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Winnie-the-Pooh
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"Pooh" redirects here. For other uses, see Pooh (disambiguation).
"Hunny" redirects here. For the food, see Honey.
This article is about the fictional character. For the songwriter, see Poo Bear. For other uses, see Winnie-the-Pooh (disambiguation).
Winnie-the-Pooh
Pooh in an illustration by E. H. Shepard
First appearance
When We Were Very Young (1924) (As Edward Bear) Winnie-the-Pooh (As Winnie-the-Pooh)
Created by
A. A. Milne
Information
Gender
Male
Winnie-the-Pooh, also called Pooh Bear, is a fictional anthropomorphic teddy bear created by English author A. A. Milne.
The first collection of stories about the character was the book Winnie-the-Pooh (1926), and this was followed by The House at Pooh Corner (1928). Milne also included a poem about the bear in the children's verse book When We Were Very Young (1924) and many more in Now We Are Six (1927). All four volumes were illustrated by E. H. Shepard.
The Pooh stories have been translated into many languages, including Alexander Lenard's Latin translation, Winnie ille Pu, which was first published in 1958, and, in 1960, became the only Latin book ever to have been featured on The New York Times Best Seller list.[1]
Hyphens in the character's name were dropped by Disney when the company adapted the Pooh stories into a series of features that became one of its most successful franchises.
In popular film adaptations, Pooh Bear has been voiced by actors Sterling Holloway, Hal Smith, and Jim Cummings in English and Yevgeny Leonov in Russian.
Contents
[hide]
1 History
1.1 Origin
1.2 Ashdown Forest: the setting for the stories
1.3 First publication
1.4 Character
1.5 Sequel
1.6 Stephen Slesinger
1.7 Red Shirt Pooh
1.8 Disney ownership era (1966–present)
1.9 Merchandising revenue dispute
2 Adaptations
2.1 Theatre
2.2 Audio
2.3 Radio
2.4 Film
2.4.1 Disney adaptations
2.4.1.1 Theatrical shorts
2.4.1.2 Theatrical feature films
2.4.2 Soviet adaptation
2.5 Television
2.5.1 Television shows
2.5.2 Holiday TV specials
2.5.3 Direct-to-video shorts
2.5.4 Direct-to-video features
3 Legacy
4 References
5 External links
History
Origin
Original Winnie-the-Pooh stuffed toys. Clockwise from bottom left: Tigger, Kanga, Edward Bear ("Winnie-the-Pooh"), Eeyore, and Piglet. Roo was lost long ago; the other characters were made up for the stories.
A. A. Milne named the character Winnie-the-Pooh after a teddy bear owned by his son, Christopher Robin Milne, who was the basis for the character Christopher Robin. The rest of Christopher Robin Milne's toys – Piglet, Eeyore, Kanga, Roo and Tigger – were incorporated into Milne's stories.[2][3] Two more characters, Owl and Rabbit, were created by Milne's imagination, while Gopher was added to the Disney version. Christopher Robin's toy bear is on display at the Main Branch of the New York Public Library in New York City.[4]
Harry Colebourn and Winnie, 1914
Christopher Milne had named his toy bear after Winnie, a Canadian black bear he often saw at London Zoo, and "Pooh", a swan they had met while on holiday. The bear cub was purchased from a hunter for $20 by Canadian Lieutenant Harry Colebourn in White River, Ontario, Canada, while en route to England during the First World War.[5] He named the bear "Winnie" after his adopted hometown in Winnipeg, Manitoba. "Winnie" was surreptitiously brought to England with her owner, and gained unofficial recognition as The Fort Garry Horse regimental mascot. Colebourn left Winnie at the London Zoo while he and his unit were in France; after the war she was officially donated to the zoo, as she had become a much loved attraction there.[6] Pooh the swan appears as a character in its own right in When We Were Very Young.
In the first chapter of Winnie-the-Pooh, Milne offers this explanation of why Winnie-the-Pooh is often called simply "Pooh":
But his arms were so stiff ... they stayed up straight in the air for more than a week, and whenever a fly came and settled on his nose he had to blow it off. And I think – but I am not sure – that that is why he is always called Pooh.
The American writer William Safire surmised that the Milnes' invention of the name "Winnie the Pooh" may have also been influenced by the haughty character Pooh-Bah in Gilbert and Sullivan's The Mikado (1885).[7]
Ashdown Forest: the setting for the stories
The Winnie-the-Pooh stories are set in Ashdown Forest, East Sussex, England. The forest is a large area of tranquil open heathland on the highest sandy ridges of the High Weald Area of Outstanding Natural Beauty situated 30 miles (50 km) south of London. In 1925 Milne, a Londoner, bought a country home a mile to the north of the forest at Cotchford Farm, near Hartfield. According to Christopher Milne, while his father continued to live in London "...the four of us – he, his wife, his son and his son's nanny – would pile into a large blue, chauffeur-driven Fiat and travel down every Saturday morning and back again every Monday afternoon. And we would spend a whole glorious month there in the spring and two months in the summer."[8] From the front lawn the family had a view across a meadow to a line of alders that fringed the River Medway, beyond which the ground rose through more trees until finally "above them, in the faraway distance, crowning the view, was a bare hilltop. In the centre of this hilltop was a clump of pines." Most of his father's visits to the forest at this time were, he noted, family expeditions on foot "to make yet another attempt to count the pine trees on Gill's Lap or to search for the marsh gentian". Christopher added that, inspired by Ashdown Forest, his father had made it "the setting for two of his books, finishing the second little over three years after his arrival".[9]
Many locations in the stories can be linked to real places in and around the forest. As Christopher Milne wrote in his autobiography: "Pooh’s forest and Ashdown Forest are identical". For example, the fictional "Hundred Acre Wood" was in reality Five Hundred Acre Wood; Galleon's Leap was inspired by the prominent hilltop of Gill's Lap, while a clump of trees just north of Gill's Lap became Christopher Robin's The Enchanted Place because no-one had ever been able to count whether there were sixty-three or sixty-four trees in the circle.[10]
The landscapes depicted in E. H. Shepard's illustrations for the Winnie-the-Pooh books were directly inspired by the distinctive landscape of Ashdown Forest, with its high, open heathlands of heather, gorse, bracken and silver birch punctuated by hilltop clumps of pine trees. Many of Shepard's illustrations can be matched to actual views, allowing for a degree of artistic licence. Shepard's sketches of pine trees and other forest scenes are held at the Victoria and Albert Museum in London.[11]
The game of Poohsticks was originally played by Christopher Milne on a footbridge across a tributary of the River Medway in Posingford Wood, close to Cotchford Farm. The wooden bridge is now a tourist attraction, and it has become traditional to play the game there using sticks gathered in nearby woodland.[12][13] When the footbridge recently had to be replaced, the engineer designed a new structure based closely on the drawings of the bridge by Shepard in the books, which were somewhat different than the original structure.
