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Iron pillar of Delhi
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The iron pillar of Delhi
The iron pillar of Delhi is a 7 m (23 ft) kirti stambha (column of fame or victory column), originally erected and dedicated as dhvaja (banner) to Hindu deity lord Vishnu in 3rd to 4th century CE by king Chandra, currently standing in the Qutb complex at Mehrauli in Delhi, India.[1] It is notable for the rust-resistant composition of the metals used in its construction.
The pillar has attracted the attention of archaeologists and materials scientists because of its high resistance to corrosion and has been called a "testimony to the high level of skill achieved by the ancient Indian iron smiths in the extraction and processing of iron."[2][3] The corrosion resistance results from an even layer of crystalline iron hydrogen phosphate hydrate forming on the high-phosphorus-content iron, which serves to protect it from the effects of the Delhi climate.[2]
The pillar weighs over 6,000 kg (13,000 lb) and is thought to have originally been erected in what is now Udayagiri by one of the Gupta monarchs in approximately 402 CE, though the precise date and location are a matter of dispute.[4]
Contents
[hide]
1 Physical description
2 Inscriptions
2.1 Inscription of King Chandra
2.1.1 Orthography
2.1.2 History of study
2.1.3 Issuance
2.1.4 Text
2.2 Samvat 1109 inscription
3 Original location
3.1 Relocation
4 Scientific analysis
5 Evidence of cannonball strike
6 See also
7 References
7.1 Bibliography
8 External links
Physical description[edit]
The iron pillar stands within the courtyard of Quwwat-ul-Islam Mosque
The height of the pillar, from the top of its capital to the bottom of its base, is 7.21 m (23 ft 8 in), 1.12 m (3 ft 8 in) of which is below ground. Its bell pattern capital is 1.07 m (3 ft 6 in) in height, and its bulb-shaped base is 0.71 m (2 ft 4 in) high. The base rests on a grid of iron bars soldered with lead into the upper layer of the dressed stone pavement. The pillar's lower diameter is 420 mm (17 in), and its upper diameter 306 mm (12 in). It is estimated to weigh more than six tonnes (13,228 lb).[5]
A fence was erected around the pillar in 1997 in response to damage caused by visitors. There is a popular tradition that it was considered good luck if one could stand with one's back to the pillar and make one's hands meet behind it. The practice led to significant wear and visible discolouration on the lower portion of the pillar.
Inscriptions[edit]
The pillar carries a number of inscriptions and graffiti of different dates, some of which have not been studied systematically despite the pillar's prominent location and easy access.
Inscription of King Chandra[edit]
Detail showing the inscription of King Chandragupta II
The oldest inscription on the pillar is that of a king named Chandra (IAST: Candra), generally identified as the Gupta emperor Chandragupta II.[6]
Orthography[edit]
The inscription covers an area of 2'9.5" × 10.5". The ancient writing is preserved well because of the corrosion-resistant iron on which it is engraved. However, during the engraving process, iron appears to have closed up over some of the strokes, making some of the letters imperfect.[7]
It contains verses composed in Sanskrit language, in shardulvikridita metre.[8] It is written in the eastern variety of the Gupta script. The letters vary from 0.3125" to 0.5" in size, and resemble closely to the letters on the Allahabad pillar inscription of Samudragupta. However, it had distinctive matras (diacritics), similar to the ones in the Bilsad inscription of Kumaragupta I.[9] While the edges of the characters on the Allahabad inscription are more curved, the ones on the Delhi inscription have more straight edges. This can be attributed to the fact that the Allahabad inscription was inscribed on softer sandstone, while the Delhi inscription is engraved on the harder material (iron).[10]
The text has some unusual deviations from the standard Sanskrit spelling, such as:[9]
pranśu instead of praṃśu: the use of dental nasal instead of anusvara
mūrtyā instead of mūrttyā: : omission of the second t
kīrtyā instead of kīrttyā: omission of the second t
śattru instead of śatru (enemy): an extra t
History of study[edit]
In 1831, the East India Company officer William Elliott made a facsimile of the inscription. Based on this facsimile, in 1834, James Prinsep published a lithograph in the Journal of the Royal Asiatic Society of Great Britain and Ireland (JASB). However, this lithograph did not represent even a single letter of the inscription correctly. Some years later, British engineer T. S. Burt made an ink impression of the inscription. Based on this, in 1838, Prinsep published an improved lithograph in the same journal, with his reading of the script and translation of the text.[11]
Decades later, Bhagwan Lal Indraji made another copy of the inscription on a cloth. Based on this copy, Bhau Daji Lad published a revised text and translation in 1875, in Journal of the Bombay Branch of the Royal Asiatic Society (JBBRAS). This reading was the first one to correctly mention the king's name as Chandra. In 1888, John Faithfull Fleet published a critical edition of the text in Corpus Inscriptionum Indicarum.[11]
In 1945, Govardhan Rai Sharma dated the inscription to the first half of the 5th century CE, on paleographic grounds.[12] He observed that its script was similar to the writing on other Gupta-era inscriptions, including the ones discovered at Bilsad (415 CE), Baigram (449 CE), and Kahanum (449 CE).[10] R. Balasubramaniam (2005) noted that the characters of the Delhi inscription closely resembled the dated inscriptions of Chandragupta II, found at Udayagiri in Madhya Pradesh.[13]
Issuance[edit]
The inscription is undated, and contains a eulogy of a king named Chandra, whose dynasty it does not mention.[9] The identity of this king, and thus the date of the pillar, has been the subject of much debate. The various viewpoints about the identity of the issuer were assembled and analyzed in a volume edited by M. C. Joshi and published in 1989.[14]
The king is now generally identified with the Gupta King Chandragupta II.[15] This identification is based on several points:
The script and the poetic style of the inscription, which point to a date in the late fourth or early fifth century CE: the Gupta period.[14]
The inscription describes the king as a devotee of the god Vishnu, and records the erection of a dhvaja ("standard", or pillar) of Vishnu, on a hill called Vishnupada ("hill of the footprint of Vishnu").[16] Other Gupta inscriptions also describe Chandragupta II as a Bhagavata (devotee of Vishnu).[9] The names of the places mentioned in the inscription are also characteristic of the Gupta era. For example, Dakshina Jalanidhi (the Indian Ocean) and Vanga (the Bengal region).[16]
The short name "Chandra" is inscribed on the archer-type gold coins of Chandragupta II, while his full name and titles appear in a separate, circular legend on the coin.[13]
A royal seal of Chandragupta's wife Dhruvadevi contains the phrase Shri Vishnupada-svami Narayana ("Narayana, the lord of the illustrious Vishnupada").[17]
As the inscription is a eulogy and states that the king has abandoned the earth, there has been some discussion as to whether it is posthumous, i.e. whether king Chandra was dead when the record was created. Dasharatha Sharma (1938) argued that it was non-posthumous.[18] According to B. Chhabra and G. S. Gai, the inscription states that the king's mind is "fixed upon Vishnu with devotion", and therefore, indicates that the king was alive at the time. They theorize that it may have been recorded when Chandragupta II abdicated his throne, and settled down as a vanaprastha (retiree) in Vishnupada.[9]
