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Philippine presidential line of succession
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The Philippine presidential line of succession defines who becomes or acts as President of the Philippines upon the incapacity, death, resignation, or removal from office (by impeachment and subsequent conviction) of a sitting president or a president-elect.
Contents
[hide]
1 Current Order
1.1 Current line of succession
2 At the start of the term
3 During the term
4 The line of succession in practice
5 References
Current Order[edit]
The current line of succession to the office of President of the Philippines is specified by the 1987 Constitution. During the Marcos era, the line of succession would be amended to include newly created cabinet or ministerial offices. The line of presidential succession follows the order of Vice President, President of the Senate and the Speaker of the House of Representatives. In case of death, permanent disability, or inability of these officials, Congress shall, by law, provide for the manner of selection of the person who is to act as President until a President or Vice President shall have qualified and the line of succession will change of who those new national officials.
Rodrigo Duterte takes the oath of office as the 16th President of the Philippines at the Malacañang Palace on June 30, 2016. Leni Robredo had taken her own oath of office as Vice President hours earlier at a separate venue, securing the presidential line of succession.
Current line of succession[edit]
Key
PDP-Laban
Liberal Party (LP)
#
Office
Current officer
1
Vice President of the Philippines Leni Robredo (LP)
2
Senate President of the Philippines Aquilino Pimentel III (PDP-Laban)
3
Speaker of the House of Representatives of the Philippines Pantaleon Alvarez (PDP-Laban)
At the start of the term[edit]
If a President was elected but failed to qualify - the Vice President who was elected will act as President until the President qualifies.
If there was no President elected - the Vice-President who was elected will act as President until a President is elected and qualifies.
If at the beginning of the term of the President, the President-elect dies or has become permanently disabled - the Vice President who was elected becomes President.
If neither President and Vice-President had been chosen or had qualified, or if both had died or had become permanently disabled - the Senate President or, in case of his inability, the Speaker of the House, will act as President until a President or a Vice-President is chosen and qualifies[1]
During the term[edit]
In 1944, following the death of Manuel L. Quezon, Sergio Osmeña became the first vice president to succeed to the presidency.
If the President dies, becomes permanently disabled, is removed from office, or resigns - the Vice-President becomes the President and serves the unexpired term.
If both the President and the Vice President die, become permanently disabled, are removed from office, or resign - the President of the Senate or, in case of his inability, the Speaker of the House of Representatives, will act as President until a President or Vice-President is elected and qualifies.
If the Acting President dies, becomes permanently disabled, is removed from office, or resigns, Congress shall, by law, provide who shall serve as President. He shall serve until the President or the Vice-President shall have been elected and qualified, and be subject to the same restrictions of powers and disqualifications as the Acting President.[1]
The line of succession in practice[edit]
On August 1, 1944, following the death of President Manuel L. Quezon due to tuberculosis, Vice President Sergio Osmeña took his oath of office and became the second President of the Commonwealth of the Philippines, then a government-in-exile in the United States. As the war in the Pacific Theatre continued, he returned to the Philippines two months later with General Douglas MacArthur and began the campaign to liberate the country. After the war, he restored the Commonwealth government and the various executive departments. Osmeña, who assumed the presidency at age 65, lost to Manuel Roxas in his bid for a full four-year term in his own right in the 1946 presidential election.
On April 17, 1948, Vice President Elpidio Quirino assumed the presidency, taking his oath of office two days after the death of Manuel Roxas. His first official act as the President was the proclamation of a state of mourning throughout the country for Roxas' death. Since Quirino was a widower, his surviving daughter Victoria Quirino served as the official hostess and performed the functions traditionally ascribed to the First Lady. Quirino won the 1949 presidential election and secured a four-year term in his own right.
On March 17, 1957, Vice President Carlos P. Garcia was heading the Philippine delegation to the SEATO conference, then being held at Canberra, Australia.[2] Vice President Garcia hastily traveled back to Manila when he was informed of the death of President Ramon Magsaysay in a plane crash in Cebu. Upon his arrival, he immediately returned to Malacañang Palace to assume the duties of President. Supreme Court Chief Justice Ricardo Paras was at hand to administer the oath of office and Garcia became the 8th President of the Philippines. President Garcia's first actions dealt with the declaration of a period of mourning for the whole nation and the burial of his late predecessor.[2] Garcia was elected to a full four-year term in the 1957 presidential election, which was held a few months after Magsaysay's death.
On January 20, 2001, Vice President Gloria Macapagal-Arroyo took her oath of office as the 14th President of the Philippines before Chief Justice Hilario Davide, Jr. following the ouster of President Joseph Ejercito-Estrada. She had earlier resigned her cabinet position as Secretary of Social Welfare and Development and joined the growing opposition to the president, who faced impeachment. Estrada was forced from office by the EDSA Revolution of 2001. She was elected to a full six-year term in the 2004 presidential election and was sworn in on June 30, 2004. Following her presidency, she was elected to the House of Representatives, making her the second Philippine president after Jose P. Laurel to pursue a lower office after their presidency.
References[edit]
^ Jump up to: a b www.Batasan.org 1987 Constitution of the Philippines (accessed November 19, 2007).
^ Jump up to: a b Molina, Antonio. The Philippines: Through the centuries. Manila: University of Sto. Tomas Cooperative, 1961. Print.
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text:
History of media studies
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This article's lead section does not adequately summarize key points of its contents. Please consider expanding the lead to provide an accessible overview of all important aspects of the article. Please discuss this issue on the article's talk page. (November 2014)
This article outlines the history of media studies.
Contents
[hide]
1 Chicago School
2 First M.A. Media Studies program in the U.S.
3 Propaganda studies
4 Frankfurt School and Critical Theory
5 Media effects
6 Uses and Gratification Model
7 References
Chicago School[edit]
Though not yet named as such, media studies' roots are in the Chicago School and thinkers such as John Dewey, Charles Cooley and George Mead. These authors saw American society on the cusp of positive social change toward pure democracy. Mead argued that for an ideal society to exist, a form of communication must be developed to allow the unique individual to appreciate the attitudes, viewpoints and positions of others unlike himself, and allow him to be understood by others as well. Mead believed that this "new media" would allow humans to empathize with others, and therefore moves toward an "ideal of human society."[1] Where Mead sees an ideal society, Dewey names it the "Great Community," and further asserts the assumption that humans are intelligent enough for self-government, and that that knowledge is "a function of association and communication."[2] Similarly, Cooley asserts that political communication makes public opinion possible, which in turn promotes democracy. Each of these authors represent the Chicago School’s attention to electronic communication as a facilitator of democracy, its faith in the informed electorate, and its focus on the individual as opposed to the mass.
