title: Pee-wee Herman

text: Paul Reubens confirmed in a January 2009 interview with "Swindle" magazine that there are indeed negotiations under way for the Pee-wee Herman stage show to return.


title: Pee-wee Herman

text: In late 2009, Reubens began promoting his new live stage show. He appeared in character as Pee-wee on late night programs including "Jimmy Kimmel Live!", "The Jay Leno Show", and "The Tonight Show with Conan O'Brien". Pee-wee would also return for a cameo on the penultimate episode of "The Tonight Show" with Conan O'Brien as host and during O'Brien's stop at Radio City Music Hall in New York City for The Legally Prohibited from Being Funny on Television Tour.


title: Pee-wee Herman

text: Original plans for a November 2009 stage debut were scrapped when demand for tickets prompted a move to a larger theater. The "Pee-wee Herman Stage Show: The Return" opened on January 12, 2010 at Club Nokia in Los Angeles for a limited four-week schedule. The show moved to Broadway in New York at the Stephen Sondheim Theatre on November 11, 2010. Much like the original stage show, the new production revolves around Pee-wee's desire to fly. It boasts 11 actors, 20 puppets and marks the show's first production since 1982. The show has employed many of the same set artists and the musical composer from Pee-wee's original stage show as well as some of the original cast members, including Lynne Stewart as Miss Yvonne, John Moody as Mailman Mike and John Paragon as Jambi the Genie. Reubens cited his desire to make a film version of "Pee-wee's Playhouse" as reasoning for the show and expressed a desire to "introduce Pee-wee to the new generation that didn't know about it".


title: Pee-wee Herman

text: Pee-wee's 2010 stage show has received positive reviews from various Los Angeles-based publications, including the "Orange County Register", "Los Angeles Times" and "The Hollywood Reporter".


title: Pee-wee Herman

text: To promote his Broadway show, Pee-wee Herman guest starred on the November 1, 2010 edition of "WWE Raw" at the Nassau Coliseum. During the program, he participated in backstage antics and had an in-ring confrontation with The Miz and Alex Riley. Pee-wee won a Slammy Award for Guest Star Shining Moment of the Year on December 13, 2010 for his appearance. Pee-wee Herman returned to WWE at WrestleMania XXVII in a segment with The Rock and Gene Okerlund in which he admitted to being John Cena's number one fan.


title: Pee-wee Herman

text: Ever since Reubens started giving interviews again after his 1991 arrest, he has talked about the two scripts he has written for future Pee-wee Herman films. Reubens once called his first script "The Pee-wee Herman Story", describing it as a black comedy. He has also referred to the script as "dark Pee-wee" or "adult Pee-wee", with the plot involving Pee-wee becoming famous as a singer after making a hit single and moving to Hollywood, where "he does everything wrong and becomes a big jerk". Reubens further explained the film has many ""Valley of the Dolls" moments". Reubens thought this script would be the first one to start production, but in 2006 Reubens announced he was to start filming his second script in 2007.


title: Pee-wee Herman

text: The second film, a family friendly adventure, is called "Pee-wee's Playhouse: The Movie" by Reubens, and follows Pee-wee and his "Playhouse" friends on a road-trip adventure, meaning that they would leave the house for the first time and go out into "Puppetland". All of the original characters of the show, live-action and puppets, are included in Reubens' script. The story happens in a fantasy land that would be reminiscent of "H.R. Pufnstuf" and "The Wonderful Wizard of Oz". In January 2009, Reubens told Gary Panter that the rejected first script of "Pee-wee's Big Adventure" (which they co-wrote) could have a movie deal very soon, and that it would be "90 minutes of incredible beauty". In December 2009, while in character, Reubens said this film is "already done, the script is already fully written; It's ready to shoot." Most of the film will take place in Puppetland and claymation might be used.


title: Pee-wee Herman

text: He has said that one of the two films opens in prison. He has also said that using CGI for "updating" the puppets' looks could be an option, but it all depended on the budget the films would have. Reubens once mentioned the possibility of doing one of the two as an animated film along the lines of "The Polar Express", which uses performance capture technology, incorporating the movements of live actors into animated characters. Reubens approached "Pee-wee's Big Adventure" director Tim Burton with one of the scripts and talked to Johnny Depp about the possibility of having him portray Pee-wee, but they both declined.


title: Pee-wee Herman

text: In June 2010, it was announced that Paul Reubens was working with Judd Apatow on a new Pee-wee Herman feature film set up at Universal Pictures, with Reubens and Paul Rust set to write the script. In an October 2014, interview with "Rolling Stone", Reubens gave an update on the status of the film, saying: "It's been months and months of being right on the verge of being announced…I thought something was going to go public yesterday, actually, and that you’d be the first person I’d be talking about this with. But I’m thinking there will be something made public very soon. It's going to get made shortly after the new year. I wish I could tell you about it right now, because…I mean, it's amazing. It's going to be amazing. It think it first got leaked four years ago or so that the movie was going to be made, and ever since then it's just been stalling and stalling. So I'm really ready for this to happen. But I’m not kidding: It's very imminent."


title: Pee-wee Herman

text: In a November 2014, interview with "The A.V. Club", Reubens explained why the film took so long to be made, saying: "I think part of what happened with this project is it got leaked probably a year and a half or two years before we really wanted anyone to know about it. I was doing a Q&A somewhere, and I said I was writing a movie with a guy named Paul Rust, and the next day a journalist called my manager and said, "Paul Rust is someone very associated with Judd Apatow, can you confirm Judd Apatow is involved in the project?" The whole thing got leaked and we had just started. We didn't have a script yet or anything, so the script took a year and—I don't really know the answer. I think two years of it was like premature information out there, and then the last two years it's just been very, very slow to get the right people involved, and we now have such an amazing company involved, and that's the really big announcement that hasn't been made yet."


title: Pee-wee Herman

text: On December 22, 2014, it was announced that the film would premiere exclusively on Netflix. On February 24, 2015, Netflix announced the film would be titled "Pee-wee's Big Holiday" with Apatow and Reubens producing the film, John Lee directing, and Reubens and Paul Rust writing the screenplay. On March 11, 2015, Tara Buck joined the cast of the film. Principal photography began on March 16, 2015. On April 8, 2015, Joe Manganiello joined the cast. On April 19, 2015, Jessica Pohly was cast in the film.


title: Pee-wee Herman

text: The Pee-wee Herman character has received various honors, particularly during his peak fame in the late 1980s.


title: Pee-wee Herman

text: During the original run of "Pee-wee's Playhouse", the series garnered 22 Emmy Awards nominations. As pictured, in 1985 he received "Harvard Lampoon"'s Elmer Award for lifetime achievement in comedy. In 1988, Pee-wee Herman was awarded a star on the Hollywood Walk of Fame; under the category of motion pictures, it can be found at 6562 Hollywood Blvd. At the 2012 TV Land Awards, he won the Pop Culture award.


title: Pee-wee Herman

text: The character appeared on three covers of "Rolling Stone", including issue 493 (February 1987), 614 (October 1991) with a cover story of "Who Killed Pee-wee Herman?", and finally 619/620 (December 1991) for the 1991 Yearbook.


title: Pee-wee Herman

text: In the film "Flight of the Navigator" (1986), directed by Randal Kleiser, who would later direct "Big Top Pee-wee", Pee-wee's characteristic laugh is uttered several times by the Trimaxian Drone (Max, voiced by Reubens), after he "contracted" emotions and 1980s knowledge from David. This persona, speaking in altered pitch similar to Pee-wee's, persists for the rest of the movie, a stark contrast to Max's original HAL 9000-esque tone.


title: Pee-wee Herman

text: Shortly after Reubens' 1991 arrest, Jim Carrey impersonated Pee-wee Herman on the FOX sketch comedy series "In Living Color". Later, rapper Eminem imitated Herman in the song "Just Lose It", copying his trademark laugh and even dressing as the character in the music video. Eminem later also mentioned Herman in "Ass Like That."


title: Pee-wee Herman

text: While the Pee-wee Herman character had not originally been intended for a child audience, during the mid-1980s Reubens started forming him into the best role model he possibly could, making of his TV program a morally positive show that cared about issues like racial diversity, the four food groups, and the dangers of making prank calls, but in a manner not overly preachy. Reubens was also careful about what should be associated with Pee-wee. Being a heavy smoker, he went to great lengths never to be photographed with a cigarette in his mouth. He even refused to endorse candy bars and other kinds of junk food, while trying to develop his own sugar-free cereal, "Pee-Wee Chow," a product that would have been produced by Ralston Purina; Pee-Wee Chow never made it to market after failing a blind test.


title: Pee-wee Herman

text: During this time, he began successfully building a Pee-wee franchise with toys, clothes, and other items, generating more than $25 million at its peak in 1988. Reubens also published a book as Pee-wee, titled "Travels with Pee-wee" (1989).


title: Pee-wee Herman

text: In early 2007, Nike SB released a style of sneakers called Grey/Heather Dunk High Pro SB that use a grey and white color scheme with red detail inspired by the colors of Pee-wee's trademark suit, and an illustration on the insole suggesting Reubens' theater arrest.


title: Goldfish

text: The goldfish (Carassius auratus) is a freshwater fish in the family Cyprinidae of order Cypriniformes. It is commonly kept as a pet in indoor aquariums, and is one of the most popular aquarium fish. Goldfish released into the wild have become an invasive pest in parts of North America.


title: Goldfish

text: Native to East Asia, the goldfish is a relatively small member of the carp family (which also includes the Prussian carp and the crucian carp). It was first selectively bred for color in imperial China more than 1,000 years ago, and several distinct breeds have since been developed. Goldfish breeds vary greatly in size, body shape, fin configuration, and coloration (various combinations of white, yellow, orange, red, brown, and black are known).


title: Goldfish

text: Various species of carp (collectively known as Asian carp) have been bred and reared as food fish for thousands of years in East Asia. Some of these normally gray or silver species have a tendency to produce red, orange or yellow color mutations; this was first recorded in imperial China, during the Jin dynasty (266–420).


title: Goldfish

text: During the Tang dynasty (AD 618–907), it was popular to raise carp in ornamental ponds and water gardens. A natural genetic mutation produced gold (actually yellowish orange) rather than silver coloration. People began to selectively breed the gold variety instead of the silver variety, keeping them in ponds or other bodies of water. On special occasions at which guests were expected, they would be moved to a much smaller container for display.


title: Goldfish

text: By the Song dynasty (AD 960–1279), the selective domestic breeding of goldfish was firmly established. In 1162, the empress of the Song dynasty ordered the construction of a pond to collect the red and gold variety. By this time, people outside the imperial family were forbidden to keep goldfish of the gold (yellow) variety, yellow being the imperial color. The occurrence of other colors (apart from red and gold) was first recorded in 1276.