First publication
Winnie-the-Pooh's debut in the 24 December 1925 London Evening News
Christopher Robin's teddy bear, Edward, made his character début in A. A. Milne's poem, "Teddy Bear", in the edition of 13 February 1924 of Punch, and the same poem was published in Milne's book of children's verse When We Were Very Young (6 November 1924).[14] Winnie-the-Pooh first appeared by name on 24 December 1925, in a Christmas story commissioned and published by the London newspaper The Evening News. It was illustrated by J. H. Dowd.[15]
The first collection of Pooh stories appeared in the book Winnie-the-Pooh. The Evening News Christmas story reappeared as the first chapter of the book. At the beginning, it explained that Pooh was in fact Christopher Robin's Edward Bear, who had been renamed by the boy. He was renamed after a black bear at London Zoo called Winnie who got her name from the fact that her owner had come from Winnipeg, Canada. The book was published in October 1926 by the publisher of Milne's earlier children's work, Methuen, in England, and E. P. Dutton in the United States.[16]
Character
In the Milne books, Pooh is naive and slow-witted, but he is also friendly, thoughtful, and steadfast. Although he and his friends agree that he "has no Brain", Pooh is occasionally acknowledged to have a clever idea, usually driven by common sense. These include riding in Christopher Robin's umbrella to rescue Piglet from a flood, discovering "the North Pole" by picking it up to help fish Roo out of the river, inventing the game of Poohsticks, and getting Eeyore out of the river by dropping a large rock on one side of him to wash him towards the bank.
Pooh is also a talented poet, and the stories are frequently punctuated by his poems and "hums." Although he is humble about his slow-wittedness, he is comfortable with his creative gifts. When Owl's house blows down in a storm, trapping Pooh and Piglet and Owl inside, Pooh encourages Piglet (the only one small enough to do so) to escape and rescue them all by promising that "a respectful Pooh song" will be written about Piglet's feat. Later, Pooh muses about the creative process as he composes the song.
Pooh is very fond of food, especially "hunny" but also condensed milk and other items. When he visits friends, his desire to be offered a snack is in conflict with the impoliteness of asking too directly. Though intending to give Eeyore a pot of honey for his birthday, Pooh cannot resist eating the honey on his way to deliver the present, and so instead gives Eeyore "a useful pot to put things in". When he and Piglet are lost in the forest during Rabbit's attempt to "unbounce" Tigger, Pooh finds his way home by following the "call" of the honeypots from his house. Pooh makes it a habit to have "a little something" around eleven o'clock in the morning. As the clock in his house "stopped at five minutes to eleven some weeks ago," any time can be Pooh's snack time.
Pooh is very social. After Christopher Robin, his closest friend is Piglet, and he most often chooses to spend his time with one or both of them. But he also habitually visits the other animals, often looking for a snack or an audience for his poetry as much as for companionship. His kind-heartedness means he goes out of his way to be friendly to Eeyore, visiting him and bringing him a birthday present and building him a house, despite receiving mostly disdain from Eeyore in return.
Sequel
An authorised sequel Return to the Hundred Acre Wood was published on 5 October 2009. The author, David Benedictus, has developed, but not changed, Milne's characterisations. The illustrations, by Mark Burgess, are in the style of Shepard.[17]
Another authorised sequel, The Best Bear in All the World, was published by Egmont in 2016. The sequel consists of four short stories by four leading children's authors, Kate Saunders, Brian Sibley, Paul Bright, and Jeanne Willis. Illustrations are by Mark Burgess.[18] The Best Bear in All The World sees the introduction of a new character, a Penguin, which was inspired by a long-lost photograph of Milne and his son Christopher with a toy penguin.[19] A further special story, Winnie-the-Pooh Meets the Queen, was published in 2016 to mark the 90th anniversary of Milne's creation and the 90th birthday of Elizabeth II. It sees Winnie the Pooh meet the Queen at Buckingham Palace.[20]
Stephen Slesinger
On 6 January 1930, Stephen Slesinger purchased US and Canadian merchandising, television, recording and other trade rights to the "Winnie-the-Pooh" works from Milne for a $1000 advance and 66% of Slesinger's income, creating the modern licensing industry. By November 1931, Pooh was a $50 million-a-year business.[21] Slesinger marketed Pooh and his friends for more than 30 years, creating the first Pooh doll, record, board game, puzzle, US radio broadcast (NBC), animation, and motion picture film.[22]
Red Shirt Pooh
The first time Pooh and his friends appeared in colour was 1932, when he was drawn by Slesinger in his now-familiar red shirt and featured on an RCA Victor picture record. Parker Brothers introduced A. A. Milne's Winnie-the-Pooh Game in 1933, again with Pooh in his red shirt. In the 1940s, Agnes Brush created the first plush dolls with Pooh in his red shirt. Shepard had drawn Pooh with a shirt as early as the first Winnie-The-Pooh book, which was subsequently coloured red in later coloured editions.
Disney ownership era (1966–present)
Main article: Winnie the Pooh (franchise)
After Slesinger's death in 1953, his wife, Shirley Slesinger Lasswell, continued developing the character herself. In 1961, she licensed rights to Walt Disney Productions in exchange for royalties in the first of two agreements between Stephen Slesinger, Inc. and Disney.[23] The same year, A. A. Milne's widow, Daphne Milne, also licensed certain rights, including motion picture rights, to Disney.
Since 1966, Disney has released numerous animated productions starring Winnie the Pooh and related characters. These have included theatrical featurettes, television series, and direct-to-video films, as well as the theatrical feature-length films The Tigger Movie, Piglet's Big Movie, Pooh's Heffalump Movie, and Winnie the Pooh.
Merchandising revenue dispute
Pooh videos, soft toys, and other merchandise generate substantial annual revenues for Disney. The size of Pooh stuffed toys ranges from Beanie and miniature to human-sized. In addition to the stylised Disney Pooh, Disney markets Classic Pooh merchandise which more closely resembles E.H. Shepard's illustrations.
