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Can't Take My Eyes Off You
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"I Love You Baby" redirects here. For the film of that name, see I Love You Baby (film).
"Can't Take My Eyes Off You"
Cover of the 1967 US single
Single by Frankie Valli
from the album Frankie Valli: Solo[1]
B-side
"The Trouble With Me"
Released
May 1967 (1967-05)
Format
7"
Recorded
April 1967
Genre
Soft rock, soul
Length
2:58
Label
Philips
Songwriter(s)
Bob Crewe
Bob Gaudio
Producer(s)
Bob Crewe
Frankie Valli singles chronology
"The Proud One"
(1966) "Can't Take My Eyes Off You"
(1967) "I Make a Fool of Myself"
(1967)
"The Proud One"
(1966) "Can't Take My Eyes Off You"
(1967) "I Make a Fool of Myself"
(1967)
"Can't Take My Eyes Off You" is a 1967 single credited to Frankie Valli. The song was among his biggest hits, earning a gold record and reaching No. 2 on the Billboard Hot 100 for a week, stuck behind "Windy" by The Association.[2] It was co-written by producer Bob Crewe and Bob Gaudio, a bandmate of Valli's in The Four Seasons. It was Valli's biggest solo hit until he hit #1 in 1974 with "My Eyes Adored You".[3]
"Can't Take My Eyes Off You" has had hundreds of cover versions, many of which have been on the charts in different countries. The song is a staple of television and film soundtracks, even being featured as part of the plot of some films, such as when the lead characters sing or arrange their own version of the song. Its chorus has also become a popular football chant, with supporters of various teams inserting their club's name or a popular player's name into the beat (for instance, A.S. Roma fans sing "Francesco Totti, la la, la la la la!")[citation needed]. The Valli version was also used by NASA as a wake-up song on the STS-126 space shuttle mission, to celebrate the anniversary of astronaut Christopher Ferguson, one of the mission's crew members.
Contents
1 Credits
2 Charts
2.1 Weekly charts
2.2 Year-end charts
3 Notable cover versions
3.1 1967–1969
3.2 1970–1989
3.3 1990–1999
3.4 2000–2009
3.5 2010–present
4 References
5 External links
Credits[edit]
The song was written by Bob Crewe and Bob Gaudio. Arrangement was done by Artie Schroeck and Gaudio.[4] The original recording was made at A&R Recording Studios at 799 7th Avenue, with Bob Crewe producing and Phil Ramone engineering.
Charts[edit]
Weekly charts[edit]
Chart (1967)
Peak
position
Canada RPM Top Singles[5] 2
US Billboard Hot 100[6] 2
US Cash Box Top 100[7] 1
Year-end charts[edit]
Chart (1967)
Rank
Canada[8] 18
US Billboard Hot 100[9] 10
US Cash Box [10] 3
Notable cover versions[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2018) (Learn how and when to remove this template message)
The song has been covered by some 200 artists over the years, in many countries, under both versions of the title. A few notable examples of cover versions that appeared on the charts:
1967–1969[edit]
The Lettermen (#7 in 1967, in a medley with "Goin' Out of My Head")
A version by Andy Williams made it to #5 on the UK singles chart in 1968.[11] The arranger and producer was Nick DeCaro and the conductor was Eddie Karam.[12] This version is included in the soundtrack of the 2001 film Bridget Jones's Diary. In 2002 he recorded a new version of the song, as a duet with British actress and singer Denise van Outen, which reached #23 in the UK singles charts.[13]
Vicki Carr recorded a cover of the song on her 1967 album It Must Be Him.
Nancy Wilson (#52 in 1969)
Engelbert Humperdinck covered the song on his 1968 album A Man Without Love.[14]
The Easybeats covered the song on their 1968 album Vigil, only released on the UK/European version of the album.
1970–1989[edit]
In 1970, Brook Benton recorded the song on his album Brook Benton Today.[15]
In 1972, Bobby Darin performed the song on his summer television series, Dean Martin Presents: The Bobby Darin Amusement Company, and this version was included in the 2004 album Aces Back to Back.
In 1974, Anna Maria Alberghetti performed the song as part of a medley on the 1974 Jerry Lewis Labor Day MDA Telethon.
In 1975, Julio Iglesias sang the song on his TV show.
Shirley Bassey recorded this as a United Artist Single in 1976.
In 1978 actors Robert De Niro, Christopher Walken and John Cazale sang the lyrics in the movie The Deer Hunter.
Maureen McGovern (#27 on the US Adult Contemporary chart in 1979; #5 Canadian AC in 1980).[16]
In 1982, San Francisco based disco band Boys Town Gang performed a disco version of the song which reached number one in the Netherlands, Belgium, Spain and number four in the United Kingdom.[17][18] This version was also successful in Japan, receiving a gold digital certification by the RIAJ in 2011, and is also on games such as Just Dance 4.