title: Goldfish

text: During the Ming dynasty (1368–1644), goldfish also began to be raised indoors, which permitted selection for mutations that would not be able to survive in ponds. The first occurrence of fancy-tailed goldfish was recorded in the Ming dynasty. In 1603, goldfish were introduced to Japan. In 1611, goldfish were introduced to Portugal and from there to other parts of Europe.


title: Goldfish

text: During the 1620s, goldfish were highly regarded in southern Europe because of their metallic scales, and symbolized good luck and fortune. It became a tradition for married men to give their wives a goldfish on their first anniversary, as a symbol for the prosperous years to come. This tradition quickly died, as goldfish became more available, losing their status. Goldfish were first introduced to North America around 1850 and quickly became popular in the United States.


title: Goldfish

text: There has been considerable debate about the taxonomy of the goldfish. Previously, the goldfish was believed to be either a subspecies of the crucian carp ("Carassius carassius"), or of the Prussian carp ("Carassius gibelio"). However, modern genetic sequencing has suggested otherwise, and that modern goldfish are domesticated varieties of "C. auratus" that are native to Southern China. "C. auratus" are differentiated from other "Carassius" species by several characteristics. "C. auratus" have a more pointed snout, while the snout of "C. carassius" is well rounded. "C. gibelio" often has a grayish/greenish color, while crucian carp are always golden bronze. Juvenile crucian carp have a black spot on the base of the tail, which disappears with age. In "C. auratus", this tail spot is never present. "C. auratus" have fewer than 31 scales along the lateral line, while crucian carp have 33 scales or more.


title: Goldfish

text: Goldfish can hybridize with some other "Carassius" species of carp. Koi and common carp may also interbreed with goldfish to produce sterile hybrids.


title: Goldfish

text: When kept in small indoor aquariums, goldfish tend to stay about to long. Goldfish may grow larger if moved to bigger fish tanks, but they usually do not grow longer than . In outdoor ponds, and in the wild, goldfish can grow to about .


title: Goldfish

text: As of April 2008, the largest goldfish in the world was believed by the BBC to measure , in the Netherlands. At the time, a goldfish named "Goldie", kept as a pet in a tank in Folkestone, England, was measured as and over , and named as the second largest in the world behind the Netherlands fish. The secretary of the Federation of British Aquatic Societies (FBAS) stated of Goldie's size, "I would think there are probably a few bigger goldfish that people don't think of as record holders, perhaps in ornamental lakes". In July 2010, a goldfish measuring and was caught in a pond in Poole, England, thought to have been abandoned there after outgrowing a tank. On November 16, 2020, a goldfish weighing was found in a lake in Greenville, South Carolina, while conducting a population survey of Oak Grove Lake.


title: Goldfish

text: Goldfish have one of the most studied senses of vision in fishes. Goldfish have four kinds of cone cells, which are respectively sensitive to different colors: red, green, blue and ultraviolet. The ability to distinguish between four different primary colors classifies them as tetrachromats.


title: Goldfish

text: Goldfish have one of the most studied senses of hearing in fish. They have two otoliths, permitting the detection of sound particle motion, and Weberian ossicles connecting the swimbladder to the otoliths, facilitating the detection of sound pressure.


title: Goldfish

text: Goldfish can only grow to sexual maturity with enough water and the right nutrition. Most goldfish breed in captivity, particularly in pond settings. Breeding usually happens after a significant temperature change, often in spring. Males chase gravid female goldfish (females carrying eggs), and prompt them to release their eggs by bumping and nudging them.


title: Goldfish

text: Goldfish, like all cyprinids, are egg-layers. Their eggs are adhesive and attach to aquatic vegetation, typically dense plants such as "Cabomba" or "Elodea" or a spawning mop. The eggs hatch within 48 to 72 hours.


title: Goldfish

text: Within a week or so, the fry begins to assume its final shape, although a year may pass before they develop a mature goldfish color; until then they are a metallic brown like their wild ancestors. In their first weeks of life, the fry grow quickly—an adaptation born of the high risk of getting devoured by the adult goldfish (or other fish and insects) in their environment.


title: Goldfish

text: Some highly selectively bred goldfish can no longer breed naturally due to their altered shape. The artificial breeding method called "hand stripping" can assist in breeding, but can harm the fish if not done correctly. In captivity, adults may also eat young that they encounter.


title: Goldfish

text: Breeding goldfish by the hobbyist is the process of selecting adult fish to reproduce, allowing them to reproduce and then raising the resulting offspring while continually removing fish that do not approach the desired pedigree.


title: Goldfish

text: Goldfish are able to survive short periods of entirely anoxic conditions. Survival is shorter under higher temperatures, suggesting that this is a cold weather adaptation. Researchers speculate that this is specifically an adaptation to survival in frozen water bodies over winter.


title: Goldfish

text: Energy is obtained from liver glycogen. This process depends upon a pyruvate decarboxylase – the first known in vertebrates.


title: Goldfish

text: Although they are a freshwater fish, goldfish have been found in brackish water with a salinity of 17.


title: Goldfish

text: Goldfish are gregarious, displaying schooling behavior, as well as displaying the same types of feeding behaviors. Goldfish may display similar behaviors when responding to their reflections in a mirror.


title: Goldfish

text: Goldfish have learned behaviors, both as groups and as individuals, that stem from native carp behavior. They are a generalist species with varied feeding, breeding, and predator avoidance behaviors that contribute to their success. As fish, they can be described as "friendly" towards each other. Very rarely does a goldfish harm another goldfish, nor do the males harm the females during breeding. The only real threat that goldfish present to each other is competing for food. Commons, comets, and other faster varieties can easily eat all the food during a feeding before fancy varieties can reach it. This can lead to stunted growth or possible starvation of fancier varieties when they are kept in a pond with their single-tailed brethren. As a result, care should be taken to combine only breeds with similar body type and swim characteristics.


title: Goldfish

text: Goldfish have strong associative learning abilities, as well as social learning skills. In addition, their visual acuity allows them to distinguish between individual humans. Owners may notice that fish react favorably to them (swimming to the front of the glass, swimming rapidly around the tank, and going to the surface mouthing for food) while hiding when other people approach the tank. Over time, goldfish learn to associate their owners and other humans with food, often "begging" for food whenever their owners approach.


title: Goldfish

text: Goldfish that have constant visual contact with humans also stop considering them to be a threat. After being kept in a tank for several weeks, sometimes months, it becomes possible to feed a goldfish by hand without it shying away.


title: Goldfish

text: Goldfish have a memory-span of at least three months and can distinguish between different shapes, colors, and sounds. By using positive reinforcement, goldfish can be trained to recognize and to react to light signals of different colors or to perform tricks. Fish respond to certain colors most evidently in relation to feeding. Fish learn to anticipate feedings provided they occur at around the same time every day.


title: Goldfish

text: As with many other examples of animal fancy, selective breeding of goldfish over centuries has produced several color variations, some of them far removed from the "golden" color of the original fish. There are also different body shapes, and fin and eye configurations. Some extreme versions of the goldfish live only in aquariums—they are much less hardy than varieties closer to the "wild" original. However, some variations are hardier, such as the Shubunkin. Currently, there are about 300 breeds recognized in China. The vast majority of goldfish breeds today originated from China. Some of the main varieties are:


title: Goldfish

text: Chinese tradition classifies goldfish into four main types. These classifications are not commonly used in the West.


title: Goldfish

text: Like most species in the carp family, goldfish produce a large amount of waste both in their feces and through their gills, releasing harmful chemicals into the water. Build-up of this waste to toxic levels can occur in a relatively short period of time, and can easily cause a goldfish's death. For common and comet varieties, each goldfish should have about of water. Fancy goldfish (which are smaller) should have about per goldfish. The water surface area determines how much oxygen diffuses and dissolves into the water. A general rule is have . Active aeration by way of a water pump, filter or fountain effectively increases the surface area.


title: Goldfish

text: The goldfish is classified as a coldwater fish, and can live in unheated aquaria at a temperature comfortable for humans. However, rapid changes in temperature (for example in an office building in winter when the heat is turned off at night) can kill them, especially if the tank is small. Care must also be taken when adding water, as the new water may be of a different temperature. Temperatures under about are dangerous to fancy varieties, though commons and comets can survive slightly lower temperatures. Extremely high temperatures (over ) can also harm goldfish. However, higher temperatures may help fight protozoan infestations by accelerating the parasite's life-cycle—thus eliminating it more quickly. The optimum temperature for goldfish is between and .


title: Goldfish

text: Like all fish, goldfish do not like to be petted. In fact, touching a goldfish can endanger its health, because it can cause the protective slime coat to be damaged or removed, exposing the fish's skin to infection from bacteria or water-born parasites. However, goldfish respond to people by surfacing at feeding time, and can be trained or acclimated to taking pellets or flakes from human fingers. The reputation of goldfish dying quickly is often due to poor care. The lifespan of goldfish in captivity can extend beyond 10 years.


title: Goldfish

text: If left in the dark for a period of time, goldfish gradually change color until they are almost gray. Goldfish produce pigment in response to light, similarly to how human skin becomes tanned in the sun. Fish have cells called chromatophores that produce pigments which reflect light, and give the fish coloration. The color of a goldfish is determined by which pigments are in the cells, how many pigment molecules there are, and whether the pigment is grouped inside the cell or is spaced throughout the cytoplasm.


title: Goldfish

text: Because goldfish eat live plants, their presence in a planted aquarium can be problematic. Only a few aquarium plant species (for example "Cryptocoryne" and "Anubias") can survive around goldfish, but they require special attention so that they are not uprooted. Plastic plants are more durable.


title: Goldfish

text: Goldfish are popular pond fish, since they are small, inexpensive, colorful and very hardy. In an outdoor pond or water garden, they may even survive for brief periods if ice forms on the surface, as long as there is enough oxygen remaining in the water and the pond does not freeze solid. Common, London and Bristol shubunkins, jikin, wakin, comet and some hardier fantail goldfish can be kept in a pond all year round in temperate and subtropical climates. Moor, veiltail, oranda and lionhead can be kept safely in outdoor ponds year-round only in more tropical climates and only in summer elsewhere.


title: Goldfish

text: Compatible fish include rudd, tench, orfe and koi, but the last require specialized care. Ramshorn snails are helpful by eating any algae that grows in the pond. Without some form of animal population control, goldfish ponds can easily become overstocked. Fish such as orfe consume goldfish eggs.


