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1st Academy Awards
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1st Academy Awards
The first Academy Awards was at The Hollywood Roosevelt Hotel.
Date
May 16, 1929 (1929-05-16)
Site
Hollywood Roosevelt Hotel
Hollywood, Los Angeles, California, U.S.
Hosted by
Douglas Fairbanks
Highlights
Best Picture
Wings[1]
Most awards
7th Heaven and Sunrise: A Song of Two Humans (3)
Most nominations
7th Heaven (5)
Academy Awards
2nd →
The 1st Academy Awards ceremony, presented by the Academy of Motion Picture Arts and Sciences (AMPAS), honored the best films of 1927 and 1928 and took place on May 16, 1929 at a private dinner held at the Hollywood Roosevelt Hotel in Los Angeles, California. AMPAS president Douglas Fairbanks hosted the show. Tickets cost $5 (which would be $71 in 2017 considering inflation), 270 people attended the event and the presentation ceremony lasted 15 minutes. Awards were created by Louis B. Mayer, founder of Louis B. Mayer Pictures Corporation (at present merged into Metro-Goldwyn-Mayer). It is the only Academy Awards ceremony not to be broadcast either on radio or television. The radio broadcast was introduced the following year in 1930.
During the ceremony, the AMPAS presented Academy Awards, now known as the Oscars in 12 categories. Winners were announced three months before the live event. Some nominations were announced without reference to a specific film, such as for Ralph Hammeras and Nugent Slaughter, who received nominations in the now defunct category of Engineering Effects.[2] Unlike later ceremonies, an actor could be awarded for multiple works within a calendar year for the same category. Emil Jannings, for example, was given the Best Actor award for his work in both The Way of All Flesh and The Last Command. Also, Charlie Chaplin and Warner Brothers each received an Honorary Award.[3][4]
Major winners at the ceremony included 7th Heaven and Sunrise, which each received three awards, and Wings, receiving two awards. Among its honors, Sunrise won the award for Unique and Artistic Picture and Wings won the award for Outstanding Picture (now known as Best Picture). These two categories at the time were regarded equally as the top award of the night intended to honor different and important aspects of superior filmmaking. The next year, the Academy dropped the Unique and Artistic Picture award, and decided retroactively that the award won by Wings was the highest honor that could be awarded.[2]
Contents
[hide]
1 Background
2 Ceremony
3 Winners and nominees
3.1 Awards
3.2 Honorary Awards
3.3 Multiple nominations and awards
4 Gallery
5 See also
6 References
7 Bibliography
Background[edit]
In 1927, the Academy of Motion Picture Arts and Sciences (AMPAS) was established by Louis B. Mayer, originator of Louis B. Mayer Pictures Corporation, which then would be joined into Metro-Goldwyn-Mayer (MGM). Mayer's purpose in creating the award was to unite the five branches of the film industry, including actors, directors, producers, technicians, and writers.[5] Mayer commented on the creation of the awards "I found that the best way to handle [filmmakers] was to hang medals all over them ... If I got them cups and awards, they'd kill them to produce what I wanted. That's why the Academy Award was created".[6] Mayer asked Cedric Gibbons, art director of MGM, to design an Academy Award trophy.[5][7] Nominees were notified through a telegram in February 1928.[5] In August 1928, Mayer contacted the Academy Central Board of Judges to decide winners.[5] However, according to the American director King Vidor, the voting for the Academy Award for Best Picture was in the hands of the AMPAS founders Douglas Fairbanks, Sid Grauman, Mayer, Mary Pickford, and Joseph Schenck.[8]
Ceremony[edit]
The ceremony was held on May 16, 1929[9][3][4][10] at the Hollywood Roosevelt Hotel, located in Los Angeles.[3] It consisted of a private dinner with 36 banquet tables,[11] where 270 people attended and tickets cost five dollars (equivalent to $71.26 in 2017).[3] Actors and actresses arrived at the hotel in luxury vehicles, where many fans attended to encourage celebrities.[11] The ceremony was not broadcast on radio or television,[3] and was hosted by AMPAS director Fairbanks[9][3][4][12] during a 15-minute event.[10]
Winners and nominees[edit]
Winners were announced three months before the ceremony.[3][4][10] The recipients included: Emil Jannings, the inaugural first award recipient [3] for Best Actor (The Way of All Flesh and The Last Command);[4][10] Janet Gaynor for Best Actress (7th Heaven, Street Angel, and Sunrise: A Song of Two Humans); Frank Borzage for Best Director, Drama (7th Heaven); Lewis Milestone for Best Director, Comedy (Two Arabian Knights); and Wings for Best Picture (the most expensive film of its time).[9][2] Two presentations were made of a Special Award: Charlie Chaplin, a multiple nominee for one movie (Best Actor, Best Writer and Best Director, Comedy; all for The Circus) having been removed from the list so as to recognize his total contribution to the industry;[4] and Warner Brothers, an award for pioneering talking pictures (The Jazz Singer). Three categories were eliminated for subsequent presentations: Best Engineering Effects, Best Title Writing, and Best Unique and Artistic Quality of Production.[2] The larger film producers received the preponderance of awards: Fox Film Corporation, Metro-Goldwyn-Mayer, Paramount Pictures, Radio-Keith-Orpheum, and Warner Bros..[5]
Awards[edit]
Winners are listed first and indicated with double dagger
Outstanding Picture
Wings – Lucien Hubbard for Paramount Pictures
7th Heaven – William Fox for Fox Film Corporation
The Racket – Howard Hughes for The Caddo Company
Best Unique and Artistic Picture
Sunrise: A Song of Two Humans – William Fox for Fox Film Corporation
Chang: A Drama of the Wilderness – Merian C. Cooper and Ernest B. Schoedsack for Paramount Pictures
The Crowd – Irving Thalberg for MGM
Best Director, Comedy Picture
Lewis Milestone – Two Arabian Knights
Ted Wilde – Speedy
Best Director, Dramatic Picture
Frank Borzage – 7th Heaven
King Vidor – The Crowd
Herbert Brenon – Sorrell and Son
Best Actor
Emil Jannings – The Last Command and The Way of All Flesh
Richard Barthelmess – The Noose and The Patent Leather Kid
Best Actress
Janet Gaynor – 7th Heaven, Street Angel, and Sunrise: A Song of Two Humans
Louise Dresser – A Ship Comes In
Gloria Swanson – Sadie Thompson
Best Original Story
Underworld – Ben Hecht
The Last Command – Lajos Bíró
Best Adaptation
7th Heaven – Benjamin Glazer, based on the play by Austin Strong
Glorious Betsy – Anthony Coldeway, based on the play by Rida Johnson Young
The Jazz Singer – Alfred A. Cohn, based on the story "The Day of Atonement" and the play The Jazz Singer by Samson Raphaelson
Best Art Direction
The Dove and Tempest – William Cameron Menzies
7th Heaven – Harry Oliver
Sunrise: A Song of Two Humans – Rochus Gliese
Best Cinematography
Sunrise: A Song of Two Humans – Charles Rosher and Karl Struss
The Devil Dancer – George Barnes
The Magic Flame – George Barnes
Sadie Thompson – George Barnes
Best Engineering Effects
Wings – Roy Pomeroy
(No specific film) – Ralph Hammeras
(No specific film) – Nugent Slaughter
Best Title Writing
(No specific film) – Joseph W. Farnham
(No specific film) – George Marion Jr.