In 1991, Stephen Slesinger, Inc. filed a lawsuit against Disney which alleged that Disney had breached their 1983 agreement by again failing to accurately report revenue from Winnie the Pooh sales. Under this agreement, Disney was to retain approximately 98% of gross worldwide revenues while the remaining 2% was to be paid to Slesinger. In addition, the suit alleged that Disney had failed to pay required royalties on all commercial exploitation of the product name.[24] Though the Disney corporation was sanctioned by a judge for destroying forty boxes of evidential documents,[25] the suit was later terminated by another judge when it was discovered that Slesinger's investigator had rummaged through Disney's garbage to retrieve the discarded evidence.[26] Slesinger appealed the termination, and on 26 September 2007, a three-judge panel upheld the lawsuit dismissal.[27]
After the Copyright Term extension Act of 1998, Clare Milne, Christopher Milne's daughter, attempted to terminate any future US copyrights for Stephen Slesinger, Inc.[28] After a series of legal hearings, Judge Florence-Marie Cooper of the US District Court in California found in favour of Stephen Slesinger, Inc., as did the United States Court of Appeals for the Ninth Circuit. On 26 June 2006, the US Supreme Court refused to hear the case, sustaining the ruling and ensuring the defeat of the suit.[29]
On 19 February 2007 Disney lost a court case in Los Angeles which ruled their "misguided claims" to dispute the licensing agreements with Slesinger, Inc. were unjustified,[30] but a federal ruling of 28 September 2009, again from Judge Florence-Marie Cooper, determined that the Slesinger family had granted all trademark and copyright rights to Disney, although Disney must pay royalties for all future use of the characters. Both parties have expressed satisfaction with the outcome.[31][32]
Adaptations
Theatre
Winnie-the-Pooh at the Guild Theater | Sue Hastings Marionettes, 1931[33]
Winnie-the-Pooh, a play in three acts | Dramatized by Kristin Sergel, Dramatic Publishing Company, 1957
Winnie-the-Pooh, a musical comedy in two acts | Lyrics by A. A. Milne and Kristin Sergel, Music by Allan Jay Friedman, Book by Kristin Sergel, Dramatic Publishing Company, 1964
A Winnie-the-Pooh Christmas Tail, In Which Winnie-the-Pooh and His Friends Help Eeyore Have a Very Merry Christmas (Or a Very Happy Birthday.) | Book, Music and Lyrics by James W. Rogers, Dramatic Publishing Company, 1977
"Bother! The Brain of Pooh" | Peter Dennis, 1986
Winnie-the-Pooh, small cast musical version | Dramatized by le Clanché du Rand, Music by Allan Jay Friedman, Lyrics by A. A. Milne and Kristin Sergel, Additional Lyrics by le Clanché du Rand, Dramatic Publishing Company, 1992
Audio
RCA Victor record from 1932 decorated with Stephen Slesinger, Inc.'s Winnie-the-Pooh
Selected Pooh stories read by Maurice Evans released on vinyl LP:
Winnie-the-Pooh (consisting of three tracks: "Introducing Winnie-the-Pooh and Christopher Robin"; Pooh Goes Visiting and Gets into a Tight Place"; "Pooh and Piglet Go Hunting and Nearly Catch a Woozle") 1956
More Winnie-the-Pooh (consisting of three tracks: "Eeyore Loses a Tail"; "Piglet Meets a Heffalump"; "Eeyore Has a Birthday".)
In 1960 HMV recorded a dramatised version with songs (music by Harold Fraser-Simson) of two episodes from The House at Pooh Corner (Chapters 2 and 8), starring Ian Carmichael as Pooh, Denise Bryer as Christopher Robin (who also narrated), Hugh Lloyd as Tigger, Penny Morrell as Piglet, and Terry Norris as Eeyore. This was released on a 45 rpm EP.[34]
In the 1970s and 1980s, Carol Channing recorded Winnie the Pooh, The House at Pooh Corner and The Winnie the Pooh Songbook, with music by Don Heckman. These were released on vinyl LP and audio cassette by Caedmon Records.
Unabridged recordings read by Peter Dennis of the four Pooh books:
When We Were Very Young
Winnie-the-Pooh
Now We Are Six
The House at Pooh Corner
In 1979 a double audio cassette set of "Winnie the Pooh" was produced featuring British actor Lionel Jeffries reading all characters in the stories. This was followed in 1981 by an audio cassette set of stories from "House at Pooh Corner" also read by Lionel Jeffries.[35]
In the 1990s, the stories were dramatised for audio by David Benedictus, with music composed, directed and played by John Gould. They were performed by a cast that included Stephen Fry as Winnie-the-Pooh, Jane Horrocks as Piglet, Geoffrey Palmer as Eeyore and Judi Dench as Kanga.[36]
Radio
Winnie-the-Pooh was broadcast by Donald Calthrop over all BBC stations on Christmas Day, 1925.[15]
Pooh made his US radio debut on 10 November 1932, when he was broadcast to 40,000 schools by The American School of the Air, the educational division of the Columbia Broadcasting System.[37]
Film
2017: Goodbye Christopher Robin, a drama film exploring the creation of Winnie-the-Pooh by A.A. Milne.
Disney adaptations
Theatrical shorts
1966: Winnie the Pooh and the Honey Tree
1968: Winnie the Pooh and the Blustery Day
1974: Winnie the Pooh and Tigger Too
1981: Winnie the Pooh Discovers the Seasons
1983: Winnie the Pooh and a Day for Eeyore
Theatrical feature films
1977: The Many Adventures of Winnie the Pooh (compilation of Honey Tree, Blustery Day, and Tigger Too)
2000: The Tigger Movie
2003: Piglet's Big Movie
2005: Pooh's Heffalump Movie
2011: Winnie the Pooh
A live action film is in development with screenwriter Alex Ross Perry on board to write the screenplay and Marc Forster to direct. The story is planned to focus on an adult Christopher Robin returning to the Hundred Acre Wood.[38][39]
Soviet adaptation
A postage stamp showing Piglet and Winnie-the-Pooh as they appear in the Soviet adaptation
In the Soviet Union, three Winnie-the-Pooh, (transcribed in Russian as "Vinni Pukh") (Russian language: Винни-Пух) stories were made into a celebrated trilogy[40] of short films by Soyuzmultfilm (directed by Fyodor Khitruk) from 1969 to 1972.
Винни-Пух (Winnie-the-Pooh, 1969) – based on chapter 1
Винни-Пух идёт в гости (Winnie-the-Pooh Pays a Visit, 1971) – based on chapter 2
Винни-Пух и день забот (Winnie the Pooh and the Blustery Day, 1972) – based on chapters 4 and 6.
Films use Boris Zakhoder's translation of the book. Pooh was voiced by Yevgeny Leonov. Unlike the Disney adaptations, the animators did not base their depictions of the characters on Shepard's illustrations, creating a different look. The Soviet adaptations make extensive use of Milne's original text, and often bring out aspects of Milne's characters' personalities not used in the Disney adaptations.
Television
Winnie-the-Pooh and his friends debuted on NBC Television in 1960.
A version of Winnie The Pooh, in which the animals were played by marionettes designed, made and operated by Bil And Cora Baird, was presented on 3 October 1960, on NBC Television's The Shirley Temple Show. Pooh himself is voiced by Franz Fazakas.
During the 1970s the BBC children's television show Jackanory serialised the two books, which were read by Willie Rushton.[41]
Magical World of Winnie the Pooh (Note: These are episodes from The New Adventures of Winnie the Pooh)
Television shows
Welcome to Pooh Corner (*) (Disney Channel, 1983–1986)
Mini Adventures of Winnie the Pooh (Disney Junior, 2011–2014[42])
The New Adventures of Winnie the Pooh (ABC, 1988–1991)
The Book of Pooh (*) (Disney Channel (Playhouse Disney), 2001–2003)
My Friends Tigger & Pooh (Disney Channel (Playhouse Disney), 2007–2010)
(*): Puppet/live-action show
Holiday TV specials
1991: Winnie the Pooh and Christmas Too, included in A Very Merry Pooh Year
1996: Boo to You Too! Winnie the Pooh, included in Pooh's Heffalump Halloween Movie
1998: A Winnie the Pooh Thanksgiving, included in Seasons of Giving
1999: A Valentine for You
Direct-to-video shorts
1990: Winnie the Pooh's ABC of Me
Direct-to-video features
1997: Pooh's Grand Adventure: The Search for Christopher Robin
1999: Seasons of Giving*
2001: The Book of Pooh: Stories from the Heart
2002: A Very Merry Pooh Year*
2004: Springtime with Roo
2005: Pooh's Heffalump Halloween Movie
2007: Super Sleuth Christmas Movie
2009: Tigger & Pooh and a Musical Too
2010: Super Duper Super Sleuths
These features integrate stories from The New Adventures of Winnie the Pooh and/or holiday specials with new footage.