In a volume published in 2009, Michael Willis has summarised the debates and re-translated the relevant portions of the epigraph. He concludes: "Candragupta may have passed away but the legacy of his achievement is so great that he seems to remain on earth by virtue of his fame. Emphasis is placed on Candragupta’s conquest of enemies and the merit of his deeds, ideas which are also found in coin legends: kṣitim avajitya sucaritair divaṃ jayati vikramādityaḥ, i.e. ‘Having conquered the earth with good conduct, Vikramāditya conquered heaven’. The king’s conquest of heaven combined with the description of him resorting to the other world in bodily form (gām āśritasyetarāṃ mūrtyā), confirms our understanding of the worthy dead as autonomous theomorphic entities."[19]
Text[edit]
Bankelal's 1903 tablets
Following is the Roman script transliteration of the text:[20]
Yasy odvarttayah-pratīpamurasā śattrun sametyāgatan Vańgeshvāhava varttinosbhilikhitā khadgena kīrttir bhuje
Tirtvā sapta mukhāni yena samare sindhor jjitā Vāhlikāyasyādya pyadhivāsyate jalanidhir vviryyānilair ddakshinah
Khinnasy eva visrijya gām narapater ggāmāśritasyaetrām mūr(t)yā karmma-jitāvanim gatavatah kīrt(t)yā sthitasyakshitau
Śāntasyeva mahāvane hutabhujo yasya pratāpo mahānnadhayā pyutsrijati pranāśista-ripor Yyatnasya śesahkshitim
Prāptena sva bhuj ārjitan cha suchiran ch aikādhirājayam kshitau chandrāhvena samagra chandra sadriśīm vaktra-śriyam bibhratā
Tenāyam pranidhāya bhūmipatinā bhāveva vishno (shnau) matim prānśurvisnupade girau bhagavato Vishnuordhidhvajah sthāpitah
J. F. Fleet's 1888 translation is as follows:[21]
(Verse 1) He, on whose arm fame was inscribed by the sword, when, in battle in the Vanga countries (Bengal), he kneaded (and turned) back with (his) breast the enemies who, uniting together, came against (him);-he, by whom, having crossed in warfare the seven mouths of the (river) Sindhu, the Vahlikas were conquered;-he, by the breezes of whose prowess the southern ocean is even still perfumed;-
(Verse 2) He, the remnant of the great zeal of whose energy, which utterly destroyed (his) enemies, like (the remnant of the great glowing heat) of a burned-out fire in a great forest, even now leaves not the earth; though he, the king, as if wearied, has quit this earth, and has gone to the other world, moving in (bodily) from to the land (of paradise) won by (the merit of his) actions, (but) remaining on (this) earth by (the memory of his) fame;-
(Verse 3) By him, the king, attained sole supreme sovereignty in the world, acquired by his own arm and (enjoyed) for a very long time; (and) who, having the name of Chandra, carried a beauty of countenance like (the beauty of) the full-moon,-having in faith fixed his mind upon (the god) Vishnu, this lofty standard of the divine Vishnu was set up on the hill (called) Vishnupada.
Due to the tablets installed on the building in 1903 by Pandit Banke Rai, the reading provided by him enjoys wide currency. However, Bankelal's reading and interpretation have been challenged by more recent scholarship. The inscription has been revisited by Michael Willis in his book Archaeology of Hindu Ritual, his special concern being the nature of the king's spiritual identity after death. His reading and translation of verse 2 is as follows:[19]
[khi]nnasyeva visṛjya gāṃ narapater ggām āśritasyetarāṃ mūrtyā karrmajitāvaniṃ gatavataḥ kīrtyā sthitasya kṣitau [*|]
śāntasyeva mahāvane hutabhujo yasya pratāpo mahān nādyāpy utsṛjati praṇāśitaripor yyatnasya śeṣaḥ kṣitim [||*]
The Sanskrit portion given above can be translated as follows:[19]
The residue of the king's effort – a burning splendour which utterly destroyed his enemies – leaves not the earth even now, just like (the residual heat of) a burned-out conflagration in a great forest.
He, as if wearied, has abandoned this world, and resorted in actual form to the other world – a place won by the merit of his deeds – (and although) he has departed, he remains on earth through (the memory of his) fame (kīrti).
Willis concludes: "Candragupta may have passed away but the legacy of his achievement is so great that he seems to remain on earth by virtue of his fame. Emphasis is placed on Candragupta’s conquest of enemies and the merit of his deeds, ideas which are also found in coin legends: kṣitim avajitya sucaritair divaṃ jayati vikramādityaḥ, i.e. ‘Having conquered the earth with good conduct, Vikramāditya conquered heaven’.[22] The king’s conquest of heaven combined with the description of him resorting to the other world in bodily form (gām āśritasyetarāṃ mūrtyā), confirms our understanding of the worthy dead as autonomous theomorphic entities."[19]
Samvat 1109 inscription[edit]
One short inscription on the pillar is associated with the Tomara king Anangpal, although it is hard to decipher. Alexander Cunningham (1862-63) read the inscription as follows:[23]
Samvat Dihali 1109 Ang Pāl bahi
Translation: "In Samvat 1109 [1052 CE], Ang [Anang] Pāl peopled Dilli"
Based on this reading, Cunningham theorized that Anangpal had moved the pillar to its current location while establishing the city of Delhi. However, his reading has been contested by the later scholars. Buddha Rashmi Mani (1997) read it as follows:[23]
Samvat Kinllī 1109 Angapala bādi
Translation: "Anangpal tightened the nail [iron pillar] in Samvat 1109"
Original location[edit]
While the pillar was certainly used as a trophy in building the Quwwat-ul-Islam mosque and the Qutb complex, its original location, whether on the site itself or from elsewhere, is debated.[24][25]
According to the inscription of king Chandra, the pillar was erected at Vishnupadagiri (Vishnupada). J. F. Fleet (1898) identified this place with Mathura, because of its proximity to Delhi (the find spot of the inscription) and the city's reputation as a Vasihnavite pilgrimage centre. However, archaeological evidence indicates that during the Gupta period, Mathura was a major centre of Buddhism, although Vaishnavism may have existed there. Moreover, Mathura lies in plains, and only contains some small hillocks and mounds: there is no true giri (hill) in Mathura.[26]
Based on paleographic similarity to the dated inscriptions from Udayagiri, the Gupta-era iconography, analysis of metallurgy and other evidence, Meera Dass and R. Balasubramaniam (2004) theorized that the iron pillar was originally erected at Udayagiri.[13][27] According to them, the pillar, with a wheel or discus at the top, was originally located at the Udayagiri Caves.[28] This conclusion was partly based on the fact that the inscription mentions Vishnupada-giri (IAST: Viṣṇupadagiri, meaning "hill with footprint of Viṣṇu"). This conclusion was endorsed and elaborated by Michael Willis in his Archaeology of Hindu Ritual, published in 2009.[29] The key point in favour of placing the iron pillar at Udayagiri is that this site was closely associated with Chandragupta and the worship of Vishnu in the Gupta period. In addition, there are well-established traditions of mining and working iron in central India, documented particularly by the iron pillar at Dhar and local place names like Lohapura and Lohangī Pīr (see Vidisha). The king of Delhi, Iltutmish, is known to have attacked and sacked Vidisha in the thirteenth century and this would have given him an opportunity to remove the pillar as a trophy to Delhi, just as the Tughluq rulers brought Asokan pillars to Delhi in the 1300s.