title: Goldfish

text: Ponds small and large are fine in warmer areas (although it ought to be noted that goldfish can "overheat" in small volumes of water in the summer in tropical climates). In frosty climes, the depth should be at least to preclude freezing. During winter, goldfish become sluggish, stop eating and often stay on the bottom of the pond. This is normal; they become active again in the spring. Unless the pond is large enough to maintain its own ecosystem without interference from humans, a filter is important to clear waste and keep the pond clean. Plants are essential as they act as part of the filtration system, as well as a food source for the fish. Plants are further beneficial since they raise oxygen levels in the water.


title: Goldfish

text: Like their wild ancestors, common and comet goldfish as well as shubunkin can survive, and even thrive, in any climate that can support a pond, whereas fancy goldfish are unlikely to survive in the wild as their bright colors and long fins make them easy prey.


title: Goldfish

text: In the wild, the diet of goldfish consists of crustaceans, insects, and various plant matter. Like most fish, they are opportunistic feeders and do not stop eating on their own accord. Overfeeding can be deleterious to their health, typically by blocking the intestines. This happens most often with selectively bred goldfish, which have a convoluted intestinal tract. When excess food is available, they produce more waste and feces, partly due to incomplete protein digestion. Overfeeding can sometimes be diagnosed by observing feces trailing from the fish's cloaca.


title: Goldfish

text: Goldfish-specific food has less protein and more carbohydrate than conventional fish food. Enthusiasts may supplement this diet with shelled peas (with outer skins removed), blanched green leafy vegetables, and bloodworms. Young goldfish benefit from the addition of brine shrimp to their diet. As with all animals, goldfish preferences vary.


title: Goldfish

text: Like some other popular aquarium fish, such as the guppy, goldfish and other carp are frequently added to stagnant bodies of water to reduce mosquito populations. They are used to prevent the spread of West Nile virus, which relies on mosquitoes to migrate. However, introducing goldfish has often had negative consequences for local ecosystems.


title: Goldfish

text: The market for live goldfish and other crucian carp usually imported from China was $1.2million in 2018. Some high quality varieties cost between $125 to $300.


title: Goldfish

text: Fishbowls are detrimental to the health of goldfish and are prohibited by animal welfare legislation in several municipalities. The practice of using bowls as permanent fish housing originated from a misunderstanding of Chinese "display" vessels: goldfish which were normally housed in ponds were, on occasion, temporarily displayed in smaller containers to be better admired by guests.


title: Goldfish

text: Goldfish kept in bowls or "mini-aquariums" suffer from death, disease, and stunting, due primarily to the low oxygen and very high ammonia/nitrite levels inherent in such an environment. In comparison to other common aquarium fish, goldfish have high oxygen needs and produce a large amount of waste due to the fact they lack a stomach; therefore they require a substantial volume of well-filtered water to thrive. In addition, all goldfish varieties have the potential to reach in total length, with single-tailed breeds often exceeding . Single-tailed varieties include common and comet goldfish.


title: Goldfish

text: In many countries, carnival and fair operators commonly give goldfish away in plastic bags as prizes. In late 2005 Rome banned the use of goldfish and other animals as carnival prizes. Rome has also banned the use of "goldfish bowls", on animal cruelty grounds, as well as Monza, Italy, in 2004. In the United Kingdom, the government proposed banning this practice as part of its Animal Welfare Bill, though this has since been amended to only prevent goldfish being given as prizes to unaccompanied minors.


title: Goldfish

text: In Japan, during summer festivals and religious holidays (ennichi), a traditional game called goldfish scooping is played, in which a player scoops goldfish from a basin with a special scooper. Sometimes bouncy balls are substituted for goldfish.


title: Goldfish

text: Although edible and closely related to some fairly widely eaten species, goldfish are rarely eaten. A fad among American college students for many years was swallowing goldfish as a stunt and as a fraternity initiation process. The first recorded instance was in 1939 at Harvard University. The practice gradually fell out of popularity over the course of several decades and is rarely practiced today.


title: Goldfish

text: Some animal advocates have called for boycotts of goldfish purchases, citing industrial farming and low survival rates of the fish.


title: Goldfish

text: In Chinese history, goldfish was seen "as a symbol of luck and fortune". Moreover, only members of the Song dynasty could own goldfish. In Iran and among the international Iranian diaspora, goldfish is a traditional part of Nowruz celebrations. Goldfish is usually used in "Haft-sin" table as the symbol of progress.


title: Monsters University

text: Monsters University is a 2013 American computer-animated monster comedy film produced by Pixar Animation Studios and released by Walt Disney Pictures. It was directed by Dan Scanlon (in his feature directorial debut) and produced by Kori Rae, from a screenplay and story written by Scanlon and the writing team of Dan Gerson and Robert L. Baird. John Lasseter, Pete Docter, Andrew Stanton, and Lee Unkrich served as the film’s executive producers. The music for the film was composed and conducted by Randy Newman, making it his seventh collaboration with Pixar. It is a prequel to "Monsters, Inc." (2001), making it the only time Pixar has made a prequel film. "Monsters University" tells the story of the main characters of "Monsters, Inc.", James P. Sullivan and Mike Wazowski, and their time at college, where they start off as bitter rivals, but slowly become best friends. During the time, they must learn to work together, along with Oozma Kappa members, in order to make their dreams reality and things right. John Goodman, Billy Crystal, Steve Buscemi, Bob Peterson, and John Ratzenberger reprise their roles as James P. Sullivan, Mike Wazowski, Randall Boggs, Roz, and the Abominable Snowman, respectively, while the new cast were joined by Helen Mirren, Alfred Molina, Peter Sohn, Joel Murray, Sean Hayes, Dave Foley, Charlie Day, and Nathan Fillion. Bonnie Hunt, who voiced Ms. Flint in the original film, voices Mike's teacher Mrs. Karen Graves.


title: Monsters University

text: Disney, as the rights holder, had plans for a sequel to "Monsters, Inc." since 2005. Following disagreements with Pixar, Disney tasked its Circle 7 Animation unit to make the film. An early draft of the film was developed; however, Disney's purchase of Pixar in January 2006 led to the cancellation of Circle 7's version of the film. A Pixar-made sequel was confirmed in 2010, and in 2011, it was confirmed that the film would instead be a prequel titled "Monsters University".


title: Monsters University

text: "Monsters University" premiered on June 5, 2013 at the BFI Southbank in London, England, and was theatrically released in the United States on June 21, 2013. It was accompanied in theaters by a short film, "The Blue Umbrella", directed by Saschka Unseld. The film received positive reviews from critics and grossed $743 million worldwide against its $200 million production budget, making it the seventh highest-grossing film of 2013. An animated short film titled "Party Central", which takes place shortly after the events of "Monsters University", premiered in fall 2013 before being released theatrically with "Muppets Most Wanted" in 2014.


title: Monsters University

text: As a first grader, Mike Wazowski begins to dream of becoming a scarer - a monster who enters the human world at night to scare children and harvest their screams for energy to power the city of Monstropolis. Eleven years later, Mike enrolls in the scaring program at Monsters University (MU) and meets classmates Randall Boggs and James P. "Sulley" Sullivan. Abigail Hardscrabble, dean of MU, warns students that anyone who does not pass a final exam at the end of the first semester will have to leave the scaring program.


title: Monsters University

text: Throughout the semester, Mike has already begun a friendship with his roommate Randall, while rivalry forms between him and Sulley in the scaring program: Mike studies hard to improve himself, while Sulley relies only on his natural talent and begins to falter. They both attempt to join a fraternity, but only Sulley is accepted into Roar Omega Roar (ROR), the most prestigious house on campus. At the final exam, a fight between the duo inadvertently destroys Hardscrabble’s prized scream canister. Hardscrabble tests them separately and fails them both: Mike for not being scary, and Sulley for his recklessness. They are forced to transfer to a scream canister designing program, much to their dismay.


title: Monsters University

text: Wanting to prove himself, Mike signs up for the "Scare Games" and makes a deal with Hardscrabble on the condition that if his team wins, all of the members will be admitted to the scaring program, otherwise, he will leave MU. Mike joins Oozma Kappa (OK), a fraternity of misfits, but they are one member short of being able to enter the competition. Mike attempts to invite Randall, but Randall was already accepted by ROR, prompting Mike to reluctantly accept Sulley's offer to join.


title: Monsters University

text: OK finishes last in the first round but are saved from elimination after another team is disqualified for cheating. During each of the next three rounds, OK steadily improves due to Mike's knowledge of scaring and the others' unique talents. Despite their progress, they face setbacks and humiliation by rival fraternities, and Hardscrabble questions whether Sulley believes that Mike can be an effective Scarer. Although OK has a decisive victory over ROR in the final round, Mike discovers afterwards that Sulley had tampered with the simulator settings to guarantee a win for OK, resulting in Mike berating Sulley for it. The other OK members discard their trophy, ashamed of Sulley for ruining their victory by cheating. Sulley meets with Hardscrabble and confesses that he cheated.


title: Monsters University

text: Outraged at Sulley's betrayal and still determined to prove that he can become a scarer, Mike breaks into the school's door lab and enters the human world. He emerges in a summer camp cabin full of children but is unable to scare any of them and flees into the woods. With assistance from the OK members, Sulley sneaks through the door and finds Mike; he admits to Mike that he cheated because he was afraid of failing his team. They reconcile and try to return to MU, but find out that Hardscrabble has deactivated the door.


title: Monsters University

text: As human police officers begin to chase Mike and Sulley, Mike realizes that they may be able to power the door from their side. Working together, Mike traps the police officers and Sulley scares them so badly that it manages to power through the door, then return to MU just as it explodes. Mike and Sulley are expelled from MU for their actions, but the remaining OK members are admitted into the scaring program. As Mike and Sulley leave the campus, Hardscrabble admits that they have surprised her and expresses her hope that they will continue to do so in the future. Seeing a "Help Wanted" advertisement for job openings at Monsters, Inc., they decide to apply and are hired to work in the mailroom. Sulley and Mike work their way up to different jobs before becoming a scarer and scare assistant, respectively.


title: Monsters University

text: Kelsey Grammer was originally announced to voice Henry J. Waternoose III in the film, replacing James Coburn, who voiced Waternoose in the original film and passed away in 2002. The character was eventually cut from the film.