The Private Life of Helen of Troy – Gerald Duffy (posthumous nomination)
Honorary Awards[edit]
Charlie Chaplin
"For versatility and genius in acting, writing, directing and producing The Circus".[3]
Warner Brothers Production
"For producing The Jazz Singer, the pioneer outstanding talking picture, which has revolutionized the industry".[3]
Multiple nominations and awards[edit]
The following six films received multiple nominations:
Nominations
Film
5 7th Heaven
4 Sunrise: A Song of Two Humans
2 The Crowd
The Last Command
Sadie Thompson
Wings
The following three films received multiple awards:
Awards
Film
3 7th Heaven
Sunrise: A Song of Two Humans
2 Wings
Gallery[edit]
Academy Award winners – Gallery
Wings is the first film to win the Academy Award for Best Picture, which was at the time known as Outstanding Picture. Also won an award for the Best Engineering Effects[9]
Sunrise: A Song of Two Humans won the Academy Award for Best Unique and Artistic Picture, the only year that such a prize was awarded. The prize was intended to honor prestige art films separately from "commercial fare".[13]
Frank Borzage, Best Director, Dramatic Picture
Emil Jannings, Best Actor
Janet Gaynor, Best Actress
Charles Chaplin, Honorary Award
Warner Brothers Production, Honorary Award. In top image First National Studios, Burbank, c. 1928.
See also[edit]
1927 in film
1928 in film
References[edit]
Jump up ^ "The 1st Academy Awards Memorable Moments". Academy of Motion Picture Arts and Sciences.
^ Jump up to: a b c d "The Official Academy Awards Database". Academy of Motion Picture Arts and Sciences. Archived from the original on February 8, 2009. Retrieved February 18, 2012. Reader must select "1927/28" in the "Award Year(s):" drop-down menu and press "Search".
^ Jump up to: a b c d e f g h i j "History of the Academy Awards". Academy of Motion Picture Arts and Sciences. Archived from the original on April 8, 2010. Retrieved May 6, 2010.
^ Jump up to: a b c d e f Dirks, Tim. "1927–28 Academy Awards Winners and History". Filmsite. Rainbow Media. Archived from the original on July 24, 2010. Retrieved May 6, 2010.
^ Jump up to: a b c d e Cosgrave 2007, p. 1
Jump up ^ Eyman 2005, p. 117
Jump up ^ Eyman 2005, p. 209
Jump up ^ Eyman 2005, p. 138
^ Jump up to: a b c d "This day in History". History. A&E Television Networks. Archived from the original on March 7, 2010. Retrieved October 5, 2010.
^ Jump up to: a b c d Pawlak, Debra Ann. "The Story of the First Academy Awards". The MediaDrome{{inconsistent citations}}
^ Jump up to: a b Cosgrave 2007, p. 4
Jump up ^ "Names make news". Time. Time Inc. May 27, 1929. Archived from the original on October 27, 2010. Retrieved October 5, 2010.
Jump up ^ Decherney, Peter (August 14, 2012). "Hollywood and the Culture Elite: How the Movies Became American". Columbia University Press – via Google Books.
Bibliography[edit]
Cosgrave, Bronwyn (2007). Made for Each Other: Fashion and the Academy Awards (I ed.). New York, United States: Bloomsbury Publishing USA. ISBN 978-0-7475-7630-3. OCLC 74523691.
Eyman, Scott (2005). Lion of Hollywood: the life and legend of Louis B. Mayer (I ed.). New York, United States: Simon & Schuster. ISBN 0-7432-0481-6. OCLC 57506846.
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Rotation
From Wikipedia, the free encyclopedia
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This article is about movement of a physical body. For other uses, see Rotation (disambiguation).
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2014) (Learn how and when to remove this template message)
A sphere rotating about an axis
A rotation is a circular movement of an object around a center (or point) of rotation. A three-dimensional object can always be rotated around an infinite number of imaginary lines called rotation axes (/ˈæksiːz/ AK-seez). If the axis passes through the body's center of mass, the body is said to rotate upon itself, or spin. A rotation about an external point, e.g. the Earth about the Sun, is called a revolution or orbital revolution, typically when it is produced by gravity. The axis is called a pole.
Contents
[hide]
1 Mathematics
2 Astronomy
2.1 Rotation and revolution
2.2 Retrograde rotation
3 Physics
3.1 Cosmological principle
3.2 Euler rotations
4 Flight dynamics
5 Amusement rides
6 Sports
7 Fixed axis vs. fixed point
8 Axis of 2 dimensional rotations
9 Rotation axis in 3 dimensions
10 Rotation plane
11 See also
12 References
13 External links
Mathematics[edit]
Main article: Rotation (mathematics)
Rotation of a planar figure around a point
Rotational Orbit v Spin
Relations between rotation axis, plane of orbit and axial tilt (for Earth).
Mathematically, a rotation is a rigid body movement which, unlike a translation, keeps a point fixed. This definition applies to rotations within both two and three dimensions (in a plane and in space, respectively.)
All rigid body movements are rotations, translations, or combinations of the two.
A rotation is simply a progressive radial orientation to a common point. That common point lies within the axis of that motion. The axis is 90 degrees perpendicular to the plane of the motion. If the axis of the rotation lies external of the body in question then the body is said to orbit. There is no fundamental difference between a “rotation” and an “orbit” and or "spin". The key distinction is simply where the axis of the rotation lies, either within or outside of a body in question. This distinction can be demonstrated for both “rigid” and “non rigid” bodies.
If a rotation around a point or axis is followed by a second rotation around the same point/axis, a third rotation results. The reverse (inverse) of a rotation is also a rotation. Thus, the rotations around a point/axis form a group. However, a rotation around a point or axis and a rotation around a different point/axis may result in something other than a rotation, e.g. a translation.
Rotations around the x, y and z axes are called principal rotations. Rotation around any axis can be performed by taking a rotation around the x axis, followed by a rotation around the y axis, and followed by a rotation around the z axis. That is to say, any spatial rotation can be decomposed into a combination of principal rotations.
In flight dynamics, the principal rotations are known as yaw, pitch, and roll (known as Tait–Bryan angles). This terminology is also used in computer graphics.