Relocation[edit]
It is not certain when the pillar was moved to Delhi from its original location. Alexander Cunningham attributed the relocation to the Tomara king Anangpal, based on the short pillar inscription ascribed to this king.[23] Pasanaha Chariu, a 1132 CE Jain Apabhramsha text composed by Vibudh Shridhar, states that "the weight of his pillar caused the Lord of the Snakes to tremble". The identification of this pillar with the iron pillar lends support to the theory that the pillar was already in Delhi during Anangpal's reign.[30]
Another theory is that the relocation happened during the Muslim rule in Delhi. Some scholars have assumed that it happened around 1200 CE, when Qutb al-Din Aibak commenced the construction of the Qutb complex as a general of Muhammad of Ghor.[31] Finbarr Barry Flood (2009) theorizes that it was Qutb al-Din's successor Iltutmish (r. 1210-36 CE), who moved the pillar to Delhi.[23]
Scientific analysis[edit]
Details of the top of iron pillar, Qutub Minar, Delhi.
The pillar was manufactured by the forge welding of pieces of wrought iron. In a report published in the journal Current Science, R. Balasubramaniam of the IIT Kanpur explains how the pillar's resistance to corrosion is due to a passive protective film at the iron-rust interface. The presence of second-phase particles (slag and unreduced iron oxides) in the microstructure of the iron, that of high amounts of phosphorus in the metal, and the alternate wetting and drying existing under atmospheric conditions are the three main factors in the three-stage formation of that protective passive film.[32]
Lepidocrocite and goethite are the first amorphous iron oxyhydroxides that appear upon oxidation of iron. High corrosion rates are initially observed. Then, an essential chemical reaction intervenes: slag and unreduced iron oxides (second phase particles) in the iron microstructure alter the polarisation characteristics and enrich the metal–scale interface with phosphorus, thus indirectly promoting passivation of the iron[33] (cessation of rusting activity). The second-phase particles act as a cathode, and the metal itself serves as anode, for a mini-galvanic corrosion reaction during environment exposure. Part of the initial iron oxyhydroxides is also transformed into magnetite, which somewhat slows down the process of corrosion. The ongoing reduction of lepidocrocite and the diffusion of oxygen and complementary corrosion through the cracks and pores in the rust still contribute to the corrosion mechanism from atmospheric conditions.
The Iron Pillar in Qutub Minar, c. 1905
The next main agent to intervene in protection from oxidation is phosphorus, enhanced at the metal–scale interface by the same chemical interaction previously described between the slags and the metal. The ancient Indian smiths did not add lime to their furnaces. The use of limestone as in modern blast furnaces yields pig iron that is later converted into steel; in the process, most phosphorus is carried away by the slag.[34] The absence of lime in the slag and the use of specific quantities of wood with high phosphorus content (for example, Cassia auriculata) during the smelting induces a higher phosphorus content (> 0.1%, average 0.25%) than in modern iron produced in blast furnaces (usually less than 0.05%). One analysis gives 0.10% in the slags for 0.18% in the iron itself. This high phosphorus content and particular repartition are essential catalysts in the formation of a passive protective film of misawite (d-FeOOH), an amorphous iron oxyhydroxide that forms a barrier by adhering next to the interface between metal and rust. Misawite, the initial corrosion-resistance agent, was thus named because of the pioneering studies of Misawa and co-workers on the effects of phosphorus and copper and those of alternating atmospheric conditions in rust formation.[35]
The most critical corrosion-resistance agent is iron hydrogen phosphate hydrate (FePO4-H3PO4-4H2O) under its crystalline form and building up as a thin layer next to the interface between metal and rust. Rust initially contains iron oxide/oxyhydroxides in their amorphous forms. Due to the initial corrosion of metal, there is more phosphorus at the metal–scale interface than in the bulk of the metal. Alternate environmental wetting and drying cycles provide the moisture for phosphoric-acid formation. Over time, the amorphous phosphate is precipitated into its crystalline form (the latter being therefore an indicator of old age, as this precipitation is a rather slow happening). The crystalline phosphate eventually forms a continuous layer next to the metal, which results in an excellent corrosion resistance layer.[2] In 1,600 years, the film has grown just one-twentieth of a millimetre thick.[33]
In 1969, in his first book, Chariots of the Gods?, Erich von Däniken cited the absence of corrosion on the Delhi pillar and the unknown nature of its creation as evidence of extraterrestrial visitation.[36] When informed by an interviewer, in 1974, that the column was not in fact rust-free, and that its method of construction was well-understood, von Däniken responded that he no longer considered the pillar or its creation to be a mystery.[37][38]
Balasubramaniam states that the pillar is "a living testimony to the skill of metallurgists of ancient India". An interview with Balasubramaniam and his work can be seen in the 2005 article by Veazy.[39] Further research published in 2009 showed that corrosion has developed evenly over the surface of the pillar.[40]
It was claimed in the 1920s that iron manufactured in Mirjati near Jamshedpur is similar to the iron of the Delhi pillar.[41] Further work on Adivasi (tribal) iron by the National Metallurgical Laboratory in the 1960s did not verify this claim.[42]
Evidence of cannonball strike[edit]
Upper half of pillar, demonstrating horizontal fissuring thought to be caused by cannonball strike
A significant indentation on the middle section of the pillar, approximately 4 m (13 ft) from the current courtyard ground level, has been shown to be the result of a cannonball fired at close range.[43] The impact caused horizontal fissuring of the column in the area diametrically opposite to the indentation site, but the column itself remained intact. While no contemporaneous records, inscriptions, or documents describing the event are known to exist, historians generally agree that Nadir Shah is likely to have ordered the pillar's destruction during his invasion of Delhi in 1739 CE, as he would have considered a Hindu temple monument undesirable within an Islamic mosque complex.[44] Alternatively, he may have sought to dislodge the decorative top portion of the pillar in search of hidden precious stones or other items of value.[45]
No additional damage attributable to cannon fire has been found on the pillar, suggesting that no further shots were taken. Historians have speculated that ricocheting fragments of the cannonball may have damaged the nearby Quwwat-ul-Islam mosque — which is known to have suffered damage to its southwestern portion during the same period — and the assault on the pillar might have been abandoned as a result.[46]
See also[edit]
Pillars of Ashoka
History of metallurgy in the Indian subcontinent
Wootz steel
Parkerizing
Serpent Column
References[edit]
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Jump up ^ Some Observations on Corrosion-Resistance of Ancient Delhi Iron Pillar and Present-time Adivasi Iron Made by Primitive Methods, A.K. Lahiri, T. Banerjee and B.R. Nijhawan. NML Tech. J., 5 (1963) 46-5. Cited in On the corrosion resistance of the Delhi iron pillar, R. Balasubramaniam.