title: Monsters University

text: Plans for a second "Monsters, Inc." film existed since 2002. Following disagreements between Disney CEO Michael Eisner and Pixar CEO Steve Jobs, Disney—which owned the rights to make sequels to all of Pixar's films up to and including "Cars—"announced that a sequel to "Monsters, Inc." would be made by Disney's Circle 7 Animation studio, which was also working on early drafts of "Toy Story 3" & "Finding Nemo 2". Titled "Monsters, Inc. 2: Lost in Scaradise", the film would have focused on Mike and Sulley visiting the human world to give Boo a birthday present, only to find that she had moved. After getting trapped in the human world, Mike and Sulley would split up after disagreeing on what to do. Screenwriters Rob Muir and Bob Hilgenberg were hired to write a script for the film, and storyboarded an early draft of it. Disney's change of management in late 2005—in which Eisner was replaced by Bob Iger—led to renewed negotiations with Pixar, and in January 2006 Disney announced it had purchased the studio. The Disney-owned sequel rights were then transferred to Pixar, leading to the cancellation of Muir and Hilgenberg's version of the film and the subsequent closure of Circle 7.


title: Monsters University

text: A Pixar-made sequel was confirmed in 2010. The film was originally planned for release on November 16, 2012, but the release was moved up to November 2, 2012 to avoid competition with "". On March 29, 2011, it was confirmed that the film would be a prequel and the title "Monsters University" was announced. On April 4, 2011, due to Pixar's past success with summer releases, according to a Disney executive, it was confirmed that the film would be released on June 21, 2013.


title: Monsters University

text: The feature was directed by Dan Scanlon and produced by Kori Rae. Billy Crystal, John Goodman, Steve Buscemi, Bob Peterson, and John Ratzenberger reprised their roles, and Bonnie Hunt voiced a new character. New voice cast included Dave Foley, Sean Hayes, Julia Sweeney, Helen Mirren, Alfred Molina, Peter Sohn, Charlie Day, Joel Murray, Nathan Fillion, Aubrey Plaza, Tyler Labine, John Krasinski, Bill Hader, Bobby Moynihan, and Beth Behrs.


title: Monsters University

text: The plot of "Monsters University" details Mike and Sulley's first meeting, but this created a continuity error from the original film in which Mike tells Sulley "You've been jealous of my good looks since the fourth grade." Director Dan Scanlon said he had a dilemma with this line during pre-production, but he believed it was best if Mike and Sulley meet in college because, "we wanted to see their relationship develop when they were adults. And we also felt like college is so much about self-discovery and figuring out who you are." He added, "It felt like the perfect place to do this, but we had that line. So we tried versions where they met young and then we skipped ahead to college. And we knew we didn't want to make "Monsters Elementary."" Scanlon said during pre-production that, "Pete Docter, the original director, and John Lasseter ... finally said to me, 'it's great that you're honoring that, but you have to do what's right for the story.' So we made a tough decision to just have them be in college and put that line aside." Scanlon later retconned the line from the first film as "an old monster expression", saying, "That’s what monsters always say to each other."


title: Monsters University

text: "Monsters University" is the first Pixar film that used global illumination, a new lighting system introduced as part of the overhaul of the rendering system used since the first "Toy Story" film. In the planning stage of the film, director of photography, Jean-Claude Kalache, asked "What if we made these lights just work?" Before the new system, artists had to build reflections and shadows manually, which became increasingly complex as the models and the setups became more technologically advanced. The new lighting system uses path tracing, a technique that imitates the behaviour of the light in the real world; this automatized the process, delivered more realism, produced soft shadows, and let the artist spend more time on models and complex scenes – some of which contained thousands of light sources.


title: Monsters University

text: For research, the filmmakers visited several colleges in the U.S., including Harvard University, Stanford University, UC Berkeley, and the Massachusetts Institute of Technology, observing college architecture, student life, Greek organizations, and the teaching methods of professors and faculty. To research fraternity life, which is central to the film, many of the film's producers spent several weeks at a fraternity house. Researchers also attended a "Bonfire Rally" at Berkeley in anticipation of the Big Game, a rivalry football game between the university and Stanford.


title: Monsters University

text: The music for the film is Randy Newman's seventh collaboration with Pixar as composer. Walt Disney Records released the soundtrack on June 18, 2013.


title: Monsters University

text: The songs "Main Title", "Rise and Shine", and "The Scare Games" feature the drum line from the Blue Devils group "BD Entertainment". The recordings for the percussion tracks were done at Skywalker Ranch, and were written by Blue Devils Percussion Caption Head Scott Johnson.


title: Monsters University

text: The songs "Ísland" by Mastodon and "Gospel" by MarchFourth Marching Band are featured during the film but do not appear on the soundtrack. The songs "Party Hard" by Andrew W.K. and "Kickstart My Heart" by Mötley Crüe are featured prominently in the teaser trailers but do not appear on the soundtrack or in the film.


title: Monsters University

text: The film had its worldwide premiere on June 5, 2013, as a special screening at BFI Southbank in London with the director and producer in attendance. The film had its Asian premiere as the opening film of the 2013 Shanghai International Film Festival on June 15, 2013. It premiered in the United States on June 8, 2013, at the Seattle International Film Festival, and was released in theaters on June 21, 2013. The film's theatrical release was accompanied by Pixar's short film titled "The Blue Umbrella".


title: Monsters University

text: The first teaser trailer for "Monsters University" was released on , 2012. Four versions of the trailer exist; in his sleep, Mike mutters excuses to avoid attending class in each one, such as "I'm not wearing any clothes," "My homework ate my dog," "Class President?", and "My pony made the Dean's List." A second trailer was released on February 11, 2013, a third on April 26, 2013, and a fourth and final trailer, which included scenes from the film, was released on May 30, 2013.


title: Monsters University

text: On October 8, 2012, Pixar revealed a fully functional website for "Monsters University", complete with information about admissions, academic and campus life, and a campus store to purchase MU apparel. On April 1, 2013, the website was styled to appear as though a rival college, Fear Tech, had hacked and vandalized it. The first television commercial for the film was aired during the 2013 Rose Bowl Game, parodying advertisements for participating schools that are shown during college football telecasts. From June 27 until July 11, 2013, Disney's online game "Club Penguin" hosted a "Monsters University Takeover" event to promote the film. Players could dress up as their favorite monsters and take part in the Scare Games.


title: Monsters University

text: "Monsters University" was released by Walt Disney Studios Home Entertainment on Blu-ray, 3D Blu-ray, DVD, digital copy, and on demand on October 29, 2013. It was accompanied by "The Blue Umbrella", Pixar's short film which played alongside the film in theaters. "Monsters University" was released on 4K Blu-ray on March 3, 2020.


title: Monsters University

text: "Monsters University" grossed $268.5 million in the United States and Canada and $475.1 million in other countries, for a worldwide total of $743.6 million. Calculating in all expenses, "Deadline Hollywood" estimated that the film made a profit of $179.8 million.


title: Monsters University

text: It became the 53rd highest-grossing film of all time, the 11th highest-grossing animated film all time, the seventh-highest-grossing 2013 film, and the third-highest-grossing Pixar film. The film earned $136.9 million worldwide on its opening weekend. Disney declined to provide a budget for the film; "Entertainment Weekly" speculated that it was higher than that of "Brave" ($185 million), mainly because of the high cost of John Goodman and Billy Crystal reprising their roles. Shockya and EOnline reported the budget to be $200 million—on par with previous Pixar films.


title: Monsters University

text: In the week leading to "Monsters University"s release, Disney projected an opening-weekend gross of at least $70 million. The film opened on Friday, June 21, 2013 across 4,004 theaters in first place with $30.47 million—including $2.6 million in 20:00 Thursday night shows—marking the fifth-largest opening day among animated films. The film then reached first place with an opening-weekend gross of $82.43 million; the second-largest among Pixar films, the second-largest among G-rated films, the fourth-largest among prequels, the fifth-largest among animated films, and the fifth-largest among films released in June. "Monsters University" remained at first place on its second weekend, declining 45% to $45.6 million. Facing tough competition from "Despicable Me 2" on its third weekend, it dropped 57% to $19.7 million. As of December 2013, it is the tenth-highest-grossing animated film.


title: Monsters University

text: The film earned $54.5 million in 35 markets on its opening weekend. It set a Pixar opening-weekend record in Latin America with revenues of $31.7 million. In Argentina, the film set an opening-weekend record among all films with $5.49 million. In Australia, where it had a simultaneous release with "Despicable Me 2", "Monsters University" debuted behind the latter with $3.56 million in third place. In Hong Kong, the film set opening-day (), single-day () and opening-weekend () records among animated films, beating the previous record holder, "Toy Story 3". In the UK, the film topped the box office during its opening weekend with a gross of . The film's largest opening occurred in China, where its $13 million debut ranked fourth among Disney films. The film's highest-grossing markets are Japan ($90.1 million), the UK, Ireland, and Malta ($47.2 million), and Mexico ($37.6 million).


title: Monsters University

text: Review aggregation website Rotten Tomatoes gives the film a score of based on 204 reviews with an average rating of . The site's critical consensus reads "Offering "Monsters, Inc." fans a welcome return visit with beloved characters, "Monsters University" delivers funny and thoughtful family entertainment for viewers of any age." Another review aggregator, Metacritic, which assigns a rating out of 100 top reviews from mainstream critics, calculated a score of 65 based on 41 reviews, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale. According to Disney, audiences were 56% female and 60% below the age of 25. Families made up 73% of business, and teens accounted for 15%. The film played well with all ages.


title: Monsters University

text: Matt Zoller Seitz of "Chicago Sun-Times" gave the film four stars out of four, saying it "is true to the spirit of ["Monsters, Inc."] and matches its tone. But it never seems content to turn over old ground." Trevor Johnston of "Time Out" gave the film four stars out of five, writing "It has enough of the right stuff to haunt the imagination long after the immediate buzz of its fluffy-furred cuteness has melted away. For a mere prequel, that's a result." Steven Rea of "The Philadelphia Inquirer" gave the film three stars out of four and said it "is cute, and funny, and the animation, though not exactly inspired, is certainly colorful." Jake Coyle of "Associated Press" gave the film three stars out of four, saying it "might not be as gifted as some of its other movies, but sometimes it's alright to be OK." Peter Travers of "Rolling Stone" gave the film three stars out of four, and said "It's all infectious fun, despite the lack of originality. In the art of tickling funny bones, Crystal and Goodman earn straight A's." Richard Corliss of "Time" gave the film a positive review, saying "This minor film with major charms still deserves to have kids dragging their parents to the multiplex for one more peek at the monsters in the closet. With Pixar, familiarity breeds content." Bill Goodykoontz of "The Arizona Republic" gave the film three-and-a-half stars out of five and said it is "one of those movies that has absolutely no reason to exist, but once you've seen it, you're kind of glad it does." Alan Scherstuhl of "The Village Voice" gave the film a positive review, saying ""Monsters University" feels not like the work of artists eager to express something but like that of likable pros whose existence depends on getting a rise out the kids. It's like the scares Sully and Mike spring on those sleeping tykes: technically impressive but a job un-anchored to anything more meaningful."