See also: curl (mathematics), cyclic permutation, Euler angles, rigid body, rotation around a fixed axis, rotation group SO(3), rotation matrix, axis angle, quaternion, and isometry
Astronomy[edit]
Star trails caused by the Earth's rotation during the camera's long exposure time.[1]
In astronomy, rotation is a commonly observed phenomenon. Stars, planets and similar bodies all spin around on their axes. The rotation rate of planets in the solar system was first measured by tracking visual features. Stellar rotation is measured through Doppler shift or by tracking active surface features.
This rotation induces a centrifugal acceleration in the reference frame of the Earth which slightly counteracts the effect of gravity the closer one is to the equator. One effect is that an object weighs slightly less at the equator. Another is that the Earth is slightly deformed into an oblate spheroid.
Another consequence of the rotation of a planet is the phenomenon of precession. Like a gyroscope, the overall effect is a slight "wobble" in the movement of the axis of a planet. Currently the tilt of the Earth's axis to its orbital plane (obliquity of the ecliptic) is 23.44 degrees, but this angle changes slowly (over thousands of years). (See also Precession of the equinoxes and Pole star.)
Rotation and revolution[edit]
Main article: Orbital revolution
While revolution is often used as a synonym for rotation, in many fields, particularly astronomy and related fields, revolution, often referred to as orbital revolution for clarity, is used when one body moves around another while rotation is used to mean the movement around an axis. Moons revolve around their planet, planets revolve about their star (such as the Earth around the Sun); and stars slowly revolve about their galaxial center. The motion of the components of galaxies is complex, but it usually includes a rotation component.
Retrograde rotation[edit]
Main article: Retrograde motion
Most planets in our solar system, including Earth, spin in the same direction as they orbit the Sun. The exceptions are Venus and Uranus. Uranus rotates nearly on its side relative to its orbit. Current speculation is that Uranus started off with a typical prograde orientation and was knocked on its side by a large impact early in its history. Venus may be thought of as rotating slowly backwards (or being "upside down"). The dwarf planet Pluto (formerly considered a planet) is anomalous in this and other ways.
Physics[edit]
Further information: Angular momentum
See also: Speed § Tangential Speed, rotational energy, angular velocity, Centrifugal force (fictitious), centripetal force, circular motion, circular orbit, Coriolis effect, spin (physics), rotational spectroscopy, and Rigid body dynamics § Linear and angular momentum
The speed of rotation is given by the angular frequency (rad/s) or frequency (turn/s, turns per minute), or period (seconds, days, etc.). The time-rate of change of angular frequency is angular acceleration (rad/s²), This change is caused by torque. The ratio of the two (how heavy is it to start, stop, or otherwise change rotation) is given by the moment of inertia.
The angular velocity vector (an axial vector) also describes the direction of the axis of rotation. Similarly the torque is an axial vector.
The physics of the rotation around a fixed axis is mathematically described with the axis–angle representation of rotations. According to the right-hand rule, the direction away from the observer is associated with clockwise rotation and the direction towards the observer with counterclockwise rotation, like a screw.
Cosmological principle[edit]
The laws of physics are currently believed to be invariant under any fixed rotation. (Although they do appear to change when viewed from a rotating viewpoint: see rotating frame of reference.)
In modern physical cosmology, the cosmological principle is the notion that the distribution of matter in the universe is homogeneous and isotropic when viewed on a large enough scale, since the forces are expected to act uniformly throughout the universe and have no preferred direction, and should, therefore, produce no observable irregularities in the large scale structuring over the course of evolution of the matter field that was initially laid down by the Big Bang.
In particular, for a system which behaves the same regardless of how it is oriented in space, its Lagrangian is rotationally invariant. According to Noether's theorem, if the action (the integral over time of its Lagrangian) of a physical system is invariant under rotation, then angular momentum is conserved.
Euler rotations[edit]
Main article: Euler angles
Euler rotations of the Earth. Intrinsic (green), Precession (blue) and Nutation (red)
Euler rotations provide an alternative description of a rotation. It is a composition of three rotations defined as the movement obtained by changing one of the Euler angles while leaving the other two constant. Euler rotations are never expressed in terms of the external frame, or in terms of the co-moving rotated body frame, but in a mixture. They constitute a mixed axes of rotation system, where the first angle moves the line of nodes around the external axis z, the second rotates around the line of nodes and the third one is an intrinsic rotation around an axis fixed in the body that moves.
These rotations are called precession, nutation, and intrinsic rotation.
Flight dynamics[edit]
Main article: Aircraft principal axes
The principal axes of rotation in space
In flight dynamics, the principal rotations described with Euler angles above are known as pitch, roll and yaw. The term rotation is also used in aviation to refer to the upward pitch (nose moves up) of an aircraft, particularly when starting the climb after takeoff.
Principal rotations have the advantage of modelling a number of physical systems such as gimbals, and joysticks, so are easily visualised, and are a very compact way of storing a rotation. But they are difficult to use in calculations as even simple operations like combining rotations are expensive to do, and suffer from a form of gimbal lock where the angles cannot be uniquely calculated for certain rotations.
Amusement rides[edit]
Many amusement rides provide rotation. A Ferris wheel has a horizontal central axis, and parallel axes for each gondola, where the rotation is opposite, by gravity or mechanically. As a result, at any time the orientation of the gondola is upright (not rotated), just translated. The tip of the translation vector describes a circle. A carousel provides rotation about a vertical axis. Many rides provide a combination of rotations about several axes. In Chair-O-Planes the rotation about the vertical axis is provided mechanically, while the rotation about the horizontal axis is due to the centripetal force. In roller coaster inversions the rotation about the horizontal axis is one or more full cycles, where inertia keeps people in their seats.
Sports[edit]
"Spin move" redirects here. For other uses, see Spin move (disambiguation).
Rotation of a ball or other object, usually called spin, plays a role in many sports, including topspin and backspin in tennis, English, follow and draw in billiards and pool, curve balls in baseball, spin bowling in cricket, flying disc sports, etc. Table tennis paddles are manufactured with different surface characteristics to allow the player to impart a greater or lesser amount of spin to the ball.
Rotation of a player one or more times around a vertical axis may be called spin in figure skating, twirling (of the baton or the performer) in baton twirling, or 360, 540, 720, etc. in snowboarding, etc. Rotation of a player or performer one or more times around a horizontal axis may be called a flip, roll, somersault, heli, etc. in gymnastics, waterskiing, or many other sports, or a one-and-a-half, two-and-a-half, gainer (starting facing away from the water), etc. in diving, etc. A combination of vertical and horizontal rotation (back flip with 360°) is called a möbius in waterskiing freestyle jumping.
