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Place name origins
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This article is about the origins of place names themselves. For a discussion of the scientific study of place names, see Toponymy.
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In much of the "Old World" (approximately Africa, Asia and Europe) the names of many places cannot easily be interpreted or understood;[citation needed] they do not convey any apparent meaning in the modern language of the area. This is due to a general set of processes through which place names evolve over time, until their obvious meaning is lost. In contrast, in the "New World" (roughly North America, South America, and Australasia), many place names' origins are known.
Although the origin of many place names is now forgotten, it is often possible to establish likely meanings through consideration of early forms of the name. Some general conclusions about the nature of place names, and the way in which place names change, can be made and are examined below. It is also possible to distinguish regional trends and differences in the naming of places, as is also discussed below.
Contents
[hide]
1 Types of place name
2 Toponymic processes
3 Problems of interpretation
4 Names of landscape features
5 Names of settlements
6 Place name origins in Britain and Ireland
6.1 England
6.2 Wales
6.3 Scotland
6.4 Isle of Man
6.5 Channel islands
6.6 Ireland
7 Place name origins in the United States
8 Place name origins in Canada
9 Place name origins in Australia
10 Place name origins in New Zealand
11 References
Types of place name[edit]
There are several clearly definable types of place name, the primary division being between the names of natural features and the names of human settlements. That the latter are 'places' is obvious. The case is slightly more ambiguous for natural features, depending on how exactly 'place' is defined, and what exactly the concept of a 'place' is used for. If, as is probable, natural features were originally given names to distinguish nearby hills, streams etc. from each other, then these features can be thought of as places, in that they represent distinct geographic locations. However, as names are applied on a larger scale, they may become less useful as place names. For instance, a relatively small, distinct upland valley (e.g. Swaledale) clearly represents a definable geographic location. However, the broad, extended valley of a major river, such as the Trent, is not easily understood as a single location. That notwithstanding, it is probable that the origins of the names of both settlements and natural features is the same, namely to distinguish one from another; and thus that both should be considered place names.
Many other types of place name can be defined, for example those relating to tribal or personal names. Previously names relating to pagan religion were extensively studied as these were thought to be early. Another class studied was those relating to particular people, example: the Ancient British.
Toponymic processes[edit]
There are identifiable processes which occur over time to place names, and which alter the place names in such a way that their original meanings are lost. These apply to both the names of settlements and natural features, although more so to the former.
The processes by which place names change include abbreviation, conflation, convergence, development in the parent language (but stasis in the place name[vague]) and replacement of the parent language. The latter in particular can result in dramatic shifts in place names, since the original meaning (and often sounds) are not conveyed in the new language, the place name thus shifts to a form appropriate for the new language.
Abbreviation tends to break down a name into a more easily pronounced form, e.g.Cantwaraburh to Canterbury; Dornwaracaster to Dorchester.
Conflation is where two similar elements of place names become confused, for instance the Old English roots don (hill) and den (valley) are conflated in place names e.g. Willesden ('stream hill'),[1] Croydon ('crocus valley').[2]
Convergence occurs when place names drift towards other familiar phonemes in place names; e.g. in Abingdon (Aebbeduna, 'Aebbe's hill'),[3] the middle sound has converged to the familiar 'ing' found in many place names (usually meaning 'people of').
Evolution of the parent language may not change a place name by itself; indeed names may show more inertia to change than languages themselves. However, evolution of the parent language permits other processes to occur. For instance, if a name no longer means anything in the modified language, it may drift towards a new form; e.g. Maethelac ('Moot-oak') to Matlock.[4] Or, as the parent language changes, attributes which already form part of a name may be appended to the name. For instance Portsea Island ('Port-island island');[5] once the meaning of Portsea became obscure, it became necessary to add island.
Replacement of the parent language is one of the most dramatic processes of change. If, for whatever reason, a new language becomes spoken in the area, a place name may lose all meaning. At its most severe, the name may be completely replaced. However, often the name may be recycled and altered in some way. Typically, this will be in one of the above ways; as the meaning of place-name is forgotten, it becomes changed to a name suitable for the new language. For instance Brittonic Eborakon (perhaps 'place of the yew trees') became Anglo-Saxon Eoforwic ('Boar-town'), then Old Norse Jorvik ('Horse-bay'), and modern English York.
Elaboration of place names often occurred to make distinctions between similarly named settlements. For instance, in England, two nearby and related settlements often became 'lower/nether' and 'upper/higher';[6] or 'little' and 'great'[7] (or the equivalent in Latin, parva and magna). Alternatively, two geographically separated places might be distinguished by local features; e.g. Newcastle-under-Lyme and Newcastle upon Tyne; or Newton-le-Willows, Newton-by-Frodsham, Newton under Roseberry (and so on). In England, many additions were made in the medieval period, to show that settlements were ruled by certain families, e.g. as Stoke Mandeville.[8] Some elaborations (particularly in Latin) date back to medieval times, such as Weston-super-Mare ('Weston-on-sea'), while others were added relatively recently, for instance Bognor Regis ('Bognor of the King').[9]
Backformation: the process whereby names are derived from one another in the opposite direction to that which would be expected - in many cases a river with an obsolete or forgotten name is renamed after a town on its banks rather than vice versa. For example, the river running through Rochdale became known as the 'Roch' through this process. Cambridge perhaps uniquely illustrates both normal and back formation. Originally Grantabrice, a bridge on the Granta, the name became Cantebrugge, and then Cambrigge, from which the river was renamed 'Cam'.
Problems of interpretation[edit]
Place names often need specialists to interpret their meanings. Some of the main problems are:
Language. Sometimes the language used in the formation of a place name is unclear; for example, some names may be plausibly derived from either Old English or Celtic roots. In recent years there has been a tendency to seek Celtic origins for names in England that were previously taken to be Anglo-Saxon.
Element order. In Germanic languages, and thus in Old English and Old Norse, the substantive element is generally preceded by its modifier, such as "north farm" (Norwich), "Badecca's spring" (Bakewell). In Celtic place names the order is usually reversed with the thing being described (hill, valley, farm, etc.) as the first element, for example "settlement of the Cuebris" (Tregonebris), "mouth of the Dee" (Aberdeen). However, this is not true of all Celtic names, for example "bald hill" (Malvern).
Translation. The general similarity of Old Norse and Old English meant that the place names in the Danelaw were often simply "norsified". For instance, in Askrigg ('ash (tree) ridge') in Yorkshire, the first element is indubitably the Norse asc (pronounced ask), which could easily represent a "norsification" of the Old English element aesc (pronounced ash) with the same meaning.
False analogy. Sometimes, however, the place names were changed by new settlers to match pronunciation habits without reference to the original meaning. For example, the Old English name Scipeton ("sheep farm"), which would normally become *Shipton in modern English, instead was altered to Skipton, since Old English sc (pronounced 'sh') was usually cognate with Old Norse sk — thus obscuring the meaning, since the Old Norse word for 'sheep' was entirely different.
