text:
Golden Triangle
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Golden Triangle may refer to:
Contents
[hide]
1 Asia
2 Australia
3 Europe
4 North America
4.1 Canada
4.2 United States
4.3 Mexico
5 Other uses
Asia[edit]
Golden Triangle (Southeast Asia), named for its opium production
Golden Triangle (Yangtze), named for its rapid economic development
Golden Triangle (India), comprising the popular tourist spots Delhi, Agra and Jaipur
Golden Triangle of Jakarta, the main central business district of Jakarta, Indonesia
Golden Triangle (Kuala Lumpur), a commercial quarter in Kuala Lumpur, Malaysia
Minnan Golden Triangle, economic production area in the Fujian province of China, includes Xiamen, Quanzhou and Zhangzhou
Golden Triangle, nickname for Liaoning in northeastern China, named for its superior geographical location
Australia[edit]
Golden Triangle (Brisbane), nickname for an area in the Brisbane central business district
Golden Triangle (New South Wales), agricultural region bounded roughly by the towns of Narrabri, Moree, and Inverell
Europe[edit]
Golden Triangle (Algarve), the most affluent tourist area of the Algarve, including Vale do Lobo, Quinta do Lago and one other town
Golden Triangle, Essex, an affluent area in the Epping Forest district between Chigwell, Loughton and Buckhurst Hill
Golden Triangle (Finland), an informal area between the cities of Helsinki, Turku, and Tampere
Golden Triangle (Cheshire), named for its affluence
Golden Triangle (Norwich), popular, affluent residential quarter
Golden Triangle (Yorkshire), the wealthy property triangle of North Leeds, Harrogate and York
Golden triangle (universities), prestigious UK universities prominent in research
Golden Triangle of Art, formed by three prominent museums in Madrid, Spain
North America[edit]
Canada[edit]
Golden Triangle (Canada), named for the town of Golden, British Columbia, which forms one point
Golden Triangle, Ottawa, named for the property triangle in Ottawa between Elgin Street and the Rideau Canal
United States[edit]
Northwestern United States
Golden Triangle (Rocky Mountains), flyfishing area in the Montana/Wyoming/Idaho region
Golden Triangle, Denver, an informal name for a downtown Denver neighborhood in Colorado
California
Golden Triangle, part of the airspace at the R-2508 Special Use Airspace Complex in California
Golden Triangle, in Saratoga, California is an area bounded by Saratoga Avenue, Saratoga-Sunnyvale Road and Cox Avenue
Golden Triangle, a region in San Diego formed by the I-5, I-805, and SR 52 that contains University City
Southern United States
Golden Triangle (Mississippi)
Golden Triangle (Texas), an area of Southeast Texas
Golden Triangle (Kentucky), the area outlined by Lexington, Louisville and Cincinnati
Midwestern United States
Golden Triangle (Wisconsin), an informal name for the urban centers of the Chippewa Valley
Eastern United States
Golden Triangle (Massachusetts), a large retail district in the towns of Framingham and Natick
Golden Triangle (New Hampshire), a heavily populated region in the Merrimack valley between the cities of Manchester, Nashua and Salem
Golden Triangle (Pittsburgh), named for its commercial wealth
Golden Triangle (Washington, D.C.), a promotionally named section of Washington D.C.'s central business district
Mexico[edit]
Golden Triangle, a region in the Mexican north-west controlled by the infamous Sinaloa Cartel
Other uses[edit]
Golden triangle (mathematics), in reference to the golden ratio
Golden Triangle (train), a train operated by the Pennsylvania Railroad. See List of rail accidents (1930–49)
the Golden Triangle, a named frequency of the PATrain commuter rail service
Golden Triangles, another name for the Triforce in the Legend of Zelda series of video games
Golden Triangle (Internet Marketing), an Internet marketing technique that uses the heat-mapping of viewer's eyes
"Golden Triangle", a song by Jolin Tsai from the 2007 album Agent J
"The Golden Triangle", a season 1 episode of MacGyver
This disambiguation page lists articles associated with the title Golden Triangle.
If an internal link led you here, you may wish to change the link to point directly to the intended article.
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text:
I Could Have Danced All Night
From Wikipedia, the free encyclopedia
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"I Could Have Danced All Night"
Julie Andrews (Eliza), Rex Harrison (Higgins) in My Fair Lady
From the musical My Fair Lady performed by Julie Andrews (Broadway)
Audrey Hepburn (film-
dubbed by:) Marni Nixon
Published
1956 (1956)
Genre
Musical theatre
Songwriter(s)
Composer: Frederick Loewe
Lyricist: Alan Jay Lerner
Track listing
show
Act I
"Overture"
"Busker Sequence"
"Why Can't the English?"
"Wouldn't It Be Loverly?"
"With a Little Bit of Luck"
"I'm an Ordinary Man"
"With a Little Bit of Luck (Reprise)"
"Just You Wait"
"The Servants' Chorus (Poor Professor Higgins)"
"The Rain in Spain"
"I Could Have Danced All Night"
"Ascot Gavotte"
"On the Street Where You Live"
"Eliza's Entrance/Embassy Waltz"
show
Act II
"You Did It"
"Just You Wait (Reprise)"
"On the Street Where You Live (Reprise)"
"Show Me"
"The Flower Market/Wouldn't It Be Loverly? (Reprise)"
"Get Me to the Church on Time"
"A Hymn to Him"
"Without You"
"I've Grown Accustomed to Her Face"
"I Could Have Danced All Night (Reprise) / Finale"
"I Could Have Danced All Night" is a song from the musical My Fair Lady, with music written by Frederick Loewe and lyrics by Alan Jay Lerner,[1] published in 1956. The song is sung by the musical's heroine, Eliza Doolittle, expressing her exhilaration and excitement after an impromptu dance with her tutor, Henry Higgins - in the small hours of the morning. In a counterpoint during the second of 3 rounds, two maids and the housekeeper, Mrs. Pearce, urge Eliza to go to bed, but she ignores them.
It was first performed by Julie Andrews in the original Broadway production of My Fair Lady.[1] In the 1964 film adaptation of the musical, the song was sung by Marni Nixon, dubbing the singing voice of Audrey Hepburn, who played Eliza Doolittle.[2] In 2004, Nixon's version finished at #17 on AFI's 100 Years...100 Songs survey of top tunes in American cinema.