Rotation of a player around a vertical axis, generally between 180 and 360 degrees, may be called a spin move and is used as a deceptive or avoidance maneuver, or in an attempt to play, pass, or receive a ball or puck, etc., or to afford a player a view of the goal or other players. It is often seen in hockey, basketball, football of various codes, tennis, etc.
Fixed axis vs. fixed point[edit]
The end result of any sequence of rotations of any object in 3D about a fixed point is always equivalent to a rotation about an axis. However, an object may physically rotate in 3D about a fixed point on more than one axis simultaneously, in which case there is no single fixed axis of rotation - just the fixed point. However, these two descriptions can be reconciled - such a physical motion can always be re-described in terms of a single axis of rotation, provided the orientation of that axis relative to the object is allowed to change moment by moment.
Axis of 2 dimensional rotations[edit]
2 dimensional rotations, unlike the 3 dimensional ones, possess no axis of rotation. This is equivalent, for linear transformations, with saying that there is no direction in the place which is kept unchanged by a 2 dimensional rotation, except, of course, the identity.
The question of the existence of such a direction is the question of existence of an eigenvector for the matrix A representing the rotation. Every 2D rotation (of an angle θ {\displaystyle \theta } can be quite simply represented by the following matrix:
A = [ cos  θ sin  θ − sin  θ cos  θ ] {\displaystyle A={\begin{bmatrix}\cos \theta &\sin \theta \\-\sin \theta &\cos \theta \end{bmatrix}}}
A standard eigenvalue determination leads to the characteristic polynomial λ 2 − 2 λ cos  θ + 1 = 0 {\displaystyle \lambda ^{2}-2\lambda \cos \theta +1=0} , which has cos  θ ± i sin  θ {\displaystyle \cos \theta \pm i\sin \theta } as it's eigenvalues. Therefore, there is no real eigenvalue, meaning that no real vector in the plane is kept unchanged by A.
Rotation axis in 3 dimensions[edit]
Every rotation in 3D space has an axis of rotation, that is, a line which is, as a whole, kept unchanged by the rotation.
The direction of this axis corresponds to an eigenvector of the rotation matrix A {\displaystyle A} . Therefore, the existence of such an axis corresponds to the existence of an eigenvalue of value 1. We shall prove that there is one and only one such direction.
The starting point of the proof it the fact that any n-dimensional matrix has n eigenvalues. It remains to determine whether these eigenvalues are distinct or not.
The fact that A has only real coefficients imply that the complex conjugate of every complex eigenvalue is another (different) eigenvalue. This happens because, taking the hermitian conjugate of the eigenvalue equation A v = λ v {\displaystyle Av=\lambda v} , we have
v ¯ T A † = λ ∗ v ¯ T {\displaystyle {\bar {v}}^{T}A^{\dagger }=\lambda ^{*}{\bar {v}}^{T}} ,
but A † {\displaystyle A^{\dagger }} is just the transpose A T {\displaystyle A^{T}} , so v ¯ T A T = λ ∗ v ¯ T {\displaystyle {\bar {v}}^{T}A^{T}=\lambda ^{*}{\bar {v}}^{T}} and we can transpose to obtain
A v ¯ = λ ∗ v ¯ {\displaystyle A{\bar {v}}=\lambda ^{*}{\bar {v}}}
So λ ∗ {\displaystyle \lambda ^{*}} is an eigenvalue and v ¯ {\displaystyle {\bar {v}}} an eigenvector.
Therefore, for every complex (non-real) eigenvalue, there corresponds another distinct complex eigenvalue; it's complex conjugate. The number of complex eigenvalue of a real matrix must then be pair. Since the rotation matrix in 3 dimensions has 3 eigenvalues, one of them must be real. Now, by the above discussion, we know that, if v is the eigenvector corresponding to this real eigenvalue, v ¯ {\displaystyle {\bar {v}}} must also be an eigenvector corresponding to the same eigenvalue, and therefore their sum, v + b ¯ {\displaystyle v+{\bar {b}}} , is necessarily a real eigenvector. Finally, the fact that a rotation matrix is orthogonal reads, in matrix form A A T = I {\displaystyle AA^{T}=I} . Then, if we take the scalar product of A v {\displaystyle Av} with itself, we have
| A v | 2 = ( A v ) T A v = v T A T A v = v T v = | v | 2 {\displaystyle |Av|^{2}=(Av)^{T}Av=v^{T}A^{T}Av=v^{T}v=|v|^{2}}
But A v = λ v {\displaystyle Av=\lambda v} implies
| A v | 2 = λ 2 v T v = λ 2 | v | 2 {\displaystyle |Av|^{2}=\lambda ^{2}v^{T}v=\lambda ^{2}|v|^{2}}
Hence, λ 2 = 1 {\displaystyle \lambda ^{2}=1} . If we choose λ = − 1 {\displaystyle \lambda =-1} , this corresponds to an orthogonal matrix of determinant -1, that is, a rotation followed by a reflection. Choosing λ = 1 {\displaystyle \lambda =1} corresponds to a rotation. Therefore, the line in this direction v is unchanged by the rotation; it is a rotation axis.
Rotation plane[edit]
As much as every tridimensional rotation has a rotation axis, also every tridimensional rotation has a plane, which is perpendicular to the rotation axis, and which is left invariant by the rotation. The rotation, restricted to this plane, is an ordinary 2D rotation.
The proof proceeds similarly to the above discussion. First, suppose that all eigenvalues of the 3D rotation matrix A are real. This means that there is an orthogonal basis, made by the corresponding eigenvectors (which are necessarily orthogonal), over which the effect of the rotation matrix is just stretching it. If we write A in this basis, it is diagonal; but a diagonal orthogonal matrix is made of just +1's and -1's in the diagonal entries. Therefore, we don't have a proper rotation, but either the identity or the result of a sequence of reflections.
It follows, then, that a proper rotation has some complex eigenvalue. Let v be the corresponding eigenvector. Then, as we showed in the previous topic, v ¯ {\displaystyle {\bar {v}}} is also an eigenvector, and v + v ¯ {\displaystyle v+{\bar {v}}} and i ( v − v ¯ ) {\displaystyle i(v-{\bar {v}})} are such that their scalar product vanishes:
i ( v T + v ¯ T ) ( v − v ¯ ) = i ( v T v − v ¯ T v ¯ + v ¯ T v − v T v ¯ ) = 0 {\displaystyle i(v^{T}+{\bar {v}}^{T})(v-{\bar {v}})=i(v^{T}v-{\bar {v}}^{T}{\bar {v}}+{\bar {v}}^{T}v-v^{T}{\bar {v}})=0}
because, since v ¯ T v ¯ {\displaystyle {\bar {v}}^{T}{\bar {v}}} is real, it equals it's complex conjugate v T v {\displaystyle v^{T}v} , and v ¯ T v {\displaystyle {\bar {v}}^{T}v} and v T v ¯ {\displaystyle v^{T}{\bar {v}}} are both representations of the same scalar product between v {\displaystyle v} and v ¯ {\displaystyle {\bar {v}}} .
