debuted at the 1970 Isle of Wight Festival, at which Supertramp, Family and Jethro Tull also appeared. Jethro Tull were also present at the 1969 Newport Jazz Festival, the first year in which that festival invited rock bands to perform. Hawkwind appeared at many British festivals throughout the 1970s, although they sometimes showed up uninvited, set up a stage on the periphery of the event, and played for free.


title: Progressive rock

text: Renewed interest in the genre in the 1990s led to the development of progressive rock festivals. ProgFest, organised by Greg Walker and David Overstreet in 1993, was first held in UCLA's Royce Hall, and featured Sweden's Änglagård, the UK's IQ, Quill and Citadel. CalProg was held annually in Whittier, California during the early 2000s. The North East Art Rock Festival, or NEARfest, held its first event in 1999 in Bethlehem, Pennsylvania and held annual sold-out concerts until 2012's NEARfest Apocalypse, which featured headliners U.K. and Renaissance. Other festivals include the annual ProgDay (the longest-running and only outdoor progressive music festival) in Chapel Hill, North Carolina, the annual Rites of Spring Festival (RoSfest) in Sarasota, Florida, The Rogue Independent Music Festival in Atlanta, Georgia, Baja Prog in Mexicali, Mexico, ProgPower USA in Atlanta, Georgia, ProgPower Europe in Baarlo, Netherlands, and ProgStock in Rahway, NJ, which held its first event in 2017. Progressive Nation tours were held in 2008 and 2009 with Dream Theater as the headline act. "Night of the Prog" in Sankt Goarshausen, Germany, is an established European progressive rock festival held every July during 2–3 days for 12 years.


title: Progressive rock

text: The genre has received both critical acclaim and criticism throughout the years. Progressive rock has been described as parallel to the classical music of Igor Stravinsky and Béla Bartók. This desire to expand the boundaries of rock, combined with some musicians' dismissiveness toward mainstream rock and pop, dismayed critics and led to accusations of elitism. Its intellectual, fantastic and apolitical lyrics, and shunning of rock's blues roots, were abandonments of the very things that many critics valued in rock music. Progressive rock also represented the maturation of rock as a genre, but there was an opinion among critics that rock was and should remain fundamentally tied to adolescence, so rock and maturity were mutually exclusive. Criticisms over the complexity of their music provoked some bands to create music that was even more complex.


title: Progressive rock

text: Most of the musicians involved were male, as was the case for most rock of the time, Female singers were better represented in progressive folk bands, who displayed a broader range of vocal styles than the progressive rock bands with whom they frequently toured and shared band members.


title: Progressive rock

text: British and European audiences typically followed concert hall behaviour protocols associated with classical music performances, and were more reserved in their behaviour than audiences for other forms of rock. This confused musicians during US tours, as they found American audiences less attentive and more prone to outbursts during quiet passages.


title: Progressive rock

text: These aspirations towards high culture reflect progressive rock's origins as a music created largely by upper- and middle-class, white-collar, college-educated males from Southern England. The music never reflected the concerns of or was embraced by working-class listeners, except in the US, where listeners appreciated the musicians' virtuosity. Progressive rock's exotic, literary topics were considered particularly irrelevant to British youth during the late 1970s, when the nation suffered from a poor economy and frequent strikes and shortages. Even King Crimson leader Robert Fripp dismissed progressive rock lyrics as "the philosophical meanderings of some English half-wit who is circumnavigating some inessential point of experience in his life". Bands whose darker lyrics avoided utopianism, such as King Crimson, Pink Floyd and Van der Graaf Generator, experienced less critical disfavour.


title: Progressive rock

text: "I wasn't a big fan of most of what you'd call progressive rock", remarked Floyd guitarist David Gilmour. "I'm like Groucho Marx: I don't want to belong to any club that would have me for a member." Ian Anderson, the frontman of Jethro Tull, commented:


title: Progressive rock

text: I still like the original term that comes from 1969: progressive rock – but that was with a small "p" and a small "r". Prog Rock, on the other hand, has different connotations – of grandeur and pomposity ... Some of it was a little bit overblown, but in the case of much of the music, it was absolutely spot on.


title: Emma (2020 film)

text: Emma (stylized as Emma.) is a 2020 period romantic comedy film directed by Autumn de Wilde, from a screenplay by Eleanor Catton, based on Jane Austen's 1815 novel of the same name. It stars Anya Taylor-Joy as Miss Emma Woodhouse, a wealthy and elegant young woman living with her father in Regency-era England who amuses herself with matchmaking and meddles in the romantic lives of those closest to her. The film also stars Johnny Flynn, Josh O'Connor, Callum Turner, Mia Goth, Miranda Hart, and Bill Nighy.