Lost reason. Interpreting some names can be difficult if the reason for the name is no longer evident. Some names originally referred to a specific natural feature such as a river, ford or hill that can no longer be identified. For example, Whichford (Warwickshire) means "the ford of the Hwicce", but the location of the ford is lost.
Confusion between elements. Pairs of original elements can produce the same element in a modern place name. For example, the Old English elements den (valley) and dun (hill) are sometimes confused, as they can now lack obvious meanings. Croydon is in a valley and Willesden is on a hill.
Multiple meanings. Some elements, such as wich and wick, can have many meanings. Generally wich/wick/wyke indicates a farm or settlement (e.g. Keswick "cheese farm"). However, some of the sites are of Roman or early Post-Roman origin, in which the wich represents Latin vicus ("place"). These vici seem to have been trading-posts. On the coast, wick is often of Norse origin, meaning "bay" or "inlet" (e.g. Lerwick).
Names of landscape features[edit]
The names of natural or man-made features in the landscape tend to be older than those of settlements since the former are often more widely known. Names are given to water features, hills and valleys, islands and marshes, as well as woods and districts. Man-made landscape features that have been given names include roads and trackways as well as burial mounds, etc. Many topographic elements become incorporated into settlement names, together with plant, creature names or personal names. Many topographical words convey not just an image of the place but also a wealth of information about the likely size, status and pattern of farming practised by the community living there.[10]
Water was of major importance to the early settlers of an area, both for subsistence and for religious reasons. Names were given to springs, streams, rivers and lakes as well as marshes, bays and seas. Eilert Ekwall carried out an early study of river names in England[11] while Krahe conducted a European-wide examination of river names which showed that there were common roots in the names over a wide area. There is still controversy over the language of these roots. Sometimes a generic word was adopted as a specific label, for example the Celtic word for river was afon which is used in many cases as the name (Avon) of rivers in England.
Land characteristics were important to both hunters and farmers, and there are many terms relating to different types of hills and valleys. Some terms, like cumb and penn, were adopted from Celtic by Anglo-Saxons. Other terms relate to the expansion of farming.
Topographical names were held in low esteem by early place name scholars but their importance was raised in a book by Margaret Gelling, first published in 1978.[12] This discusses the many elements of topographical place names, with updates in 1988 and 1997.
Names of settlements[edit]
Most pre-modern settlement names contain a generic element describing the place's function (e.g. 'farm', 'market', 'fort') or a prominent natural feature, or both; if only one of these is present, it is often modified by a personal name or an adjective.
For instance, examples from England:
Personal name + function + feature - Todmorden - 'Totta's boundary valley'[13]
Personal name + function - Grimsby - 'Grimr's farm'[14]
Existing name + function - Exeter - 'River Exe (Roman) fort'[15]
Function + natural feature - Church Fenton - 'Marsh Farm (with a church)'[16]
Personal name + natural feature - Barnsley - 'Beorn's clearing'[17]
Existing name + natural feature - Cockermouth - 'River Cocker mouth'[18]
Function - Keswick - 'Cheese farm'[19]
Natural feature - Blackburn - 'Black stream'
These basic elements can also be found in place names in other countries; e.g. Amsterdam ('River Amstel dam'), Liechtenstein ('Light-stone'), Copenhagen ('Merchants' harbour), Paris ('Home of the Parisii'), Shanghai (approximately 'Seaport'), Tashkent ('Stone city'). These elements are also clearly present in the less 'weathered' New World place names - e.g. Fort Knox, Thunder Bay, Little Rock and so on. Carson City, for instance, was named for Kit Carson, and Belo Horizonte means "beautiful view". However, some apparent meanings may be deceptive; New York was not directly named after the English city of York but after the Duke of York, who was the head of the British Navy at the time of the British take-over, and Los Angeles was not named after angels but after the Virgin Mary, or the Queen of the Angels (El Pueblo de la Reina de los Angeles).
Countries which have seen repeated large-scale cultural and/or linguistic changes, such as England or France, tend to have more broken down place names, as the original meaning is forgotten and drifts more quickly. They may also have more linguistically diverse place names; for instance in England place names may have Pre-Celtic, Celtic, Roman, Anglo-Saxon, Norse, or Norman-French origins. Conversely, countries with a more uniform cultural/linguistic history tend to have less broken down and diverse place names - Wales for instance (especially when compared to neighbouring England).
Place name origins in Britain and Ireland[edit]
Main article: Toponymy in the United Kingdom and Ireland
Various names have been used for the island of Britain, see Britain (name). The origin of place names of the countries within Britain are discussed below. Each country is divided into a number of counties.
Further information: List of generic forms in place names in the United Kingdom and Ireland and Etymological list of counties of the United Kingdom
England[edit]
Main article: English toponymy
Most English place-names are either Old Norse or Anglo-Saxon but there is a scattering of Celtic names over the whole country. Other place-names are hybrids of Celtic and Anglo-Saxon elements. There are a high level of personal names within the place names, presumably the names of local landowners at the time of naming. In the north and east, there are many place names of Norse origin; similarly, these contain many personal names. In general, the Anglo-Saxon and Norse place names tend to be rather mundane in origin, the most common types being [personal name + settlement/farm/place] or [type of farm + farm/settlement] (almost all towns ending in -wich, -ton, -ham, -by, -thorpe, -stoke/stock are of these types).
In Cornwall most place-names are Cornish in origin, whilst in Cumbria there remain a number of place names in Cumbric, the Brythonic language of this region; examples including Carlisle, Helvellyn and Blencathra.
Further information: Cumbrian toponymy
Most old Roman settlements, whether actually inhabited or not, were given the title of chester/caster in Anglo-Saxon (from the Latin Castrum, 'camp'); the specific names for each may only have little relation to the Roman names (e.g. Chester - 'Deva', Winchester - 'Venta Belgarum' etc.).
Many English places derive part of their name from the river upon which they were built, but in the 16th century many English rivers were renamed with back-formations from towns on their banks. Cambridge, perhaps uniquely, illustrates both effects: originally Grontabricc, a bridge on the Granta, the name became Cantebruge and then Cambrugge, from which the river was renamed Cam.
Wales[edit]
Main article: Welsh toponymy
The vast majority of place names in Wales are Welsh by origin, containing elements such as Llan-, Aber-, Pen- etc. Along the south coast of Wales, where English has historically been more widely spoken, many place names are commonly anglicised, such as Pontypool, derived from Pont-y-Pŵl. Many places throughout Wales have alternative names in English unrelated to the name in Welsh, for example, Newport (where the Welsh name Casnewydd means "New Castle") and Swansea (derived from the Norse meaning "Svein's island") for the Welsh Abertawe (Mouth of the River Tawe. In some cases these are in fact related to their Welsh name, but disguised through linguistic processes of mutation, for example Monmouth and the Welsh Trefynwy both referring to the River Monnow (Mon- < Monnow < Mynwy > -fynwy).