This means v + v ¯ {\displaystyle v+{\bar {v}}} and i ( v − v ¯ ) {\displaystyle i(v-{\bar {v}})} are orthogonal vectors. Also, they are both real vectors by construction. These vectors span the same subspace as v {\displaystyle v} and v ¯ {\displaystyle {\bar {v}}} , which is an invariant subspace under the application of A. Therefore, they span an invariant plane.
This plane is orthogonal to the invariant axis, which corresponds to the remaining eigenvector of A, with eigenvalue 1, because of the orthogonality of the eigenvectors of A.
See also[edit]
Absolute rotation
Attitude (geometry)
Balancing machine
Circular motion
Mach's principle
Rolling
Rotation around a fixed axis
Rotation formalisms in three dimensions
Rotating locomotion in living systems
Top
Truck bolster
References[edit]
Jump up ^ "An Oasis, or a Secret Lair?". ESO Picture of the Week. Archived from the original on 11 October 2013. Retrieved 8 October 2013.
External links[edit]
Hazewinkel, Michiel, ed. (2001) [1994], "Rotation", Encyclopedia of Mathematics, Springer Science+Business Media B.V. / Kluwer Academic Publishers, ISBN 978-1-55608-010-4
Product of Rotations at cut-the-knot. cut-the-knot.org
When a Triangle is Equilateral at cut-the-knot. cut-the-knot.org
Rotate Points Using Polar Coordinates, howtoproperly.com
Rotation in Two Dimensions by Sergio Hannibal Mejia after work by Roger Germundsson and Understanding 3D Rotation by Roger Germundsson, Wolfram Demonstrations Project. demonstrations.wolfram.com
Retrieved from "https://en.wikipedia.org/w/index.php?title=Rotation&oldid=835678172"
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text:
I Am the Walrus
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"I Am the Walrus"
US picture sleeve
Single by the Beatles
from the album Magical Mystery Tour
A-side
"Hello, Goodbye"
Released
24 November 1967 (1967-11-24)
Format
7-inch single
Recorded
5 September 1967,
EMI Studios, London
Genre
Psychedelic rock
acid rock
experimental rock
Length
4:33
Label
Parlophone
Songwriter(s)
Lennon–McCartney
Producer(s)
George Martin
The Beatles singles chronology
"All You Need Is Love"
(1967) All You Need Is Love1967 "Hello, Goodbye" / "I Am the Walrus"
(1967) String Module Error: Match not found1967 "Lady Madonna"
(1968) Lady Madonna1968
"I Am the Walrus" is a song by the Beatles released in November 1967. It was featured in the Beatles' television film Magical Mystery Tour in December of that year, as a track on the associated British double EP of the same name and its American counterpart LP, and was the B-side to the number 1 hit single "Hello, Goodbye". Since the single and the double EP held at one time in December 1967 the top two slots on the British singles chart, the song had the distinction of being at number 1 and number 2 simultaneously.
Contents
[hide]
1 Composition
2 Musical structure
3 Recording
3.1 Incorporation of text from King Lear
4 Different versions
5 Personnel
6 Reception
7 Interpretation
8 In popular culture
8.1 Citations
8.2 Bibliography
9 External links
Composition[edit]
John Lennon received a letter from a pupil at Quarry Bank High School, which he had attended. The writer mentioned that the English master was making his class analyse Beatles' lyrics. (Lennon wrote an answer, dated 1 September 1967, which was auctioned by Christie's of London in 1992.) Lennon, amused that a teacher was putting so much effort into understanding the Beatles' lyrics, decided to write in his next song the most confusing lyrics that he could.
According to author Ian MacDonald, the "model" for "I Am the Walrus" was most likely Procol Harum's "A Whiter Shade of Pale", which was a hit single during the summer of 1967 and Lennon's favourite song of the period.[1] The lyrics came from three song ideas that Lennon had been working on, the first of which was inspired by hearing a police siren at his home in Weybridge; Lennon wrote the lines "Mis-ter cit-y police-man" to the rhythm and melody of the siren. The second idea was a short rhyme about Lennon sitting amidst his garden, while the third was a nonsense lyric about sitting on a corn flake. Unable to finish the three different songs, he combined them into one. The lyrics also included the phrase "Lucy in the sky", a reference to the Beatles' earlier song "Lucy in the Sky with Diamonds".
The walrus refers to Lewis Carroll's poem "The Walrus and the Carpenter" (from the book Through the Looking-Glass).[2] Lennon later expressed dismay upon belatedly realising that the walrus was a villain in the poem.[3]
The final piece of the song came together when Lennon's friend and former fellow member of the Quarrymen, Peter Shotton visited, and Lennon asked him about a playground nursery rhyme they sang as children. Shotton recalled the rhyme as follows:
Yellow matter custard, green slop pie,
All mixed together with a dead dog's eye,
Slap it on a butty, ten foot thick,
Then wash it all down with a cup of cold sick.[4]
Lennon borrowed a couple of images from the first two lines. Shotton was also responsible for suggesting that Lennon change the lyric "waiting for the man to come" to "waiting for the van to come". The Beatles' official biographer Hunter Davies was present while the song was being written and wrote an account in his 1968 biography of the Beatles. According to this biography, Lennon remarked to Shotton, "Let the fuckers work that one out."
Lennon claimed he wrote the first two lines on separate acid trips; he explained much of the song to Playboy in 1980:[5]
The first line was written on one acid trip one weekend. The second line was written on the next acid trip the next weekend, and it was filled in after I met Yoko ... I'd seen Allen Ginsberg and some other people who liked Dylan and Jesus going on about Hare Krishna. It was Ginsberg, in particular, I was referring to. The words 'Element'ry penguin' meant that it's naïve to just go around chanting Hare Krishna or putting all your faith in one idol. In those days I was writing obscurely, à la Dylan. [...]
It never dawned on me that Lewis Carroll was commenting on the capitalist system. I never went into that bit about what he really meant, like people are doing with the Beatles' work. Later, I went back and looked at it and realized that the walrus was the bad guy in the story and the carpenter was the good guy. I thought, Oh, shit, I picked the wrong guy. I should have said, 'I am the carpenter.' But that wouldn't have been the same, would it? [Sings, laughing] 'I am the carpenter ...'