title: Emma (2020 film)

text: Produced by Perfect World Pictures, Working Title Films and Blueprint Pictures, a film adaptation of Austen's novel by Focus Features began development in October 2018 when Taylor-Joy was cast in the title role, with de Wilde attached as the director. The remainder of the supporting roles were cast by March 2019. Principal photography took place between March and June 2019 across England.


title: Emma (2020 film)

text: "Emma" was released in the United Kingdom on 14 February 2020, and in the United States on 21 February 2020 by Universal Pictures. It received generally favourable reviews, with the performances and production design singled out for praise. It grossed $26.5 million worldwide against its budget of $10 million. The film received two Academy Award nominations for Best Costume Design and Best Makeup and Hairstyling at the 93rd Academy Awards, as well as a Best Costume Design nomination at the 74th British Academy Film Awards, three nominations at the 26th Critics' Choice Awards, and a Golden Globe Award for Best Actress – Motion Picture Comedy or Musical nomination (for Taylor-Joy) at the 78th Golden Globe Awards.


title: Emma (2020 film)

text: In Regency-era England, wealthy and beautiful Emma Woodhouse lives with her father and is often visited by Mr Knightley, a local landowner who is the brother of her sister's husband. She searches for a new companion after her governess, Miss Taylor, marries and becomes Mrs. Weston. Emma settles on Harriet Smith, a younger girl who Emma supposes is the unclaimed child of a gentleman; Harriet's parents are unknown, but her education has been provided for. Emma learns that Mr. Robert Martin, a tenant farmer of Mr. Knightley, has proposed to Harriet. Though claiming she will not interfere, Emma manipulates Harriet into declining Mr. Martin's offer of marriage, much to Harriet's distress. Emma believes that Mr. Elton, the local vicar, is in love with Harriet and encourages Harriet to transfer her hopes to him, despite Mr. Knightley's warning that she should not involve herself in the situation.


title: Emma (2020 film)

text: At Christmas time, Emma's older sister and Mr. Knightley's younger brother come to visit. After everyone leaves dinner with the Westons early, Emma finds herself alone in a carriage with Mr. Elton, who declares his love for her. Emma promptly refuses him, and Mr. Elton disappears for six weeks, eventually returning with a wife. Two much-talked-about relations of Highbury residents appear: Jane Fairfax, the niece of Miss Bates, and Frank Churchill, Mr. Weston's son from his first marriage. Emma grows jealous of Jane but is entranced by Frank.


title: Emma (2020 film)

text: Frank's arrival prompts the Westons to hold a ball, where Mr. Elton embarrasses Harriet by pointedly refusing to dance with her. She is rescued by Mr. Knightley, who asks her to dance. Emma and Mr. Knightley also dance together, awakening romantic feelings between them. Though Emma leaves before Mr. Knightley can speak to her, he runs to her home only for their meeting to be interrupted by Frank, who has rescued Harriet after being set upon by Romanichal Travellers. Harriet intimates to Emma that she has fallen in love again, leading Emma to believe Harriet is in love with Frank. Emma again vows not to interfere but manipulates circumstances so that Harriet and Frank may spend more time together.


title: Emma (2020 film)

text: Emma tries to spend more time with Mr. Knightley and is surprised when he repeatedly ignores her. On a picnic with their entire party of social acquaintances, Frank urges them to play a game to amuse Emma, who unthinkingly insults Miss Bates, leading the party to disband in discomfort. Mr. Knightley rebukes Emma for her behaviour, and a humiliated Emma apologizes to Miss Bates, who accepts her apology without question.


title: Emma (2020 film)

text: Frank Churchill's wealthy aunt dies, and he is no longer required to be at her beck and call. The Westons reveal he was secretly engaged to Jane Fairfax and waiting for his aunt, who opposed the match, to die. The Westons had hoped he would marry Emma, but Emma is only distressed on account of Harriet. Emma breaks the news to Harriet, who reveals that she is actually in love with Mr. Knightley. Harriet realizes that Emma herself is in love with Mr. Knightley.


title: Emma (2020 film)

text: Mr. Knightley goes to Emma to comfort her about the news of Frank and Jane being engaged, and reveals that he is in love with her and hopes to marry her. Initially pleased with his marriage offer, Emma develops a nosebleed when she realizes how upset Harriet will be, and she runs off leaving behind a very confused but hopeful Mr. Knightley. She goes to Mr. Martin to make amends, offering him a portrait of Harriet she drew herself. Harriet tells Emma she has accepted Mr. Martin's offer of marriage and that her father has revealed himself now that she is of age; he is not a gentleman, but a tradesman who makes galoshes. Emma congratulates Harriet and invites her and her father to her home once he is in Highbury.