First M.A. Media Studies program in the U.S.[edit]
The social impact of mass communication has been studied at The New School University in New York since its founding in 1919. The first college course to investigate the motion picture was offered here in 1926. Marshall McLuhan's colleague, John Culkin, brought his Center for Understanding Media to The New School in 1975 and The New School began offering the Master of Arts degree in Media Studies, one of the first graduate programs of its kind.[3] Today, among other programs,[4] MA in Media Studies is still being offered by School of Media Studies, The New School, which will celebrate 40th anniversary of Media Studies at The New School during the academic year 2015-2016[5]
Propaganda studies[edit]
Between the First and Second World Wars, the Institute for Propaganda Analysis briefly rose to importance. Their definition of propaganda was
"expression of opinion or action by individuals or groups deliberately designed to influence opinion or actions of other individuals or groups with reference to predetermined ends."[6]
Harold Lasswell, who worked in the paradigm of the Chicago School of sociology wrote Propaganda Technique in the World War, which included this definition of propaganda:
"Propaganda in the broadest sense is the technique of influencing human action by the manipulation of representations. These representations may take spoken, written, pictorial or musical form."[7]
These definitions of propaganda clearly show that this was a school of thought that focused on media effects, as it highlighted the influence that media could have over its audiences attitudes and actions.[8]
Epitomizing this early school of media effects studies are experiments done by The Experimental Section of the Research Branch of the U.S. War Department's Information and Education Division. In the experiments, the effects of various U.S. wartime propaganda films on soldiers were observed.[9]
Current Propaganda studies are applied into many fields besides politics. Herman described a propaganda model as "a model of media behavior and performance, not of media effects." (Herman, 2000, p. 63) He argued: "They are profit-seeking business, owned by very wealthy people (or other companies); and they are funded largely by advertisers who are also profit-seeking entities, and who want their advertisements to appear in a supportive selling environment."[10] He also presented "five factors: owner ship, advertising, sourcing, flak and anti-communist ideology-work as filters through which information must pass, and that individually and often in cumulative fashion they greatly influence media choices."[10] Until now, there is no conclusion of propaganda, debate still continues.
Frankfurt School and Critical Theory[edit]
Typified by the philosophical and theoretical orientations of Max Horkheimer, Theodor Adorno, Walter Benjamin, Leo Lowenthal, and Herbert Marcuse, the Frankfurt school contributed greatly to the development and application of critical theory in media studies. Their Marxist critique of market-driven media was critical of its atomizing and leveling effects.
The Frankfurt school also lamented the effects of the "culture industry" on the production and appreciation of art. For example, in A Social Critique of Radio Music, Adorno asserts:
"…music has ceased to be a human force and is consumed like other consumers’ goods. This produces ‘commodity listening’…The listener suspends all intellectual activity."[11]
As the Frankfurt school lamented on the effects of the "culture industry" they also began to identify mass culture and high culture as two distinct entities. Scholars like Benjamin (1936) and Adorno (1945) can be credited with what would eventually become known as popular culture and high culture. Their finite distinction of equating original production with ritualistic behavior as compared with mass culture that finds its identifying symbols in reproductions. These reproductions are souless and lacking in definition and originality.
Media effects[edit]
Main article: Media effects
The less paradigm in media studies since the Second World War has been associated with the ideas, methods and findings of Paul F. Lazarsfeld and his school: media effect studies. Their studies focused on measurable, short-term behavioral ‘effects’ of media and concluded that the media played a limited role in influencing public opinion. The "Limited-Effects" Model developed by Lazarsfeld and his colleagues from Columbia was highly influential in the development of media studies. The model claims the mass media has "limited-effects" on voting patterns. Voters are influenced, rather, through the ‘two-step flow’ model, the idea that media messages are disseminated through personal interaction with ‘opinion leaders’.[12]
The model of limited- effects was so influential that the question of media "effects" on politics was left largely unaddressed until the late 1960s. Eventually Mass Communication scholars began to study political behavior again and the limited-effects model was called into question.[13]
Uses and Gratification Model[edit]
As a response to the previous emphasis upon media effects, from the 1970s researchers became interested in how audiences make sense of media texts.[14] The "uses and gratifications" model, associated with Jay Blumler and Elihu Katz, reflected this growing interest in the 'active audience'. One such example of this type of research was conducted by Hodge and Tripp,[15] and separately Palmer,[16] about how school-children make sense of the Australian soap opera Prisoner. They found that pupils could identify with the prisoners: they were "shut in", separated from their friends and wouldn't be there had they not been made to be, etc. Also, the children could compare the wardens to their teachers: "the hard-bitten old [one], the soft new one, the one you could take advantage of..."[17]John Fiske summarises:
The children inserted meanings of the program into their social experience of school in a way that informed both -- the meanings of school and the meanings of Prisoner were each influenced by the other, and the fit between them validated the other.[17]
References[edit]
Jump up ^ Mead, George Herbert. "Obstacles and Promises in the Development of an Ideal Society." Mind, Self & Society, pp. 317–28. Chicago: Univ. of Chicago Press, 1934.
Jump up ^ Dewey, John. "Search for the Great Community." The Public and Its Problems, pp. 143–84. New York: Henry Holt & Co., 1927. "Nature, Communication, and Meaning." Experience and Nature, pp. 138–70.
Jump up ^ http://www.newschool.edu/public-engagement/school-of-media-studies-about/
Jump up ^ http://www.newschool.edu/public-engagement/school-of-media-studies-degrees-and-programs/
Jump up ^ http://smscommons.newschool.edu/news/2015/09/14/media-studies-40th-anniversary-celebration-fall-2015-spring-2016/
Jump up ^ Lee, Alfred M. (With Elizabeth Briant Lee) (1937). The Fine Art of Propaganda: A Study of Father Coughlin’s Speeches.
Jump up ^ Lasswell, Harold. (1937). Propaganda Technique in the World War. pp. 214–22. ISBN 0-8240-0458-2.
Jump up ^ Lasswell, Harold (1937). "Propaganda". Encyclopedia of the Social Sciences. pp. 521–27.
Jump up ^ Hovland, Carl I.; Arthur A. Lumsdaine; Fred D. Shefield (1949). "Experiments in Mass Communication". Studies in the Social Psychology in World War II, American Soldier Series. New York: Macmillan. 3: 3–16, 247–79.
^ Jump up to: a b (Herman, 2000, p. 62)
Jump up ^ Adorno, Theodor W. (1945). "A Social Critique of Radio Music". Kenyon Review. 7: 208–17.