title: Monsters University

text: Leonard Maltin of "IndieWire" praised the animation and art direction, but wrote that he wished "the movie was funnier and wasn't so plot-heavy" and that "Pixar has raised the bar for animated features so high that when they turn out a film that's merely good, instead of great, they have only themselves to blame for causing critics to damn them with faint praise." Michael Phillips of "Chicago Tribune" gave the film two stars out of four, saying ""Monsters University", the weirdly charmless sequel to the animated 2001 Pixar hit "Monsters, Inc.", is no better or worse than the average (and I mean average) time-filling sequel cranked out by other animation houses." Todd McCarthy of "The Hollywood Reporter" gave the film a negative review, saying that it "never surprises, goes off in unexpected directions or throws you for a loop in the manner of the best Pixar stories. Nor does it come close to elating through the sheer imagination of its conceits and storytelling." Claudia Puig of "USA Today" gave the film three stars out of four, and said it "may not be as inventive as "Inc.", but it's an amusing and amiable addition to Pixar's roster of animated coming-of-age stories." Michael O'Sullivan of "The Washington Post" gave the film three stars out of four, saying "It may be children's terror that powers the movie's fictional universe, but it's the energy of its stars that lights up "Monsters University"." Chris Nashawaty of "Entertainment Weekly" gave the film an A− and said it "is exactly the rebound Pixar needed after 2011's "Cars 2" left some wondering if the studio had lost its magic. The delightful story of when Mike met Sulley puts those concerns to rest." James Berardinelli of "ReelViews" gave the film three stars out of four and wrote "Although it falls short of the best Pixar has brought to the screen over its long association with Disney, it's nevertheless worth a trip to the theater, especially for kids."


title: Monsters University

text: However, the film was not without its detractors. Richard Roeper gave the film a C+, saying "This is a safe, predictable, edge-free, nearly bland effort from a studio that rarely hedges its bets." Stephen Whitty of "Newark Star-Ledger" gave the film two-and-a-half stars out of four and said "The artwork is accomplished, and intricate. The G-rating is genuine, without any gross-out gags. And there's none of the usual winks to the adults with tired, pop-culture references." Manohla Dargis of "The New York Times" gave the film two-and-a-half stars out of five and wrote "Both the originality and stirring emotional complexity of "Monsters, Inc.", with its exquisitely painful and touching parallels with the human world, are missing." Ty Burr of "The Boston Globe" gave the film two-and-a-half stars out of four, and said "This is not a bad movie, and to small children it will be a very good one, but it's closer to average than one would wish from the company that gave us "Up", "WALL-E", "The Incredibles", and the "Toy Story" series." Rene Rodriguez of "Miami Herald" gave the film two stars out of five and wrote that it "feels half-hearted and lazy, like they weren't even trying. At least show a little effort, guys."


title: Monsters University

text: Monsters University marks the first Pixar film not to be nominated for either an Oscar or a Golden Globe.


title: Johnnie Cochran

text: Johnnie Lee Cochran Jr. (; October 2, 1937 – March 29, 2005) was an American lawyer best known for his leadership role in the defense and criminal acquittal of O.J. Simpson for the murder of his ex-wife Nicole Brown Simpson and her friend Ron Goldman. He often defended his client with rhymes like, "If it doesn't fit, you must acquit!"


title: Johnnie Cochran

text: Cochran represented Sean Combs, Michael Jackson, Tupac Shakur, Stanley Tookie Williams, Todd Bridges, football player Jim Brown, Snoop Dogg, former heavyweight champion Riddick Bowe, 1992 Los Angeles riot beating victim Reginald Oliver Denny, and inmate and activist Geronimo Pratt. He represented athlete Marion Jones when she faced charges of doping during her high school track career. Cochran was known for his skill in the courtroom and his prominence as an early advocate for victims of police brutality.


title: Johnnie Cochran

text: Cochran was born in 1937 in Shreveport, Louisiana. His father, Johnnie Cochran Sr. (1916–2018), was an insurance salesman and his mother sold Avon products. The family relocated to the West Coast during the second wave of the Great Migration, settling in Los Angeles in 1949. Cochran went to local schools and graduated first in his class from Los Angeles High School in 1955. He earned a Bachelor of Arts degree in business economics from the University of California, Los Angeles in 1959 and a Juris Doctor from the Loyola Law School in 1962. He was a member of Kappa Alpha Psi Fraternity, initiated through the Upsilon Chapter and the fraternity's 45th Laurel Wreath laureate.


title: Johnnie Cochran

text: Inspired by Thurgood Marshall and the legal victory that Marshall won in "Brown v. Board of Education", Cochran decided to dedicate his life to practicing law. Cochran felt his career was a calling, a double opportunity to work for what he considered to be right and to challenge what he considered wrong; he could make a difference by practicing law. In "A Lawyer's Life", Cochran wrote, "I read everything that I could find about Thurgood Marshall and confirmed that a single dedicated man could use the law to change society".


title: Johnnie Cochran

text: Despite setbacks as a lawyer, Cochran vowed not to cease what he was doing, saying: "I made this commitment and I must fulfill it."


title: Johnnie Cochran

text: After passing the California bar exam in 1963, Cochran took a position in Los Angeles as a deputy city attorney in the criminal division. In 1964, the young Cochran prosecuted one of his first celebrity cases, Lenny Bruce, a comedian who had recently been arrested on obscenity charges. Two years later, Cochran entered private practice. Soon thereafter, he opened his own firm, Cochran, Atkins & Evans, in Los Angeles.


title: Johnnie Cochran

text: In his first notable case, Cochran represented an African-American widow who sued several police officers who had shot and killed her husband, Leonard Deadwyler. Though Cochran lost the case, it became a turning point in his career. Rather than seeing the case as a defeat, Cochran realized the trial itself had awakened the black community. In reference to the loss, Cochran wrote in "The American Lawyer," "those were extremely difficult cases to win in those days. But what Deadwyler confirmed for me was that this issue of police abuse really galvanized the minority community. It taught me that these cases could really get attention."


title: Johnnie Cochran

text: By the late 1970s, Cochran had established his reputation in the black community. He was litigating a number of high-profile police brutality and criminal cases.


title: Johnnie Cochran

text: In 1978, Cochran returned to the Los Angeles County District Attorney's office in the leadership position of First Assistant District Attorney. Though he took a pay cut to do so, joining the government was his way of becoming "one of the good guys, one of the very top rung." He began to strengthen his ties with the political community, alter his image, and work from within to change the system.


title: Johnnie Cochran

text: Five years later, Cochran returned to private practice, reinventing himself as "the best in the West" by opening the Johnnie L Cochran Jr. law firm. In contrast to his early loss in the Deadwyler case, Cochran won 760,000 for the family of Ron Settles, a black college football player who, his family claimed, was murdered by the police. In 1990, Cochran joined a succeeding firm, Cochran, Mitchell & Jenna, and joined Cochran, Cherry, Givens & Smith in 1997. The Cochran Firm has grown to have regional offices located in fifteen states.


title: Johnnie Cochran

text: In most of his cases Cochran represented plaintiffs in tort actions and opposed tort reform. Due to his success as a lawyer, Cochran could encourage settlement simply by his presence on a case. According to Rev. Jesse Jackson, a call to Johnnie Cochran made "corporations and violators shake."


title: Johnnie Cochran

text: Cochran's well-honed rhetoric and flamboyance in the courtroom has been described as theatrical. His practice as a lawyer earned him great wealth. With his earnings, he bought and drove cars such as a Jaguar and a Rolls-Royce. He owned homes in Los Angeles, two apartments in West Hollywood and a condo in Manhattan. In 2001, Cochran's accountant estimated that within five years he would be worth 25–50 million.


title: Johnnie Cochran

text: Before the Simpson case, Cochran had achieved a reputation as a "go-to" lawyer for the rich, as well as a successful advocate for minorities in police brutality and civil rights cases. However, the controversial and dramatic Simpson trial made Cochran more widely known, generating a more polarized perception about him.


title: Johnnie Cochran

text: Cochran had often liked to say that he worked "not only for the OJs, but also the No Js". In other words, he enjoyed defending or suing in the name of those who did not have fame or wealth. Cochran believed that his "most glorious" moment as a lawyer occurred when he won the freedom of Geronimo Pratt. Cochran said he considered Pratt's release "the happiest day" of his legal practice. In the words of Harvard Law School professor Charles Ogletree, Cochran "was willing to fight for the underdog." Rev. Jesse Jackson believed Cochran was the "people's lawyer." Magic Johnson proclaimed Cochran was known "...for representing O. J. and Michael, but he was bigger and better than that".


title: Johnnie Cochran

text: During closing arguments in the Simpson trial, Cochran uttered the now famous phrase, "If it doesn't fit, you must acquit." He used the phrase, which had been devised by fellow defense team member Gerald Uelmen, as a way to try to persuade the jury that Simpson could not have murdered Nicole Brown Simpson nor Ron Goldman. In a dramatic scene, Simpson appeared to have difficulty getting the glove on; stained with blood of both victims and Simpson, it had been found at the crime scene.


title: Johnnie Cochran

text: Cochran did not represent Simpson in the subsequent civil trial and Simpson was found liable for the deaths. Cochran was criticized during the criminal trial by pundits, as well as by prosecutor Christopher Darden, for suggesting that the police were trying to frame Simpson because they were racist. During the trial, Cochran successfully convinced the jury that the prosecution did not prove Simpson was guilty beyond a reasonable doubt and that the police planted evidence against him.


title: Johnnie Cochran

text: Robert Shapiro, co-counsel on the Simpson defense team, accused Cochran of dealing the "race card" "from the bottom of the deck." In response, Cochran replied it was "not a case about race, it is a case about reasonable doubt...", noting "there are a lot of white people who are willing to accept this verdict."


title: Johnnie Cochran

text: Cochran successfully represented Abner Louima, a Haitian immigrant living in Brooklyn who was sodomized with a broken broomstick by officer Justin Volpe while in police custody. Louima was awarded an $8.75 million settlement, the largest police brutality settlement in New York City's history. Tension broke out between Louima's original lawyers and the new team headed by Cochran. The former team felt that Cochran and his colleagues were trying to take control of the entire trial.


title: Johnnie Cochran

text: In 2001, Sean (P. Diddy) Combs was indicted on bribery and stolen weapons charges. He hired Cochran for his defense. Cochran effectively fought for Combs' freedom, and Combs was acquitted.


title: Johnnie Cochran

text: In 2002, Cochran told Combs that this would be his last criminal case. Cochran retired after the trial. R. Kelly and Allen Iverson later asked for his services in criminal cases but he declined to represent them.