title: Emma (2020 film)

text: Though Emma and Mr. Knightley are very much in love, Emma is distressed at the thought of leaving her father alone. To accommodate her wishes, Mr. Knightley suggests that he join them at Hartfield rather than have Emma quit her father's home. Emma happily agrees, and the two are married.


title: Emma (2020 film)

text: In October 2018, Anya Taylor-Joy was cast in the lead role, and Autumn de Wilde was signed for her directorial debut. In December 2018, Johnny Flynn joined the cast.


title: Emma (2020 film)

text: In March 2019, Bill Nighy, Mia Goth, Josh O'Connor, Callum Turner, Miranda Hart, Rupert Graves, Gemma Whelan, Amber Anderson and Tanya Reynolds joined the cast, and Alexandra Byrne signed as costume designer. Principal photography began on 18 March 2019, was scheduled to conclude on 24 May, but eventually wrapped on 6 June 2019.


title: Emma (2020 film)

text: Firle Place in Sussex was used for the exterior of Emma's home. Other locations included Lower Slaughter (exteriors) in the Cotswolds standing in for the village of Highbury, Kingston Bagpuize House in Oxfordshire, Wilton House near Salisbury in Wiltshire, and Chavenage House at Beverston, Gloucestershire.


title: Emma (2020 film)

text: Director de Wilde decided the film's title should include a period (full stop) to signify its being a period piece.


title: Emma (2020 film)

text: In the film, Jane Fairfax (played by Amber Anderson) outshines Emma by performing the third movement from Mozart's "Piano Sonata No. 12" on the fortepiano. A trained pianist, Anderson had to relearn the piece to adapt her technique to the period instrument's shorter keys.


title: Emma (2020 film)

text: The credit sequence features "Queen Bee", an original song by Johnny Flynn. Isobel Waller-Bridge asked Flynn to write a song for the film. He wrote "Queen Bee" to convey Knightley's perspective on Emma, and performed it in a style appropriate for the film's period.


title: Emma (2020 film)

text: The soundtrack features many a cappella recordings of folk songs by artists like Maddy Prior and the Watersons. De Wilde had an immediate conception of the film's music being rooted in folk music. She also wanted the orchestral score to emulate Sergei Prokofiev's "Peter and the Wolf," where each character had a theme that personified them.


title: Emma (2020 film)

text: Anya Taylor-Joy, Anderson and Flynn all sing onscreen in the film. Taylor-Joy took pains to explain that her performance of "The Last Rose of Summer" used an affected style that she imagined Emma Woodhouse would use to charm her audience.


title: Emma (2020 film)

text: Anderson and Flynn sing a duet of 'Drink to me Only With Thine Eyes' written by Ben Jonson in the film during a ball scene.


title: Emma (2020 film)

text: The adagio from the final movement of Haydn's Symphony No. 45 in F sharp minor, "Farewell", is also heard in the film.


title: Emma (2020 film)

text: "Emma" was released in the United Kingdom on 14 February 2020, coinciding with Valentine's Day, and in the United States on 21 February.


title: Emma (2020 film)

text: It was released digitally in March 2020 in the United States, Canada and the UK through Premium VOD on streaming platforms, due to movie theatre closures during the COVID-19 pandemic. It was released on DVD and Blu-ray on 19 May.


title: Emma (2020 film)

text: "Emma" grossed $10.1 million in the United States and Canada, and $15.4 million in other territories, for a worldwide total of $26.5 million.


title: Emma (2020 film)

text: In North America, it made $230,000 from five theaters in its opening weekend, for a per-venue average of $46,000, the highest of 2020 at that point. It went wide two weeks later, grossing $5 million from 1,565 theaters and finishing sixth at the box office. Its time at the box office was then interrupted by the COVID-19 pandemic closing theaters.


title: Emma (2020 film)

text: On Rotten Tomatoes, the film holds an approval rating of 86% based on 257 reviews, with an average of 7.3/10. The website's critics consensus reads: "Other adaptations may do a better job of consistently capturing the spirit of the classic source material, but Jane Austen fans should still find a solid match in this "Emma"." On Metacritic, the film was assigned a weighted average score of 71 out of 100, based on 48 critics, indicating "generally favorable reviews." Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale, and PostTrak reported it received an average 3 out of 5 stars, with 44% of people they surveyed saying they would definitely recommend it.


title: Emma (2020 film)

text: In a mostly favorable review written for "Variety", Andrew Barker referred to the film as a "an entirely worthy companion" to other adaptations of the novel, though noted it was "hardly a definitive take".