Legacy
A plaque on Winnie-the-Pooh Street (ulica Kubusia Puchatka) in Warsaw
Winnie the Pooh has inspired multiple texts to explain complex philosophical ideas. Benjamin Hoff used Milne's characters in The Tao of Pooh and The Te of Piglet to explain Taoism. Similarly, Frederick Crews wrote essays about the Pooh books in abstruse academic jargon in The Pooh Perplex and Postmodern Pooh to satirise a range of philosophical approaches.[43] Pooh and the Philosophers by John T. Williams uses Winnie the Pooh as a backdrop to illustrate the works of philosophers including Descartes, Kant, Plato and Nietzsche.[44]
One of the best known characters in British children's literature, a 2011 poll saw Winnie the Pooh voted onto the list of icons of England.[45] Forbes magazine ranked Pooh the most valuable fictional character in 2002, with merchandising products alone generating more than $5.9 billion that year.[46] In 2005, Pooh generated $6 billion, a figure surpassed by only Mickey Mouse.[47] In 2006, Pooh received a star on the Hollywood Walk of Fame, marking the 80th birthday of Milne's creation.[47] The bear is such a popular character in Poland that a Warsaw street is named for him, Ulica Kubusia Puchatka. There is also a street named after him in Budapest (Micimackó utca).[48]
In music, Kenny Loggins wrote the song "House at Pooh Corner", which was originally recorded by the Nitty Gritty Dirt Band.[49] Loggins later rewrote the song as "Return to Pooh Corner", featuring on the album of the same name in 1991. In Italy, a pop band took their name from Winnie, and were titled Pooh. In Estonia there is a punk/metal band called Winny Puhh.
In the "sport" of Poohsticks, competitors drop sticks into a stream from a bridge and then wait to see whose stick will cross the finish line first. Though it began as a game played by Pooh and his friends in the book The House at Pooh Corner and later in the films, it has crossed over into the real world: a World Championship Poohsticks race takes place in Oxfordshire each year. Ashdown Forest in England where the Pooh stories are set is a popular tourist attraction, and includes the wooden Pooh Bridge where Pooh and Piglet invented Poohsticks.[50] The Oxford University Winnie the Pooh Society was founded by undergraduates in 1982.
In the Peoples Republic of China images of Pooh are censored as internet memes comparing Chinese president Xi Jinping to Pooh became popular in mid-2017.[51]
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External links
Find more aboutWinnie-the-Poohat Wikipedia's sister projects
Media from Wikimedia Commons
Quotations from Wikiquote
Data from Wikidata
Winnie-the-Pooh at Curlie (based on DMOZ)
The original bear, with A. A. Milne and Christopher Robin, at the National Portrait Gallery, London
The real locations, from the Ashdown Forest Conservators
Winnie-the-Pooh at the New York Public Library
"Winnie the Pooh saga turns 100 years old", CBC News, 24 August 2014.
"The skull of the 'real' Winnie goes on display", BBC News, 20 November 2015.
[show]
v
t
e
Winnie-the-Pooh by A. A. Milne
Books
When We Were Very Young (1924)
Winnie-the-Pooh (1926)
Now We Are Six (1927)
The House at Pooh Corner (1928)
Return to the Hundred Acre Wood (2009)
The Best Bear in All the World (2016)
Winnie-the-Pooh Meets the Queen (2016)
Characters
Winnie-the-Pooh
Disney version
Piglet
Tigger
Christopher Robin
Rabbit
Eeyore
Owl
Roo
Heffalumps
Featurettes
Winnie the Pooh and the Honey Tree (1966)
Winnie the Pooh and the Blustery Day (1968)
Winnie-the-Pooh (1969)
Winnie-the-Pooh Pays a Visit (1971)
Winnie-the-Pooh and a Busy Day (1972)
Winnie the Pooh and Tigger Too (1974)
Winnie the Pooh and a Day for Eeyore (1983)
Short films
Winnie the Pooh Discovers the Seasons (1981)
Feature films
Walt Disney Animation Studios films
The Many Adventures of Winnie the Pooh (1977)
Winnie the Pooh (2011)
DisneyToon Studios films
The Tigger Movie (2000)
Piglet's Big Movie (2003)
Pooh's Heffalump Movie (2005)
Live-action remake
Christopher Robin (2018)
Direct-to-video films
Pooh's Grand Adventure: The Search for Christopher Robin (1997)
Winnie the Pooh: Seasons of Giving (1999)
The Book of Pooh: Stories from the Heart (2001)
Winnie the Pooh: A Very Merry Pooh Year (2002)
Winnie the Pooh: Springtime with Roo (2004)
Pooh's Heffalump Halloween Movie (2005)
Super Sleuth Christmas Movie (2007)
Tigger & Pooh and a Musical Too (2009)
Super Duper Super Sleuths (2010)
Television
Welcome to Pooh Corner (1983–1987)
The New Adventures of Winnie the Pooh (1988–1991)
The Book of Pooh (2001–2004)
My Friends Tigger & Pooh (2007–2010)
Specials
Cartoon All-Stars to the Rescue (1990)
Winnie the Pooh and Christmas Too (1991)
Boo to You Too! Winnie the Pooh (1996)
A Winnie the Pooh Thanksgiving (1998)
A Valentine for You (1999)
Video games
Winnie the Pooh in the Hundred Acre Wood (1986)
Disney's Animated Storybook
Winnie the Pooh and the Honey Tree (1995)
Winnie the Pooh and Tigger Too (1999)
Kingdom Hearts (2002 onwards
Ready to Read with Pooh (1997)
Tigger's Honey Hunt (2000)
Piglet's Big Game (2003)
Winnie the Pooh's Rumbly Tumbly Adventure (2005)
Disney Friends (2007)
Winnie the Pooh's Home Run Derby (2007)
Songs
"Winnie the Pooh" (1966)
"Up, Down and Touch the Ground" (1966)
"Rumbly in My Tumbly" (1966)
"Little Black Rain Cloud" (1966)
"Mind over Matter" (1966)
"A Rather Blustery Day" (1968)
"The Wonderful Thing About Tiggers" (1968)
"Heffalumps and Woozles" (1968)
"The Rain Rain Rain Came Down Down Down" (1968)
"Hip Hip Pooh-Ray!" (1968)
"House at Pooh Corner" (1970)
"I Hum to Myself" (1983)
"Just Say, 'Yes I Can'" (1983)
"The Right Side" (1983)
"You're the Only You" (1983)
"Try a Little Something New" (1983)
People
Christopher Robin Milne
E. H. Shepard
Harry Colebourn
Shirley Slesinger Lasswell
Stephen Slesinger
Sherman Brothers
David Benedictus
Mark Burgess
Related
Ashdown Forest
Bother! The Brain of Pooh
Disney franchise
Hundred Acre Wood
The Many Adventures of Winnie the Pooh attraction
More Songs from Pooh Corner
Pooh's Hunny Hunt
Poohsticks
Return to Pooh Corner
The Tao of Pooh
The Te of Piglet
Eeyore's Birthday Party
Winnipeg the Bear
Goodbye Christopher Robin
[show]
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Teddy bears
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"(Let Me Be Your) Teddy Bear"
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The Bear Club
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Gummy bears
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Closing Time (album)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Closing Time
Studio album by Tom Waits
Released
March 6, 1973 (1973-03-06)[1]
Recorded
Early 1972
Studio
Sunset Sound Recorders and United Western Recorders, Hollywood, California
Length
45:46
Label
Asylum
Producer
Jerry Yester
Tom Waits chronology
Closing Time
(1973) The Heart of Saturday Night
(1974)
Singles from Closing Time
"Ol' '55"
Released: 1973
Closing Time is the debut studio album by American singer-songwriter Tom Waits, released in March 1973 on Asylum Records. Produced and arranged by former Lovin' Spoonful member Jerry Yester, Closing Time was the first of seven of Waits' major releases by Asylum.