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Bibliography[edit]
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King Chandra and the Mehrauli Pillar, M.C. Joshi, S.K. Gupta and Shankar Goyal, Eds., Kusumanjali Publications, Meerut, 1989.
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"Delhi Iron Pillar" (in two parts), R. Balasubramaniam, IIM Metal News Volume 7, No. 2, April 2004, pp. 11–17 and IIM Metal News Volume 7, No. 3, June 2004, pp. 5–13. [6]
New Insights on the 1600-Year Old Corrosion Resistant Delhi Iron Pillar, R. Balasubramaniam, Indian Journal of History of Science 36 (2001) 1–49.
The Early use of Iron in India, Dilip K. Chakrabarti, Oxford University Press, New Delhi, 1992, ISBN 0195629922.
External links[edit]
Wikimedia Commons has media related to iron pillar.
Detailed list of Publications on Delhi Iron Pillar by Balasubramaniam, IIT Kanpur
Corrosion resistance of Delhi iron pillar
Nondestructive evaluation of the Delhi iron pillar Current Science, Indian Academy of Sciences, Vol. 88, No. 12, 25 June 2005 (PDF)
The Delhi Iron Pillar
IIT team solves the pillar mystery, 21 Mar 2005, Times of India (About Nondestructive evaluation of the Delhi iron pillar)
(General article on Delhi Iron Pillar in "One India One People", May 2006, By Prof R Balasubramanium, IIT Kanpur and S M Khened, Nehru Science Centre, Mumbai)
Coordinates: 28°31′28.76″N 77°11′6.25″E / 28.5246556°N 77.1850694°E / 28.5246556; 77.1850694
Retrieved from "https://en.wikipedia.org/w/index.php?title=Iron_pillar_of_Delhi&oldid=808220189"
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Remember the Titans
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Remember the Titans
Theatrical release poster
Directed by
Boaz Yakin
Produced by
Jerry Bruckheimer
Chad Oman
Written by
Gregory Allen Howard
Starring
Denzel Washington
Will Patton
Donald Faison
Nicole Ari Parker
Music by
Trevor Rabin
Cinematography
Philippe Rousselot
Edited by
Michael Tronick
Production
company
Walt Disney Pictures
Jerry Bruckheimer Films
Technical Black Films
Distributed by
Buena Vista Pictures
Release date
September 29, 2000 (2000-09-29)
Running time
113 minutes
Country
United States
Language
English
Budget
$30 million[1]
Box office
$136.7 million[1]
Remember the Titans is a 2000 American sports film produced by Jerry Bruckheimer and directed by Boaz Yakin. The screenplay, written by Gregory Allen Howard, is based on the true story of African-American coach Herman Boone, portrayed by Denzel Washington, and his attempt to integrate the T. C. Williams High School football team in Alexandria, Virginia, in 1971. Will Patton portrays Bill Yoast, Boone's assistant coach. Real-life athletes Gerry Bertier and Julius Campbell are portrayed by Ryan Hurst and Wood Harris, respectively.
The film was co-produced by Walt Disney Pictures and Jerry Bruckheimer Films and released by Buena Vista Pictures. On September 29, 2000, the film's soundtrack was released by Walt Disney Records. It features songs by several recording artists including Creedence Clearwater Revival, The Hollies, Marvin Gaye, James Taylor, The Temptations, and Cat Stevens.
Remember the Titans had a budget of $30 million and premiered in theaters nationwide in the United States on September 29, 2000. It has grossed an estimated $115,654,751 in the U.S., and $136,706,683 worldwide.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Filming
3.2 Historical accuracy
4 Music
4.1 Soundtrack
5 Release
5.1 Home media
6 Reception
6.1 Box office
6.2 Critical response
6.3 Accolades
7 See also
8 References
9 External links
Plot[edit]
In 1971, at the desegregated T. C. Williams High School, a black head coach, Herman Boone, is hired to lead the school's football team. Boone is assigned to the coaching team under current coach Bill Yoast, nominated for the Virginia High School Hall of Fame. But, in an attempt to placate rising racial tensions and the fact that all other high schools are "white" only, Boone is assigned the head coach job. At first, he refuses as he thinks it is extremely unfair to Yoast, but accepts when he sees what it means to the black community. Yoast is then offered an assistant coach's job by the school board and initially refuses, but reconsiders after the white players pledge to boycott the team if he does not participate. Dismayed at the prospect of the students losing their chances at scholarships, Yoast changes his mind and takes up the position of defensive coordinator under Boone.
The black students have a meeting in the gymnasium in auditioning to play for the team until Boone arrives, but the meeting turns into a fiasco when Yoast and white students interrupt. On August 15, 1971, the players gather and journey to Gettysburg College, where their training camp takes place. As their days of training camp progress, black and white football team members frequently clash in racially motivated conflicts, including some between captains Gerry Bertier and Julius Campbell. But after forceful coaching and rigorous athletic training by Boone, which includes an early morning run to the Gettysburg cemetery, and a motivational speech, the team achieves racial harmony and success. After returning from football camp, Boone is told by a member of the school board that if he loses even a single game, he will be dismissed. Subsequently, the Titans go through the season undefeated while battling racial prejudice, before slowly gaining support from the community. Gerry even has his best friend Ray removed from the team because of his racism, following a game where he intentionally missed a block that led to the near-season-ending injury of starting quarterback Jerry "Rev" Harris.
Just before the state semi-finals, Yoast is told by the chairman of the school board that he will be inducted into the Hall of Fame after the Titans lose one game, implying he wants Boone to be dismissed over his race. During the game, it becomes apparent that the referees are biased against the Titans. Upon seeing the chairman and other board members in the audience looking on with satisfaction, Yoast realizes they've rigged the game and warns the head official that he will go to the press and expose the scandal unless the game is officiated fairly. The Titans nonetheless win and advance to the state championship, but Yoast is told by the chairman that his actions have resulted in his loss of candidacy for Hall of Fame induction.