Musical structure[edit]
All the chords are major chords or seventh chords, and all the musical letters of the alphabet (A, B, C, D, E, F and G) are used. The song ends using a Shepard tone, with a chord progression built on ascending and descending lines in the bass and strings, repeated as the song fades. Musicologist Alan W. Pollack analyses: "The chord progression of the outro itself is a harmonic Moebius strip with scales in bassline and top voice that move in contrary motion."[6] The bassline descends stepwise A, G, F, E, D, C, and B, while the strings part rises A, B, C, D, E, F♯, G: this sequence repeats as the song fades, with the strings rising higher on each iteration. Pollack also notes that the repeated cell is seven bars long, which means that a different chord begins each four-bar phrase. The fade is described by Walter Everett as a "false ending", in the form of an "unrelated coda" consisting of the orchestral chord progression, chorus, and sampling of the radio play.[7]
The song is in the key of A, and the instrumental introduction starts in the Lydian mode of B major.[8] Verse 1 begins with a I–♭III–IV–I rock pattern: "I am he" (A chord)..."you are me" (C chord) "and we are all toge..." (D chord) "...ther" (A chord). Verse 2, however, involves a ♭VI–♭VII–I Aeolian ascent: "waiting" (F chord) "for the van" (G chord) "to come" (A chord). The chorus uses a ♭III–IV–V pattern: "I am the eggman (C chord) "they are the eggmen (D chord). "I am the walrus (E chord), "goo goo g'joob" hanging as an imperfect cadence until resolved with the I (A chord) on "Mr. City Policeman".[9] At the line "Sitting in an English garden" the D♯ melody note (as in the instrumental introduction) establishes a Lydian mode (sharp 4th note in the scale), and this mode is emphasised more strongly with the addition of a D♯ note to the B chord on "If the sun don't come".[10]
Recording[edit]
"I Am the Walrus" was the first studio recording made by the Beatles after the death of their manager, Brian Epstein, in August 1967. The basic backing track featuring the Beatles was released in 1996 on Anthology 2. George Martin arranged and added orchestral accompaniment that included violins, cellos, horns, and clarinet. Paul McCartney said that Lennon gave instructions to Martin as to how he wished the orchestration to be scored, including singing most of the parts as a guide. A 16-voice choir of professional studio vocalists named the Mike Sammes Singers took part in the recording as well, variously singing "Ho-ho-ho, hee-hee-hee, ha-ha-ha", "oompah, oompah, stick it up your jumper!", "everybody's got one" and making a series of shrill whooping noises.[11] The "stick it up your jumper" refrain originated with the 1930s novelty song "Umpa, Umpa (Stick It Up Your Jumper)" by The Two Leslies.[citation needed]
In 2015, founding Moody Blues member Ray Thomas said in an interview that he and fellow band member Mike Pinder contributed backing vocals to the song, as well as harmonicas to "The Fool on the Hill".[12]
Incorporation of text from King Lear[edit]
The dramatic reading in the mix is Shakespeare's King Lear (Act IV, Scene 6), lines 219–222 and 249–262,[13] added to the song on 29 September 1967[14] direct from an AM radio Lennon was fiddling with that happened to be receiving the 7:30 pm to 11 pm[15] broadcast of the play on the BBC Third Programme.[16]
The first excerpt (ll. 219–222) moves in and out of the text, containing fragments of lines only. It begins where the disguised Edgar talks to his estranged and maliciously blinded father the Earl of Gloucester (timings given[13]):
Gloucester: (2:35) Now, good sir, wh— (Lennon appears to change the channel away from the station here)[13]
Edgar: (2:38) — poor man, made tame by fortune — (2:44) good pity —
In the play Edgar then kills Oswald, Goneril's steward. During the fade of the song the second main extract (ll. 249–262), this time of continuous text, is heard (timings given[13]):[13][17]
Oswald: (3:52) Slave, thou hast slain me. Villain, take my purse.
If ever thou wilt thrive, (4:02) bury my body,
And give the (4:05) letters which thou find'st about me
To (4:08) Edmund, Earl of Gloucester; (4:10) seek him out
Upon the British party. O, (4:14) untimely Death!
Edgar: (4:23) I know thee well: a (4:25) serviceable villain;
As duteous to the (4:27) vices of thy mistress
As badness would desire.
Gloucester: What, is he dead?
Edgar: (4:31) Sit you down father, rest you.
On the radio broadcast the roles were read by Mark Dignam (Gloucester), Philip Guard (Edgar), and John Bryning (Oswald).[14]
Different versions[edit]
In the original (1967) stereo release, at around two minutes through the song, the mix changes from true stereo to "fake stereo". This came about because the radio broadcast had been added "live" into the mono mix-down and so was unavailable for inclusion in the stereo mix; hence, fake stereo from the mono mix was created for this portion of the song.[18]
The mono version opens with a four-beat chord, while the stereo mix features six beats on the initial chord. The four-beat-only intro is also included on a different stereo mix (overseen by George Martin) for the previous MPI Home Video version of Magical Mystery Tour, especially the US Magical Mystery Tour album. The US mono single mix includes an extra bar of music before the words "yellow matter custard". This is actually the original uncut version of the mono mix called RM23. An early, overdub-free mix of the song released on Anthology 2 reveals John singing the lyrics "Yellow mat-" too early—this was edited out. A hybrid version prepared for the 1980 US Rarities LP combines the six-beat opening with the extra bar of music that precedes the words "yellow matter custard" (from the aforementioned US mono single mix).[19] An entirely new full stereo remix was done in 2012 for Apple's DVD and Blu-ray release of the restored version of Magical Mystery Tour.
The Jean Beaudin psychedelic 1969 short subject Vertige[20] uses as the entirety of its soundtrack the song slowed down to 1/8 speed.[21][dubious – discuss]
A 5.1 surround sound full stereo remix of the song appeared on the DVD release of Anthology in 2003, on disc 4. A full stereo digital remix was also done for the Cirque du Soleil show Love and album of the same name, released in 2006. Producers George and Giles Martin were allowed access to early generations of the original master tapes. Musical parts that had previously been mixed were now available as separate elements. Additionally, a copy of the BBC broadcast of King Lear was acquired. Now, with all the sound sources used in the original mono mix present, a proper stereo remix could be accomplished. These tracks were transferred digitally and lined up to create a new multi-track master, from which a new mix would be made.
In addition to the stereo remixes prepared for the Love show and the 2012 Apple reissue referenced above, the DVDs that were released for those same projects contain a 5.1 surround sound mix of the song, making three distinct 5.1 remixes of the same song.
In Spring/Summer 1988 a Dutch radio station aired a no-overdub version that was acquired through dubious raids on the Apple vaults and titled Beatles unlimited. (Private copy, used by owner only, is noted here.)