The album is noted for being predominantly folk influenced[2] although Waits intended for Closing Time to be "a jazz, piano-led album."[3] Upon release, the album was mildly successful in the United States, although it did not chart and received little attention from music press in the United Kingdom[4] and elsewhere internationally. Critical reaction to Closing Time was positive.[5][6] The album's only single, "Ol' '55", attracted attention due to a cover version by Waits's more popular label mates, the Eagles. Other songs from the album were covered by Tim Buckley[7] and Bette Midler.[8] The album was certified Gold in the UK[9] and has gained a contemporary cult following among rock fans.[10] Since its release, the album has been reissued on LP in 1976, on CD in 1992 and 1999, and 180 gram LP in 2010.
Contents
[hide]
1 Background
2 Recording
3 Composition
4 Packaging
5 Release
6 Reception
7 Influence
8 Track listing
9 Personnel
9.1 Musicians
9.2 Guest musicians
9.3 Technical personnel
10 Chart positions
11 Certifications
11.1 References
11.2 Bibliography
Background[edit]
The Troubadour was the site of many early Waits performances
Tom Waits began his musical career in 1970, performing every Monday night at The Troubadour, a venue in Los Angeles, California.[11] Waits' setlist at these series of shows, described as "hootenanny nights",[12] consisted primarily of Bob Dylan covers,[13] although it included songs which would later appear on Closing Time and its successor, The Heart of Saturday Night (1974). Among the songs performed were "Ice Cream Man", "Virginia Avenue", "Ol' '55", "I Hope That I Don't Fall in Love with You", "Shiver Me Timbers" and "Diamonds on my Windshield." Around this time, Waits began working as a doorman at a San Diego, California, club, The Heritage, which was a coffee house by day. In November 1970, Waits performed his first paid show at The Heritage, earning $25 for his performance.[14] At a Troubadour performance in summer 1971, Herb Cohen inadvertently spotted Waits and became his manager. Through Cohen's contacts, Waits recorded demos in Los Angeles in late summer 1971 with producer Robert Duffey, later released as The Early Years in two volumes, against Waits' wishes. In order to focus on his career, Waits relocated from San Diego to Los Angeles in early 1972 and performed more frequently at The Troubadour, where David Geffen discovered him performing "Grapefruit Moon."[15] The performance, which "floored" Geffen,[16] led Geffen to negotiate with Waits' manager Cohen, and Waits signed to Asylum Records within a month.
Recording[edit]
Before recording the album, Waits became friends with his designated producer Jerry Yester and one afternoon in early 1972 recorded a pre-production tape in Yester's residence.[17] The instrumentation, recording arrangements, and musicians were also discussed during this session with Waits making it "absolutely clear he wanted a standup bass player."[18] Drummer John Seiter, guitarist Peter Klimes, trumpeter Tony Terran and additional guitarist Shep Cooke were recruited through Yester and through Seiter, jazz bassist Bill Plummer was hired.[18]
The main recording sessions for Closing Time took place at Sunset Sound Recorders in Hollywood, California—where Buffalo Springfield, Joni Mitchell, Neil Young and The Doors had previously recorded—during spring 1972. Yester fronted production and the sessions were held almost immediately after Waits' record deal, and were described "quick and efficient."[19] Waits was "nervous, but confident enough in his own material"[19] during the beginning of the sessions; however, as the sessions progressed, Waits and Yester "were pulling against each other" over the direction which the album would take, with Waits wanting a jazz-laden record and Yester more focused on producing a folk-based album.[3] Despite this, Waits was "absolutely communicative"[20] with his fellow musicians, articulating his direction and using metaphors to describe how he wanted the songs to sound. The sessions took a total of ten days, with the first two days focusing on "getting used to [the studio]."[21] Both Waits and Yester wanted to record during the evening, but as no slots were available, it was recorded through the morning and afternoon "from ten to five every day."[21] During the recording of "Ol' '55", Seiter contributed backing vocals and "came up with a perfect harmony line that started faintly before the chorus even began."[20] The sessions concluded with a total of nine songs completed. Though unsatisfied with the number of songs, a second recording session was arranged the following week in United Western Recorders. The final session for Closing Time began the following Sunday, with guest musicians Arni Egilsson replacing Plummer and Jesse Erlich performing cello.[22] The title track, "Closing Time", was the only song recorded in full, and Yester later described the session as "the most magical session I've ever been involved with. At the end of it, no one spoke for what felt like five minutes, either in the booth or out in the room. No one budged. Nobody wanted the moment to end."[22] String overdubs were later cut for "Martha" and "Grapefruit Moon" the following day. The final recordings were mixed and mastered at Wally Heider Studios in San Francisco.[23]
Composition[edit]
"Ol' 55"
The album's opening track features distinctive use of piano with folk-led instrumentation, a key factor to how the album eventually sounded.
Problems playing this file? See media help.
Closing Time features an eclectic mix of musical styles. Songs such as "Ol '55", with its "gentle slipnote piano chords",[20] and "Old Shoes", "a country-rock waltz that picked up the feel of 'Ol' 55'", are usually considered folk-like. Other songs such as "Virginia Avenue", "Midnight Lullaby", whose outro features an instrumental segment of the nursery rhyme "Hush Little Baby", and "Grapefruit Moon" reveal a quieter, more jazz-like temperament. "Ice Cream Man" is often noted as being the most "up-tempo"[24] song of the album, whereas "Lonely" is toned-down and slow-paced. The sophisticated piano melodies are often accompanied by trumpets, typical of the jazz sound that Waits originally designated for the album.[20] Noticeable string arrangements are also featured on the album, on "Martha" and the final song "Closing Time", the latter being purely instrumental.