Jump up ^ Gitlinn, Todd (1974). Media Sociology: the Dominant Paradigm.
Jump up ^ Chaffee, Steven H., & Hockheimer, J.. "The Beginnings of Political Communication Research in the United States: Origins of the ‘Limited Effects’ Model." The Media Revolution in America & Western Europe, pp. 267–96. Ed. Ev Rogers & F. Balle. Norwood, N.J.: Ablex, 1985.
Jump up ^ Hutchby, Ian (2006). Media Talk: Conversation Analysis and the Study of Broadcasting. Berkshire: Open University Press. p. 5. ISBN 0-335-20995-5.
Jump up ^ Hodge, R.; Tripp, D. (1986). Children and Television. Cambridge: Polity Press. ISBN 0-8047-1352-9.
Jump up ^ Palmer, P (1986). The Lively Audience: A Study of Children around the TV set. Sydney: Allen & Unwin. ISBN 0-86861-970-1.
^ Jump up to: a b Fiske, John (1987). Television Culture. London: Routledge. pp. 68–9. ISBN 0-415-03934-7.
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text:
I Won't Back Down
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"I Won't Back Down"
Single by Tom Petty
from the album Full Moon Fever
B-side
"The Apartment Song"
"Don't Treat Me Like a Stranger" (12" and CD single only)
Released
April 1989 (1989-04)
Format
7"
12"
cassette
CD
Recorded
1987-1988
Genre
Heartland rock
Length
2:59
Label
MCA
Songwriter(s)
Tom Petty
Jeff Lynne
Producer(s)
Jeff Lynne
Tom Petty
Mike Campbell
Tom Petty singles chronology
"All Mixed Up"
(1987) "I Won't Back Down"
(1989) "Runnin' Down a Dream"
(1989)
"All Mixed Up"
(1987) "I Won't Back Down"
(1989) "Runnin' Down a Dream"
(1989)
Audio sample
file
help
"I Won't Back Down" is a song by American rock musician Tom Petty. It was released in April 1989 as the lead single from his first solo album, Full Moon Fever. The song was written by Petty and Jeff Lynne, his writing partner for the album. It reached number 12 on the Billboard Hot 100 and topped the Album Rock Tracks chart for five weeks, starting the album's road to multi-platinum status.
Contents
[hide]
1 Background and writing
2 Content
3 Music video
4 Agreement with Sam Smith
5 Personnel
6 Charts
6.1 Weekly charts
6.2 Year-end charts
7 Use in political campaigns
8 Use in sports campaigns
9 All appearances
10 Cover versions
11 References
12 External links
Background and writing[edit]
Petty recalled the recording of this song to Mojo magazine: "At the session George Harrison sang and played the guitar. I had a terrible cold that day, and George went to the store and bought a ginger root, boiled it and had me stick my head in the pot to get the ginger steam to open up my sinuses, and then I ran in and did the take."[1]
Content[edit]
A message of defiance against unnamed forces of difficulty and possibly oppression, the lyric is set against a mid-tempo beat:
Well I know what's right, I got just one life
in a world that keeps on pushin' me around
but I'll stand my ground, and I won't back down
Due to its themes, the song was played often on American radio following the September 11 attacks.[2] Petty and the Heartbreakers played a quiet but resolute version of the song at the America: A Tribute to Heroes telethon following the 2001 attacks.[2][3]
In the 2007 documentary Runnin' Down a Dream, Petty said that he felt some initial hesitation about releasing the song, given its clear and unabashed message.[4]
Music video[edit]
The music video, directed by David Leland, was shot on March 22 and 23, 1989 on a sound stage at Pinewood Studios and released on April 24, 1989. Traveling Wilburys bandmates George Harrison and Jeff Lynne appear in the video. Mike Campbell and Harrison's former Beatles bandmate Ringo Starr are also featured in the video[5] along with Harrison's famous painted Fender Stratocaster "Rocky" being played by Campbell. Starr is depicted in the video as playing the drums on the song, though drumming was actually performed by Phil Jones on the record.
Agreement with Sam Smith[edit]
In January 2015, it was revealed that an agreement had been reached whereby Petty and Jeff Lynne would be credited as co-writers of Sam Smith's song "Stay with Me" and receive 12.5% of its royalties. Petty's publishing company had contacted Smith's publisher after noticing a likeness between "Stay with Me" and "I Won't Back Down". [6] Petty clarified that he did not believe Smith plagiarized him, saying "All my years of songwriting have shown me these things can happen. Most times you catch it before it gets out the studio door but in this case it got by. Sam's people were very understanding of our predicament and we easily came to an agreement".[7][8] Smith claimed he had never heard "I Won't Back Down" before he wrote "Stay with Me",[9] but he acknowledged the similarity after listening to the song, and said that the likeness was "a complete coincidence".[10][11] Petty and Lynne were not eligible for a Grammy Award ("Stay with Me" was nominated for three awards at the 57th annual ceremony, winning two of them) as the Recording Academy considered "Stay with Me" to have been interpolated from "I Won't Back Down" by Smith, James Napier, and William Phillips, the writers of "Stay with Me"; Petty and Lynne were instead given certificates to honor their participation in the work, as is usual for writers of sampled or interpolated work.[12]
Personnel[edit]
Tom Petty – lead vocals and backing vocals, acoustic guitar
Mike Campbell – slide guitar
George Harrison – acoustic guitar, backing vocals
Jeff Lynne – bass, backing vocals
Howie Epstein – backing vocals
Phil Jones – drums
Charts[edit]
Weekly charts[edit]
Chart (1989)
Peak
position
Australia (ARIA)[13] 16
Canada Top Singles (RPM) 5
Germany (Official German Charts)[14] 66
New Zealand (Recorded Music NZ)[15] 49
UK Singles (Official Charts Company)[16] 28
US Billboard Hot 100[17] 12
US Mainstream Rock (Billboard)[18] 1
US Alternative Songs (Billboard)[19] 29
Year-end charts[edit]
Chart (1989)
Position
Canada Top Singles (RPM)[20] 40
Use in political campaigns[edit]
George W. Bush used "I Won't Back Down" at campaign events during the 2000 presidential campaign but was compelled to stop using the song after receiving a cease and desist letter from Petty's publisher.[21][22] Petty then went on to perform the song at Al Gore's home after Gore conceded the election to President Bush.[23] Jim Webb used the song for his successful bid for one of Virginia's U.S. Senate seats in 2006, as did Hillary Clinton during the 2008 Democratic presidential primary campaign. The song was also used at campaign events for Congressman Ron Paul of Texas during the 2008 Republican presidential primary campaign, as well as for events for his Campaign for Liberty. The song was also played at an event for Republican Connecticut gubernatorial nominee, Tom Foley.[24] The song was also played at the 2012 Democratic National Convention after speech delivered by President Bill Clinton, in which President Barack Obama came out on stage to salute him.