Welsh place names tend to be associated with natural features rather than people, hence elements describing rivers, hills and valleys are common. The exceptions are places with the prefix Llan, meaning 'Church', which often contain the name of the Saint the church is dedicated to e.g. Llansantffraid - 'Church of St. Bridget'.
Scotland[edit]
Main article: Scottish toponymy
In the islands of Scotland, particularly Orkney and Shetland, but also the Western Isles, there are many names of Norse origin; this is also true of the coasts of the mainland.
In the Highlands, the names are primarily in Scottish Gaelic, with emphasis on natural features; elements such as Glen- (valley) and Inver- (confluence, mouth) are common. These have replaced Pictish names that still occur on the east coast.
In lowland Scotland, names are of more diverse origin. Many are Gaelic, but many are also from the Brythonic branch of Celtic languages (such as Ayr). There are also place names from Old English and Scots, such as Edinburgh.
Isle of Man[edit]
Most place-names are of Gaelic or Norse origin but there are traces of an earlier language in some names.
Channel islands[edit]
Most place names derive from Norman-French.
Ireland[edit]
Main article: Place names in Ireland
The vast majority of placenames in Ireland are anglicizations (adaptations to English phonology) of Irish language names. However, some names come directly from the English language, and a handful come from Old Norse.
Place name origins in the United States[edit]
Further information: List of U.S. state name etymologies
Place names in the United States are often taken from the European nation that first colonized the land. Many names that have been transferred from Britain, as is the case with Barnstable, Massachusetts and Danbury, Connecticut. Many others are of French origin, such as Detroit, Michigan, which was established along the banks of the river they called le détroit du lac Érié, meaning the strait of Lake Erie. Many in the former New Netherland colony are of Dutch origin, such as Harlem, Brooklyn and Rhode Island. Many place names are taken from the languages of native peoples. Specific (personal or animal) names and general words or phrases are used, sometimes translated and sometimes not.
A great many names that appear to be Native American in origin were created by non-Natives with at best a rudimentary grasp of native languages. Pasadena, California's early Anglo residents, looking for a pleasant sounding (euphonious) name for the town, used the Ojibwe word pa-sa-de-na, which means of the valley. Similarly, Negaunee, Michigan's name is derived from the Ojibwe word nigani meaning foremost, in advance, leading, which was determined to be the closest Ojibwe approximation to the English word pioneer.
Nine counties in the U.S. state of Michigan have names invented by Henry Schoolcraft, usually adapted from parts of Native American words, but sometimes having parts from Greek, Arabic and Latin roots.[20] (see List of counties in Michigan.) In some cases the native meanings of a place name are wholly lost, despite guesses and theories, for example Tampa and Oregon.
Place names in the United States tend to be more easily traceable to their origins, such as towns simply named after the founder or an important politician of the time, with no alterations except a simple suffix, like -town. Carson City, for instance, was named for Kit Carson and Belo Horizonte means beautiful view.
Place name origins in Canada[edit]
French, English and Gaelic derived names occur in Canada. There are also aboriginal place names.
Place name origins in Australia[edit]
Further information: List of Australian place names of Aboriginal origin and List of reduplicated Australian place names
Australian place names are mainly a mixture of aboriginal and British-derived toponyms.
Place name origins in New Zealand[edit]
Main article: New Zealand place names
New Zealand place names derive mostly from Maori and from British sources. The Maori named most of New Zealand's natural features. When Europeans began arriving in New Zealand from the 17th century they gave their own names to many geographical features and settlements, often after places in Britain or important settlers or famous British people. Recently there has been a movement to revive some Maori names.
References[edit]
Jump up ^ "Key to English Place-names". Retrieved May 29, 2018.
Jump up ^ "Key to English Place-names". Retrieved May 29, 2018.
Jump up ^ "Key to English Place-names". Retrieved May 29, 2018.
Jump up ^ "Key to English Place-names". Retrieved May 29, 2018.
Jump up ^ "Key to English Place-names". Retrieved May 29, 2018.
Jump up ^ "World-Class Research". Retrieved July 14, 2008. [dead link]
Jump up ^ "World-Class Research". Retrieved July 14, 2008. [dead link]
Jump up ^ "World-Class Research". Retrieved July 14, 2008. [dead link]
Jump up ^ "World-Class Research". Retrieved July 22, 2008. [dead link]
Jump up ^ Gelling and Cole (2000). The Landscape of Place-Names. ISBN 978-1-900289-26-9. CS1 maint: Uses authors parameter (link)
Jump up ^ Ekwall, Eilert (1928). "English River Names". Oxford. Missing or empty |url= (help)
Jump up ^ Gelling, Margaret (1993). Place Names in the Landscape. ISBN 978-0-460-86086-4.
Jump up ^ "World-Class Research". Retrieved July 4, 2008. [dead link]
Jump up ^ "World-Class Research". Retrieved July 4, 2008. [dead link]
Jump up ^ "World-Class Research". [dead link]
Jump up ^ "World-Class Research". [dead link]
Jump up ^ "Key to English Place-names". Retrieved May 29, 2018.
Jump up ^ "Key to English Place-names". Retrieved May 29, 2018.
Jump up ^ "Key to English Place-names". Retrieved May 29, 2018.
Jump up ^ Jenks, William L. (1912). "History and Meaning of the County Names of Michigan". Collections and Researches of the Michigan Pioneer and Historical Society. 38: 439–478.
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The Greatest Showman
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The Greatest Showman
Theatrical release poster
Directed by
Michael Gracey
Produced by
Laurence Mark
Peter Chernin
Jenno Topping
Screenplay by
Jenny Bicks
Bill Condon
Story by
Jenny Bicks
Starring
Hugh Jackman
Zac Efron
Michelle Williams
Rebecca Ferguson
Zendaya
Music by
John Debney
Joseph Trapanese
Cinematography
Seamus McGarvey
Edited by
Tom Cross
Robert Duffy
Joe Hutshing
Michael McCusker
Jon Poll
Spencer Susser
Production
company
Chernin Entertainment
Seed Productions
Laurence Mark Productions
TSG Entertainment
Distributed by
20th Century Fox
Release date
December 8, 2017 (2017-12-08) (RMS Queen Mary 2)
December 20, 2017 (2017-12-20) (United States)
Running time
105 minutes[1]
Country
United States
Language
English
Budget
$84 million[2]
Box office
$420.3 million[3]
The Greatest Showman is a 2017 American musical drama film directed by Michael Gracey in his directorial debut, written by Jenny Bicks and Bill Condon and starring Hugh Jackman, Zac Efron, Michelle Williams, Rebecca Ferguson, and Zendaya. The film is inspired by the story of P. T. Barnum's creation of the Barnum & Bailey Circus and the lives of its star attractions.