While celebrating the victory, Bertier is severely injured in an car accident with a truck after driving through an intersection. Although Bertier is unable to play due to being paralyzed from the waist down, the team goes on to win the state championship. Bertier would remain a paraplegic for the rest of his life. Ten years later, Bertier dies in another automobile accident by a drunk driver, after winning the gold medal in shot put. Coaches and other former teammates reunite to attend his funeral.
In the epilogue, descriptions show about the players and coaches activities after the events in 1971.
Cast[edit]
Denzel Washington as Coach Herman Boone
Will Patton as assistant coach Bill Yoast
Wood Harris as DE Julius Campbell
Ryan Hurst as LB Gerry Bertier
Donald Faison as RB/CB Petey Jones
Ethan Suplee as OL Louie Lastik
Kip Pardue as QB Ronnie "Sunshine" Bass
Craig Kirkwood as QB Jerry "Rev" Harris
Nicole Ari Parker as Carol Boone, Herman Boone's wife.
Krysten Leigh Jones as Nicky Boone, Herman Boone's daughter.
Inasia Brown as Karen Boone, Herman Boone's youngest daughter.
Hayden Panettiere as Sheryl Yoast, Bill Yoast's 10-year-old daughter.
Kate Bosworth as Emma Hoyt - Gerry's girlfriend
Earl C. Poitier as OL Darryl "Blue" Stanton
Ryan Gosling as Linebacker Alan Bosley
Gregory Alan Williams as Coach Paul "Doc" Hines, offensive line coach
Brett Rice as Coach Herb Tyrell, special teams coach
Burgess Jenkins as TE Ray Budds
David Jefferson Jr. as "Cook"
Production[edit]
Filming[edit]
Filming locations for the motion picture included Atlanta, Georgia,[2] including Henry Grady High School and Druid Hills High School which both filled in for T.C. Williams High School.
Historical accuracy[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2016) (Learn how and when to remove this template message)
While this movie is based on a true story, it has strayed from the actual events that had occurred on many occasions to add new elements of teamwork, commitment, and friendship to the film.
Boone may not be the coach that Washington portrays in the movie; in interviews, many former Titans football players said they believed his coaching strategies had no correlation to their success, and were indeed too harsh, causing some players to quit.[3]
The Titans had a solid football team for many years and most of their games were large victories. By the end of the 1971 football season they were ranked second in the nation, and nine out of thirteen games were shutouts.[4]
In the movie, Coach Boone states, "We are not like all the other schools in this conference, they're all white. They don't have to worry about race. We do." This is false as well; all the schools the Titans faced were integrated years before.
While the team is at camp, it shows Coach Boone waking them up at three in the morning to go for a run. This did not occur; neither did his speech at Gettysburg.[4] The team did go on a tour in Gettysburg, although it was not as dramatic as portrayed in the film.
Sunshine (Ronnie) was far from being the only one with long hair at the time. Even Gerry (Ryan Hurst) had long hair. But in interviews Bass said "I'll say for the record my hair was never that long." He also says the kiss with Gerry never happened.
The climax of the movie is the fictionalized 1971 AAA state championship football game between T. C. Williams and George C. Marshall High School. The dramatic license taken in the movie was to convert what was actually a mid-season match-up between T. C. Williams and Marshall into a made-for-Hollywood state championship. In reality, the Marshall game was the toughest game T. C. Williams played all year. As depicted in the movie, the real Titans won the Marshall game on a fourth down come-from-behind play at the very end of the game. The actual state championship (against Andrew Lewis High School of Salem) was a 27–0 blowout. [5]
Bertier's car accident took place AFTER the Championship game, on December 11, 1971. Bertier had been at a banquet honoring the players of the 1971, T.C. Williams Titans football team for their undefeated season. After the banquet, Bertier borrowed his mother's new 1971 Chevrolet Camaro. Bertier lost control of the Camaro and crashed. (The movie shows him getting broadsided). The cause of the accident was determined to be a mechanical failure in the motor mount of the engine. [5]
The film also omits the fact that Sheryl Yoast died in 1996 at the age of 34 and that she was not an only child as she had three sisters. Her oldest sister Bonnie was in college, her second oldest Angela went to a different high school, and her younger sister Deidre was only three years-old in 1971.
Music[edit]
On September 19, 2000, the soundtrack was released by Walt Disney Records. The film score was orchestrated by musician Trevor Rabin and features music composed by various artists. From the instrumental score, Rabin's track "Titans Spirit", was the only cue (of the 12 composed) added to the soundtrack. It is also the only piece of music on the soundtrack album not to have been previously released.
"Titans Spirit" was a seven-minute instrumental. It has been used on numerous sports telecasts, particularly those on NBC, which utilized the score during its closing credits for the Salt Lake 2002, Athens 2004, Torino 2006, Beijing 2008, Vancouver 2010, London 2012, and the Rio 2016 Olympic Games as well as with the final closing credits montage for their 12-year run with the NBA in 2002. The song was also played as veteran New York Mets players crossed home plate during the closing ceremonies at Shea Stadium, and as the New York Yankees were awarded their rings from their 2009 World Series championship. The New Jersey Devils also used this song during the jersey number retirement ceremonies for Scott Stevens, Ken Daneyko, Scott Niedermayer, and Martin Brodeur.
It was also used during the 2008 Democratic National Convention to accompany the celebration and fireworks at Invesco Field after future president Barack Obama gave his nomination acceptance speech, and was also used immediately following his victory speech upon winning the 2008 Presidential Election.[6]
Soundtrack[edit]
Remember the Titans: An Original Walt Disney Motion Picture Soundtrack
Film score by Various Artists
Released
September 19, 2000
Genre
R&B, pop rock
Length
46:21
Label
Walt Disney
Remember the Titans: An Original Walt Disney Motion Picture Soundtrack
No.