Hit versions of the song were recorded by Sylvia Syms, Dinah Shore, Angélica María, Ben E. King as an ATCO single, Frank Sinatra, Rosemary Clooney, and Jamie Cullum. It was featured in The Birdcage[3] sung by Nathan Lane, Hank Azaria, Gene Hackman, Robin Williams and Dianne Wiest. Many actresses have also sung the song in the stage version of the musical including Martine McCutcheon, Laura Michelle Kelly, Amy Nuttall, Lisa O'Hare, and Lauren Ambrose.
Audrey Hepburn in My Fair Lady
Peggy Lee did a Cha-cha-cha version on her 1960 album Latin ala Lee!.
Andy Williams covered the song on his 1964 album The Great Songs from My Fair Lady and Other Broadway Hits.[4] Shirley Bassey recorded and released this song on two 1965 albums, including "Shirley Stops The Shows" released in the UK, and 'Shirley Bassey Belts The Best' released in the USA. Petula Clark recorded a version for her 1968 album The Other Man's Grass Is Always Greener.[5]
The song was performed by Jane Powell in the 1959 NBC television special Sunday Showcase "Give My Regards to Broadway",[6] for which a kinescope recording still exists.
In 1976, Florence Henderson performed the song on The Brady Bunch Variety Hour.
The song was performed by Jayma Mays as her character Emma Pillsbury on the FOX television show Glee in the episode "Mash-Up".[7]
I Could Have Danced All Night was performed by young British soprano Hollie Steel during her audition on Britain's Got Talent. She later recorded the song on her debut album.[8][9]
Noted Wagnerian soprano Birgit Nilsson recorded the song for the 1960 gala performance recording of Johann Strauss's operetta Die Fledermaus on the Decca/London label. Herbert von Karajan conducted the recording of the operetta, but the conductor of this excerpt, as well as that of most of the other gala excerpts included, is not identified.
Covers and parodies[edit]
On the children's show Sesame Street, Count von Count, his girlfriend the Countess, and her mother sing a song called "I Could Have Counted All Night", which spoofs "I Could Have Danced All Night". [10]
References[edit]
^ Jump up to: a b "'My Fair Lady' Listing InternetBroadwayDatabase, accessed August 23, 2011
Jump up ^ "'My Fair Lady' (1964) - Soundtracks" Internet Movie Database, accessed August 23, 2011
Jump up ^ The Birdcage (1996) - Soundtracks on Internet Movie Database
Jump up ^ "'Call Me Irresposible/My Fair Lady' Review and Tracks" AllMusic.com, accessed August 23, 2011
Jump up ^ "'The Other Man's Grass Is Always Greeener' Review and Tracks" AllMusic.com, accessed August 23, 2011
Jump up ^ "'Sunday Showcase' Give My Regards to Broadway (1959) - Soundtracks" Internet Movie Database, accessed August 23, 2011
Jump up ^ "'Glee'" Mash-Up (2009) - Soundtracks" Internet Movie Database, accessed August 23, 2011
Jump up ^ James Tapper (2009-04-26). "How Britain's Got Talent's little star almost lost a lung | Mail Online". Dailymail.co.uk. Retrieved 2011-08-23.
Jump up ^ "Hollie Steel Online Store". Townsend-records.co.uk. 2010-05-24. Retrieved 2011-08-23.
Jump up ^ "I Could Have Counted All Night"
External links[edit]
"I Could Have Danced All Night" from "My Fair Lady" on YouTube, 2001 London revival
Kristin Chenoweth: I Could Have Danced All Night on YouTube, from Kristin Chenoweth album Coming Home
Lauren Performs I Could Have Danced All Night - Over The Rainbow - Episode 17 BBC One on YouTube, BBC One Over the Rainbow feat. Lauren Samuels
Frank Sinatra - I Could Have Danced All Night - feat. Billy May and His Orchestra on YouTube, Frank Sinatra feat. Billy May & His Orchestra
Mantovani - I Could Have Danced All Night on YouTube, Mantovani & His Orchestra (instrumental)
Lyrics of this song at MetroLyrics
hide
v
t
e
My Fair Lady by Frederick Loewe and Alan Jay Lerner (Lerner and Loewe)
Characters
Eliza Doolittle
Source
Pygmalion (1912 play) by George Bernard Shaw
Pygmalion (1938 film) by George Bernard Shaw adapted by W. P. Lipscomb and Cecil Lewis
Films
My Fair Lady (1964 film)
The Opening of Misty Beethoven (1976)
Galatea[ru] (1977)
Man Pasand (1980)
Albums
My Fair Lady (1956 Broadway cast recording)
My Fair Lady (1956 Shelly Manne album)
My Fair Lady (1958 Oscar Peterson Trio album)
Nat King Cole Sings My Fair Lady (1963 album)
My Fair Lady Loves Jazz (1964 Billy Taylor album)
The Great Songs from "My Fair Lady" and Other Broadway Hits (1964 Andy Williams album)
Musical numbers
"Wouldn't It Be Loverly? "
"With a Little Bit of Luck"
"The Rain in Spain"
"I Could Have Danced All Night"
"On the Street Where You Live"
"Get Me to the Church on Time"
"I've Grown Accustomed to Her Face"
Television
"My Fair Laddy"
"One If by Clam, Two If by Sea"
Selfie
Related
The Street Where I Live
Retrieved from "https://en.wikipedia.org/w/index.php?title=I_Could_Have_Danced_All_Night&oldid=848041608"
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Songs with lyrics by Alan Jay Lerner
Ella Fitzgerald songs
Andy Williams songs
Songs from My Fair Lady
Songs about dancing
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Knapp's relational development model
From Wikipedia, the free encyclopedia
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This article needs more links to other articles to help integrate it into the encyclopedia. Please help improve this article by adding links that are relevant to the context within the existing text. (November 2014) (Learn how and when to remove this template message)
Knapp's relational development model portrays relationship development as a ten step process, broken into two phases. Created by and named after communication scholar Mark L. Knapp, the model suggests that all of the steps should be done one at a time, in sequence, to make sure they are effective. However, not every relationship will go through these stages of development in the same way.[1] Compared to DeVito's six-stage model of relational development,[2] Knapp's model is far more prescriptive and detailed, but also presupposes that the relationship will ultimately dissolve, as evident in the five "coming apart" stages that make up the second half of the model. However, Knapp himself has said that his model is also descriptive; the model describes what seems to happen, not necessarily what should happen. The model proposes that coming apart need not be seen as inherently bad, just as coming together need not be seen as inherently good.[3]:33
Couple showing signs of affection
The following stages are identified by the type of communication behavior that occurs in a given stage as well as the proportion of that type of communication behavior to another. In this case, proportion may constitute the frequency with which the acts occur or to the relative weight given to certain acts by those involved.[3]:34
Contents
[hide]
1 Phase of coming together
1.1 Initiation
1.2 Experimentation
1.3 Intensifying
1.4 Integration
1.5 Bonding
2 Phase of coming apart
2.1 Differentiating
2.2 Circumscribing
2.3 Stagnation
2.4 Avoidance
2.5 Termination
3 Summary of movement through the stages
3.1 Rate of movement
4 References
Phase of coming together[edit]
Initiation[edit]
Initiation is the first stage where individuals make their first impressions on each other. While a lot of important impressions are being processed, the actual initiation stage likely lasts less than 15 seconds. In this stage, individuals are trying to display their best selves. Also, we are observing the other person to learn about them and, therefore, reduce our own uncertainty. Physical appearance often plays a big role in this stage when it comes to forming first impressions.