Personnel[edit]
John Lennon – lead vocals, electric piano, Mellotron
Paul McCartney – bass guitar, tambourine, backing vocals
George Harrison – electric guitar, backing vocals
Ringo Starr – drums
Orchestrated, directed and produced by George Martin
Session musicians – strings, brass, and woodwinds
Mike Sammes singers – backing vocals
Ray Thomas – backing vocals[12]
Mike Pinder – backing vocals[12]
Engineered by Geoff Emerick and Ken Scott
Mixed by Geoff Emerick and John Lennon[citation needed]
Reception[edit]
Critical reception at the time of the track's release was largely positive:
"John growls the nonsense (and sometimes suggestive) lyric, backed by a complex scoring incorporating violins and cellos. You need to hear it a few times before you can absorb it" — Derek Johnson.[22]
"Into the world of Alice in Wonderland now and you can almost visualise John crouching on a deserted shore singing 'I am the walrus' to some beautiful strings from far away on the horizon and a whole bagful of Beatle sounds, like a ringing doorbell and someone sawing a plank of wood. A fantastic track which you will need to live with for a while to fully appreciate" — Nick Logan.[23]
In the 21st century, professional Beatleologist Scott Freiman called the song "the Beatles' last psychedelic masterpiece".[24]
The song was banned by the BBC for the use of the word "knickers" in the line "You’ve been a naughty girl, you’ve let your knickers down".[25][26]
Interpretation[edit]
Although it has been reported that Lennon wrote "I Am the Walrus" to confuse those who tried to interpret his songs, there have nevertheless been many attempts to analyse the meaning of the lyrics.[27][28]
Seen in the Magical Mystery Tour film singing the song, Lennon, apparently, is the walrus; on the track-list of the accompanying soundtrack album, however, underneath "I Am the Walrus" are printed the words " 'No you're not!' said Little Nicola" (in the film, Nicola Hale is a little girl who keeps contradicting everything the other characters say). Lennon returned to the subject in the lyrics of three of his subsequent songs: in the 1968 Beatles song "Glass Onion" he sings, "I told you 'bout the walrus and me, man / You know that we're as close as can be, man / Well here's another clue for you all / The walrus was Paul";[29] in the third verse of "Come Together" he sings the line "he bag production, he got walrus gumboot"; and in his 1970 solo song "God", admits: "I was the walrus, but now I'm John".
Eric Burdon, lead singer of the Animals, claims to be the "Eggman" mentioned in the song's lyric. Burdon was known as "Eggs" to his friends, the nickname originating from his fondness for breaking eggs over naked women's bodies.[citation needed] Burdon's biography mentions such an affair taking place in the presence of John Lennon, who shouted "Go on, go get it, Eggman..."[30]
In popular culture[edit]
The 1968 Simon & Garfunkel song "Mrs. Robinson" includes the line "coo-coo-ca-choo".
In the October 30, 1993 episode of Saturday Night Live, motivational speaker Matt Foley (played by Chris Farley) is speaking to a group of teenagers who have just returned from egging houses in the neighborhood, and references the song by saying "I’m the eggman, goo, goo, ga joo!"
English rock band Oasis covered the song as a B-side for their 1994 single "Cigarettes & Alcohol". The cover was featured in the compilation album The Masterplan.[31] "I Am The Walrus" would also stay as a staple of their live set until the band broke up in 2009.[citation needed]
In the 2007 movie Across the Universe, it was the featured song of Dr. Robert (played by Bono) as they went for their "magical bus tour" on a trip for enlightenment.
In the movie The Big Lebowski, a reference is made to this song as a play on words between quotes from "Lenin" (Vladimir Lenin) and "Lennon" (John Lennon).[citation needed]
In the book Dreamcatcher (novel) by Stephen King, the character Henry regularly references himself as "The Eggman" including a chapter named "The Eggman's Journey"
Citations[edit]
Jump up ^ MacDonald 2005, pp. 268, 443.
Jump up ^ MacDonald 2005, p. 268.
Jump up ^ Sheff 2000, p. 185.
Jump up ^ Davies 2002.
Jump up ^ Sheff 2000, p. 184.
Jump up ^ Pollack 1996.
Jump up ^ Walter Everett. The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Eyes". p. 154
Jump up ^ Dominic Pedler. The Songwriting Secrets of the Beatles. Music Sales Limited. Omnibus Press. NY. 2003. p. 270
Jump up ^ Dominic Pedler. The Songwriting Secrets of the Beatles. Music Sales Limited. Omnibus Press. NY. 2003. pp. 233–34
Jump up ^ Dominic Pedler. The Songwriting Secrets of the Beatles. Music Sales Limited. Omnibus Press. NY. 2003. pp. 270–71.
Jump up ^ Lewisohn 1988, p. 68.
^ Jump up to: a b c "Discussions Magazine Music Blog: An EXCLUSIVE interview with THE MOODY BLUES' Ray Thomas!". Discussionsmagazine.com. 2015-01-15. Retrieved 2016-10-01.
^ Jump up to: a b c d e Robert Fontenot, "I Am the Walrus", on Oldies Music page from about.com. Accessed 2 May 2014
^ Jump up to: a b Dave Rybaczewski, "I Am The Walrus", on Beatles Music History. Accessed 2 May 2014.
Jump up ^ "Network 3 Programme Listings for Friday, 29 September, 1967". BBC Genome Project. British Broadcasting Corporation. Retrieved 26 December 2016.
Jump up ^ Lewisohn 1988, p. 128.
Jump up ^ Walter Everett. The Beatles as Musicians. Revolver Through the Anthology. Oxford University Press. NY. 1999. ISBN 0-19-509553-7. ISBN 0-19-512941-5. pp. 134–35.
Jump up ^ Here, There and Everywhere: My Life Recording the Music of the Beatles. Books.google.com. Retrieved 21 August 2011.
Jump up ^ Beatlesongs. Books.google.com. Retrieved 21 August 2011.
Jump up ^ Vertige on IMDb
Jump up ^ "Trippy Sixties film soundtracked with 'I Am The Walrus' time-stretched 800%". DangerousMinds.
Jump up ^ Johnson 1967.
Jump up ^ Logan 1967.
Jump up ^ Freiman, Scott. "Deconstructing The Beatles". beatleslectures.com. Archived from the original on 2 April 2015. Retrieved 15 January 2015.
Jump up ^ www.telegraph.co.uk.
Jump up ^ beatlesebooks.com.
Jump up ^ ""I Am The Walrus": What it means". Recmusicbeatles.com. Retrieved 21 August 2011.
Jump up ^ "Reference Library: I Am The Walrus - An Interpretation". The Internet Beatles Album. Retrieved 28 March 2016.
Jump up ^ Aldridge 1990, p. 145.
Jump up ^ Miles 1997, p. 357.
Jump up ^ Du Noyer, Paul (7 November 1998). "The flip side of Oasis". The Telegraph. Retrieved 27 December 2017.
Bibliography[edit]
"I Am the Walrus". About The Beatles. 2008. Retrieved 12 March 2008.