Title
Length
1. "Ain't No Mountain High Enough" 2:29
2. "Spirit in the Sky" 4:02
3. "Peace Train" 4:08
4. "Na Na Hey Hey Kiss Him Goodbye" 4:05
5. "Long Cool Woman in a Black Dress" 3:17
6. "I Want to Take You Higher" 2:44
7. "Up Around the Bend" 2:42
8. "Spill the Wine" 4:05
9. "A Hard Rain's a-Gonna Fall" 5:10
10. "Act Naturally" 2:21
11. "Express Yourself" 3:53
12. "Titans Spirit" 7:25
Total length: 46:21
Release[edit]
Home media[edit]
Following its release in theaters, the Region 1 widescreen and Pan and scan edition of the motion picture was released on DVD in the United States on March 20, 2001.[7] A Special Edition widescreen format of the film was released on March 20, 2001, along with a widescreen Director's cut on March 14, 2006.[8]
A restored widescreen hi-definition Blu-ray version was released by Walt Disney Studios Home Entertainment on September 4, 2007. Special features include backstage feature audio commentary with director Boaz Yakin, producer Jerry Bruckheimer and writer Gregory Allen Howard, feature audio commentary with real-life coaches Herman Boone and Bill Yoast, "Remember The Titans: An inspirational journey behind the scenes" hosted by Lynn Swann, "Denzel Becomes Boone," "Beating The Odds"; Deleted scenes; Movie Showcase and seamless menus.[9]
Reception[edit]
Box office[edit]
Remember the Titans opened strongly at the U.S. box office, grossing $26,654,715 in its first weekend and staying within the top five for six weeks.[10] It eventually went on to gross an estimated $115,654,751 in the U.S., and $136,706,683 worldwide.[1]
Critical response[edit]
Among mainstream critics in the U.S., Remember the Titans received generally positive reviews.[11] Rotten Tomatoes reported that 73% of 132 sampled critics gave the film a positive review, with an average score of 6.3 out of 10.[12] At Metacritic, which assigns a weighted average out of 100 to critics' reviews, the film received a score of 48 based on 32 reviews.[11] CinemaScore reported that audiences gave the film a rare "A+" grade.[13]
Writing for The New York Times, A. O. Scott said that "aside from a handful of tense showdowns at the line of scrimmage, there's not much else to see — is washed in on the flood tide of a thousand violins."[14] James Berardinelli writing for ReelViews, called the film "relentlessly manipulative and hopelessly predictable" but noted that it was "a notch above the average entry in part because its social message (even if it is soft-peddled) creates a richer fabric than the usual cloth from which this kind of movie is cut."[15] Describing some pitfalls, Robert Wilonsky of the Dallas Observer said that "beneath its rah-rah rhetoric and pigskin proselytizing, it's no more provocative or thoughtful than a Hallmark Hall of Fame film or, for that matter, a Hallmark greeting card. Its heart is in the right place, but it has no soul."[16] Wilonsky however was quick to admit "The film's intentions are noble, but its delivery is ham-fisted and pretentious; you can't deny the message, but you can loathe the messenger without feeling too guilty about it."[16]
'Remember the Titans' has the outer form of a brave statement about the races in America, but the soul of a sports movie in which everything is settled by the obligatory last play in the last seconds of the championship game.
“
”
—Roger Ebert, writing in the Chicago Sun-Times[17]
Todd McCarthy, writing in Variety, said, "As simplistic and drained of complexity as the picture is, it may well appeal to mainstream audiences as an 'if only it could be like this' fantasy, as well as on the elemental level of a boot camp training film, albeit a PG-rated one with all the cuss words removed."[18] Roger Ebert, in the Chicago Sun-Times, viewed the film as "a parable about racial harmony, yoked to the formula of a sports movie," adding, "Victories over racism and victories over opposing teams alternate so quickly that sometimes we're not sure if we're cheering for tolerance or touchdowns. Real life is never this simple, but then that's what the movies are for".[17]
In the San Francisco Chronicle, Mick LaSalle wrote that the film reminds the viewer that "it's possible to make a sentimental drama that isn't sickening — and a sports movie that transcends cliches."[19] Columnist Bob Grimm of the Sacramento News & Review, somewhat praised the film, writing, "The film is quite lightweight for the subject matter, but Washington and company make it watchable."[20] Some detractors like Owen Gleiberman of Entertainment Weekly wrote, "Denzel Washington should have held out for a better script before he signed on to star in Remember the Titans, but you can see why he wanted to do the movie: He gets to play Martin Luther King Jr. and Vince Lombardi rolled into one nostalgically omnipotent tough-love saint."[21] Jeff Vice of the Deseret News admitted that although the film contained dialogue that was "corny, clichéd, and downright cheesy at times," as well as how it relayed its message in one of the "most predictable, heavy-handed manners we've seen in a movie in years", the film "serves as a reminder of how much goodness there is inside people, just waiting for the right person to bring it out." He also viewed the casting as top-notch, saying that it helped to have a "rock-solid foundation in the form of leading-man Denzel Washington" at the helm.[22]
Accolades[edit]
The film was nominated and won several awards in 2000–2001.
Award
Category
Nominee
Result
2001 Angel Awards Silver Angel ———— Nominated
BET Awards 2001 Best Actor Denzel Washington Won
2001 BMI Film & TV Awards Film Music Award Trevor Rabin Won
Black Reel Awards of 2001 Best Actor Denzel Washington Won
Best Screenplay Gregory Allen Howard Won
Best Film Jerry Bruckheimer, Chad Oman Nominated
2001 Blockbuster Entertainment Awards Favorite Actor - Drama Denzel Washington Nominated
Favorite Supporting Actor - Drama Wood Harris Nominated
2001 Casting Society of America Awards Best Casting for Feature Film - Drama Ronna Kress Nominated
2001 NAACP Image Awards Outstanding Actor in a Motion Picture Denzel Washington Won
Outstanding Motion Picture ———— Won
Outstanding Supporting Actor in a Motion Picture Wood Harris Nominated
Outstanding Supporting Actress in a Motion Picture Nicole Ari Parker Nominated
Outstanding Youth Actor/Actress Krysten Leigh Jones Nominated
Las Vegas Film Critics Society Awards 2000 Best Male Newcomer Kip Pardue Nominated
Youth in Film Hayden Panettiere Nominated
2001 Motion Picture Sound Editors Awards Best Sound Editing - Dialogue & ADR Robert L. Sephton, Christopher T. Welch, Julie Feiner, Cindy Marty, Gaston Biraben, Suhail Kafity Nominated
Best Sound Editing - Music Will Kaplan Nominated
Phoenix Film Critics Society Awards 2000 Best Performance by a Youth in a Leading or Supporting Role Hayden Panettiere Nominated
2001 Political Film Society Awards Human Rights ———— Won
Exposé ———— Nominated
Golden Satellite Awards 2000 Best Performance by an Actor in a Motion Picture Drama Denzel Washington Nominated
2001 Teen Choice Awards Film - Choice Drama/Action Adventure ———— Nominated
22nd Young Artist Awards Best Performance in a Feature Film - Supporting Young Actress Hayden Panettiere Won
Best Family Feature Film - Drama ———— Nominated
The film is recognized by American Film Institute in these lists:
2006: AFI's 100 Years...100 Cheers – Nominated[23]
See also[edit]
American Football portal
Virginia portal
Film in the United States portal
1970s portal
2000s portal
T. C. Williams High School
References[edit]
^ Jump up to: a b c "Remember the Titans". Box Office Mojo. Retrieved 2010-08-15.
Jump up ^ "Remember the Titans Production Details". Yahoo! Movies. Retrieved 2013-02-27.
Jump up ^ McKenna, Dave (2014-07-29). "Remember The Titans Is A Lie, And This Man Still Wants You To Know It". Deadspin. Retrieved 2016-07-10.