The songs on Closing Time are often noted for their lyrical content and vary in form. "Ol' '55" narrates the story of a man riding "lickety splitly" in a car and is often seen as a song about escapism, "like his near-contemporary Bruce Springsteen."[25] This theme is also present in "Old Shoes" which narrates another story about "a footloose young stud hitting the road and semi-sneering",[26] particularly in lyrics such as "your tears cannot bind me anymore" and "my heart was not born to be tamed." Other lyrics on the album are described as melancholic, particularly "Lonely", "I Hope That I Don't Fall in Love with You" and "Grapefruit Moon", which are "both self-conscious and lacklustre."[25] The intro to "Midnight Lullaby" borrows lyrics from the English nursery rhyme "Sing a Song of Sixpence".[26] This form of song-writing became a lifelong habit of Waits following the writing of "Midnight Lullaby", in which he "assembled lyrics from fragments of oral tradition."[26]
Packaging[edit]
Closing Time's art was designed by Cal Schenkel. Schenkel's front cover art was inspired by "Waits' own idea of how the album should sound." It depicts Waits leaning against a bar-room piano which is furnished with a shot of rye, a bottle of beer, cigarettes, an ashtray and a small candle with a blue pool table lamp above Waits' head.[21] The back cover art is minimal and only features a photograph of Waits staring directly into the camera, reputedly taken after one of Waits' performance at The Troubadour.[21] Both photographs were taken by Ed Caraeff.[23]
Release[edit]
Closing Time was released worldwide by Asylum in March 1973. The album's lead single, "Ol' '55", was released a month before the album for promotion. The single featured the same song pressed on both sides of the record, with the A-side in mono and the B-side in stereo. Waits' first national tour coincided with the album's release and ran from April to June 1973. The band consisted of Waits on vocals, acoustic guitar, and piano, Bob Webb on double bass, Rich Phelps on trumpet, and John Forsha on guitar. The tour started at The Cellar Door in Washington, D.C. with Waits opening for Tom Rush. Then he played at venues such as Max's Kansas City in New York City and The Boarding House in San Francisco, opening for Danny O'Keefe, Charlie Rich, Buffalo Bob Smith—of Howdy Doody —and John P. Hammond.[27] A second tour ran from November to December 1973 with Waits opening for Frank Zappa. This tour consisted of Waits on vocals, acoustic guitar, and piano, with Bob Webb on double bass. In 1999 Elektra Records reissued Closing Time in Europe on limited edition CD, and in 2010 Elektra and Asylum reissued the album on CD and LP, respectively.[28]
Reception[edit]
Professional ratings
Review scores
Source
Rating
Allmusic [24]
Robert Christgau B+[29]
Mojo
Pitchfork 8.7/10[30]
Q
The Rolling Stone Album Guide [31]
After its release, Closing Time was received positively by the American music press, although coverage was limited. In Rolling Stone, the album was referred to as "a remarkable debut album", compared to Randy Newman, and was branded a "boozier, earthier version of same and delights in rummaging through the attics of nostalgia, the persona that emerges from this remarkable debut album is Waits's own, at once sardonic, vulnerable and emotionally charged"[32] while former Village Voice editor and Pazz & Jop reviewer Robert Christgau noted that with his "jazz-schooled piano and drawling delivery [...] Waits exploits an honest sentimentality which he undercuts just enough to be credible",[29] also noting his similarity to Newman. Allmusic held the album in high regard, describing "his lovelorn lyrics" as being "sentimental without being penetrating. But he also has a gift for gently rolling pop melodies" and his "self-conscious melancholy can be surprisingly moving."[24]
The album received little coverage the United Kingdom and elsewhere internationally, with its promotion being little more than a featured advert in the NME.[4] Closing Time did not chart upon its release although in 2000, the album peaked at number 28 in the Irish Albums Chart.[33] The album was certified Silver in the United Kingdom in 2004 with shipments of over 60,000 copies and was later certified Gold in 2012 with shipments of over 100,000 copies.[9]
Influence[edit]
Tim Buckley was one of the first artists to be influenced by Waits, covering "Martha" the same year it was released
Closing Time reached a wider audience through cover versions of its songs by more successful artists and have since continued to have been covered. Later in 1973, Tim Buckley released the album Sefronia, with a cover of "Martha,"[7] the first ever cover of a Waits song by a known artist. Buckley's version was also included in the 1995 tribute compilation Step Right Up: The Songs of Tom Waits. "Martha" was covered again in 1979 by Bette Midler on Saturday Night Live[8] and by Meat Loaf on Welcome to the Neighborhood (1995).[34] "Ol' '55" was recorded by The Eagles for On the Border (1974).[35] "Rosie" was recorded by The Beat Farmers for their album The Pursuit of Happiness. (1987)[36] "Ice Cream Man" was covered in 1991 by Screamin' Jay Hawkins for Black Music For White People[37] and "Lonely" was covered live by Bat for Lashes and included on the deluxe edition of her album Two Suns (2009).[38] Covers of "I Hope That I Don't Fall in Love with You" can be found on Step Right Up (by 10,000 Maniacs), The Prince and Me soundtrack (by Marc Cohn), Hootie & the Blowfish's Scattered, Smothered and Covered compilation, 10,000 Maniacs' Campfire Songs compilation, and "Heart and Soul," an episode of Ally McBeal, where it is sung by Jon Bon Jovi.
Track listing[edit]
All songs written and composed by Tom Waits.
Side one
No.
Title
Length
1. "Ol' '55" 3:58
2. "I Hope That I Don't Fall in Love with You" 3:54
3. "Virginia Avenue" 3:10
4. "Old Shoes (& Picture Postcards)" 3:40
5. "Midnight Lullaby" 3:26
6. "Martha" 4:30
Side two
No.
Title
Length
7. "Rosie" 4:03
8. "Lonely" 3:12
9. "Ice Cream Man" 3:05
10. "Little Trip to Heaven (On the Wings of Your Love)" 3:38
11. "Grapefruit Moon" 4:50
12. "Closing Time" (instrumental) 4:20
Total length: 45:46
Personnel[edit]
Musicians[edit]
Tom Waits – vocals, piano, guitar, harmonium, harpsichord, celeste
Delbert Bennett – trumpet
Shep Cooke – guitar, backing vocals on "Old Shoes (& Picture Postcards)"
Peter Klimes – guitar, pedal steel guitar on "Rosie"
Bill Plummer – double bass
John Seiter – drums; backing vocals on "Ol' 55" and "Rosie"
Guest musicians[edit]
Arni Egilsson – bass guitar on "Closing Time" (Instrumental)
Jesse Ehrlich – cello on "Martha"
Tony Terran – trumpet on "Closing Time" (Instrumental)
Technical personnel[edit]
Ed Caraeff – photography
Richie Moore – additional engineering
Cal Schenkel – design, artwork
Jerry Yester – production, engineering
Chart positions[edit]
Chart (2000)
Peak position
Irish Albums Chart[33]
29
Certifications[edit]
Region
Certification
Certified units/Sales
United Kingdom (BPI)[39]
Gold 100,000^
Summaries
^shipments figures based on certification alone
References[edit]
Jump up ^ "Releases". ANTI-. Retrieved March 6, 2018.