The methods and messages used to initiate communication vary based on:[4]:18
The kind of relationship and whether or not the individuals have been through this stage before
The time allowed for the interaction
The amount of time since the last greeting
Situational or normative constraints
Special codes of particular groups
Experimentation[edit]
Experimentation is the stage where individuals begin to engage in self-disclosure to learn information about each other. The individuals use this stage to explore and get a feel for the relationship as well as one another.[5] Small talk is a common form of communication in this stage, as both parties use it to search for an area of common interest of experience. At this stage, relationships are generally pleasant, casual, and uncritical. Knapp has long emphasized that most relationships will not progress past this stage.[4]:19[3]:40
Intensifying[edit]
During the intensifying stage of Knapp's model, the two individuals will continue experimentations to determine whether there is mutual emotional affection and attachment. Whereas in the previous experimentation phase, conversation focused more on superficial topics such as discovering shared areas of interest and commonalities, in the intensifying stage the level of self-disclosure deepens. The breadth of topics discussed broadens and the depth in which each individual feels comfortable discussing those topics with the other becomes intimate and personal.
In this stage, certain behaviors, such as increasing one-on-one contact through more frequent communication (through face to face encounters, text, or phone calls), doing favors for a partner or offering gifts as tokens of affection, requesting commitment from a partner through direct definitional bid, personalized verbal expressions of affection such as "I love you" or assigning pet names such as "babe," and suggestive actions such as flirtation, gazing, or touching, may all emerge as methods of intensifying the connection between the two people.
Essential to the intensifying stage are "secret tests"[6] performed by each individual to ascertain whether his or her overtures are actually helpful in their intensification efforts. These tests most often manifest themselves through:
Endurance, in which a partner is placed in an unpleasant, inconvenient, or uncomfortable situation or respond to certain requests to determine his or her commitment to the relationship.
Public presentation during which a partner is introduced under a particular label such as "boyfriend" or "girlfriend" to see if they are comfortable with being identified in this manner.
Separation, which tests whether communication and feelings of affection will continue despite an inability to physically be together.
Third-party questioning, where one partner may attempt to find out the hidden feelings of the interested party indirectly by asking a friend to probe the person of interest for indication as to their depth of feeling and affection.
Triangle tests, in which one partner sees if they can elicit jealousy from the other partner when another person expresses interest in the person concocting the test.
While all five of these methods are common methods of testing intensification efforts, it's important to note that endurance, separation, and triangle tests are generally the least constructive, and can even be destructive when it comes to building the relationship.[7]:227–228
Integration[edit]
Once each individual feels confident, through their various intensification efforts, that mutual affection has been confirmed, the couple may begin to transition into the integration stage of their relationship. In addition to bonding, the integration stage makes up maintenance stage of a relationship. During this stage, the couple is fused and elements of their respective social identities, such as friends, belongings, and living spaces, are now shared. Other verbal and nonverbal manifestations of the integration include the couple seeing their relationship as special or unique in some way, the exchange of "trophies" for the other to wear or display, and potentially similarities in manner, dress, and verbal behavior can be seen.[4]:20 Today, another indicator of integration can be seen on social media sites where partners can be seen in each other's profile picture.[8] Additionally, the exclusive commitment each partner has for the other is generally solidified in this stage through even deeper self-disclosure and revealing of secrets, sex, and discussion of future plans.[7]:228
Bonding[edit]
The final stage of the coming together half of the relational model is bonding. This stage puts the relationship on public display and suggests that the relationship is exclusive. This stage often involves marriage or another type of public contract, though marriage is not necessary to successfully bond. There is usually a turning point that happens in this stage that signals a change in the relationship, making the relationship intimate. Reaching this stage does not guarantee that the relationship will remain bonded, though many intimate relationships will remain in this stage until divorce, death, or another type of separation.[7]:228–229
Phase of coming apart[edit]
Along with the coming together stages, all relationships will go through the coming apart stages of the relational development model, though some may skip steps (e.g. a sudden death terminating the relationship).
Differentiating[edit]
Differentiating is a process of disengaging or uncoupling. During this stage, differences between the relationship partners are emphasized and what was thought to be similarities begins to disintegrate. Instead of working together, partners quickly begin to become more individualistic in their attitudes. Conflict is a common form of communication during this stage; oftentimes, it acts as a way to test how much the other can tolerate something that may threaten the relationship. Knapp believes that differentiating can be the result of bonding too quickly; meaning, sufficient breadth and depth (see: Social penetration theory) was not established during the previous stages.[4]:23 However, differentiating is expected to happen in romantic relationships. A common solution to differentiating is for each partner to give the other some space, though extreme differentiating can lead to a damaged relationship.[7]:228–229
Circumscribing[edit]
Circumscribing sees a qualitative and quantitative decrease in information exchange. Communication is limited to safe topics. This stage is marked by less total communication in terms of number of interactions, depth and breadth of topics discussed, and communication occurs in shorter durations. Expressions of love and commitment also decrease.[4]:24
Stagnation[edit]
In the stagnation stage, what were once patterns in the relationship become ruts and people feel stuck or trapped in the relationship. Communication in this stage sees partners saying very little because they "know" how the other person will respond. Individuals will engage in imagined interactions to predict a conversation with their partner.[9] These imaginary dialogues can be either narratives ("I'll say this, and then she'll say this...") or perceived actual dialogues ("I'll do it." "You don't have to.").