Principal photography on the film began in New York City in November 2016, and it premiered on December 8, 2017, aboard the RMS Queen Mary 2. The film was released in the United States on December 20, 2017, by 20th Century Fox and has grossed $420.3 million worldwide, making it the fifth-highest grossing live-action musical of all-time.
The Greatest Showman received mixed reviews, with praise for Jackman and the rest of the performances, music, and production value but criticism aimed at the artistic license taken, with some reviewers calling it "faux-inspiring and shallow".[4][5][6] At the 75th Golden Globe Awards, the film received nominations for Best Motion Picture – Musical or Comedy and Best Actor – Musical or Comedy for Jackman. For the song "This Is Me", the film won the Golden Globe Award for Best Original Song and was nominated for Best Original Song at the 90th Academy Awards.[7]
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Filming
3.2 Post-production
4 Music
4.1 Musical numbers
4.2 Soundtrack
5 Release
5.1 Marketing
5.2 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]
The movie begins with P. T. Barnum(Hugh Jackman) and his troupe performing a show at the circus ("The Greatest Show"). As the song continues, the background turns to black, with Barnum singing alone, leading to a flashback to Barnum's childhood where he and his father Philo, a tailor, work for the Hallett family, and he becomes infatuated with their daughter, Charity. Though Charity is being sent to finishing school, Barnum reassures her they will not be separated. The two keep in touch through letters until they meet again in adulthood ("A Million Dreams"), eventually marrying and raising two daughters, Caroline and Helen, in New York City ("A Million Dreams" reprise). They live a humble life; though Charity is happy, Barnum dreams of more.
Barnum loses his job as a clerk at a shipping company after the company goes bankrupt. Taking a risky bet, he takes out a large loan from a bank, deceiving the bank into accepting his former employer's lost ships as collateral. He uses this loan to buy Barnum's American Museum in downtown Manhattan, an attraction showcasing various wax models. Initially, sales are slow; on the suggestion of his children to showcase something "alive", Barnum searches for "freaks" to serve as performers for his museum ("Come Alive"). This attracts a large audience despite protests and poor reviews, prompting Barnum to rename his venture "Barnum's Circus".
Searching for ways to further his reputation amongst the upper class, Barnum meets playwright Phillip Carlyle and convinces him to join his venture ("The Other Side"). Carlyle is enchanted with Anne Wheeler, an African-American trapeze artist, but he hides his feelings. During a trip Carlyle arranged for Barnum and his troupe to meet Queen Victoria, Barnum meets Jenny Lind, a famed Swedish singer, whom he convinces to perform in America, with him serving as her manager. Lind's first American performance is a rousing success ("Never Enough"). While Barnum gains favor with the aristocratic patrons, he begins to distance himself from his original troupe, refusing to socialize with them. Dejected, they decide to stand against their local harassers ("This Is Me").
Carlyle and Wheeler attend the theatre together one night, only to run into Carlyle's parents, who insult Wheeler's lowly status, causing her to leave. Carlyle chases her and tries to convince her that they can be together, but she rejects him despite her feelings towards him ("Rewrite the Stars"). As Barnum takes Lind on a US tour, Charity feels isolated from her husband as she stays home with their daughters ("Tightrope"). While on tour, Lind begins falling in love with Barnum, but when he refuses her advances, she calls off the tour and kisses him at the end of her last show, which is photographed by the press ("Never Enough" reprise). Barnum returns home to find his circus on fire, caused by a fight between the protesters and the troupe. Carlyle, who had tried to save Anne not knowing she had already escaped, is rescued amid the chaos by Barnum but suffers severe burns. Most of the sets and props are destroyed. Word of Lind's cancellation and Barnum's public intimacy also reaches New York, resulting in his mansion being foreclosed upon and Charity taking Caroline and Helen back to her parents' home.
Depressed, Barnum retreats to a local pub, where his troupe find him there and persuade him to rebuild the circus. Barnum has an epiphany that causes him to realize the circus was for his friends and family rather than for himself ("From Now On"). Meanwhile, the injured Carlyle wakes in a hospital with Wheeler by his side and they share a kiss.
Barnum leaves and finds his estranged wife, and they decide to mend their relationship. Faced with the financial difficulty of rebuilding the circus, the recovering Carlyle steps in, offering to use his earnings from his share of the circus's profits to rebuild it under the condition of becoming partners, which Barnum happily accepts. As rebuilding the circus in its original location would be too expensive, Barnum rebuilds it as an open-air tent circus by the docks. The new, revamped circus is a huge success, and Barnum gives full control of the show to Carlyle so he can focus on his family ("The Greatest Show" reprise).
Cast[edit]
Hugh Jackman as P. T. Barnum, an ambitious showman and entrepreneur.
Ellis Rubin as Young P. T. Barnum
Ziv Zaifman provides Young P. T. Barnum's singing voice
Zac Efron as Phillip Carlyle, a playwright who becomes Barnum's partner. He is a composite character partly based on James Anthony Bailey.
Michelle Williams as Charity Hallett Barnum, the wife of P.T. Barnum.
Skylar Dunn as Young Charity
Rebecca Ferguson as Jenny Lind, a famous Swedish singer known as the "Swedish Nightingale".
Loren Allred provides Lind's singing voice.[8][9]
Zendaya as Anne Wheeler, an acrobat, trapeze artist, W.D.'s sister and Phillip Carlyle's love interest
Keala Settle as Lettie Lutz, a bearded lady. She is a composite character partly based on Josephine Clofullia and Annie Jones.
Yahya Abdul-Mateen II as W. D. Wheeler, an acrobat and Anne's brother.
Natasha Liu Bordizzo as Deng Yan, a Chinese blade-specialist.
Paul Sparks as James Gordon Bennett, the founder, editor and publisher of the New York Herald.
Sam Humphrey as Charles Stratton, a dwarf performer who is also known by his stage name, General Tom Thumb.
Austyn Johnson as Caroline Barnum, one of Barnum's daughters.
Cameron Seely as Helen Barnum, one of Barnum's daughters.
Eric Anderson as Mr. O'Malley, a former thief whom Barnum employs at his circus.
Daniel Everidge as The Lord of Leeds, The Huge Man.
Caoife Coleman and Mishay Petronelli as the Albino Twins
Shannon Holtzapffel as Prince Constantine, The Tattooed Man.
Luciano Acuna Jr. as Fedor Jeftichew, The Dog Boy.
Danial Son and Yusaku Komori as Chang and Eng Bunker, The "Siamese Twins".
Jonathan Redavid as Frank Lentini, The Three-Legged Man.