Jump up ^ Hoskyns, pg. 87
^ Jump up to: a b Hoskyns, pg. 49
^ Jump up to: a b "Tom Waits Closing Time, His first album on Asylum Records". NME (May 12, 1973). |access-date= requires |url= (help)
Jump up ^ Hoskyns, pg. 89–90
Jump up ^ Humphries, pg. 53
^ Jump up to: a b Sefronia – Tim Buckley at AllMusic. Retrieved April 22, 2011.
^ Jump up to: a b Jacobs, pg. 318
^ Jump up to: a b "British Phonographic Industry – Certified awards search". British Phonographic Industry. Archived from the original on September 24, 2009. Retrieved July 27, 2012. N.B. User must define search parameters and enter "Tom Waits" into the Search field, select "Artist" in the Search by field, and click Go.
Jump up ^ "Artist: Tom Waits – Festival Information de Jazz de Montréal". Jazz de Montréal. Archived from the original on May 25, 2011. Retrieved April 24, 2011.
Jump up ^ Humphries, pg. 38
Jump up ^ Humphries, pg. 39
Jump up ^ Hoskyns, pg. 48
Jump up ^ Humphries, pg. 40
Jump up ^ Hoskyns, pg. 76
Jump up ^ Humphries, pg. 45
Jump up ^ Hosykyns, pg. 82
^ Jump up to: a b Hosykyns, pg. 83
^ Jump up to: a b Humphries, pg. 49
^ Jump up to: a b c d Hoskyns, pg. 84
^ Jump up to: a b c d Humphries, pg.50
^ Jump up to: a b Hoskyns, pg. 86
^ Jump up to: a b Closing Time (CD). Tom Waits. Elektra Records. 1973. 7559-60836-2.
^ Jump up to: a b c Ruhlmann, William. Closing Time – Tom Waits at AllMusic
^ Jump up to: a b Humphries, pg. 51
^ Jump up to: a b c Hoskyns, pg. 85
Jump up ^ "Tom Waits Performances: 1970–1975". tomwaitslibrary.com. Retrieved January 9, 2007.
Jump up ^ Ishaq, Farah (November 5, 2010). "Tom Waits to Reissue First Four Asylum Albums on Vinyl". Spinner. Retrieved April 23, 2011.
^ Jump up to: a b Christgau, Robert. "CG: Tom Waits". robertchristgau.com. Retrieved April 23, 2011.
Jump up ^ M. Deusner, Stephen (March 24, 2018). "Tom Waits: Closing Time". Pitchfork. Retrieved March 24, 2018.
Jump up ^ "Tom Waits: Album Guide". Rolling Stone. Archived from the original on September 19, 2011. Retrieved November 25, 2015.
Jump up ^ Holden, Stephen (April 26, 1973). "Closing Time by Tom Waits | Music Reviews". Rolling Stone. Retrieved April 23, 2011.
^ Jump up to: a b "Discography Tom Waits". irish-charts.com. Hung Medien. Retrieved July 26, 2012.
Jump up ^ Welcome to the Neighborhood – Meat Loaf at AllMusic. Retrieved July 26, 2012.
Jump up ^ On the Border – Eagles at AllMusic. Retrieved July 26, 2012.
Jump up ^ Pursuit of Happiness – Beat Farmers at AllMusic. Retrieved July 26, 2012.
Jump up ^ Black Music for White People – Screamin' Jay Hawkins at AllMusic. Retrieved July 26, 2012.
Jump up ^ Two Suns [CD/DVD] – Bat for Lashes at AllMusic. Retrieved July 26, 2012.
Jump up ^ "British album certifications – Tom Waits – Closing Time". British Phonographic Industry. Retrieved July 27, 2012. Enter Closing Time in the search field and then press Enter.
Bibliography[edit]
Hoskyns, Barney (2009). Lowside of the Road: A Life of Tom Waits. Faber and Faber. ISBN 978-0-571-24503-1.
Humphries, Patrick (2007). The Many Lives of Tom Waits. Omnibus Press. ISBN 978-1-84772-509-7.
Jacobs, Jay S. (2006). Wild Years: The Music and Myth of Tom Waits. ECW Press. ISBN 978-1-55022-716-1.
[hide]
v
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Related articles
Discography
Kathleen Brennan
Greg Cohen
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Rickie Lee Jones
Marc Ribot
Larry Taylor
Chuck E. Weiss
Step Right Up: The Songs of Tom Waits
New Coat of Paint
Tom Waits for No One
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I Am Not a Robot
From Wikipedia, the free encyclopedia
Jump to: navigation, search
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"I Am Not a Robot"
Single by Marina and the Diamonds
from the album The Family Jewels
Released
23 April 2010 (2010-04-23)
Format
CD single
digital download
7"
Recorded
2009; The Ivory Tower
Konk Studios (London)
Genre
Indie pop
baroque pop
Length
3:32
Label
679
Songwriter(s)
Marina Diamandis
Producer(s)
Liam Howe
Marina and the Diamonds singles chronology
"Hollywood"
(2010) "I Am Not a Robot"
(2010) "Oh No!"
(2010)
"Hollywood"
(2010) "I Am Not a Robot"
(2010) "Oh No!"
(2010)
Music video
"I Am Not a Robot" on YouTube
"I Am Not a Robot" is a song by Welsh recording artist Marina and the Diamonds from her debut studio album, The Family Jewels (2010). It was released digitally on 23 April 2010 and physically on 26 April 2010 as the album's third single.[1][2] The track originally appeared on Diamandis's second extended play, The Crown Jewels EP (2009). The single was added to BBC Radio 1's A List in April 2010.[3] A choral version of "I Am Not a Robot" was used in an advertisement for British healthcare provider Bupa in March 2011.[4] Additionally, "I Am Not a Robot" was heavily sampled by Hoodie Allen in his debut single "You Are Not A Robot" in 2010.