At this stage, there is still some hope that the relationship can be revived. However, in many cases there are too many costs accumulating and, therefore, most do not stay at this stage for long. A key reason why individuals stay in this stage is to avoid the pain associated with terminating the relationship.[3]:45
Avoidance[edit]
While the stagnation stage sees partners continue to inhabit the same environment, the avoidance stage sees partners exist in separate physical environments. When actual avoidance cannot take place, however, partners will simply avoid each other while they're together, treating the other as if they didn't exist. Essentially, the individuals in the relationship become separate from one another physically, emotionally, and mentally. When there is communication, it is often marked by antagonism or unfriendliness ("I just don't want to see or talk to you").[4]:26 In addition to not spending time with one another, they both begin to avoid the other person's needs and start to focus solely on themselves.
Different forms of distancing are also common at this stage:[10]
Avoidance: preventing or reducing interaction during an encounter
Disengagement: hiding information and interacting in a less personal manner
Cognitive dissociation: disregarding messages and showing cognitive or emotional detachment
Termination[edit]
During the termination stage, both people that were in the relationship decide to end their connection with one another. No longer are they both receiving a mutually satisfying outcome from being with one another. Neither one of them is happy and the relationship must come to an end. In this model, this step is unavoidable and relationships can terminate at any time. Termination can occur due to physical separation, growing socially or psychologically apart, or the death of one of the partners. Communication in this stage is marked by distance (an attempt to put psychological and physical barriers between partners) and disassociation (messages that prepare one or both parties for their life without the other).[4]:26–27
Summary of movement through the stages[edit]
According to Knapp, movement through the stages has the following characteristics:[4]:32–35.
Movement is generally systematic and sequential. This does not suggest that the process is linear or unchangeable; the phenomena is never at rest and is continually in flux. People do generally follow the same pattern, however. Each stage contains important presuppositions for the next. Sequencing makes forecasting adjacent stages easier. Skipping steps is risky due to potentially losing information that would have been provided in the skipped step.
Movement may be forward. Any movement toward greater levels of intimacy is considered "forward." When in the coming apart stages, any movement back toward a coming together stage would be a forward movement.
Movement may be backward. "Backward" movement constitutes any movement away from the bonding stage. Backward movement can be the result of moving too quickly, thus preventing any sort of stabilization.
Movement occurs within stages.
Movement is always to a new state. Partners can go through the same stages more than once, but they can never truly go back to "the way things were." However, their previous experience in a given stage will color their next trip through said stage.
In an effort to determine which stage partners are in, Welch and Rubin (2002) gave partners a list of behaviors and asked them to indicate the extent to which each behavior was characteristic of their relationship.[11] Welch and Rubin also found that the relational development model was useful for describing the development of task or business relationships.[11]
Rate of movement[edit]
According to Knapp, rate of movement is:[4]:35–36
Usually rapid through stages that have already been achieved (e.g. there's no need for small talk if you've already passed through the experimenting stage before)
Usually rapid through areas where positive rewards have been achieved (e.g. avoiding conflict until later on in the relationship as it may be too costly early on)
Potentially rapid when time is short (e.g. a summer fling)
Potentially facilitated when proximity is high
Generally faster during the early stages
Based on individual needs (e.g. lonely or isolated people may move faster than popular people with large friend groups)
Slower if only one person wants to move to a different stage
Rapid in deterioration if one party commits a violation
References[edit]
Jump up ^ Floyd, K. (2016). Interpersonal Communication (3rd ed.). McGraw-Hill Education. p. 302.
Jump up ^ DeVito, J. A. (1993). Messages: Building Interpersonal Communication Skills. New York, HarperCollins
^ Jump up to: a b c d Knapp, M. L., Vangelisti, A. L., & Caughlin, J. P. (2014). Interpersonal Communication and Human Relationships (7th ed.). Pearson.
^ Jump up to: a b c d e f g h i Knapp, M. L. (1978). Social Intercourse: From Greeting to Goodbye. Allyn and Bacon.
Jump up ^ "Knapp's Relationship Model". communicationtheory.org. Communication Theory. Retrieved 23 October 2014.
Jump up ^ Baxter, L. A., & Wilmot, W. W. (1984). Secret tests. Human Communication Research, 11, 171–201.
^ Jump up to: a b c d Rothwell, J. Dan (2013). In The Company of Others (4th ed.). Oxford University Press. |access-date= requires |url= (help)
Jump up ^ Papp, L. M., Danielewicz, J., & Cayemberg, C. (2012). "Are we Facebook official?" Implications of dating partners' Facebook use and profiles for intimate relationship satisfaction. Cyberpsychology, Behavior and Social Networking, 15(2), 85–90.
Jump up ^ Honeycutt, J. M., & Cantrill, J. G. (2001). Cognition, Communication, and Romantic Relationships. Routledge. pp. 62–81.
Jump up ^ Hess, J. A. (2002). Distance regulation in personal relationships: The development of a conceptual model and a test of representational validity. Journal of Social and Personal Relationships, 19, 663–683.
^ Jump up to: a b Welch, S. A., & Rubin, R. B. (2002). Development of relationship stage measures. Communication Quarterly, 50, 24–40.
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Props (Glee)
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20th episode of the third season of Glee
"Props"
Glee episode
Episode no.