Aldridge, Alan, ed. (1990). The Beatles Illustrated Lyrics. Boston: Houghton Mifflin / Seymour Lawrence. ISBN 0-395-59426-X.
Davies, Hunter (2002). "My Friend John". Retrieved 7 December 2007.
"Styx's Live Walrus Recording to Debut on iTunes; Styx's Version of "I Am the Walrus" Hits Top 10 on Classic Rock Charts". Encyclopedia.com. 17 November 2004. Retrieved 23 July 2007.
Fontenot, Robert (2007). "I Am the Walrus". About.com. Retrieved 7 December 2007.
Johnson, Derek (18 November 1967). "Hello Goodbye/I am the Walrus". NME.
Lewisohn, Mark (1988). The Beatles Recording Sessions. New York: Harmony Books. ISBN 0-517-57066-1.
Logan, Nick (25 November 1967). "Magical Mystery Tour". NME.
MacDonald, Ian (2005). Revolution in the Head: The Beatles' Records and the Sixties (2nd rev. edn). Chicago, IL: Chicago Review Press. ISBN 978-1-55652-733-3.
Miles, Barry (1997). Paul McCartney: Many Years From Now. New York: Henry Holt & Company. ISBN 0-8050-5249-6.
Pollack, Alan W. (1996). "Notes on 'I Am the Walrus'". Retrieved 8 June 2007.
Sheff, David (2000). All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono. New York: St. Martin's Press. ISBN 0-312-25464-4.
Deezen, Eddie (2012). "Who was the walrus? Analyzing the strangest Beatle's song". Retrieved 9 July 2017.
External links[edit]
Wikiquote has quotations related to: Magical Mystery Tour
Alan W. Pollack's Notes on "I Am the Walrus"
Lyrics of this song at MetroLyrics
[show]
v
t
e
Magical Mystery Tour
Songs
Side one
"Magical Mystery Tour"
"The Fool on the Hill"
"Flying"
"Blue Jay Way"
"Your Mother Should Know"
"I Am the Walrus"
Side two
"Hello, Goodbye"
"Strawberry Fields Forever"
"Penny Lane"
"Baby, You're a Rich Man"
"All You Need Is Love"
Outtakes
"All Together Now"
"It's All Too Much"
"You Know My Name (Look Up the Number)"
Related articles
Magical Mystery Tour (film)
The Beatles discography
The Beatles in Bangor
Please Please Me
With the Beatles
A Hard Day's Night
Beatles for Sale
Help!
Rubber Soul
Revolver
Sgt. Pepper's Lonely Hearts Club Band
Magical Mystery Tour
The Beatles (White Album)
Yellow Submarine
Abbey Road
Let It Be
Past Masters
[show]
v
t
e
The Beatles singles discography
UK and US
(all labels)
1963
"Please Please Me" / "Ask Me Why"
"From Me to You" / "Thank You Girl"
"She Loves You" / "I'll Get You"
1964
"Can't Buy Me Love" / "You Can't Do That"
"I Feel Fine" / "She's a Woman"
1965
"Ticket to Ride" / "Yes It Is"
"Help!" / "I'm Down"
"We Can Work It Out" / "Day Tripper"
1966
"Paperback Writer" / "Rain"
"Yellow Submarine" / "Eleanor Rigby"
1967
"Penny Lane" / "Strawberry Fields Forever"
"All You Need Is Love" / "Baby, You're a Rich Man"
"Hello, Goodbye" / "I Am the Walrus"
1968
"Lady Madonna" / "The Inner Light"
"Hey Jude" / "Revolution"
1969
"Get Back" / "Don't Let Me Down"
"The Ballad of John and Yoko" / "Old Brown Shoe"
"Something" / "Come Together"
1970
"Let It Be" / "You Know My Name (Look Up the Number)"
1978
"Sgt. Pepper's Lonely Hearts Club Band/With a Little Help from My Friends" / "A Day in the Life"
1982
"The Beatles Movie Medley" / "I'm Happy Just to Dance with You"
1995
"Free as a Bird" / "Christmas Time (Is Here Again)"
1996
"Real Love" / "Baby's in Black"
UK only
(Parlophone,
Apple)
1962
"My Bonnie" / "The Saints"
"Love Me Do" / "P.S. I Love You"
1963
"I Want to Hold Your Hand" / "This Boy"
1964
"Ain't She Sweet" / "If You Love Me, Baby"
"A Hard Day's Night" / "Things We Said Today"
1976
"Yesterday" / "I Should Have Known Better"
"Back in the U.S.S.R." / "Twist and Shout"
US only
(Vee-Jay,
Swan,
Tollie,
Capitol,
Apple)
1963
"I Want to Hold Your Hand" / "I Saw Her Standing There"
1964
"Twist and Shout" / "There's a Place"
"Do You Want to Know a Secret" / "Thank You Girl"
"Love Me Do" / "P.S. I Love You"
"Sie liebt dich" / "I'll Get You"
"I'll Cry Instead" / "I'm Happy Just to Dance with You"
"And I Love Her" / "If I Fell"
"A Hard Day's Night" / "I Should Have Known Better"
"Matchbox" / "Slow Down"
1965
"Eight Days a Week" / "I Don't Want to Spoil the Party"
"Yesterday" / "Act Naturally"
1966
"Nowhere Man" / "What Goes On"
1970
"The Long and Winding Road" / "For You Blue"
1976
"Got to Get You into My Life" / "Helter Skelter"
"Ob-La-Di, Ob-La-Da" / "Julia"
Other
countries
(Odeon,
Parlophone,
Apple)
1963
"All My Loving" / "This Boy" (Canada)
1964
"Komm, gib mir deine Hand / Sie liebt dich" (Germany)
1966
"Norwegian Wood (This Bird Has Flown)" / "Nowhere Man" (Australia)
1968
"Ob-La-Di, Ob-La-Da" / "While My Guitar Gently Weeps" (Europe, Japan, Australia)
"Ob-La-Di, Ob-La-Da" / "I Will" (Philippines)
"Back in the U.S.S.R." / "Don't Pass Me By" (Sweden)
1969
"You're Going to Lose That Girl" / "Tell Me What You See" (Japan)
1970
"Oh! Darling" / "Here Comes the Sun" (Japan)
1972
"All Together Now" / "Hey Bulldog" (Europe)
1978
"Sgt. Pepper's Lonely Hearts Club Band/With a Little Help from My Friends" / "Within You Without You" (Germany)
Retrieved from "https://en.wikipedia.org/w/index.php?title=I_Am_the_Walrus&oldid=837408501"
Categories:
The Beatles songs
Song recordings produced by George Martin
Capitol Records singles
Music based on Alice in Wonderland
Oasis (band) songs
Parlophone singles
Songs published by Northern Songs
Songs written by Lennon–McCartney
Styx (band) songs
1967 singles
1967 songs
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