title: Johnnie Cochran

text: Johnnie Cochran defended 17-year old Stanley Tookie Williams in a robbery trial in the early 1970s. Williams at the time was a known member of the Westside Crips street gang. After less than 10 minutes of deliberation, Williams was acquitted by a jury of all charges.


title: Johnnie Cochran

text: Years later, Williams was arrested for assaulting LAPD personnel and was acquitted with Cochran again serving as his counsel.


title: Johnnie Cochran

text: Cochran also represented Michael Jackson when he was accused of child molestation in 1993. However, the case was settled out of court by Jackson and his accuser.


title: Johnnie Cochran

text: In December 2003, Cochran was diagnosed with a brain tumor. In April 2004, he underwent surgery, which led him to stay away from the media. Shortly thereafter, he told the "New York Post" that he was feeling well and was in good health.


title: Johnnie Cochran

text: He died from the brain tumor on March 29, 2005, at his home in Los Angeles. Public viewing of his casket was conducted on April 4, at the Angelus Funeral Home and April 5, at Second Baptist Church, in Los Angeles. A memorial service was held at West Angeles Cathedral, in Los Angeles, on April 6, 2005. His remains were interred in the Inglewood Park Cemetery in Inglewood, California. The funeral was attended by his father Johnnie Sr. and numerous former friends and clients, including O. J. Simpson and Michael Jackson.


title: Johnnie Cochran

text: On May 31, 2005, two months after Cochran's death, the U.S. Supreme Court delivered its opinion in "Tory v. Cochran". The court ruled 7–2 that in light of Cochran's death, an injunction limiting the demonstrations of Ulysses Tory "amounts to an overly broad prior restraint upon speech." Two justices, Antonin Scalia and Clarence Thomas, said that Cochran's death made it unnecessary for the court to rule. Lower courts, before Cochran died, held that Tory could not make any public comments about Cochran.


title: Johnnie Cochran

text: After the Simpson trial, Cochran was a frequent commentator in law-related television shows. Additionally, he hosted his own show, "Johnnie Cochran Tonight", on CourtTV. With the Simpson fame also came movie deals.


title: Johnnie Cochran

text: Actor Phil Morris played attorney Jackie Chiles, a character parody of Cochran, in several episodes of "Seinfeld". He was satirized in the "Chef Aid" episode of the animated sitcom "South Park," in which he appears using a confusing legal strategy called "the Chewbacca defense", a direct parody of his closing argument when defending O.J. Simpson. Cochran took these parodies in stride, discussing them in his autobiography, "A Lawyer's Life". Additionally, he appeared as himself in "The Hughleys", "Family Matters", "The Howard Stern Show", "Arli$$", "CHiPs '99", "Bamboozled", "Showtime", "Martin", and "JAG".


title: Johnnie Cochran

text: Cochran is mentioned in the 2011 musical comedy "The Book of Mormon", where he is depicted as being in hell alongside Genghis Khan, Jeffrey Dahmer, and Adolf Hitler for "getting O. J. free".


title: Johnnie Cochran

text: Cochran was portrayed in "" (2016) by actor Courtney B. Vance. Vance won the Primetime Emmy Award for Outstanding Lead Actor in a Limited Series or Movie for his performance.


title: Johnnie Cochran

text: On November 6, 1995, in season 3, episode 8, "The Party's Over" of "The Nanny", the final joke is Cochran's line from O.J. Simpson's trial: "If it doesn't fit, you must acquit." To Fran's dismay, her elderly lawyer uncle refers to her skimpy skirt barely covering her buttocks, only to fall asleep in mid-session afterwards.


title: Johnnie Cochran

text: In 2002, Good Charlotte released a song, "Lifestyles of the Rich and Famous", in which a line makes reference to Cochran's defence of O.J. Simpson, saying: "Well, did you know, when you were famous, you could kill your wife? And there's no such thing as 25-to-life – as long as you've got the cash to pay for Cochran."


title: All Things Must Pass

text: All Things Must Pass is the third studio album by English rock musician George Harrison. Released as a triple album in November 1970, it was Harrison's first solo work after the break-up of the Beatles in April that year. It includes the hit singles "My Sweet Lord" and "What Is Life", as well as songs such as "Isn't It a Pity" and the title track that had been overlooked for inclusion on releases by the Beatles. The album reflects the influence of Harrison's musical activities with artists such as Bob Dylan, the Band, Delaney & Bonnie and Friends and Billy Preston during 1968–70, and his growth as an artist beyond his supporting role to former bandmates John Lennon and Paul McCartney. "All Things Must Pass" introduced Harrison's signature slide guitar sound and the spiritual themes present throughout his subsequent solo work. The original vinyl release consisted of two LPs of songs and a third disc of informal jams titled "Apple Jam". Several commentators interpret Barry Feinstein's album cover photo, showing Harrison surrounded by four garden gnomes, as a statement on his independence from the Beatles.


title: All Things Must Pass

text: Production began at London's EMI Studios in May 1970, with extensive overdubbing and mixing continuing through October. Among the large cast of backing musicians were Eric Clapton and members of Delaney & Bonnie's Friends band – three of whom formed Derek and the Dominos with Clapton during the recording – as well as Ringo Starr, Gary Wright, Billy Preston, Klaus Voormann, John Barham, Badfinger and Pete Drake. The sessions produced a double album's worth of extra material, most of which remains unissued.


title: All Things Must Pass

text: "All Things Must Pass" was critically and commercially successful on release, with long stays at number one on charts worldwide. Co-producer Phil Spector employed his Wall of Sound production technique to notable effect; Ben Gerson of "Rolling Stone" described the sound as "Wagnerian, Brucknerian, the music of mountain tops and vast horizons". Reflecting the widespread surprise at the assuredness of Harrison's post-Beatles debut, "Melody Maker"s Richard Williams likened the album to Greta Garbo's first role in a talking picture and declared: "Garbo talks! – Harrison is free!" According to Colin Larkin, writing in the 2011 edition of his "Encyclopedia of Popular Music", "All Things Must Pass" is "generally rated" as the best of all the former Beatles' solo albums.


title: All Things Must Pass

text: During the final year of his life, Harrison oversaw a successful reissue campaign to mark the 30th anniversary of the album's release. After this reissue, the Recording Industry Association of America certified the album six-times platinum. It has since been certified seven-times platinum. Among its appearances on critics' best-album lists, "All Things Must Pass" was ranked 79th on "The Times" "The 100 Best Albums of All Time" in 1993, while "Rolling Stone" placed it 368th on the magazine's 2020 update of "The 500 Greatest Albums of All Time". In 2014, "All Things Must Pass" was inducted into the Grammy Hall of Fame.


title: All Things Must Pass

text: Music journalist John Harris said George Harrison's "journey" to making "All Things Must Pass" started when he visited America in late 1968, after the acrimonious sessions for the Beatles' self-titled double album (also known as the "White Album"). At Woodstock in November, Harrison started a long-lasting friendship with Bob Dylan and experienced a creative equality with the Band that contrasted with John Lennon and Paul McCartney's dominance in the Beatles. He also wrote more songs, renewing his interest in the guitar after three years studying the Indian sitar. As well as being one of the few musicians to co-write songs with Dylan, Harrison had recently collaborated with Eric Clapton on "Badge", which became a hit single for Cream in the spring of 1969.


title: All Things Must Pass

text: Once back in London, and with his compositions continually overlooked for inclusion on releases by the Beatles, Harrison found creative fulfilment in extracurricular projects that, in the words of his musical biographer, Simon Leng, served as an "emancipating force" from the restrictions imposed on him in the band. His activities during 1969 included producing Apple signings Billy Preston and Doris Troy, two American singer-songwriters whose soul and gospel roots proved as influential on "All Things Must Pass" as the music of the Band. He also recorded with artists such as Leon Russell and Jack Bruce, and accompanied Clapton on a short tour with Delaney Bramlett's soul revue, Delaney & Bonnie and Friends. In addition, Harrison identified his involvement with the Hare Krishna movement as providing "another piece of a jigsaw puzzle" that represented the spiritual journey he had begun in 1966. As well as embracing the Vaishnavist branch of Hinduism, Harrison produced two hit singles during 1969–70 by the UK-based devotees, credited as Radha Krishna Temple (London). In January 1970, Harrison invited American producer Phil Spector to participate in the recording of Lennon's Plastic Ono Band single "Instant Karma!" This association led to Spector being given the task of salvaging the Beatles' "Get Back" rehearsal tapes, released officially as the "Let It Be" album (1970), and later co-producing "All Things Must Pass".


title: All Things Must Pass

text: Harrison first discussed the possibility of making a solo album of his unused songs during the ill-tempered "Get Back" sessions, held at Twickenham Film Studios in January 1969. On 25 February, his 26th birthday, Harrison recorded demos of "All Things Must Pass" and two other compositions that had received little interest from Lennon and McCartney at Twickenham. With the inclusion of one of these songs – "Something" – and "Here Comes the Sun" on the Beatles' "Abbey Road" album in September 1969, music critics acknowledged that Harrison had bloomed into a songwriter to match Lennon and McCartney. He began talking publicly about recording his own album from the autumn of 1969, but only committed to the idea after McCartney announced that he was leaving the Beatles in April 1970. Included as part of the promotional material for McCartney's self-titled solo album, this announcement signalled the band's break-up. Despite having already made "Wonderwall Music" (1968), a mostly instrumental soundtrack album, and the experimental "Electronic Sound" (1969), Harrison considered "All Things Must Pass" to be his first solo album.


title: All Things Must Pass

text: Spector first heard Harrison's stockpile of unreleased songs early in 1970, when visiting his recently purchased home, Friar Park. "It was endless!" Spector later recalled of the recital, noting the quantity and quality of Harrison's material. Harrison had accumulated songs from as far back as 1966; both "Isn't It a Pity" and "Art of Dying" date from that year. He co-wrote at least two songs with Dylan while in Woodstock, one of which, "I'd Have You Anytime", appeared as the lead track on "All Things Must Pass". Harrison also wrote "Let It Down" in late 1968.


title: All Things Must Pass

text: He introduced the Band-inspired "All Things Must Pass", along with "Hear Me Lord" and "Let It Down", at the Beatles' "Get Back" rehearsals, only to have them rejected by Lennon and McCartney. The tense atmosphere at Twickenham fuelled another "All Things Must Pass" song, "Wah-Wah", which Harrison wrote in the wake of his temporary departure from the band on 10 January 1969. Harrison later confirmed that the song was a "swipe" at McCartney.<ref name="White/Musician p 55">Timothy White, "George Harrison – Reconsidered", "Musician", November 1987, p. 55.</ref> "Run of the Mill" followed soon afterwards, its lyrics focusing on the failure of friendships within the Beatles amid the business problems surrounding their Apple organisation. Harrison's musical activities outside the band during 1969 inspired other songs on the album: "What Is Life" came to him while driving to a London session that spring for Preston's "That's the Way God Planned It" album; "Behind That Locked Door" was Harrison's message of encouragement to Dylan, written the night before the latter's comeback performance at the Isle of Wight Festival; and Harrison began "My Sweet Lord" as an exercise in writing a gospel song during Delaney & Bonnie's stopover in Copenhagen in December 1969.