Nick Jantz as Jeff Harris, The Juggler
Gayle Rankin as Queen Victoria.
Will Swenson as Philo Barnum, a tailor and the father of P. T. Barnum.
Fredric Lehne as Benjamin Hallett, father of Charity and abusive father-in-law of Barnum.
Kathryn Meisle as Hannah Hallett, mother of Charity and mother-in-law of Barnum.
Production[edit]
The project was first announced in 2009, with Jackman already set for the title role.[10] In August 2011, Michael Gracey was chosen to direct.[11] In 2013, Fox hired lyricists Pasek and Paul to write the songs.[12]
On June 15, 2016, Zac Efron began negotiations to star in the film,[13] and in July 2016, Michelle Williams was cast.[14][15][16][17] The film was choreographed by Ashley Wallen.[18]
Filming[edit]
Rehearsals on the film began in October 2016 in New York City, and principal photography began on November 22, 2016.[19][20].
Post-production[edit]
In December 2017, it was reported that James Mangold, who had worked with Jackman on several projects (including 2017's Logan), had been brought in to serve as an executive producer during the film's post-production. In an interview, director Michael Gracey noted, "There were eight producers on this film, and it was amazing having one of them be a filmmaker."[21]
Music[edit]
Musical numbers[edit]
Benj Pasek and Justin Paul wrote nine songs.[22]
"The Greatest Show" – Hugh Jackman, Keala Settle, Zac Efron, Zendaya
"A Million Dreams" – Ziv Zaifman, Jackman, Michelle Williams
"A Million Dreams" (Reprise) – Austyn Johnson, Cameron Seely, Jackman
"Come Alive" – Jackman, Settle, Daniel Everidge, Zendaya
"The Other Side" – Jackman & Efron
"Never Enough" – Loren Allred
"This Is Me" – Settle
"Rewrite the Stars" – Efron & Zendaya
"Tightrope" – Williams
"Never Enough" (Reprise) – Allred
"From Now On" – Jackman
Soundtrack[edit]
Main article: The Greatest Showman: Original Motion Picture Soundtrack
The soundtrack album features eleven tracks performed by the cast. In the United Kingdom, it became only the second album in 30 years to achieve 11 consecutive weeks at number 1.[23] The Greatest Showman now draws level with Adele's 21 for the longest unbroken run at the UK summit in the last 30 years. The cast album is now at 465,000 combined units, according to the Official Charts Company, made up of 197,000 physical copies, 107,000 downloads and 35% streaming.[24]
Release[edit]
The Greatest Showman held its premiere on December 8, 2017, aboard the RMS Queen Mary 2, while it was docked in New York City. The film was then released in the United States on December 20, 2017.[25][26] Like Disney's live-action Beauty and the Beast, a sing-along version of the film was released in the United Kingdom on February 23, 2018.[27] The film had a limited IMAX release on February 2.
Marketing[edit]
On June 28, 2017, 20th Century Fox released the first international trailer to promote the film. On November 13, 2017, the second trailer was released.[28]
On December 17, 2017, Fox televised a live performance of "Come Alive" from Warner Bros. Studios during its live musical special A Christmas Story Live! (which was based on fellow Pasek and Paul work A Christmas Story: The Musical). The number featured the film's stars and a cast of 150 dancers.[29][30]
Home media[edit]
In the United States, the film was released via digital download on March 20, 2018, and will be released on Blu-ray, DVD and 4K Ultra HD on April 10, 2018.[31] In the United Kingdom, the film will be released first on digital download on April 27, 2018, while Blu-ray, 4K Ultra HD and DVD copies go on sale on May 14. These versions will include the sing-along version, two hours of behind-the-scenes footage and music machine jukebox features.[32]
Reception[edit]
Box office[edit]
As of April 8, 2018[update], The Greatest Showman has grossed $173 million in the United States and Canada, and $247.3 million in other territories, for a worldwide total of $420.3 million, against a production budget of $84 million.[3] It is the fourth- and fifth-highest grossing musical ever in North America and globally, respectively, and Deadline Hollywood estimated the film should turn a profit between $50–100 million.[33]
In the United States and Canada, The Greatest Showman was released alongside Jumanji: Welcome to the Jungle, and was projected to gross around $21 million from 3,006 theaters over its first six days.[34][35] It took in $2 million on its first day and $2 million on its second. Over the three day weekend, it grossed $9 million (for a six-day total of $19 million), finishing fourth at the box office, behind Star Wars: The Last Jedi, Jumanji: Welcome to the Jungle and Pitch Perfect 3.[36] In its second weekend, the film grossed $15.5 million, again finishing 4th at the box office.[37] The weekend-to-weekend increase of 76.3% marked the largest ever for a film playing in over 3,000 theaters, and the fourth biggest ever.[38][39] In its third week, the film dropped 11% to $14 million.[40]
The film made $13 million in its fourth weekend and $11 million in its fifth, finishing 4th and 5th at the box office, respectively.[41] The film continued to hold well in its sixth week of release, grossing $9.5 million and returning to 4th place,[42] and again finished fourth in its seventh week, this time grossing $7.8 million (a drop of just 18%).[43] It is the 13th highest-grossing film to never top the American box office.[44]
Critical response[edit]
On review aggregator Rotten Tomatoes, the film has an approval rating of 55% based on 204 reviews, and an average rating of 6/10. The website's critical consensus reads, "The Greatest Showman tries hard to dazzle the audience with a Barnum-style sense of wonder – but at the expense of its complex subject's far more intriguing real-life story."[45] On Metacritic, the film has a weighted average score of 48 out of 100, based on 43 critics, indicating "mixed or average reviews".[46] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while it earned a 70% "definite recommend" from comScore.[36]
Owen Gleiberman of Variety gave the film a positive review, writing, "The Greatest Showman is a concoction, the kind of film where all the pieces click into place, yet at an hour and 45 minutes it flies by, and the link it draws between P.T. Barnum and the spirit of today is more than hype."[47] Richard Roeper of the Chicago Sun-Times gave the film 3/4 stars, saying, "With all that corn and cheese and old-timey sentiment, The Greatest Showman ends up scoring some very timely social arguments. P.T. Barnum himself would have approved the dramatic sleight of hand."[48] Steve Persall of Tampa Bay Times gave the film an 'A', and said, "The Greatest Showman is the feel-good movie the holiday season needs,"[49] while William Bibbiani of IGN gave The Greatest Showman a score of 7.9/10, and called the film, "wildly entertaining."[50]