Use in sports campaigns[edit]
The Ottawa Senators used the song as a campaign anthem in December 1990 at their presentation to be awarded an NHL franchise at the Breakers Hotel in Palm Beach, Florida. The unlikely bid received unanimous support from the NHL and the franchise was awarded on December 6, 1990.[25] The Johnny Cash cover has also been used for a Rogers Sportsnet advertising campaign for the 2010-2011 NHL season.[26]
The song was used as the walkout song for the Australian Rugby League club the Melbourne Storm from 1999-2007.
It was also used as the slogan for the TCU Horned Frogs during the 2009 season, and incorporated into their merchandise during the year.[27]
All appearances[edit]
Full Moon Fever (1989)
Greatest Hits (1993)
Playback (1995)
Anthology: Through the Years (2000)
America: A Tribute to Heroes (2001)
The Live Anthology (2009)
Mojo Tour 2010 (2010) - Live Version
Barnyard (2006)
The song was also released as downloadable content for Rock Band 2
Cover versions[edit]
Something for Kate
Johnny Cash – American III: Solitary Man (2000) (Tom Petty contributed vocals and guitar to Cash's recording.)
Edgewater - Lifter (2001)
Holly Nelson - Leaving the Yard (2003)
Cumberland Gap - Circle the Wagons (2004)
Sam Elliott - Barnyard: The Original Party Animals (2006)
Pearl Jam – Live at the Gorge 05/06 (2007)
Mem Shannon - Live: A Night at Tipitina's (2007)
MercyMe - iTunes Originals (2008)
Dawn Landes – Fireproof (2008)
Switchfoot (2008)
Reel Big Fish - Fame, Fortune and Fornication (2009)
Booka Shade vs Plastic Operator - "Night Falls/Won't Back Down" (2009)
John O'Callaghan (2010)
Tyler Hilton (2010)
Dia Frampton and her coach Blake Shelton covered the song for The Voice (U.S.). (2011)
Ryan Star - The America EP (2012)
Benjamin Francis Leftwich - covered the song for Grey's Anatomy season 9 episode 3. (2012)
Bon Jovi - Covered the song during their Have a Nice Day Tour. (2005-2006)
Dale Ann Bradley - Covered the song for her "Don't Turn Your Back" CD. (2009)
Tokutaro sleepy Maki- Covered in English along with Japanese. (2013)
Kris Kristofferson - Covered for the soundtrack for History Channel's Texas Rising. (2015)
Jason Aldean - Saturday Night Live (2017) Coincidentally, Sam Smith was the musical guest on this episode of Saturday Night Live.
References[edit]
Jump up ^ Snow, Mat. "Tom Petty interview". MOJO. January 2010 (194). Retrieved 2014-07-15.
^ Jump up to: a b Eric Schumacher-Rasmussen (September 22, 2001). "Mariah Carey, Springsteen, Other Stars Sing For America On Telethon". MTV News.
Jump up ^ Bill Crandall (September 24, 2001). "Artists Rise Up for America". Rolling Stone.
Jump up ^ Peter Bogdanovich (director) (2007). Runnin' Down a Dream (Documentary). Event occurs at 2:43:25. Of all the songs I've written I think I get the most feedback about that song. And it is a personal song – when I did it I sort of thought that I laid it out, you know, with no ambiguity at all – like I just said it very plainly – and I kind of felt nervous about it like maybe I should take it back and disguise it a little bit, but I'm glad I didn't – and it's very much like me. |access-date= requires |url= (help)
Jump up ^ Strictly limited edition 7" single cover (MCA 1334)
Jump up ^ "Sam Smith: Tom Petty given writing credit for Stay with Me". BBC News.
Jump up ^ Kreps, Daniel (2015-01-29). "Tom Petty on Sam Smith Settlement: 'No Hard Feelings. These Things Happen'". Rolling Stone. Retrieved 2015-01-31.
Jump up ^ Lac, J. Freedom du (9 February 2015). "The only person Sam Smith didn't thank at the Grammys deserves a lot of credit" – via washingtonpost.com.
Jump up ^ "Sam Smith explains why he settled copyright dispute with Tom Petty". CBC. Feb 7, 2015.
Jump up ^ Copland, Chris (25 January 2015). "Tom Petty awarded songwriting royalties for Sam Smith's "Stay With Me"". Consequence of Sound. Retrieved 26 January 2015.
Jump up ^ "Sam Smith: Tom Petty given writing credit for Stay With Me". BBC. January 27, 2015. Retrieved January 27, 2015.
Jump up ^ Randall Roberts (January 26, 2015). "Tom Petty, Jeff Lynne added to credits of Sam Smith's 'Stay With Me'". Los Angeles Times.
Jump up ^ "Australian-charts.com – Tom Petty – I Won't Back Down". ARIA Top 50 Singles.
Jump up ^ "Offiziellecharts.de – Tom Petty – I Won't Back Down". GfK Entertainment Charts.
Jump up ^ "Charts.org.nz – Tom Petty – I Won't Back Down". Top 40 Singles.
Jump up ^ "Official Singles Chart Top 100". Official Charts Company.
Jump up ^ "Tom Petty Chart History (Hot 100)". Billboard. Retrieved October 8, 2017.
Jump up ^ "Tom Petty Chart History (Mainstream Rock)". Billboard. Retrieved October 8, 2017.
Jump up ^ "Tom Petty Chart History (Alternative Songs)". Billboard. Retrieved October 8, 2017.
Jump up ^ "Top Singles - Volume 51, No. 8, December 23, 1989". RPM. December 23, 1999. Retrieved November 22, 2017.
Jump up ^ Roisin O'Connor (October 2, 2017). "Tom Petty once sent a cease and desist letter to George W. Bush". The Independent.
Jump up ^ Claire Suddath. "A Brief History of Campaign Songs - George W. Bush". Time.
Jump up ^ "Petty, Popper Serenade Gore After Concession". ABC News. December 14, 2000.
Jump up ^ Jonathan Pieslak (November 3, 2015). Radicalism and Music An Introduction to the Music Cultures of al-Qa'ida, Racist Skinheads, Christian-Affiliated Radicals, and Eco-Animal Rights Militants. Wesleyan. p. 244. ISBN 978-0819575845.