title: All Things Must Pass

text: "I Dig Love" resulted from Harrison's early experiments with slide guitar, a technique to which Bramlett had introduced him, in order to cover for guitarist Dave Mason's departure from the Friends line-up. Other songs on "All Things Must Pass", all written during the first half of 1970, include "Awaiting on You All", which reflected Harrison's adoption of chanting through his involvement with the Hare Krishna movement; "Ballad of Sir Frankie Crisp (Let It Roll)", a tribute to the original owner of Friar Park; and "Beware of Darkness". The latter was another song influenced by Harrison's association with the Radha Krishna Temple, and was written while some of the devotees were staying with him at Friar Park.


title: All Things Must Pass

text: On 1 May 1970, shortly before beginning work on "All Things Must Pass", Harrison attended a Dylan session in New York, during which he acquired a new song of Dylan's, "If Not for You". Harrison wrote "Apple Scruffs", which was one of a number of Dylan-influenced songs on the album, towards the end of production on "All Things Must Pass", as a tribute to the diehard fans who had kept a vigil outside the studios where he was working.


title: All Things Must Pass

text: According to Leng, "All Things Must Pass" represents the completion of Harrison's "musical-philosophical circle", in which his 1966–68 immersion in Indian music found a Western equivalent in gospel music. While identifying hard rock, country and Motown among the other genres on the album, Leng writes of the "plethora of new sounds and influences" that Harrison had absorbed through 1969 and now incorporated, including "Krishna chants, gospel ecstasy, Southern blues-rock [and] slide guitar". The melodies of "Isn't It a Pity" and "Beware of Darkness" have aspects of Indian classical music, and on "My Sweet Lord", Harrison combined the Hindu bhajan tradition with gospel. Rob Mitchum of "Pitchfork" describes the album as "dark-tinged Krishna folk-rock".


title: All Things Must Pass

text: The recurrent lyrical themes are Harrison's spiritual quest, as it would be throughout his solo career, and friendship, particularly the failure of relationships among the Beatles. Music journalist Jim Irvin says that Harrison sings of "deep love – for his faith, for life and the people around him". He adds that the songs are performed with "tension and urgency" as if "the whole thing is happening on the edge of a canyon, an abyss into which the '60s is about to topple".<ref name="Irvin/RBP">Jim Irvin, "George Harrison: "All Things Must Pass" (Apple)", Rock's Backpages, 2000 (subscription required; retrieved 28 November 2020).</ref>


title: All Things Must Pass

text: On the original LP's third disc, titled "Apple Jam", four of the five tracks – "Out of the Blue", "Plug Me In", "I Remember Jeep" and "Thanks for the Pepperoni" – are improvised instrumentals built around minimal chord changes, or in the case of "Out of the Blue", a single-chord riff. The title for "I Remember Jeep" originated from the name of Clapton's dog, Jeep, and "Thanks for the Pepperoni" came from a line on a Lenny Bruce comedy album. In a December 2000 interview with "Billboard" magazine, Harrison explained: "For the jams, I didn't want to just throw [them] in the cupboard, and yet at the same time it wasn't part of the record; that's why I put it on a separate label to go in the package as a kind of bonus."


title: All Things Must Pass

text: The only vocal selection on "Apple Jam" is "It's Johnny's Birthday", sung to the tune of Cliff Richard's 1968 hit "Congratulations", and recorded as a gift from Harrison to Lennon to mark the latter's 30th birthday. Like all the "free" tracks on the bonus disc, "It's Johnny's Birthday" carried a Harrison songwriting credit on the original UK release of "All Things Must Pass",<ref name="Smith/NME">Alan Smith, "George Harrison: "All Things Must Pass" (Apple)", "NME", 5 December 1970, p. 2; available at Rock's Backpages (subscription required; retrieved 15 July 2012).</ref> while on the first US copies, the only songwriting information on the record's face labels was the standard inclusion of a performing rights organisation, BMI. In December 1970, "Congratulations" songwriters Bill Martin and Phil Coulter claimed royalties, with the result that the composer's credit for Harrison's track was swiftly changed to acknowledge Martin and Coulter.


title: All Things Must Pass

text: Aside from the seventeen songs issued on discs one and two of the original album, Harrison recorded at least twenty other songs – either in demo form for Spector's benefit, just before recording got officially under way in late May, or as outtakes from the sessions. In a 1992 interview, Harrison commented on the volume of material: "I didn't have many tunes on Beatles records, so doing an album like "All Things Must Pass" was like going to the bathroom and letting it out."


title: All Things Must Pass

text: Harrison's solo performance for Spector included six compositions that, until their inclusion on the Deluxe editions of the album's 50th anniversary box set, were only available on bootleg compilations, such as "Beware of ABKCO!" The six songs are: "Window, Window", another song turned down by the Beatles in January 1969; "Everybody, Nobody", the melody of which Harrison adapted for "Ballad of Sir Frankie Crisp"; "Nowhere to Go", a second Harrison–Dylan collaboration from November 1968 (originally known as "When Everybody Comes to Town"); and "Cosmic Empire", "Mother Divine" and "Tell Me What Has Happened to You". Also from this performance were two tracks that Harrison returned to in later years. He completed "Beautiful Girl" for inclusion on his 1976 album "Thirty Three & 1/3". "I Don't Want to Do It", written by Dylan, was Harrison's contribution to the soundtrack for the 1985 film "Porky's Revenge!"


title: All Things Must Pass

text: During the main sessions for "All Things Must Pass", Harrison taped or routined early versions of "You", "Try Some, Buy Some" and "When Every Song Is Sung". Harrison offered these three songs to Ronnie Spector in February 1971 for her proposed solo album on Apple Records. After releasing his own versions of "Try Some, Buy Some" and "You", he offered "When Every Song Is Sung" (since retitled "I'll Still Love You") to former bandmate Ringo Starr for his 1976 album "Ringo's Rotogravure". "Woman Don't You Cry for Me", written in December 1969 as his first slide-guitar composition, was another song that Harrison revisited on "Thirty Three & 1/3". Harrison included "I Live for You" as the only all-new bonus track on the 2001 reissue of "All Things Must Pass". "Down to the River" remained unused until he reworked it as "Rocking Chair in Hawaii" for his final studio album, the posthumously released "Brainwashed" (2002).


title: All Things Must Pass

text: Harrison recorded the following songs during the "All Things Must Pass" sessions but, until their inclusion on some editions of the 50th anniversary box set, they had never received an official release:


title: All Things Must Pass

text: The precise line-up of contributing musicians is open to conjecture. Due to the album's big sound and the many participants on the sessions, commentators have traditionally referred to the grand, orchestral nature of this line-up. In 2002, music critic Greg Kot described it as "a who's who of the decade's rock royalty", while Harris writes of the cast taking on "a Cecil B. De Mille aspect".


title: All Things Must Pass

text: The musicians included Bobby Whitlock, Jim Gordon, Carl Radle, Bobby Keys, Jim Price and Dave Mason, all of whom had recently toured with Delaney & Bonnie. Along with Eric Clapton, there were also musicians whose link with Harrison went back some years, such as Ringo Starr, Billy Preston and German bassist Klaus Voormann, the latter formerly of Manfred Mann and a friend since the Beatles' years in Hamburg. Handling much of the keyboard work with Whitlock was Gary Wright, who went on to collaborate regularly with Harrison throughout the 1970s.


title: All Things Must Pass

text: From within Apple's stable of musicians, Harrison recruited the band Badfinger, future Yes drummer Alan White, and Beatles assistant Mal Evans on percussion. Badfinger drummer Mike Gibbins' powerful tambourine work led to Spector giving him the nickname "Mr Tambourine Man", after the Dylan song. According to Gibbins, he and White played most of the percussion parts on the album, "switch[ing] on tambourine, sticks, bells, maracas ... whatever was needed". Gibbins' bandmates Pete Ham, Tom Evans and Joey Molland provided rhythm acoustic-guitar parts that, in keeping with Spector's Wall of Sound principles, were to be "felt but not heard". Other contributors included Procol Harum's Gary Brooker, on keyboards, and pedal steel player Pete Drake, the last of whom Harrison flew over from Nashville for a few days of recording.


title: All Things Must Pass

text: Adding to his and Badfinger's acoustic guitars on some "All Things Must Pass" tracks, Harrison invited Peter Frampton to the sessions. Although uncredited for his contributions, Frampton also played acoustic guitar on the country tracks featuring Drake; he and Harrison later overdubbed further rhythm parts on several songs. Orchestral arranger John Barham also attended the sessions, occasionally contributing on harmonium and vibraphone. Simon Leng consulted Voormann, Barham and Molland for his chapter covering the making of "All Things Must Pass" and credits Tony Ashton as one of the keyboard players on both versions of "Isn't It a Pity". Ginger Baker, Clapton's former bandmate in Cream and Blind Faith, played drums on the jam track "I Remember Jeep".


title: All Things Must Pass

text: For contractual reasons, on UK pressings of "All Things Must Pass", Clapton's participation on the first two discs remained unacknowledged for many years, although he was listed among the musicians appearing on the "Apple Jam" disc. A pre-Genesis Phil Collins played congas at a session for "Art of Dying". Harrison gave him a credit on the 30th anniversary reissue of the album, but Collins' playing does not appear on the track. Unsubstantiated claims exist regarding guest appearances by John Lennon, Maurice Gibb and Pink Floyd's Richard Wright. In addition, for some years after the album's release, rumours claimed that the Band backed Harrison on the country-influenced "Behind That Locked Door".


title: All Things Must Pass

text: Music historian Richie Unterberger comments that, typical of the Beatles' solo work, the precise dates for the recording of "All Things Must Pass" are uncertain, a situation that contrasts with the "meticulous documentation" available for the band's studio activities. According to a contemporaneous report in "Beatles Monthly", pre-production began on 20 May 1970, the same day as the "Let It Be" film's world premiere. Authors Chip Madinger and Mark Easter cite this as the probable date for Harrison's run-through of songs for Spector. John Leckie, who worked as an EMI tape operator in 1970, recalled that the sessions were preceded by a week of Harrison recording demos, accompanied by Starr and Voormann. The first formal recording session for the album took place at EMI Studios (now Abbey Road Studios) on 26 May, although Unterberger states that "much or all" of that day's recording was not used.