Britton Peele of The Dallas Morning News said, "The story is interesting and the beats are well-acted, but it's the musical numbers that make The Greatest Showman."[51] Jackie K Cooper of HuffPost gave the film a score of 10/10 and wrote, "You will be overwhelmed by the music and magic that explode on the screen. The film has a message that should resonate with today's world concerning acceptance and courage."[52] Hugh Armitage of Digital Spy said, "The Greatest Showman is a broad and solid crowd-pleaser. An undemanding spectacle for all the family."[53] Alan Jones of Radio Times called it "A joyously uplifting potpourii of visual resplendence, stylish choreography and solid gold magic, one engineered to approximate the lavish spectacle the movie musical once offered."[54]
Sheila O'Malley of RogerEbert.com gave it 3.5/4, stating "The Greatest Showman is an unabashed piece of pure entertainment punctuated by memorable songs."[55] Douglas Davidson of CLTure called the film, "An undeniable spectacle with a infectious soundtrack, a movie that dazzles and delights."[56] James Berardinelli of ReelViews gave the film a 3/4 score, and said, "The film has show-stopping well-choreographed numbers with catchy tunes,"[57] and Calvin Wilson of St. Louis Post-Dispatch called the film "highly enjoyable."[58]
Carl Kozlowski of Pasadena Weekly gave the film an 'A', calling it "Groundbreaking & grandly innovative."[59] Sean P. Means of The Salt Lake Tribune gave The Greatest Showman 3.5/4 stars, stating, "A strong cast give emotional power to this romanticized, tune-filled biography."[60] Manuela Lazic of Little White Lies gave it 4/5, saying, "The Greatest Showman deserves to become a Christmas classic. the film's severe romanticism and ridiculous but affecting enthusiasm make it irresistibly life-affirming."[61] Pete Hammond of Deadline Hollywood gave the film 4 out of 5 stars and called it, "A fantasia of song and dance, a joyous exercise in pure entertainment that is made for the holiday crowd."[62]
Conversely, Mick LaSalle of the San Francisco Chronicle gave the film a negative review, criticizing the songs and characters and saying "There's idiotic, and there's magnificent, but The Greatest Showman is that special thing that happens sometimes. It's magnificently idiotic. It's an awful mess, but it's flashy. The temptation is to cover your face and watch it through your fingers, because it's so earnest and embarrassing and misguided – and yet it's well-made."[63] In a negative review for The Hollywood Reporter, David Rooney wrote "This ersatz portrait of American big-top tent impresario P.T. Barnum is all smoke and mirrors, no substance. It hammers pedestrian themes of family, friendship and inclusivity while neglecting the fundaments of character and story."[64]
Writing for Rolling Stone, Peter Travers gave the film 1.5 out of 4 stars, saying, "How do you cast a virtuoso Hugh Jackman as P.T. Barnum, spare no expense in production values, add a score by Oscar and Tony winners Benj Pasek and Justin Paul and still end up with the shrill blast of nothing that is The Greatest Showman? Ask first-time director Michael Gracey, who cut his teeth on commercials and music videos without ever mastering the crucial knack of building snippets of musical comedy and drama into a satisfying whole."[65] Justin Chang of the Los Angeles Times wrote that the film's failures "are rooted in something deeper: a dispiriting lack of faith in the audience's intelligence, and a dawning awareness of its own aesthetic hypocrisy. You've rarely seen a more straight-laced musical about the joys of letting your freak flag fly."[66]
Accolades[edit]
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref(s)
AARP's Movies for Grownups Awards
February 5, 2018 Best Grownup Love Story The Greatest Showman Won [67][68]
Academy Awards
March 4, 2018 Best Original Song "This Is Me" – Benj Pasek and Justin Paul Nominated [69][70]
Casting Society of America
January 18, 2018 Big Budget – Comedy Bernard Telsey, Tiffany Little Canfield, Rori Bergman and Patrick Goodwin Won [71]
Costume Designers Guild
February 20, 2018 Excellence in Period Film Ellen Mirojnick Nominated [72]
Critics' Choice Movie Awards
January 11, 2018 Best Song "This Is Me" – Benj Pasek and Justin Paul Nominated [73]
Dorian Awards
February 24, 2018 Campy Flick of the Year The Greatest Showman Nominated [74]
[75]
Empire Awards
March 18, 2018 Best Costume Design The Greatest Showman Nominated [76]
[77]
Best Make-up And Hairstyling The Greatest Showman Nominated
Georgia Film Critics Association
January 12, 2018 Best Original Song "This Is Me" – Benj Pasek and Justin Paul Nominated [78]
Golden Globe Awards
January 7, 2018 Best Actor in a Motion Picture – Musical or Comedy Hugh Jackman Nominated [79]
Best Motion Picture – Musical or Comedy The Greatest Showman Nominated
Best Original Song – Motion Picture "This Is Me" – Benj Pasek and Justin Paul Won
Golden Reel Awards
February 18, 2018 Outstanding Achievement in Sound Editing – Musical Jen Monnar, Jim Harrison, Jeff Carson, Peter Myles and Sheri Ozeki Won [80]
Guild of Music Supervisors Awards
February 8, 2018 Best Music Supervision for Film: Budgeted Over 25 Million Dollars Benj Pasek and Justin Paul Nominated [81]
Best Song/Recording Created for a Film "This Is Me" – Benj Pasek and Justin Paul Nominated
Heartland Film Festival
December 31, 2017 Truly Moving Picture Award Michael Gracey Won [82]
Make-Up Artists and Hair Stylists Guild
February 24, 2018 Feature Motion Picture: Best Period and/or Character Makeup Nicki Ledermann, Tania Ribalow and Sunday Englis Nominated [83]
Saturn Awards
June 2018 Best Action or Adventure Film The Greatest Showman Pending [84]
Best Costume Design Ellen Mirojnick Pending
Best Music John Debney and Joseph Trapanese Pending
See also[edit]
The Greatest Show on Earth
Barnum
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Jump up ^ Giardina, Carolyn (January 22, 2018). "MPSE Golden Reel Awards: 'Baby Driver,' 'Dunkirk' Among Sound Editors' Nominees". The Hollywood Reporter. Retrieved January 23, 2018.
Jump up ^ "Sufjan Stevens, 'Greatest Showman,' 'Girls' Among Guild of Music Supervisors Awards Nominees". Variety. January 11, 2018. Retrieved January 12, 2018.
Jump up ^ "Truly Moving Picture Award". Heartland Film. Archived from the original on February 10, 2017. Retrieved February 10, 2017.
Jump up ^ Giardina, Carolyn (January 5, 2018). "Makeup Artists and Hair Stylists Guild Awards: 'Darkest Hour,' 'Wonder' Lead Feature Nominees". The Hollywood Reporter. Retrieved January 5, 2018.
Jump up ^ McNary, Dave (March 15, 2018). "'Black Panther,' 'Walking Dead' Rule Saturn Awards Nominations". Variety. Archived from the original on March 15, 2018. Retrieved March 15, 2018.