Season 3
Episode 20
Directed by
Ian Brennan
Written by
Ian Brennan
Featured music
"I Won't Give Up"
"Because You Loved Me"
"Always True to You in My Fashion"
"Mean"
"Flashdance... What a Feeling"
Production code
3ARC20
Original air date
May 15, 2012 (2012-05-15)
Guest appearance(s)
Whoopi Goldberg as Carmen Tibideaux
Dot-Marie Jones as Coach Beiste
Chord Overstreet as Sam Evans / Rory Flanagan
Eric Bruskotter as Cooter Menkins
Samuel Larsen as Joe Hart / Mike Chang
Damian McGinty as Rory Flanagan / Sam Evans
Vanessa Lengies as Sugar Motta / Quinn Fabray
Alex Newell as Wade Adams
Episode chronology
← Previous
"Prom-asaurus" Next →
"Nationals"
List of Glee episodes
"Props" is the twentieth episode of the third season of the American musical television series Glee, and the sixty-fourth overall. Written and directed by Ian Brennan, the episode is the first of two new episodes that aired back-to-back on Fox in the United States on May 15, 2012. It features New Directions preparing a new performance routine for the impending Nationals competition, an extended sequence in which Tina (Jenna Ushkowitz) has a vision of the glee club having swapped roles, including herself as Rachel, and an appearance by special guest star Whoopi Goldberg as NYADA dean Carmen Tibideaux.
The episode received mostly positive reviews overall, though reaction to the musical performances was not as strong. The body-swap sequence was given an enthusiastic reception. The scenes featuring Coach Beiste (Dot-Marie Jones) and Puck (Mark Salling) were also much praised, and in particular the pair's acting was highlighted. Their performance of the song "Mean", by contrast, received the most divergent reactions from reviewers, yet it was the one song from the four singles released from the episode to chart in North America, and debuted on the Billboard Canadian Hot 100.
Upon its initial airing, this episode was viewed by 6.09 million American viewers and received a 2.5/8 Nielsen rating/share in the 18–49 demographic. The total viewership was down significantly from "Prom-asaurus" the week before.
Contents
1 Plot
2 Production
3 Reception
3.1 Ratings
3.2 Critical reception
3.3 Music and performances
3.4 Chart history
4 References
5 External links
Plot[edit]
When New Directions starts planning a setlist for the impending Nationals competition, Tina (Jenna Ushkowitz) is frustrated that Rachel (Lea Michele) is again singing lead while she remains stuck in the background, and walks out. When Rachel tries to bribe her to withdraw her objections, she tells Rachel that she wants to experience a standing ovation of her own. Tina later falls into a fountain and strikes her head, which causes her to experience a vision in which all of the glee club members have switched roles,—most notably, she sees herself as Rachel and Rachel as Tina. "Rachel" performs "Because You Loved Me", and the club gives her a standing ovation. She thanks "Tina" for her support, and "Tina" in turn gives "Rachel" advice on how to salvage her failed NYADA audition. After Tina comes back to reality, she conveys that advice: Rachel should see NYADA dean Carmen Tibideaux (Whoopi Goldberg) in person—she is conducting a master class at Oberlin. Tina drives Rachel there, but Carmen has been annoyed by Rachel's repeated messages and says she does not deserve any special attention. Tina disagrees, telling Carmen that although Rachel gets whatever she wants and is "a pain in the ass", Rachel gets it all because she is exceptional. Rachel invites Carmen to attend their Nationals performance, and pledges to audition for NYADA every year until she is accepted.
Sue (Jane Lynch) announces that rival glee club Vocal Adrenaline is the team to beat, thanks mostly to its transgender lead singer Wade "Unique" Adams (Alex Newell), who has become a media star. Sue decides that New Directions needs a similar gimmick to win and she tells Kurt (Chris Colfer) to dress in drag, but he adamantly refuses. Puck (Mark Salling) dons a dress and volunteers to lead the drag number, but Will vetoes the gimmickry and refocuses the group on its choreography.
Santana (Naya Rivera), Brittany (Heather Morris), and Mercedes (Amber Riley) are worried because Coach Beiste (Dot-Marie Jones) has not left her abusive husband, Cooter (Eric Bruskotter), as she claimed. Beiste tells them that adult relationships are more complex and insists she is fine. Hockey player Rick "The Stick" (Rock Anthony) ridicules Puck for being seen in the dress; they agree to a fight outside the school. Rick gains the upper hand and Puck is thrown into a dumpster, but he emerges brandishing a switchblade. Coach Beiste breaks up the fight; in the locker room, Puck tells her that the knife is a fake stage prop, and she retorts that he could have gotten expelled. Puck replies that he is flunking out anyway and a failure, telling her that she does not know what it feels like to be worthless. He breaks down, and Beiste comforts him as he cries. At home, Beiste tells Cooter that she is leaving him, and removes her wedding ring. He asks who else would love her; she answers: "Me". Back at the school auditorium, she joins Puck in singing "Mean", tells him that she has arranged for him to retake a crucial test to graduate, and promises to help him pass. As the episode ends, Rachel and Tina sing "Flashdance... What a Feeling", and board the glee club's bus to Nationals.
Production[edit]
This episode was written by Glee co-creator Ian Brennan, who also made his directorial debut in this episode. While the first scenes for the episode were shot on March 30, 2012, on a day that also saw scenes shot for the previous two episodes,[1] shooting on the episode began in earnest on Monday, April 9, 2012, after the completion of the prior episode at the end of the week before.[2][3] Filming continued into the following week at least through Wednesday, April 18, 2012, by which point the next episode had begun shooting in parallel.[4]
The plot has Tina suffering a "mild" head injury—she falls into a fountain—that causes her to see an alternate reality version of New Directions: actors playing club members had to swap roles with another actor in the cast.[5][6] Chris Colfer, who normally plays Kurt Hummel, said that the portrayals "were really hard to nail—they're not over the top by any means".[6] Pairs who are swapping roles include Tina and Rachel, Kurt and Finn (Cory Monteith), Mike (Harry Shum, Jr.) and Joe (Samuel Larsen), Puck and Blaine (Darren Criss), Artie (Kevin McHale) and Santana,[5] Quinn (Dianna Agron) and Sugar (Vanessa Lengies), Rory (Damian McGinty) and Sam (Chord Overstreet), Mercedes and Brittany, and Will and Sue.[7]
In addition to those mentioned above, other recurring roles include football coach Shannon Beiste (Jones) and her husband, football recruiter Cooter Menkins (Bruskotter), and Newell as Vocal Adrealine lead singer Wade "Unique" Adams.[8] Special guest star Whoopi Goldberg returns for a second appearance as NYADA dean Carmen Tibideaux.