title: All Things Must Pass

text: The majority of the album's backing tracks were taped on 8-track at EMI between late May and the second week of June. The recording engineer was Phil McDonald, with Leckie as his tape operator. Spector recorded most of the backing tracks live, in some cases featuring multiple drummers and keyboard players, and as many as five rhythm guitarists. In Whitlock's description, the studio space was a "massive room... two sets of drums on risers, a piano, organ and other keyboards to the wall on the left, up against the far wall on the right were Badfinger, and in the centre were George and Eric and the guitars". Molland recalled that, to achieve the resonant acoustic guitar sound on songs such as "My Sweet Lord", he and his bandmates were partitioned off inside a plywood structure.<ref name="Simons/AcousticGuitar">David Simons, "The Unsung Beatle: George Harrison's behind-the-scenes contributions to the world's greatest band", "Acoustic Guitar", February 2003, p. 60 (archived version retrieved 6 May 2021).</ref>


title: All Things Must Pass

text: According to Voormann, Harrison set up a small altar containing figurines and burning incense, creating an atmosphere in which "everyone felt good." Having suffered in the Beatles at McCartney's tendency to dictate how each musician should play, Harrison allowed the contributors the freedom to express themselves in their playing. All the participants later recalled the project favourably.


title: All Things Must Pass

text: The first song recorded was "Wah-Wah". During the playback, Harrison was shocked at the amount of echo Spector had added, since the performance had sounded relatively dry through the musicians' headphones.<ref name="Snow/Mojo p 70">Mat Snow, "George Harrison: Quiet Storm", "Mojo", November 2014, p. 70.</ref> Voormann immediately "loved" the sound, as did Clapton; Harrison later said: "I grew to like it."


title: All Things Must Pass

text: "What Is Life", versions one and two of "Isn't It a Pity", and the songs on which Drake participated, such as "All Things Must Pass" and "Ballad of Sir Frankie Crisp", were among the other tracks taped then. Preston recalled that Spector's approach was to have several keyboards playing the same chords in different octaves, to strengthen the sound. Preston said he had reservations about this approach but "with George's stuff it was perfect." According to White, a "really good bond" formed among the musicians; the main sessions lasted three weeks and "There was no mucking around." Badfinger participated in five sessions until early June, when they left for an engagement in Hawaii. Molland said they would record two or three songs each day, and that Harrison ran the sessions, rather than Spector. Wright recalls that as the project progressed, the large cast of musicians was pared down. He says that the later recording sessions featured a core group of himself, Harrison, Clapton, Starr or Gordon on drums, and Voormann or Radle playing bass.


title: All Things Must Pass

text: The "Apple Jam" instrumentals "Thanks for the Pepperoni" and "Plug Me In", featuring Harrison, Clapton and Mason each taking extended guitar solos, were recorded later in June, at the Beatles' Apple Studio, and marked the formation of Clapton, Whitlock, Radle and Gordon's short-lived band Derek and the Dominos. Harrison also contributed on guitar to both sides of the band's debut single, "Tell the Truth" and "Roll It Over", which were produced by Spector and recorded at Apple on 18 June. The eleven-minute "Out of the Blue" featured contributions from Keys and Price, both of whom began working with the Rolling Stones around this time. According to Keys in his autobiography "Every Night's a Saturday Night", he and Price added their horns parts to songs such as "What Is Life" after the backing tracks had been recorded. He recalls that Harrison and Price worked out the album's horn arrangements together in the studio.


title: All Things Must Pass

text: In his 2010 autobiography, Whitlock describes the "All Things Must Pass" sessions as "spectacular in every way", although he says that the project was informed by Harrison's preoccupation with his former bandmates and ongoing difficulties with Klein and Apple. Wright recalls Harrison's discomfort when Lennon and Yoko Ono visited the studio, saying: "His vibe was icy as he bluntly remarked, 'What are you doing here?' It was a very tense moment..."<ref name="Wright/DailyBeast">Gary Wright, "When Gary Wright Met George Harrison: Dream Weaver, John and Yoko, and More (Book Excerpt)", "The Daily Beast", 29 September 2014 (archived version retrieved 30 October 2020).</ref> According to Whitlock, Harrison played the couple some of his new music and Lennon "got his socks blown off", much to Harrison's satisfaction. The presence of Harrison's friends from the Radha Krishna Temple caused disruption during the sessions, according to Gibbins and Whitlock. While echoing this view, Spector cited this as an example of how Harrison inspired tolerance, since the Temple devotees could be "the biggest pain in the necks in the world" yet Harrison "was spiritual and you knew it", which "made you like those Krishnas".


title: All Things Must Pass

text: Although Harrison had estimated in a New York radio interview that the solo album would take no more than eight weeks to complete,<ref name="ContraBand/Pity">"It's Really a Pity", Contra Band Music, 15 March 2012 (retrieved 19 January 2013).</ref> recording, overdubbing and mixing on "All Things Must Pass" lasted for five months, until late October. Part of the reason for this was Harrison's need to make regular visits to Liverpool to tend to his mother, who had been diagnosed with cancer. Spector's erratic behaviour during the sessions was another factor affecting progress on the album. Harrison later referred to Spector needing "eighteen cherry brandies" before he could start work, a situation that forced much of the production duties onto Harrison alone. At one point, Spector fell over in the studio and broke his arm. He subsequently withdrew from the project due to what Madinger and Easter term "health reasons".


title: All Things Must Pass

text: Early in July, work on "All Things Must Pass" was temporarily brought to a halt as Harrison headed north to see his dying mother for the last time. EMI's growing concerns regarding studio costs added to the pressure on Harrison. A further complication, according to Harris, was that Clapton had become infatuated with Harrison's wife, Pattie Boyd, and adopted a heroin habit as a means of coping with his guilt.


title: All Things Must Pass

text: In Spector's absence, Harrison completed the album's backing tracks and carried out preliminary overdubs, doing much of the latter work at Trident Studios with former Beatles engineer Ken Scott. Harrison completed this stage of the project on 12 August. He then sent early mixes of many of the songs to his co-producer, who was convalescing in Los Angeles, and Spector replied by letter dated 19 August with suggestions for further overdubs and final mixing. Among Spector's comments were detailed suggestions regarding "Let It Down", the released recording of which Madinger and Easter describe as "the best example of Spector running rampant with the 'Wall of Sound, and an urging that he and Harrison carry out further work on the songs at Trident because of its 16-track recording desk. Spector also made suggestions about overdubbing more instruments and orchestration on some tracks, but encouraged Harrison to focus on his vocals and avoid hiding his voice behind the instrumentation.


title: All Things Must Pass

text: John Barham's orchestrations were recorded during the next phase of the album's production, starting in early September, along with many further contributions from Harrison, such as his lead vocals, slide guitar parts and multi-tracked backing vocals (the latter credited to "the George O'Hara-Smith Singers"). Barham stayed at Friar Park and created the music scores from melodies that Harrison sang or played to him on piano or guitar. Leng recognises the arrangements on "pivotal" songs such as "Isn't It a Pity", "My Sweet Lord", "Beware of Darkness" and "All Things Must Pass" as important elements of the album's sound.


title: All Things Must Pass

text: According to Scott, he and Harrison worked alone for "weeks and months" on the overdubs, as Harrison recorded the backing vocals and lead guitar parts. In some cases, they slowed the tape down to allow Harrison to sing the high-register vocal lines. Spector returned to London for the later mixing stage. Scott says that Spector would visit Trident for a few hours and make suggestions on their latest mixes, and that some of Spector's suggestions were followed, others not.<ref name="Fanelli/GW">Damian Fanelli, "Interview: Abbey Road Engineer Ken Scott Discusses Recording The Beatles' White Album, Says Sessions Were a 'Blast'", "Guitar World", 30 April 2012 (archived version retrieved 14 November 2020).</ref><ref name="Burns/RBMA">Todd L. Burns (host), "Ken Scott: Red Bull Music Academy Lecture (New York)", redbullmusicacademy.com, 2013 (retrieved 14 November 2020).</ref>


title: All Things Must Pass

text: Spector has praised Harrison's guitar and vocal work on the overdubs, saying: "Perfectionist is not the right word. Anyone can be a perfectionist. He was beyond that ..." Harrison's approach to slide guitar incorporated aspects of both Indian music and the blues tradition; he developed a precise playing style and sound that partly evoked the fretless Indian sarod. From its introduction on "All Things Must Pass", Leng writes, Harrison's slide guitar became his musical signature – "as instantly recognisable as Dylan's harmonica or Stevie Wonder's".


title: All Things Must Pass

text: On 9 October, while carrying out final mixing at EMI, Harrison presented Lennon with the recently recorded "It's Johnny's Birthday". The track featured Harrison on vocals, harmonium and all other instruments, and vocal contributions from Mal Evans and assistant engineer Eddie Klein. That same month, Harrison finished his production work on Starr's 1971 single "It Don't Come Easy", the basic track for which they had recorded with Voormann in March at Trident. Aside from his contributions to projects by Starr, Clapton, Preston and Ashton during 1970, over the following year Harrison would reciprocate the help that his fellow musicians on "All Things Must Pass" had given him by contributing to albums by Whitlock, Wright, Badfinger and Keys.


title: All Things Must Pass

text: On 28 October, Harrison and Boyd arrived in New York, where he and Spector carried out final preparation for the album's release, such as sequencing. Harrison harboured doubts about whether all the songs they had finished were worthy of inclusion. Allan Steckler, Apple Records' US manager, was "stunned" by the quality of the material and assured Harrison that he should issue all the songs.


title: All Things Must Pass

text: Spector's signature production style gave "All Things Must Pass" a heavy, reverb-oriented sound, which Harrison came to regret. Whitlock says that, typical of Spector's Wall of Sound, there was some reverb on the original recordings but the effect was mostly added later. In music journalist David Cavanagh's description, once abandoned by his co-producer midway through the summer, Harrison had "proceeded to out-Spector Spector" through the addition of further echo and multiple overdubs. Voormann has said that Harrison "cluttered" the album's sound in this way, and "admitted later that he put too much stuff on top".<ref name="Cavanagh/Uncut p 41">David Cavanagh, "George Harrison: The Dark Horse", "Uncut", August 2008, p. 41.</ref> According to Leckie, however, the reverb on tracks such as "My Sweet Lord" and "Wah-Wah" was recorded onto tape at the time, because Spector insisted on hearing the effects in place as they worked on the tracks. Outtakes from the recording sessions became available on bootlegs in the 1990s. One such unofficial release, the three-disc "The Making of All Things Must Pass", contains multiple takes of some of the songs on the album, providing a work-in-progress on the sequence of overdubs onto the backing tracks.