Jump up ^ "These are the Ottawa Senators you know". Ottawa Citizen. December 5, 2005. Archived from the original on February 14, 2012. Retrieved April 10, 2012. Firestone turned 39 the day before the bid presentation. Leeder and Sexton, boyhood hockey pals from Brockville, were 31. Waiting in a holding room, feeling a little like caged animals, the group got psyched up the way athletes do, by listening to inspiring music. In this case, it was the theme song of their mission -- Tom Petty's "I Won't Back Down".
Jump up ^ Canucks Won't Back Down on YouTube
Jump up ^ Evans, Thayer (November 14, 2009). "T.C.U. Fans Are Singing Football Coach's Praises". The New York Times.
External links[edit]
Lyrics of this song at MetroLyrics
[hide]
v
t
e
Tom Petty
Studio albums
Full Moon Fever (1989)
Wildflowers (1994)
Highway Companion (2006)
Songs
"Stop Draggin' My Heart Around"
"I Won't Back Down"
"Runnin' Down a Dream"
"Free Fallin'"
"A Face in the Crowd"
"Yer So Bad"
"You Don't Know How It Feels"
"Square One"
"Saving Grace"
Related articles
Discography
Songs
Awards
Tom Petty and the Heartbreakers
Blue Stingrays
Mudcrutch
Traveling Wilburys
Retrieved from "https://en.wikipedia.org/w/index.php?title=I_Won%27t_Back_Down&oldid=836573280"
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text:
Steptoe and Son
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Steptoe and Son
Corbett (left) and Brambell (right) as Harold and Albert.
Created by
Ray Galton and Alan Simpson
Starring
Harry H. Corbett
Wilfrid Brambell
Country of origin
United Kingdom
Original language(s)
English
No. of series
8
No. of episodes
57 (list of episodes)
Production
Running time
30–45 minutes
Distributor
BBC Worldwide
2entertain
ABC (Australia, home video)
Release
Original network
BBC 1
Picture format
405-line Black-and-white (1962–65)
625-line Black-and-white (1970)
625-line PAL (1970–74)
1080i HDTV (2016)
Audio format
Monaural
Surround sound 5.1(2016)
Original release
Original run:
4 January 1962 (1962-01-04) –
26 December 1974
Special:
15 September 2016
Chronology
Related shows
Steptoe and Son (1972)
Steptoe and Son Ride Again (1973)
When Steptoe Met Son (2002)
The Curse of Steptoe (2008)
Steptoe and Son is a British sitcom written by Ray Galton and Alan Simpson about a father-and-son rag-and-bone business. They live at Oil Drum Lane, a fictional street in Shepherd's Bush, London. Four series were broadcast by the BBC from 1962–65, followed by a second run from 1970-74. The theme tune, "Old Ned", was composed by Ron Grainer.[1] The series was voted 15th in a 2004 poll by the BBC to find Britain's Best Sitcom.[2] It was remade in the United States as Sanford and Son, in Sweden as Albert & Herbert and in the Netherlands as Stiefbeen en zoon. In 1972, a film adaptation of the series, Steptoe and Son, was released in cinemas, followed by a sequel Steptoe and Son Ride Again in 1973.
The series focused on the inter-generational conflict of father and son. Albert Steptoe, a "dirty old man", is an elderly rag-and-bone man, set in his grimy and grasping ways. By contrast, his 37-year-old son Harold is filled with social aspirations, not to say pretensions. The show contained elements of drama and tragedy, as Harold was continually prevented from achieving his ambitions. To this end, the show was unusual at the time for casting actors rather than comedians in its lead roles, although both actors were drawn into more comedic roles as a consequence.
In 2000, the show was ranked #44 on the 100 Greatest British Television Programmes compiled by the British Film Institute
Contents
[hide]
1 Background
2 Characters
3 Situation
4 Production
5 Episodes
6 Sketch appearances
7 Adverts
8 Audio
9 Books
10 Other countries
11 Spin-offs
11.1 Steptoe and Son in Murder at Oil Drum Lane
11.2 Films
11.3 When Steptoe Met Son
11.4 The Curse of Steptoe
11.5 Steptoe and Son
11.6 Steptoe and Son by Kneehigh
12 DVD releases
13 See also
14 References
15 External links
Background[edit]
The show had its roots in a 1962 episode of Galton & Simpson's Comedy Playhouse.[3] Galton and Simpson's association with comedian Tony Hancock, for whom they had written Hancock's Half Hour, had ended and they had agreed to a proposal from the BBC to write a series of 10 comedy shows. The fourth in the series, "The Offer", was born both out of writer's block and budgetary constraints.[4] Earlier shows in the series had cost more than expected, so the writers decided to write a two-hander set in one room. The idea of two brothers was considered but father and son worked best. Ronald Fraser was second choice for Harold, which would have produced a totally different character.
Galton and Simpson were not aiming to make a pilot for a series, having worked for seven years with Hancock. However, Tom Sloan, the BBC's head of comedy, told them during rehearsals that "The Offer" was a definite series pilot: he saw that the Steptoe idea had potential, as did the audience of that edition of Comedy Playhouse. Galton and Simpson were reportedly overwhelmed by this reaction, and the first of what became eight series was commissioned, the first four of which were transmitted between 1962 and 1965. The last four series were broadcast between 1970 and 1974, in colour. At the peak of the series' popularity, it received viewing figures of some 28,000,000 viewers per episode. In addition, the early 1970s saw two feature films, two 46-minute Christmas specials. In 2005, the play Steptoe and Son in Murder at Oil Drum Lane, written by Ray Galton and John Antrobus, brought the storyline to a close.
The series was one of the first UK situation comedy programmes to employ actors rather than comedians in the principal roles. Galton and Simpson had decided that they wanted to try to write for performers who "didn't count their laughs".
The series' title music, "Old Ned", won its composer Ron Grainer his second successive Ivor Novello award.[1] The series had no standard set of opening titles but the opening sequences would often feature the Steptoe's horse, Hercules. "Steptoe and Son" is the Steptoes' trading name, but as established in the first episode, the "Son" is not Harold as initially believed, but Albert. The name dates from when he and his mother—Mrs. Steptoe—worked the rounds. The first series has the pair as very rough looking and often dirty and wearing ragged clothes, but they quickly "tidied up" for later series.
Outside filming of the Steptoe's yard took place at a car breakers' yard in Norland Gardens, London W11, then changing to Stable Way, Latimer Road, for the later series.[5] Both sites have subsequently been redeveloped with no evidence now remaining of the iconic entrance gates through which the horse and cart were frequently driven.