External links[edit]
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Anatomical plane
From Wikipedia, the free encyclopedia
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Anatomical planes in a human:
median or sagittal plane
a parasagittal plane
frontal or coronal plane
transverse or axial plane
This article is part of a series on
Anatomical terminology
Bone
Location
Microanatomy
Motion
Muscle
Neuroanatomy
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An anatomical plane is a hypothetical plane used to transect the human body, in order to describe the location of structures or the direction of movements. In human and animal anatomy, three principal planes are used:
The sagittal plane or median plane (longitudinal, anteroposterior) is a plane parallel to the sagittal suture. It divides the body into left and right.
The coronal plane or frontal plane (vertical) divides the body into dorsal and ventral (back and front, or posterior and anterior) portions.
The transverse plane or axial plane (lateral, horizontal) divides the body into cranial and caudal (head and tail) portions.
Contents
[hide]
1 Terminology
2 Human anatomy
3 Uses
3.1 Motion
3.2 Medical imaging
3.3 Finding anatomical landmarks
3.4 Comparative embryology
4 History
5 References
Terminology[edit]
There could be any number of sagittal planes; however, there is only one cardinal sagittal plane. The term cardinal refers to the one plane that divides the body into equal segments, with exactly one half of the body on either side of the cardinal plane. The term cardinal plane appears in some texts as the principal plane. The terms are interchangeable.[1]
Human anatomy[edit]
The following terms are defined in reference to the anatomical model being in the upright orientation (standing):
A transverse (also known as axial or horizontal) plane is parallel to the ground; in humans it separates the superior from the inferior, or put another way, the head from the feet.
A coronal (also known as frontal or lateral) plane is perpendicular to the ground; in humans it separates the anterior from the posterior, the front from the back, the ventral from the dorsal.
A sagittal (also known as anteroposterior) plane is perpendicular to the ground, separating left from right. The midsagittal plane is the specific sagittal plane that is exactly in the middle of the body.
The midsagittal or median plane is in the midline; i.e. it would pass through midline structures such as the navel or spine, and all other sagittal planes (also referred to as parasagittal planes) are parallel to it. Median can also refer to the midsagittal plane of other structures, such as a digit.
The axes and the sagittal plane are the same for bipeds and quadrupeds, but the orientation of the coronal and transverse planes switch. The axes on particular pieces of equipment may or may not correspond to axes of the body, especially since the body and the equipment may be in different relative orientations.
Brain viewed from below. This is an example of a transverse plane.
Brain cut in half through the midsection. This is an example of a sagittal plane.
Uses[edit]
Motion[edit]
See also: Anatomical terms of motion
When describing anatomical motion, these planes describe the axis along which an action is performed. So by moving through the transverse plane, movement travels from head to toe. For example, if a person jumped directly up and then down, their body would be moving through the transverse plane in the coronal and sagittal planes.
A longitudinal plane is any plane perpendicular to the transverse plane. The coronal plane and the sagittal plane are examples of longitudinal planes.
Medical imaging[edit]
Sometimes the orientation of certain planes needs to be distinguished, for instance in medical imaging techniques such as sonography, CT scans, MRI scans, or PET scans. One imagines a human in the anatomical position, and an X-Y-Z coordinate system with the y-axis going from front to back, the x-axis going from left to right, and the z-axis going from up to down. The z-axis is usually up (Tait-Bryan angles) and the right-hand rule applies.
Finding anatomical landmarks[edit]
See also: Anatomical landmark and List of anatomical lines
Axillary lines.
In humans, reference may take origin from superficial anatomy, made to anatomical landmarks that are on the skin or visible underneath. As with planes, lines and points are imaginary. Examples include:
The midaxillary line, a line running vertically down the surface of the body passing through the apex of the axilla (armpit). Parallel are the anterior axillary line, which passes through the anterior axillary skinfold, and the posterior axillary line, which passes through the posterior axillary skinfold.
The mid-clavicular line, a line running vertically down the surface of the body passing through the midpoint of the clavicle.
In addition, reference may be made to structures at specific levels of the spine (e.g. the 4th cervical vertebra, abbreviated "C4"), or the rib cage (e.g., the 5th intercostal space).
Occasionally, in medicine, abdominal organs may be described with reference to the trans-pyloric plane, which is a transverse plane passing through the pylorus.
Comparative embryology[edit]
In discussing the neuroanatomy of animals, particularly rodents used in neuroscience research, a simplistic convention has been to name the sections of the brain according to the homologous human sections. Hence, what is technically a transverse (orthogonal) section with respect to the body length axis of a rat (dividing anterior from posterior) may often be referred to in rat neuroanatomical coordinates as a coronal section, and likewise a coronal section with respect to the body (i.e. dividing ventral from dorsal) in a rat brain is referred to as transverse. This preserves the comparison with the human brain, whose length axis in rough approximation is rotated with respect to the body axis by 90 degrees in the ventral direction. It implies that the planes of the brain are not necessarily the same as those of the body.
However, the situation is more complex, since comparative embryology shows that the length axis of the neural tube (the primordium of the brain) has three internal bending points, namely two ventral bendings at the cervical and cephalic flexures (cervical flexure roughly between the medulla oblongata and the spinal cord, and cephalic flexure between the diencephalon and the midbrain), and a dorsal (pontine or rhombic) flexure at the midst of the hindbrain, behind the cerebellum. The latter flexure mainly appears in mammals and sauropsids (reptiles and birds), whereas the other two, and principally the cephalic flexure, appear in all vertebrates (the sum of the cervical and cephalic ventral flexures is the cause of the 90 degree angle mentioned above in humans between body axis and brain axis). This more realistic concept of the longitudinal structure of vertebrate brains implies that any section plane, except the sagittal plane, will intersect variably different parts of the same brain as the section series proceeds across it (relativity of actual sections with regard to topological morphological status in the ideal unbent neural tube). Any precise description of a brain section plane therefore has to make reference to the anteroposterior part of the brain to which the description refers (e.g., transverse to the midbrain, or horizontal to the diencephalon). A necessary note of caution is that modern embryologic orthodoxy indicates that the brain's true length axis finishes rostrally somewhere in the hypothalamus where basal and alar zones interconnect from left to right across the median line; therefore, the axis does not enter the telencephalic area, although various authors, both recent and classic, have assumed a telencephalic end of the axis. The causal argument for this lies in the end of the axial mesoderm -mainly the notochord, but also the prechordal plate- under the hypothalamus. Early inductive effects of the axial mesoderm upon the overlying neural ectoderm is the mechanism that establishes the length dimension upon the brain primordium, jointly with establishing what is ventral in the brain (close to the axial mesoderm) in contrast with what is dorsal (distant from the axial mesoderm). Apart from the lack of a causal argument for introducing the axis in the telencephalon, there is the obvious difficulty that there is a pair of telencephalic vesicles, so that a bifid axis is actually implied in these outdated versions.