Contents
[hide]
1 Background
2 Critical reception
3 Music video
4 Track listings
5 Personnel
6 Charts
7 References
Background[edit]
In an interview with Wales Online, Diamandis stated, "['I Am Not a Robot'] was me singing to myself. It's me saying, stop being so ridiculous, you can't let having a fear of failing hold you back and you're just one person. It's connected with a lot of people. I knew that would happen when I was writing it. I had a funny feeling."[5]
Diamandis said that she decided to release "I Am Not a Robot" as a single because "people seem to empathize and relate with the song, regardless of gender or age."[2]
Critical reception[edit]
Gareth James from Clash named "I Am Not a Robot" "one of 2009's best singles", calling it "an infectious pop track featuring a unique vocal with more fluctuations than Florence sat on a washing machine."[6] Alexis Petridis from The Guardian commented that "the lovely delicacy of 'I Am Not a Robot''s tune is easy to miss when there's a woman doing Dalek voices over the top of it. Such are the dangers of trying a little too hard."[7] John Murphy from musicOMH praised the song saying it "shows a pleasing touch of vulnerability which works very well."[8] Diamandis was also praised following a performance of the song on BBC Radio 1's Live Lounge on 23 April 2010.[9]
Music video[edit]
Diamandis in the music video for "I Am Not a Robot"
The music video for "I Am Not a Robot" was directed by Rankin & Chris Cottam and was released onto YouTube on 24 June 2009. The music video features Diamandis in five scenes: one with her covered in black oil and glitter, one made-up in black, green and pink body paint, one with diamond lips and eyelids, one with the green, pink, and black body paint smeared, and lastly just her as her normal self. Each sequence shows Diamandis in the centre of the screen with either a starry, grey, white or black background whilst singing to the camera. Diamandis explained in an interview on Scott Mills's BBC Radio 1 show that the black oil reacted to her skin and it took forty minutes to rub off. It also took her eighteen hours to get all of her make-up done for the video.[10]
An alternative version of the video was shot on Los Angeles' Hollywood Boulevard and released on 14 April 2010.[11] The music video starts with an unfocused view of headlights on a road. It zooms out to show Diamandis with white painted hair, and a white dress with one feathered sleeve, on the Hollywood Walk of Fame. Diamandis walks down the street while singing the song, and blurred-face bystanders around her make way, stare, or go their way. Near the end, the camera shows Diamandis's white heels and white paint on her legs. At the end, Diamandis laughs, the camera follows her, and reveals the camera crew and the window of a shop.
Track listings[edit]
UK CD single[12]
"I Am Not a Robot" – 3:35
"I Am Not a Robot" (Doorly Remix) – 5:20
UK iTunes EP[1]
"I Am Not a Robot" – 3:32
"I Am Not a Robot Flex'd Rework" (Passion Pit Remix) – 4:47
"I Am Not a Robot" (Clock Opera Remix) – 4:35
"I Am Not a Robot" (Doorly Remix) – 5:18
"I Am Not a Robot" (Acoustic) – 3:48
UK 7" single[13]
A. "I Am Not a Robot" – 3:35
B. "I Am Not a Robot Flex'd Rework" (Passion Pit Remix) – 4:54
UK limited edition 7" single in autographed envelope sleeve[14]
A. "I Am Not a Robot" – 3:35
B. "I Am Not a Robot" (Clock Opera Remix) – 4:39
Personnel[edit]
Credits adapted from CD single liner notes.[12]
Marina Diamandis – vocals, glockenspiel, piano
Chris Allan – cello
Guy Davie – mastering
Alison Dods – violin
Steve Durham – drums
Liam Howe – bass, Mellotron, mixing, Philicorda, production, programming, synths
Dougal Lott – assistant engineering
Mat Maitland – sleeve art
Calina de la Mere – violin
Rankin – portrait
Rachel Robson – viola
Lucy Shaw – double bass, string arrangements
Richard Wilkinson – engineering
Charts[edit]
Chart (2010)
Peak
position
Belgium (Ultratip Flanders)[15]
21
Belgium (Ultratip Wallonia)[16]
8
Norway (VG-lista)[17]
6
Sweden (Sverigetopplistan)[18]
11
UK Singles (Official Charts Company)[19]
26
References[edit]
^ Jump up to: a b "I Am Not a Robot – EP by Marina and The Diamonds". iTunes Store UK. Apple. Retrieved 11 September 2013.
^ Jump up to: a b "I Am Not a Robot Will Be Marina's Next Single in the UK!". marinaandthediamonds.com. 12 March 2010. Archived from the original on 27 May 2010. Retrieved 23 March 2010.
Jump up ^ "BBC – Radio 1 – Playlist". BBC Radio 1. Archived from the original on 19 April 2010. Retrieved 11 September 2013.
Jump up ^ Brownsell, Alex (8 March 2011). "Bupa shifts strategy to promote service range". Marketing Magazine. Retrieved 11 September 2013.
Jump up ^ Rees, Claire (21 March 2010). "Marina and the Diamonds gives herself a telling-off in song". Wales Online. Retrieved 23 March 2010.
Jump up ^ James, Gareth (8 February 2010). "Marina and the Diamonds – The Family Jewels". Clash. Retrieved 8 April 2010.
Jump up ^ Petridis, Alexis (18 February 2010). "Marina and the Diamonds: The Family Jewels". The Guardian. Retrieved 8 April 2010.
Jump up ^ Murphy, John (22 February 2010). "Marina & The Diamonds – The Family Jewels". musicOMH. Retrieved 8 April 2010.
Jump up ^ "Live Lounge – Marina and The Diamonds". BBC Radio 1. 23 April 2010. Retrieved 23 April 2010.
Jump up ^ "The Chris Moyles Show with Scott Mills, Wednesday - Marina off've the Diamonds". BBC Radio 1. 7 April 2010. Retrieved 8 April 2010.
Jump up ^ "Marina and the Diamonds | "I Am Not a Robot" L.A". YouTube. 14 April 2010. Retrieved 11 September 2013.
^ Jump up to: a b "I Am Not a Robot" (UK CD single liner notes). Marina and the Diamonds. 679 Recordings. 2010. 679L173CD.
Jump up ^ "Hollywood" (UK 7" single liner notes). Marina and the Diamonds. 679 Recordings. 2010. 679L173.
Jump up ^ "Hollywood" (UK limited edition 7" single liner notes). Marina and the Diamonds. 679 Recordings. 2010. 679L173X.
Jump up ^ "Ultratop.be – Marina & The Diamonds – I Am Not A Robot" (in Dutch). Ultratip.
Jump up ^ "Ultratop.be – Marina & The Diamonds – I Am Not A Robot" (in French). Ultratip.
Jump up ^ "Norwegiancharts.com – Marina & The Diamonds – I Am Not A Robot". VG-lista.
Jump up ^ "Swedishcharts.com – Marina & The Diamonds – I Am Not A Robot". Singles Top 100.
Jump up ^ "Official Singles Chart Top 100". Official Charts Company.
[hide]
v
t
e
Marina and the Diamonds
Discography
Studio albums
The Family Jewels
Electra Heart
Froot
Songs
"Mowgli's Road"
"Hollywood"
"I Am Not a Robot"
"Oh No!"
"Shampain"
"Radioactive"
"Primadonna"
"Power & Control"
"How to Be a Heartbreaker"
"Froot"
"Happy"
"I'm a Ruin"
"Forget"
"Blue"
"Disconnect"
Concert tours
The Family Jewels Tour
The Lonely Hearts Club Tour
Neon Nature Tour
Retrieved from "https://en.wikipedia.org/w/index.php?title=I_Am_Not_a_Robot&oldid=809652701"
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2009 songs
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Marina and the Diamonds songs
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