Four songs from the episode were released in the US as singles available for digital download: Taylor Swift's "Mean" performed by Jones and Salling,[9] Jason Mraz's "I Won't Give Up" performed by Michele,[10] Irene Cara's "Flashdance... What a Feeling" performed by Michele and Ushkowitz, and Celine Dion's "Because You Loved Me" performed by Ushkowitz as Rachel.[11][12] "I Won't Give Up" is also featured on the soundtrack album Glee: The Music, The Graduation Album.[13] A fifth song, an excerpt of "Always True to You in My Fashion" from Kiss Me Kate, is performed by an unnamed male student (Derek L. Butler) singing in a master class for Carmen; it was not released as a single.[14]
Reception[edit]
Ratings[edit]
"Props" was first broadcast on May 15, 2012 in the United States on Fox. It aired at the usual time for an episode as the first hour in a two-hour special evening with "Nationals" as the second hour. It received a 2.5/8 Nielsen rating/share in the 18–49 demographic, and attracted 6.09 million American viewers during its initial airing, down from the 2.7/8 rating/share and 6.67 million viewers of the previous episode, "Prom-asaurus", which was broadcast on May 8, 2012.[15] Viewership was down significantly in Canada, which also aired the episode as the first hour of a two-episode special, where 1.34 million viewers watched the episode on the same day as its American premiere, down over 18%. It was the fourteenth most-viewed show of the week, down from thirteenth in the previous week, when 1.65 million viewers watched "Prom-asaurus".[16]
Although the United Kingdom also aired these two episodes together, viewership rose rather than fell. "Props" first aired on May 17, 2012, and was watched on Sky 1 by 795,000 viewers. This was an increase of nearly 7% from the previous episode, "Prom-asaurus", which attracted 744,000 viewers when it aired the week before.[17] In Australia, "Props" was broadcast on May 17, 2012, but unlike in the other three countries, it was the only episode broadcast that week. It was watched by 607,000 viewers, a decrease of over 4% from the 636,000 viewers for "Prom-asaurus" on May 10, 2012. Glee was the seventeenth most-watched program of the night, down from thirteenth the week before.[18]
Critical reception[edit]
The episode received mostly positive reviews. John Kubicek of BuddyTV called it "easily my favorite episode of the past two seasons, and quite possibly one of the best episodes the show has ever made".[19] Damian Holbrook of TV Guide described it and the episode that followed, "Nationals", as "clever, funny and filled with moments that felt like little gifts to the fans who have hung in there".[20] Houston Chronicle's Bobby Hankinson said the "double feature continued the recent hot streak" of episodes, and Michael Slezak of TVLine highlighted this episode's "script that winkingly acknowledged fan complaints that Ryan Murphy & Co. all too often ignore some of Glee's original players in favor of new and more-hyped flavors".[21] The A.V. Club's Todd VanDerWerff wrote that it showcased writer and director Ian Brennan's "strengths of acid comedy and sad stories of small-town teenagers who'll never get anything but to sweat it out on the streets of a runaway American dream"; he gave "Props" a "B" grade.[22] Rae Votta of Billboard said, "It felt organically Glee, zany but with heart."[23]
The scenes between Coach Beiste (Jones, left) and Puck (Salling, right) were much praised by reviewers.
E! Online's Jenna Mullins thought the body-swap sequence "breathed fresh 'n' crazy air into Glee", and Kubicek called it "the best thing Glee has ever done and will ever do".[19][24] Jyll Saskin of MTV said it was "super trippy, makes no sense plot-wise" and was a "totally awesome Glee moment"; Entertainment Weekly's Erin Strecker wrote that "the entire cast deserved an MVP award for their completely on-point mannerisms", and singled out "Finn and Puck all snuggly together, holding hands and dressed up like Kurt and Blaine".[25][26] VanDerWerff, however, described it as a "totally odd curiosity that comes out of nowhere", and said that the car trip taken by Tina and Rachel later in the episode was more successful at showing Tina "what Rachel's life is like".[22] Kubicek called the offer of the trip and subsequent drive a "sweet bonding moment" between the pair, and called it "great" that "Tina is the one who saves the day" at the meeting with Carmen, but Chaney wondered why it took Rachel two episodes to regain her drive and aspirations.[19][27]
The scenes with Puck and Beiste were much praised, as were the actors. While reviewers such as Bell and VanDerWerff criticized the domestic abuse storyline, both were far happier with the way it was ended than with how it had been introduced in "Choke"—VanDerWerff wrote that "the fact that both Puck and Beiste's storylines resolve at the same time in the same scene is a nice piece of writing, with some strong acting".[22][28] Votta called the pair's scenes "delightful" and thought they merited a "road trip adventure spin-off"; Bell said that she "could have seriously watched an hour dedicated to Beiste and Puck".[23][28] Slezak highlighted "terrific work" by Jones and Salling, and the scenes with "Beiste holding a sobbing Puck" and confronting Cooter as "pretty remarkable".[21] Strecker called the latter scene "painful to watch, in the best possible way", and Bell described Salling's performance in the former as "truly incredible".[26][28]
Music and performances[edit]
The musical performances were greeted with somewhat less enthusiasm than the episode as a whole, and given mixed to positive reviews. An example of this was the song's opening number, "I Won't Give Up". Saskin wrote that "Rachel sings Jason Mraz, like everything else, beautifully", while Rolling Stone's Erica Futterman credits her for having made a "sappy ballad mildly more tolerable".[25][29] Strecker gave the performance a "B+" grade and called it a "classic Berry power ballad"; "B" grades were given by Slezak and Washington Post's Jen Chaney, who also noted Rachel's "vocal power".[21][26][27]
"Because You Loved Me", sung by Ushkowitz (pictured) as Rachel, was well received