History[edit]
Some of these terms come from Latin. Sagittal means "like an arrow", a reference to the position of the spine that naturally divides the body into right and left equal halves, the exact meaning of the term "midsagittal", or to the shape of the sagittal suture, which defines the sagittal plane and is shaped like an arrow.
References[edit]
Jump up ^ Kinetic Anatomy With Web Resource—3rd Edition. Human Kinetics. 2012. pp. 31–. ISBN 978-1-4504-3391-4.
[hide]
v
t
e
Anatomical planes and lines
Sagittal plane
Median plane
front (Anterior median line/Midsternal line, Parasternal line, Midclavicular line, Anterior axillary line, Midaxillary line)
back (Posterior median line, Scapular line, Posterior axillary line)
Transverse plane
Thoracic plane
Transpyloric plane
Subcostal plane
Umbilical plane
Supracristal plane
Intertubercular plane
Interspinous plane
Coronal/frontal plane
Sternal plane
General anatomy: systems and organs, regional anatomy, planes and lines, superficial axial anatomy, superficial anatomy of limbs
Retrieved from "https://en.wikipedia.org/w/index.php?title=Anatomical_plane&oldid=816723903"
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I Am a Child of God
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"I Am a Child of God" is a Latter-day Saint hymn and song for children. The lyrics were written in 1957 by Naomi W. Randall and set to music by Mildred Tanner Pettit. The song has been translated into over 90 languages. The phrase "I Am a Child of God" is also used in The Church of Jesus Christ of Latter-day Saints (LDS Church) as a declaration of a basic teaching of the church.
"I am a Child of God"
composed by Naomi Ward Randall in 1957. Sung by the Mormon Tabernacle Choir in 2005.
Problems playing this file? See media help.
Contents
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1 Composition
2 Word change
3 Publication and additional verse
4 Use and popularity
5 Copyright
6 See also
7 Notes
8 External links
Composition[edit]
Naomi W. Randall, lyricist
Randall composed the first three verses of "I Am a Child of God" at the request of the general board of the Primary Association, of which she was a member. The board wanted a song that could teach children about LDS Church teachings on the nature of a child's relationship with God. Randall described how she composed the song:
I got down on my knees and prayed aloud, pleading that our Heavenly Father would let me know the right words.
Around 2:00 a.m., I awakened and began to think again about the song. Words came to my mind. … I immediately got up and began to write the words down as they had come to me. Three verses and a chorus were soon formed.
I gratefully surveyed the work, drank of the message of the words, and returned to my bedroom where I knelt before my Father in Heaven to say "Thank you!"[1]
Randall mailed the lyrics to her friend Mildred T. Pettit in California, who wrote the accompanying music.
Word change[edit]
The song was first performed at a stake Primary conference in 1957. After hearing the performance, apostle Spencer W. Kimball asked the Primary general board if the phrase "Teach me all that I must know / To live with him someday" could be changed to "Teach me all that I must do / To live with him someday". As Kimball later explained, "To know isn't enough. The devils know and tremble; the devils know everything. We have to do something."[2][3] Randall accepted the change.
Publication and additional verse[edit]
The song was first published in the church's 1969 Sing with Me, a songbook for children. In 1978, Randall composed a fourth verse to the song.[2] However, when the song was added to the LDS Church's 1985 hymnal, the decision was made to not include the fourth verse because it was considered by the Church Correlation Committee to be "not officially part of the song".[4] When a new church songbook for children was produced in 1989, the fourth verse was included.
"I Am a Child of God" is hymn number 301 in Hymns of The Church of Jesus Christ of Latter-day Saints and on page 2 in the Children's Songbook.
Use and popularity[edit]
"I Am a Child of God" is one of the 45 hymns that the church publishes in its basic curriculum sources[5] that are used in areas of the world where the church is new or underdeveloped.[4] Thus, it is often one of the first hymns that new Latter-day Saints receive and learn. The song has been translated into over 90 languages and has been the subject of numerous musical adaptations by choirs and other musicians. "I Am a Child of God" is a common phrase used in curriculum,[6] magazines,[7] sermons,[8] and children's clothing,[9] jewelry[10] and novelties[11] as a means of teaching a basic doctrine of Mormonism in simple language.[4]
In February 2007, the LDS Church celebrated the 50th anniversary of the writing of "I Am a Child of God".[4]
Copyright[edit]
The copyright to "I Am a Child of God" is owned by Intellectual Reserve, Inc., a corporation established by the LDS Church to hold its intellectual property. Intellectual Reserve allows copying or downloading of the music and lyrics of the song for incidental, noncommercial church, or noncommercial home uses. In the United States, the phrase "I Am a Child of God" is not trademarked and may be used by anyone for commercial purposes.
See also[edit]
Choose the right
"The Family: A Proclamation to the World"
Notes[edit]
Jump up ^ Karen Lynn Davidson (1998). Our Latter-day Hymns: The Stories and the Messages (Salt Lake City, Utah: Deseret Book) pp. 303–04.
^ Jump up to: a b "New Verse Is Written for Popular Song," Church News, 1978-04-01, p. 16.
Jump up ^ See also Pat Graham, "Sharing Time: Fun with Favorites," Friend, October 1984, p. 14.
^ Jump up to: a b c d Abbey Olsen, "Beloved Song Turns 50," Ensign, February 2007, pp. 76–77.
Jump up ^ “Index of First Lines and Titles,”] Gospel Fundamentals (Salt Lake City, Utah: LDS Church, 2002) p. 276.
Jump up ^ See, e.g., "Lesson 1: I Am a Child of God," Primary 1: I Am a Child of God (Salt Lake City, Utah: LDS Church, 2000) p. 1; "Lesson 3: I Am a Child of God," Primary 2: Choose the Right A (Salt Lake City, Utah: LDS Church, 1995) p. 11; "Lesson Five: I Am a Child of God," Family Home Evening Resource Book (Salt Lake City, Utah: LDS Church, 1997) p. 20.
Jump up ^ See, e.g., Vicki F. Matsumori, "Sharing Time: I Am a Child of God," Friend, March 2003, p. 18; Sheila E. Wilson, "Sharing Time: I Am a Child of God," Friend, January 2004, p. 15.
Jump up ^ See, e.g., Gordon B. Hinckley, "You Are a Child of God," Liahona, May 2003, p. 117; Russell M. Nelson, "We Are Children of God," Ensign, November 1998, p. 85.
Jump up ^ See, e.g., I Am a Child of God baby onesie; I Am a Child of God baby bibs.
Jump up ^ See, e.g., I Am a Child of God necklace.
Jump up ^ See, e.g., I Am a Child of God bookmarks; I Am a Child of God lip-balm; I Am a Child of God stickers.
External links[edit]
"I Am a Child of God", Hymns of The Church of Jesus Christ of Latter-day Saints
"I Am a Child of God", Children's Songbook
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