Characters[edit]
Main Article: List of Steptoe and Son characters
Situation[edit]
The episodes often revolve around (sometimes violent) disagreements between the two men, Harold's attempts to bed women and momentary interest over things found on his round. As in many of the best examples of British comedy, much of the humour derives from the pathos of the protagonists' situation, especially Harold's continually thwarted (usually by the elder Steptoe) attempts to "better himself" and the unresolvable love/hate relationship that exists between the pair.
Albert almost always comes out on top, and routinely and effortlessly proves himself easily superior to his son whenever they compete, e.g. in their frequent game-playing, such as snooker played into the night and pouring rain in 1970 and the Scrabble and badminton games in the 1972 series. Harold takes them desperately seriously and sees them as symbols of his desire to improve himself, but his efforts come to nothing every time. His father's success is partly down to superior talent but is aided by cynical gamesmanship and undermining of his son's confidence. In addition, Albert habitually has better judgement than his son, who blunders into all sorts of con tricks and blind alleys as a result of his unrealistic, straw-clutching ideas. Occasionally the tables are turned, but overall the old man is the winner, albeit in a graceless fashion.
Harold is infuriated by these persistent frustrations and defeats, even going to the extent in "Divided We Stand" (1972) of partitioning the house in two so that he does not have to share with his selfish, uncultured and negative father. Predictably, his plan ends in failure and ultimately he can see no way out. However, for all the bitterness there is an essential bond between the pair. Deep down, Albert seems to love his son and his behaviour is perhaps a selfish but misguided way of holding on to him so he does not have to face life alone. When the crunch comes, Harold sticks by his father. This protective bond is much in evidence in "The Seven Steptoerai" (1974) when they are menaced by a local gangster running a protection racket. Typically though, it is Albert who gets them ingeniously out of a very hazardous predicament.
The 1974 Christmas special ended the run and seems Harold once again is on the bad end of poor planning, when he books a Christmas holiday abroad, but then finds his passport is out of date. His father must go alone, and Harold, tearfully it seems, waves him off to enjoy a potential good time without him. Harold trudges away, only to jump in a car with a woman to drive off on his own holiday, revealing that he had engineered the whole situation from the beginning. A victory, but only a temporary one, the viewers know that once their holidays end they will return to the familiar status quo once more.
Production[edit]
Both of the main actors used voices considerably different from their own. Brambell, despite being Irish, spoke with a received pronunciation English accent, as did Corbett. Brambell was aged 49 when he accepted the role of Albert, only 13 years older than Corbett. For his portrayal, he acquired a second set of "rotten" dentures to accentuate his character's poor attitude to hygiene.
During its production in the 1960s and 1970s, Steptoe and Son marked itself out as radical compared to most UK sitcoms. This was an age when the predominant sources of laughter in British comedy were farce, coincidence, slapstick and innuendo. However Steptoe and Son brought greater social realism. Its characters were not only working class but demonstrably poor. The earthy language and slang used were in marked contrast to the refined voices heard on most television of the time: e.g., in "Back in Fashion", Harold warns Albert that when the models arrive, "if you feels like a D'Oyly Carte (rhyming slang for 'fart'), you goes outside." Social issues and debates were routinely portrayed, woven into the humour. The programme did not abandon the more traditional sources of comedy but used them in small doses. The characters, and their intense and difficult relationship, displayed deeper qualities of writing and performance than comedy fans were used to.
The pilot episode and the first four series which aired from 1962–1965 was recorded in the BBC Lime Grove Studios in London. When the show returned in 1970 after a four-year hiatus, the programme was made in the BBC Television Centre studios in west London, as from 1970 the show was recorded in colour.[6][7][8][9]
Episodes[edit]
Main article: List of Steptoe and Son episodes
Steptoe and Son is rare among 1960s BBC television programmes in that every episode has survived, despite the mass wiping of BBC archive holdings between 1972 and 1978. However, all the instalments from the first 1970 series and all but two from the second that were originally made in colour only survive in the form of black and white domestic videotape recordings. Copies were made from the master tapes for them by an engineer at the BBC using a Shibaden SV-700 half-inch reel-to-reel b/w video recorder—a forerunner of the video cassette recorder. In 2008, the first reel of a b/w telerecording of the Series 5 episode "A Winter's Tale" (lasting approximately 15 minutes) was returned to the BBC; this is the only telerecording of a colour Steptoe and Son episode known to still exist.[citation needed]
The original 2" Quad videotapes of all the episodes of the original 1962–65 series were wiped in the late-1960s. However, these episodes mostly survive on film transfers of the original videotapes as 16mm black and white telerecordings. The exception being "My Old Man's a Tory" which only exists as an optical transfer made from a domestic 405 line reel to reel videotape obtained from Galton and Simpson.[citation needed]
The BBC has released 10 DVDs of the series—each of the eight series, and two compilations entitled "The Very Best of Steptoe and Son" volumes 1 and 2. Two Christmas specials are also available on DVD, as are two feature films: Steptoe and Son and Steptoe and Son Ride Again. A boxed set of Series 1–8 and the two Christmas specials was released on Region 2 DVD by 2entertain on 29 October 2007.[citation needed]
Also, 52 episodes were remade for BBC Radio, initially on the Light Programme in 1966–67 and later Radio 2 from 1971 to 1976.[citation needed]
A special one-off remake of the "A Winter's Tale" episode aired on BBC Four on 14 September 2016,[10] as part of the BBC's Lost Sitcom season recreating lost episodes of classic sitcoms.[11]
Sketch appearances[edit]
In 1962, Brambell and Corbett appeared as Steptoe and Son in a short sketch written by Galton and Simpson on the BBC's annual Christmas Night with the Stars programme, broadcast on 25 December 1962. There are no known recordings.
In 1963, they appeared on the ITV Royal Variety Performance in a sketch written by Galton and Simpson featuring Steptoe and Son totting outside Buckingham Palace, the telerecording of the live show, broadcast on 10 November 1963, still exists. The audio of the sketch was also released on a 7-inch single.
In 1966, they appeared on the BBC series The Ken Dodd Show in another live on stage sketch written by Galton and Simpson featuring Steptoe and Son on Blackpool beach, with Ken Dodd in the last two minutes as a strange golf professional. A telerecording of the show, broadcast on 24 July 1966, survives.
In 1967, they appeared in character in a short filmed sequence for the BBC's annual Christmas Night with the Stars programme. The black and white film sequence featuring Steptoe and Son, broadcast on 25 December 1967, still exists.