"Because You Loved Me" performed by Tina as Rachel received the most consistently positive reviews, though both Chaney, who gave the song an "A−", and Strecker, who graded it a "B+", stated their belief that the real Rachel would have done it better, and Saskin was more blunt: "We love you, Tina, but you just can't belt like Rachel".[25][26][27] Futterman was the most pleased, and wrote: "The richness of her voice removes some of the Lite FM softness embedded in the tune, and it really is great to see Tina get a song that suits her vocal abilities".[29]
The most divergent views were expressed about Puck and Beiste's performance of "Mean". Crystal Bell of Huffington Post asked, "How could you not be moved by their duet in the auditorium?"[28] E! Online's Jenna Mullins called it "one of the highlights of the season", and Slezak gave it a grade of "A".[21][24] Chaney's "B+" followed her statement that "it was more effective than Swift's version because I can believe that both Puck and Beiste have had it rough", and Strecker described it as "lovely and thematically perfect" and gave it a "B".[26][27] VanDerWerff said he "could have done without" their duet, and Futterman was even harsher: "it was quite unfortunate".[22][29] Houston Chronicle's Bobby Hankinson wrote that he "sort of liked" how the pair were "simultaneously improving upon and butchering a Taylor Swift song", and Saskin characterized it as "heartfelt and passionate".[25][30]
Futterman said of "Flashdance... What a Feeling" that "there was a glimmer of old-school Glee in the performance, carefree underdog status that made me smile".[29] Saskin and Chaney both found the performance lacking; the former wrote that "something about this version falls flat", and Chaney gave it a "B−" and said it "wasn't as soaring as it could have been", though "Rachel and Tina's bonding moment was sweet" and she liked "the way it took us from hour one into hour two and Nationals".[25][27] Slezak and Strecker both gave the performance an "A−".[21][26]
Chart history[edit]
See also: Glee discography
One of the four singles released for the episode, "Mean", charted on the Billboard Canadian Hot 100 at number seventy-one, which was higher than either of the two songs that debuted on that chart from "Nationals" in the same week; none of these songs charted in the US.[31][32] One other single from the episode, "I Won't Give Up", though it did not sell well enough to chart on the US Billboard Hot 100 the week it was released, affected the charting there of the Jason Mraz original, which moved up from thirty-four to twenty-nine on the Hot 100; it had previously charted as high as number eight.[33]
References[edit]
Jump up ^ Michele, Lea (March 30, 2012). "Twitter / @msleamichele: I shot scenes from 3 different episodes today!!!! Crazy!!!!". Retrieved April 29, 2012.
Jump up ^ Michele, Lea (April 9, 2012). "Twitter / @msleamichele: Rise and shine everyone:) Early morning here on the glee set.. Starting episode 20 today.. Only 3 more to go". Retrieved April 29, 2012.
Jump up ^ Anthony, Rock (April 5, 2012). "Twitter / @TheRockAnthony: Just filmed the funniest scene...turned out really good...can't wait for u all to see it...oh #glee u so funny!! 319 is a wrap on to 320! :)". Retrieved April 28, 2012.
Jump up ^ Michele, Lea (April 18, 2012). "Twitter / @msleamichele: Shooting 2 episodes today.. 20 and 21.. #finchel scene up first:)". Retrieved May 15, 2012.
^ Jump up to: a b Goldberg, Lesley (May 1, 2012). "'Glee' Cast Shares Funny, Poignant Moments From Season 3". The Hollywood Reporter. Retrieved May 2, 2012.
^ Jump up to: a b Ausiello, Michael (April 22, 2012). "Chris Colfer on Glee's Big Role-Swapping Episode: 'I Didn't Want to Disrespect Anybody'". TV Line. Mail.com Media. Retrieved April 29, 2012.
Jump up ^ "Fox Primetime - Glee - Episodic Photos". Fox Flash. Retrieved May 8, 2012.
Jump up ^ "The Glee Club Gets Ready for Nationals on an All-New Special Two-Hour "Glee"". The Futon Critic. Retrieved May 1, 2012.
Jump up ^ Keck, William (May 1, 2012). "Twitter / @KecksExclusives: #glee SCOOP: In two weeks @dotmariejones Coach Bieste will sing Mean by @taylorswift with Puck @MarkSalling". Retrieved May 2, 2012.
Jump up ^ Dresdale, Andrea (May 15, 2012). "Jason Mraz Happy About Tuesday Night's "Glee" Cover of "I Won't Give Up"". ABC News Radio. Retrieved May 15, 2012.
Jump up ^ "Glee Cast – MP3 downloads". amazon.com. Retrieved May 5, 2012.
Jump up ^ "First Listen Friday: Props". Glee: The Music. Columbia Records. Retrieved May 4, 2012.
Jump up ^ "Glee: The Music, The Graduation Album Available May 15". GleeTheMusic.com. Sony Music Entertainment. April 17, 2012. Retrieved April 26, 2012.
Jump up ^ Ian Brennan (director, writer) (May 15, 2012). "Props". Glee. Season 3. Episode 20. Fox.
Jump up ^ US viewership data:
"Props": Bibel, Sarah (May 16, 2012). "Tuesday Final Ratings: 'NCIS', 'Glee' Adjusted Up". TV by the Numbers. Retrieved May 16, 2012.
"Prom-asaurus": Kondolojy, Amanda (May 9, 2012). "Tuesday Final Ratings: 'Voice', 'Glee', 'DWTS' + 'NCIS' Adjusted Up; 'LA Complex', + 'Private Practice' Adjusted Down". TV by the Numbers. Retrieved May 9, 2012.
Jump up ^ Canadian viewership data:
"Props"": "Top Programs – Total Canada (English): May 14 – May 20, 2012" (PDF). BBM Canada. Archived from the original (PDF) on December 14, 2013. Retrieved May 26, 2012.
"Prom-asaurus": "Top Programs – Total Canada (English): May 7 – May 13, 2012" (PDF). BBM Canada. Archived from the original (PDF) on September 28, 2013. Retrieved May 19, 2012.
Jump up ^ UK viewership data:
"Props": "Weekly Top 10 Programmes (Sky 1, w/e 20 May 2012)". Broadcasters' Audience Research Board. Archived from the original on July 18, 2014. Retrieved May 28, 2012.
"Prom-asaurus": "Weekly Top 10 Programmes (Sky 1, w/e 13 May 2012)". Broadcasters' Audience Research Board. Archived from the original on July 18, 2014. Retrieved May 21, 2012.
Jump up ^ Australian viewership data:
"Props": Dale, David (May 14, 2012). "THE RATINGS RACE: Somebody put Glee, Grey's and the Despos out of their misery". Sydney Morning Herald. Fairfax Media. Retrieved May 18, 2012.