title: Gary Busey

text: Gary Busey ( is an American actor. He is best known for his portrayal of Buddy Holly in "The Buddy Holly Story" (1978), for which he was nominated for the Academy Award for Best Actor and won the National Society of Film Critics Award for Best Actor. His other starring roles include "A Star is Born" (1976), "D.C. Cab" (1983), "Silver Bullet" (1985), "Lethal Weapon" (1987), "Predator 2" (1990), "Point Break" (1991), "Under Siege" (1992), "Rookie of the Year" (1993), "The Firm" (1993), "Black Sheep" (1996), and "Lost Highway" (1997).


title: Gary Busey

text: Busey was born in Goose Creek, Texas. While he was in fourth grade, Busey moved from Goose Creek to Tulsa, Oklahoma, where he later attended Bell Junior High School, then attended and graduated from Nathan Hale High School. Busey attended Coffeyville Community College before attending Pittsburg State University in Pittsburg, Kansas, on a football scholarship, where he became interested in acting. After a knee injury, he then transferred to Oklahoma State University in Stillwater, Oklahoma, to study theater. He quit school just one unit short of graduation.


title: Gary Busey

text: Busey began his show business career as a drummer in The Rubber Band. He appears on several Leon Russell recordings, credited as playing drums under the name "Teddy Jack Eddy" a character he created when he was a cast member of a local television comedy show in Tulsa, Oklahoma, called "The Uncanny Film Festival and Camp Meeting" on station KTUL (which starred fellow Tulsan Gailard Sartain as "Dr. Mazeppa Pompazoidi"). For his skits on Uncanny Film Festival, Busey drew on his American Hero, belligerent, know-it-all character. When he told Gailard Sartain his character needed a name, Sartain replied, "Take three: Teddy, Jack and Eddy."


title: Gary Busey

text: He played in a band called Carp, which released one album on Epic Records in 1969. Busey continued to play several small roles in both film and television during the 1970s. In 1975, as the character "Harvey Daley", he was the last person killed on the series "Gunsmoke" (in the third-to-last episode, No. 633 – "The Busters").


title: Gary Busey

text: In 1974, Busey made his major film debut with a supporting role in Michael Cimino's buddy action caper "Thunderbolt and Lightfoot", starring Clint Eastwood and Jeff Bridges.


title: Gary Busey

text: In 1976, he was hired by Barbra Streisand and her producer-boyfriend Jon Peters to play Bobby Ritchie, road manager to Kris Kristofferson's character in the remake film "A Star is Born". On the DVD commentary of the film, Streisand says Busey was great and that she had seen him on a TV series and thought he had the right qualities to play the role.


title: Gary Busey

text: In 1978, he starred as rock legend Buddy Holly in "The Buddy Holly Story" with Sartain as The Big Bopper. For his performance, Busey received the greatest critical acclaim of his career and the movie earned an Academy Award nomination for Best Actor and the National Society of Film Critics' Best Actor award for him. In the same year he also starred in the small yet acclaimed drama "Straight Time" and the surfing movie "Big Wednesday", which is now a minor cult classic.


title: Gary Busey

text: In the 1980s, Busey's films included the critically acclaimed western "Barbarosa", the comedies "D.C. Cab" and "Insignificance", and the Stephen King adaptation "Silver Bullet". He played one of the primary antagonists opposite Mel Gibson and Danny Glover in the action comedy "Lethal Weapon".


title: Gary Busey

text: In the 1990s, he had prominent supporting roles in successful action films such as "Predator 2", "Point Break" and "Under Siege". He also appeared in "Rookie of the Year", "The Firm", "Black Sheep", "Lost Highway", and "Fear and Loathing in Las Vegas".


title: Gary Busey

text: Busey sang the song "Stay All Night" on "Saturday Night Live" in March 1979 (season 4, episode 14), and on the "Late Show with David Letterman" in the 1990s.


title: Gary Busey

text: In 2002, Busey voiced the character Phil Cassidy in the video game "" and later reprises the role in the prequel "" in 2006. He received much praise from critics and fans for his portrayal of the outlandish character.


title: Gary Busey

text: In 2003, Busey starred in a Comedy Central reality show, "I'm with Busey". In 2005, he also voiced himself in an episode of "The Simpsons" and appeared in the popular miniseries "Into the West". Busey controversially appeared in the 2006 Turkish nationalist film "" (), which was accused of fascism, anti-Americanism, and antisemitism.


title: Gary Busey

text: In 2005, Busey starred in the horror film "The Gingerdead Man" as the titular character and crazed killer Millard Findlemeyer. In 2007, he appeared as himself in a prominent recurring role on HBO's "Entourage", in which he parodied his eccentric image, ultimately appearing on three episodes of the show.