In 1978, they recorded a Radio 2 sketch, referred to by fans as "Scotch on the Rocks", produced especially for a show titled Good Luck Scotland. This was again written by Galton and Simpson and had a basic premise of Albert wishing to go to Argentina to watch the Scottish football team play in the 1978 World Cup as the "Good Luck Scotland" title of the programme referred to Scotland's chances of winning the World Cup that year.
Adverts[edit]
In 1977, Brambell and Corbett appeared in character for two television ads for Ajax cleaning products, recorded during their tour of Australia.[citation needed] In 1981, their final ever appearance together was in a UK advert for Kenco Coffee. This led to what proved to be unfounded rumours of a new series for 1981.[citation needed]
Audio[edit]
A number of LPs and EPs featuring TV soundtracks have been released.
Books[edit]
To tie-in with the original series, two novelisations were written by Gale Pedrick:
—— (1964). Steptoe and Son. Hodder & Stoughton.
—— (1966). Steptoe and Son at the Palace. Hodder & Stoughton.
In 2002 BBC Books published Steptoe and Son by Galton, Simpson and Ross[12] which comprehensively covered the television series, the radio series, films, Royal Variety Shows, commercials and the Sanford & Son spin-off.
Other countries[edit]
United States: In 1965 Joseph E. Levine produced a pilot based on The Offer for the American market with Galton and Simpson. Starring Lee Tracy as Albert and Aldo Ray as Harold, it was unscreened, and did not lead to a series. The pilot was released on DVD in the UK in 2018.[13] The concept was later re-worked as Sanford and Son, a top-rated series that ran for five years (1972–77) on the NBC network.[14]
Sweden; Sten-Åke Cederhök and Tomas von Brömssen starred in Albert & Herbert. The pair lived at Skolgatan 15, an address in a working-class neighbourhood of Haga, Gothenburg.[15][16]
The Netherlands; Stiefbeen en Zoon (re-translation; Stepbone and Son) ran for seventeen episodes. It was awarded the 1964 Golden Televizier Ring.[17]
Portugal; Camilo & Filho Lda., starring famous Portuguese comedian Camilo de Oliveira, with Nuno Melo as his son.[18]
Spin-offs[edit]
Steptoe and Son in Murder at Oil Drum Lane[edit]
Poster advertising the play
Main article: Steptoe and Son in Murder at Oil Drum Lane
In October 2005, Ray Galton and John Antrobus premiered their play, Steptoe and Son in Murder at Oil Drum Lane, at the Theatre Royal, York. It then went on tour across the country. It was set in the present day and related the events leading to Harold killing his father and their eventual meeting 30 years later, Albert then appearing as a ghost. By the end, it is clearly established that this is very much a conclusion to the Steptoe saga.
It was not the first time this idea had been considered. When Wilfrid Brambell left the UK after the third series to pursue an eventually unsuccessful Broadway musical career, Galton and Simpson toyed with the concept of 'killing off' Albert in order to continue the show without having to await Brambell's return. The character would have been replaced with Harold's illegitimate son, Arthur (a part thought to be intended for actor David Hemmings). This idea was detested by Corbett, who thought it ridiculous, although the 2008 drama The Curse of Steptoe depicts Corbett as being delighted with the concept, since assuming the role of father would allow Harold's character some development and growth, which he felt was long overdue.[19]
Films[edit]
In 1972 a film version was released of the show proving highly popular. This first film, also called Steptoe and Son – featuring a young Mike Reid and focusing on Harold getting married but still not being able to get away from his father. Due to popular demand another film, Steptoe and Son Ride Again, was released in 1973 which was also highly popular with fans.
When Steptoe Met Son[edit]
Main article: When Steptoe Met Son
When Steptoe Met Son was a 2002 Channel 4 documentary about the personal lives of Wilfrid Brambell and Harry H. Corbett. It aired on 20 August 2002.
The programme reveals how Brambell and Corbett were highly dissimilar to their on-screen characters. Corbett felt he had a promising career as a serious actor, but was trapped by his role as Harold and forced to keep returning to the series after typecasting limited his choice of work. Brambell, meanwhile, was a homosexual, something that in the 1960s was still frowned upon and, until the Sexual Offences Act 1967, illegal and was thus driven underground. The documentary went on to describe an ill-fated final tour of Australia, during which the already strained relationship between Corbett and Brambell finally broke down for good.[20]
The Curse of Steptoe[edit]
Phil Davis and Jason Isaacs recreating the characters in The Curse of Steptoe
Main article: The Curse of Steptoe
The Curse of Steptoe is a television play which was first broadcast on 19 March 2008 on BBC Four as part of a season of dramas about television personalities. It stars Jason Isaacs as Harry H. Corbett and Phil Davis as Wilfrid Brambell. The drama is based upon the actors' on-and-off-screen relationship during the making of the BBC sitcom Steptoe and Son, and is based on interviews with colleagues, friends and family of the actors, and the Steptoe writers, Ray Galton and Alan Simpson.[21]
The screenplay was written by Brian Fillis, also responsible for the similarly themed 2006 drama Fear of Fanny, which is about television personality Fanny Cradock off-screen. The 66-minute film is directed by Michael Samuels and produced by Ben Bickerton.
Both When Steptoe Met Son and The Curse of Steptoe were considered inaccurate by writers Galton and Simpson[22][23][24] and Corbett's family.[25][26]
Steptoe and Son[edit]
Jack Lane and Michael Simmonds as the iconic duo
In March 2011 the Engine Shed Theatre Company performed three episodes of the iconic series live on stage at the Capitol Theatre, Horsham. Jack Lane played Albert Steptoe and Michael Simmonds played Harold. The three episodes performed by the company were: Men Of Letters, Robbery With Violence and Seance in a Wet Rag and Bone Yard. Engine Shed went on to adapt and perform the two Christmas Specials later that year.
Many of the original TV episodes of Steptoe and Son have now been officially adapted to the stage by the original writers Ray Galton and Alan Simpson, with David Pibworth and are available for production on www.classiccomedyscripts.co.uk
Steptoe and Son by Kneehigh[edit]
Performed in 2012 and 2013 by Kneehigh Theatre, Steptoe and Son was adapted from four of the show's original scripts. The production was designed to highlight the Beckettian nature of Albert and Harold's situation, focusing on themes of over-reliance and being trapped within social class. The production toured the UK and received positive reviews from the Financial Times and three stars from The Guardian's Lynn Gardner.[27]
DVD releases[edit]
The first series with all six episodes was released in 2004 followed by the second series in 2005 and the third, fourth and fifth in 2006. Series 6, 7 and 8 were released in 2007 alongside the Christmas specials.