^ Jump up to: a b "Remember the Titans True Story - Real Gerry Bertier, Bill Yoast, Herman Boone". ChasingtheFrog.com. Retrieved 2016-07-10.
^ Jump up to: a b Rose, Tom (November 24, 2002). "This legendary football coach won't forget the Titans". Observer-Reporter. Washington, MA. p. C1.
Jump up ^ "Barack Obama Wins Big: 'Change Has Come to America'". Time. November 4, 2008.
Jump up ^ "Remember the Titans (2000) - DVD Widescreen". Barnes & Noble. Retrieved 2013-03-06.
Jump up ^ "Remember the Titans All Available Formats & Editions". Barnes & Noble. Retrieved 2013-03-06.
Jump up ^ "Remember the Titans Blu-Ray". Barnes & Noble. Retrieved 2013-03-06.
Jump up ^ "Remember the Titans (2000) Weekly". BoxOfficeMojo.com. Retrieved 2013-03-06.
^ Jump up to: a b Remember the Titans. Metacritic. CNET Networks. Retrieved 2013-02-27.
Jump up ^ Remember the Titans (2000). Rotten Tomatoes. IGN Entertainment. Retrieved 2013-02-27.
Jump up ^ http://www.thewrap.com/movies-you-loved-or-hated-films-got-or-f-cinemascores-photos-90331/19/
Jump up ^ Scott, A.O. (29 September 2000). How the Goal Line Came To Replace the Color Line. The New York Times. Retrieved 2013-02-27.
Jump up ^ Berardinelli, James (September 2000). Remember the Titans. ReelViews. Retrieved 2013-02-27.
^ Jump up to: a b Wilonsky, Robert (28 September 2000). Clash of the Titans. Dallas Observer. Retrieved 2013-02-27.
^ Jump up to: a b Ebert, Roger (29 September 2000). Remember the Titans. Chicago Sun-Times. Retrieved 2013-02-27.
Jump up ^ McCarthy, Todd (24 September 2000). Remember the Titans. Variety. Retrieved 2013-02-27.
Jump up ^ Lasalle, Mick (29 September 2000). Gaining Ground / Sport bridges racial divide with a minimum of cliches in Remember the Titans. San Francisco Chronicle. Retrieved 2013-02-27.
Jump up ^ Grimm, Bob (19 July 2001). Remember the Titans. Sacramento News & Review. Retrieved 2013-02-27.
Jump up ^ Gleiberman, Owen (6 October 2000). Remember the Titans. Entertainment Weekly. Retrieved 2013-02-27.
Jump up ^ Jeff, Vice (27 June 2002). Remember the Titans. Deseret News. Retrieved 2013-02-27.
Jump up ^ "AFI's 100 Years...100 Cheers Nominees" (PDF). Retrieved 2016-08-14.
External links[edit]
Wikiquote has quotations related to: Remember the Titans
Official website
Remember the Titans on IMDb
Remember the Titans at AllMovie
Remember the Titans at Rotten Tomatoes
Remember the Titans at Metacritic
Remember the Titans at Box Office Mojo
[show]
v
t
e
Films directed by Boaz Yakin
Fresh (1994)
A Price Above Rubies (1998)
Remember the Titans (2000)
Uptown Girls (2003)
Death in Love (2008)
Safe (2012)
Max (2015)
[show]
v
t
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Angel in Your Arms
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Angel in Your Arms"
Single by Hot
from the album Hot
[show]
Further information
B-side
"Just 'Cause I'm Guilty"
Released
February 1977
Format
7"
Recorded
1976
Genre
Southern soul
Length
2:57
Label
Big Tree Records
Songwriter(s)
Herbert Clayton Ivey, Terrence Woodford, Tom Brasfield
Producer(s)
Herbert Clayton Ivey, Terrence Woodford
Hot singles chronology
"Angel in Your Arms"
(1977) "Right Feeling at the Wrong Time"
(1977)
"Angel in Your Arms"
(1976) "Right Feeling at the Wrong Time"
(1977)
"Angel in Your Arms"
Single by Robin Lee
[show]
Further information
Released
December 1983 ( EV 1016 )
Format
7"
Recorded
Evergreen Studios Nashville :
"Angel in Your Arms", "Turning
Back the Covers" recorded 1982
Genre
Country pop
Length
3:04
Label
Evergreen Records
Songwriter(s)
Herbert Clayton Ivey, Terrence Woodford, Tom Brasfield
Producer(s)
Johnny Morrison
Robin Lee singles chronology
"Heart For a Heart"
(1983) "Angel in Your Arms"
(1983) "Want Ads"
(1984)
"Heart For a Heart"
(1983) "Angel in Your Arms"
( EV 1016 )
(1983) "Want Ads"
(1984)
"Angel in Your Arms"
Single by Barbara Mandrell
from the album Get to the Heart
[show]
Further information
B-side
"Don't Look in My Eyes"
Released
July 1985
Format
7"
Recorded
June 1985
Genre
C&W
Length
3:19
Label
MCA
Songwriter(s)
Herbert Clayton Ivey, Terrence Woodford, Tom Brasfield
Producer(s)
Tom Collins
Barbara Mandrell singles chronology
"There's No Love in Tennessee"
(1985) "Angel in Your Arms"
(1985) "Fast Lanes and Country Roads"
(1985)
"There's No Love in Tennessee"
(1985) "Angel in Your Arms"
(1985) "Fast Lanes and Country Roads"
(1985)
"Angel in Your Arms" is a song composed by Herbert Clayton Ivey, Terrence Woodford and Tom Brasfield, which was a 1977 Top Ten hit for Hot and also a Top Ten C&W 1985 hit for Barbara Mandrell.
Contents
[hide]
1 Content
2 Hot version
3 C&W charting versions
4 Other versions
5 References
Content[edit]
The song is about a woman who advises an unfaithful mate: "The angel in your arms this morning is gonna be the devil in someone else's arms tonight", meaning that she has assuaged his neglect and infidelities by indulging in illicit trysts of her own.
Hot version[edit]
Although "Angel in Your Arms" belongs to the tradition of cheating songs prevalent in C&W music, the song was introduced by pop/R&B act Hot on their self-titled debut album, recorded 1976 at Wishbone Studios in Muscle Shoals, Alabama with Wishbone's owners Clayton Ivey and Terrence (Terry) Woodford producing.[1] It was Hot's lead singer Gwen Owens who requested the group be given a C&W song, and Ivey and Woodford obliged with "Angel in Your Arms" whose third co-writer was Muscle Shoals resident Tom/Tommy Brasfield. [2] [3] Although Hot was officially a trio consisting of Owens, Cathy Carson and Juanita Curiel, Owens has stated that she recorded "Angel in Your Arms" with only Carson as background vocalist as Irene Cathaway, with whom Owens and Carson had been performing and who was expected to record with them at Muscle Shoals, was a no-show at the recording studio, and "Angel in Your Arms" was recorded prior to the recruitment of Curiel as Cathaway's replacement.[4]
Ivey played keyboards on Hot's recording of "Angel in Your Arms", which featured Mac McAnally on guitar. Picked up by Big Tree Records, "Angel in Your Arms" accrued sufficient airplay to by February 1977 to enter the Billboard Hot 100, entering the Pop Top 40 that April to peak that July at #6; the track also charted R&B (#29) and Easy Listening (#9). Billboard ranked it as the No. 5 song for 1977. Certified a gold record for U.S. sales of one million units, "Angel in Your Arms" was also a hit for Hot in Australia (#27), Canada (#3) and New Zealand (#7).