"Prom-asaurus": Dale, David (May 7, 2012). "THE RATINGS RACE: All the Friday footy figures you could possibly want". Sydney Morning Herald. Fairfax Media. Retrieved May 12, 2012.
^ Jump up to: a b c Kubicek, John (May 15, 2012). "'Glee' Recap: Everybody Gets a Chance to Shine". BuddyTV. Retrieved May 20, 2012.
Jump up ^ Holbrook, Damian (May 16, 2012). "Watercooler: OK Glee, You Got Us!". TV Guide. Retrieved May 16, 2012.
^ Jump up to: a b c d e Slezak, Michael (May 15, 2012). "Glee (Hour 1) Recap: Being (Rachel) Is Believin'". TVLine. Mail.com Media. Retrieved May 16, 2012.
^ Jump up to: a b c d VanDerWerff, Todd (May 16, 2012). ""Props"/"Nationals"". The A.V. Club. The Onion. Retrieved May 16, 2012.
^ Jump up to: a b Votta, Rae (May 16, 2012). "'Glee' Recap: 'Props' Was Fun, But 'Nationals' a Bust". Billboard. Prometheus Global Media. Retrieved May 20, 2012.
^ Jump up to: a b Mullins, Jenna (May 15, 2012). "Glee Recap: Did New Directions Win Nationals?". E! Online. NBCUniversal. Retrieved May 16, 2012.
^ Jump up to: a b c d e Saskin, Jyll (May 16, 2012). "'Glee' Recap: 'Props/Nationals'". Hollywood Crush. MTV Networks. Retrieved May 20, 2012.
^ Jump up to: a b c d e f Strecker, Erin (May 16, 2012). "'Glee' recap: Edge of Glory". Entertainment Weekly. Time Inc. Retrieved May 20, 2012.
^ Jump up to: a b c d e Chaney, Jen (May 16, 2012). "'Glee' by the musical numbers: No time for losers". The Washington Post. Katharine Weymouth. Retrieved May 20, 2012.
^ Jump up to: a b c d Bell, Crystal (May 16, 2012). "'Glee' Recap: We Are The Champions". HuffPost TV. Huffington Post. Retrieved May 20, 2012.
^ Jump up to: a b c d Futterman, Erica (May 16, 2012). "'Glee' Recap: What a Feeling". Rolling Stone. Wenner Media LLC. Retrieved May 20, 2012.
Jump up ^ Hankinson, Bobby (May 16, 2012). "Glee: A super-sized trip to Nationals, with Lindsay Lohan!". Houston Chronicle. Jack Sweeney. Retrieved May 20, 2012.
Jump up ^ "Glee Album & Song Chart History: Billboard Hot 100". Billboard. Prometheus Global Media. Retrieved August 16, 2012.
Jump up ^ "Glee Album & Song Chart History: Billboard Canadian Hot 100". Billboard. Prometheus Global Media. Retrieved May 10, 2012.
Jump up ^ Grein, Paul (May 23, 2012). "Week Ending May 20, 2012. Songs: J.Lo's Song Sputters". Chart Watch. Yahoo! Music. Retrieved May 28, 2012.
External links[edit]
Glee portal
"Props" at Fox.com
"Props" on IMDb
"Props" at TV.com
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Glee episodes
Season 1
"Pilot"
"Showmance"
"Acafellas"
"Preggers"
"The Rhodes Not Taken"
"Vitamin D"
"Throwdown"
"Mash-Up"
"Wheels"
"Ballad"
"Hairography"
"Mattress"
"Sectionals"
"Hell-O"
"The Power of Madonna"
"Home"
"Bad Reputation"
"Laryngitis"
"Dream On"
"Theatricality"
"Funk"
"Journey to Regionals"
Season 2
"Audition"
"Britney/Brittany"
"Grilled Cheesus"
"Duets"
"The Rocky Horror Glee Show"
"Never Been Kissed"
"The Substitute"
"Furt"
"Special Education"
"A Very Glee Christmas"
"The Sue Sylvester Shuffle"
"Silly Love Songs"
"Comeback"
"Blame It on the Alcohol"
"Sexy"
"Original Song"
"A Night of Neglect"
"Born This Way"
"Rumours"
"Prom Queen"
"Funeral"
"New York"
Season 3
"The Purple Piano Project"
"I Am Unicorn"
"Asian F"
"Pot O' Gold"
"The First Time"
"Mash Off"
"I Kissed a Girl"
"Hold On to Sixteen"
"Extraordinary Merry Christmas"
"Yes/No"
"Michael"
"The Spanish Teacher"
"Heart"
"On My Way"
"Big Brother"
"Saturday Night Glee-ver"
"Dance with Somebody"
"Choke"
"Prom-asaurus"
"Props"
"Nationals"
"Goodbye"
Season 4
"The New Rachel"
"Britney 2.0"
"Makeover"
"The Break Up"
"The Role You Were Born to Play"
"Glease"
"Dynamic Duets"
"Thanksgiving"
"Swan Song"
"Glee, Actually"
"Sadie Hawkins"
"Naked"
"Diva"
"I Do"
"Girls (and Boys) On Film"
"Feud"
"Guilty Pleasures"
"Shooting Star"
"Sweet Dreams"
"Lights Out"
"Wonder-ful"
"All or Nothing"
Season 5
"Love, Love, Love"
"Tina in the Sky with Diamonds"
"The Quarterback"
"A Katy or a Gaga"
"The End of Twerk"
"Movin' Out"
"Puppet Master"
"Previously Unaired Christmas"
"Frenemies"
"Trio"
"City of Angels"
"100"
"New Directions"
"New New York"
"Bash"
"Tested"
"Opening Night"
"The Back-up Plan"
"Old Dog, New Tricks"
"The Untitled Rachel Berry Project"
Season 6
"Loser Like Me"
"Homecoming"
"Jagged Little Tapestry"
"The Hurt Locker, Part One"
"The Hurt Locker, Part Two"
"What the World Needs Now"
"Transitioning"
"A Wedding"
"Child Star"
"The Rise and Fall of Sue Sylvester"
"We Built This Glee Club"
"2009"
"Dreams Come True"
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