The two Steptoe films were released in 2006.
The complete boxed set containing all eight series and two Christmas specials was released in October 2007. In October 2011 the boxset was re released with new packaging.
In Australia, Season 1 was released in 2004, Season 2 and Season 3 in 2006, Season 4 and Season 5 in 2007, Season 6 and Season 7 in 2008 and Season 8 in 2009.
DVD Title
Disc No.
Year
Ep. No.
DVD release
Notes
Region 2
Region 4
Complete Series 1 1 1962 6 13 September 2004 10 November 2004 Includes the pilot
Complete Series 2 1 1963 7 8 August 2005 2 March 2006 —
Complete Series 3 1 1964 7 13 February 2006 6 July 2006 —
Complete Series 4 2 1965 7 15 May 2006 7 March 2007 —
Complete Series 5 2 1970 7 24 July 2006 1 August 2007 —
Complete Series 6 2 1970 8 8 January 2007 5 March 2008 —
Complete Series 7 2 1972 7 26 March 2007 7 August 2008 —
Complete Series 8 1 1974 6 14 May 2007 3 March 2009 —
The Christmas Specials 1 1973–74 2 29 October 2007 6 November 2008 Includes the 1973 and 1974 specials
Complete Series 1–8 13 1962–74 57 29 October 2007 1 October 2009 Includes the pilot and the 1973 and 1974 specials
See also[edit]
List of films based on British sitcoms
References[edit]
^ Jump up to: a b "Ron Grainer: Biography". www.rongrainer.org.uk. Retrieved 20 September 2010.
Jump up ^ "Best comedy series". British Film Institute. Retrieved 24 September 2007.
Jump up ^ Stevens, Christopher (30 December 2011). "Steptoe And Son 50th anniversary: How the finest sitcom of them all began". Mail Online. Retrieved 10 January 2012.
Jump up ^ "Steptoe and Son". Archived from the original on 26 June 2013. Retrieved 4 January 2009.
Jump up ^ John Hannington (27 April 2016). "Answers to Correspondents". Daily Mail. London: ANL Ltd: 56.
Jump up ^ "BBC – Lime Grove – History of the BBC". bbc.co.uk. Retrieved 28 December 2016.
Jump up ^ "BBC Television Centre: A nostalgic wander through the sets, studios". independent.co.uk. 24 September 2014. Retrieved 28 December 2016.
Jump up ^ "BBC TV from AP – Lime Grove demolition". bbctv-ap.co.uk. Retrieved 28 December 2016.
Jump up ^ "history of television studios in London". tvstudiohistory.co.uk. Retrieved 28 December 2016.
Jump up ^ "Steptoe and Son, Lost Sitcoms – BBC Four". bbc.co.uk. Retrieved 28 December 2016.
Jump up ^ "Lost Sitcoms". bbc.co.uk.
Jump up ^ Galton, R.; Simpson, A.; Ross, R. (2002). Steptoe and Son. London: BBC Books. ISBN 978-0-563-48833-0.
Jump up ^ [1]
Jump up ^ Gibson, Owen (10 July 2006). "British comedy remakes that aim to bring a smile to the US". The Guardian. Retrieved 29 October 2010.
Jump up ^ "Albert & Herbert". IMDB.
Jump up ^ "Han är Fleksnes och Albert & Herberts pappa". NWT.
Jump up ^ "Stiefbeen en Zoon". IMDB. Retrieved 25 January 2009.
Jump up ^ "Camilo & Filho Lda". IMDB.
Jump up ^ Billington, Michael (23 February 2006). "Steptoe and Son in Murder at Oil Drum Lane". The Guardian. Retrieved 27 September 2015.
Jump up ^ Barrie, David (19 August 2002). "The tortured world of Steptoe and Son". The Guardian. Retrieved 27 September 2015.
Jump up ^ "BBC Four unveils new drama season". BBC Press Office. 28 November 2007. Retrieved 27 September 2015.
Jump up ^ "Scriptwriters reject the 'Curse of Comedy'". The Times. 8 March 2008. Retrieved 7 February 2011. (Subscription required (help)).
Jump up ^ Simon Mayo Programme, BBC Radio 5 Live, 15 January 2009.
Jump up ^ Edge, Simon (26 July 2007). "The shame of Steptoe". The Daily Express. Retrieved 27 September 2015.
Jump up ^ "An important message from the Corbett family". steptoe-and-son.com.
Jump up ^ "Steptoe drama is slammed". The Daily Express. 25 March 2008. Retrieved 27 September 2015.
Jump up ^ "Official Site". kneehigh.co.uk. 30 July 2014. Retrieved 30 July 2014.
External links[edit]
Steptoe and Son on IMDb
Steptoe and Son Appreciation Society
Steptoe and Son Collectors Archive
Steptoe and Son at Laughterlog
Steptoe and Son at BBC Programmes
Steptoe and Son at BBC Online
Steptoe and Son at BFI Screenonline
Steptoe and Son at British Comedy Guide
[show]
v
t
e
Steptoe and Son
Episodes
List of Steptoe and Son episodes
Films
Steptoe and Son (film)
Steptoe and Son Ride Again
Related
Steptoe and Son in Murder at Oil Drum Lane
When Steptoe Met Son
The Curse of Steptoe
Remakes
Sanford and Son
Albert & Herbert
[show]
v
t
e
Galton and Simpson
Ray Galton
Alan Simpson
Sitcoms
Hancock's Half Hour (1954-60)
Citizen James (1960)
Hancock (1961)
Comedy Playhouse
Series 1 (1961-62)
Series 2 (1963)
Steptoe and Son (1962-74)
The Galton and Simpson Comedy (1969)
Clochemerle (1972)
Casanova '73 (1973)
The Galton and Simpson Playhouse (1977)
Paul Merton in Galton and Simpson's... (1996–97)
Films
The Rebel (1961)
The Wrong Arm of the Law (1963)
The Bargee (1964)
The Spy with a Cold Nose (1966)
Loot (1970)
The Magnificent Seven Deadly Sins (1971)
Up the Chastity Belt (1971)
Steptoe and Son (1972)
Steptoe and Son Ride Again (1973)
Galton with others
Spooner's Patch (1979-82)
Get Well Soon (1997)
Steptoe and Son in Murder at Oil Drum Lane (2005)
Related articles
Associated London Scripts
Sanford and Son (1972-77)
Fleksnes Fataliteter (1972-2002)
The Last Fleksnes (1974)
Albert & Herbert (1974-82)
Skyll inte på mig! (1978)
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