At the time of Hot's success with their single version, the group also recorded a Spanish-language version entitled "Angel en Tus Brazos".[5]
C&W charting versions[edit]
The success of Hot with "Angel in Your Arms" brought an expedient cover aimed at the C&W market by Vivian Bell, a March 1977 release which failed to become a major hit with a #71 C&W peak.[6] Robin Lee recorded "Angel in Your Arms" in late 1982, the track originally serving as B-side of her inaugural single release "Turning Back the Covers" (#81 C&W): the single was re-released December 1982 with "Angel in Your Arms" as the A-side and as such more successful though still not a major hit with a #54 C&W peak. "Angel in Your Arms" subsequently served as the B-side for two single releases by Lee: "I Heard It on the Radio" (#71 C&W) and the duet with Lobo: "Paint the Town Blue" (#54 C&W).[7][8]
Barbara Mandrell, who had scored a 1982 #1 C&W hit with Brasfield's "Till You're Gone", recorded "Angel in Your Arms" in June 1985 in Nashville to serve as an advance single from the album Get to the Heart, marking the first newly recorded release by Mandrell after her 11 September 1984 automobile accident. A thematic return by Mandrell to the connubial concerns prevalent in her early hits, including her 1978 career record "(If Loving You Is Wrong) I Don't Want to Be Right", "Angel in Your Arms" reached #8 C&W.[9]
Other versions[edit]
"Angel in Your Arms" has also been recorded by Lynn Anderson (I Love What Love Is Doing to Me 1977), Red Hurley (as "The Angel in Your Arms") (With Love 1978), Millie Jackson (Feelin' Bitchy 1977), Reba McEntire (Reba McEntire 1977), Billie Jo Spears (I Will Survive 1979).[3] In the UK, where the Hot original had had an unsuccessful April 1977 release, "Angel in the Morning" was recorded in 1979 by veteran vocalist Carol Deene who had been inactive for some years: Deene's version, released on her own Koala label, failed to effect a chart comeback. "Angel in Your Arms" was one of a number of tracks recorded in the spring of 2009 at Muscle Shoals Sound Studio by Queen Emily; Wolf Stephenson produced the sessions which featured Clayton Ivey on keyboards. The Queen Emily album was released in the UK in December 2010. A Finnish rendering: "Älä Kysy Kuka On Sylissäin", was recorded by Vicky for her 1978 album Tee Mulle Niin.
References[edit]
Jump up ^ McNutt, Randy (2002). Guitar Towns: a journey to the crossroads of rock 'n' roll. Bloomington, IN: Indiana University Press. p. 140. ISBN 0-253-34058-6.
Jump up ^ "Alabama Hall of Fame". Alamhof.org. Archived from the original on 25 October 2010. Retrieved 15 February 2010.
^ Jump up to: a b "AMG". Archived from the original on 11 February 2010. Retrieved 15 February 2010.
Jump up ^ Leszczak, Bob (2015). Encyclopedia of Pop Music Aliases 1950-2000. Lanham MD: Rowman & Littlefied. p. 163. ISBN 978-1442240070.
Jump up ^ "Hot - Angel En Tus Brazos (Vinyl) at Discogs". Discogs.com. Retrieved 2014-08-04.
Jump up ^ "The Angel in Your Arms (song by Vivian Bell) • Music VF, US & UK hits charts". Musicvf.com. Retrieved 2016-10-12.
Jump up ^ "Robin Lee Songs • Top Songs / Chart Singles Discography • Music VF, US & UK hits charts". Musicvf.com. Retrieved 2016-10-12.
Jump up ^ "Praguefrank's Country Discography 2: Robin Lee". Countrydiscoghraphy2.blogspot.ca. 2014-06-10. Retrieved 2016-10-12.
Jump up ^ "Praguefrank". Retrieved 15 February 2010.
[hide]
v
t
e
Barbara Mandrell
Studio albums
Treat Him Right
The Midnight Oil
This Time I Almost Made It
This Is Barbara Mandrell
Midnight Angel
Lovers, Friends and Strangers
Love's Ups and Downs
Moods
Just for the Record
Love Is Fair
...In Black and White
He Set My Life to Music
Spun Gold
Clean Cut
Get to the Heart
Moments
Sure Feels Good
I'll Be Your Jukebox Tonight
Morning Sun
No Nonsense
Key's in the Mailbox
It Works for Me
Christmas albums
Christmas at Our House
Live albums
Barbara Mandrell Live
Collaboration albums
A Perfect Match (with David Houston)
Meant for Each Other (with Lee Greenwood)
Compilation albums
The Best of Barbara Mandrell
Greatest Hits
Notable singles
"I've Been Loving You Too Long (To Stop Now)"
"Woman to Woman"
"Sleeping Single in a Double Bed"
"(If Loving You Is Wrong) I Don't Want to Be Right"
"Fooled by a Feeling"
"Years"
"Crackers"
"The Best of Strangers"
"Love Is Fair"
"I Was Country When Country Wasn't Cool"
"Wish You Were Here"
"'Till You're Gone"
"Operator, Long Distance Please"
"In Times Like These"
"One of a Kind Pair of Fools"
"Happy Birthday Dear Heartache"
"Only a Lonely Heart Knows"
"There's No Love in Tennessee"
"Angel in Your Arms"
"Fast Lanes and Country Roads"
"When You Get to the Heart" (with The Oak Ridge Boys)
"No One Mends a Broken Heart Like You"
"Child Support"
"I Wish That I Could Fall in Love Today"
"My Train of Thought"
Collaboration singles
"To Me" (with Lee Greenwood)
"It Should Have Been Love by Now" (with Lee Greenwood)
Related articles
Discography
Louise Mandrell
Irlene Mandrell
Retrieved from "https://en.wikipedia.org/w/index.php?title=Angel_in_Your_Arms&oldid=834134388"
Categories:
1977 singles
1985 singles
Lynn Anderson songs
Reba McEntire songs
Millie Jackson songs
Billie Jo Spears songs
Barbara Mandrell songs
MCA Records singles
Songs written by Tom Brasfield
Song recordings produced by Tom Collins (record producer)
1976 songs
Big Tree Records singles
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