In 1987, Hong Kong singer Prudence Liew recorded a Cantonese version and released it as the fourth single from her sophomore album, Why.
In 1989, Michelle Pfeiffer sang the song in The Fabulous Baker Boys.
1990–1999[edit]
1991, onwards various versions from by disco singer Gloria Gaynor.[19]
1991, Pet Shop Boys used part of the song on their cover version of U2's "Where the Streets Have No Name", which reached #4 in the U.K. and #72 in the U.S.
1992, Dutch singers Gerard Joling and Tatjana Šimić recorded a duet version of the song (including a rap segment by Darrell Bell), which peaked at #5 in the Dutch Top 40 charts.[20]
1993, the song was recorded by a-ha singer Morten Harket for the soundtrack of the movie Coneheads (1993).[21]
1998, Lauryn Hill (#35 on the Hot 100 Airplay chart and #2 on the Rhythmic Top 40 chart in 1998 and #8 on the Australian Singles Charts).[22] This version was also nominated for a Grammy Award for Best Female Pop Vocal Performance in 1999.
1999, Heath Ledger sang the song in the film 10 Things I Hate About You.
1999, Denise Richards sang the song in the film Drop Dead Gorgeous.
2000–2009[edit]
2000, Japanese singer Ringo Sheena, for the single "Tsumi to Batsu".
2000, Hong Kong singer Leon Lai did a Cantonese version in his album Beijing Station.
2000, Sheena Easton recorded her version for her album Fabulous.
2001, Jimmy Somerville released his version as a single.
2001, British group Muse, for the single "Dead Star" / "In Your World".
2002, Japanese singer Tommy february6, on her eponymous album.
2004, Jennifer Peña recorded a Latin version of the song, "No Hay Nadie Igual Como Tú", which reached #33 on the Latin charts.
2004, Bad Manners, for The Ultimate Bad Collection - Crooners
2005, Jamie Kennedy, for The Son of the Mask.
2006, Barry Manilow including this song on his album The Greatest Songs of the Sixties.
2007, Greek singer Efi Thodi included this song in her album I Love You Baby.
2008, John Barrowman recorded a cover for his album Music Music Music.
2008, Chinese soft rock duet Yu Quan recorded a cover as an EP titled Fall in Love with Your Beauty.
2008, Frankie Valli's version of the song was played by NASA as the morning wake-up call for astronaut Christopher Ferguson, in honor of his anniversary while he was on the STS-126 Space Shuttle mission.[23]
2010–present[edit]
In 2010, A cappella group Straight No Chaser included a cover of the song on their album With a Twist.
In 2010, Clay Aiken included a cover of the song on his album Tried and True.
In 2011, Japanese R&B singer Misia, included a cover of the song as a B-side to her single "Kioku". The song was later included on her cover album, Misia no Mori: Forest Covers.
In 2011, Taiwanese-American singer-songwriter Joanna Wang, included a cover of the song on her cover album, The Things We Do for Love.
2011, Stereophonics frontman Kelly Jones sang an acoustic version of the song in tribute to former Wales national football team manager Gary Speed. The song has been an adopted anthem for Welsh football fans during Speed's playing career with Wales after being used in a BBC Wales promo for the 1994 World Cup qualifying campaign.[24]
In 2013, South Korean girl group Girls' Generation performed a version of this song as part of their Japan 2nd Tour ～Girls＆Peace～[25] and 2013 Girls' Generation World Tour - Girls & Peace.[26]
In 2013, the vocal harmony group The Overtones covered the song for the official soundtrack of the German movie Buddy, and also included the song on the Christmas and Mother's Day editions of their 2013 platinum selling album, Saturday Night at the Movies.
In 2014, John Lloyd Young covered the song for the movie Jersey Boys about the band The Four Seasons where he played Frankie Valli. He was also the original performer on the Broadway musical of the same name which premiered in 2005.
Jessie J recorded her version in 2016, for the French cosmetics brand Make Up For Ever.
Valli's version appears in two 2018 TV commercials, one for Applebee's,[27] and another for Heineken.[28]
References[edit]
Jump up ^ "Official Frankie Valli Site". Retrieved 2017-11-25.
Jump up ^ "Billboard Hot 100". 1967-07-22. Retrieved 2015-07-31.
Jump up ^ Bronson, Fred. The Billboard book of number 1 hits. p. 398.
Jump up ^ "Frankie Valli - Can't Take My Eyes Off You / The Trouble With Me (Vinyl)". Discogs.com. Retrieved 2016-09-30.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. Retrieved 2017-01-15.
Jump up ^ Joel Whitburn's Top Pop Singles 1955-1990 - ISBN 0-89820-089-X
Jump up ^ "Cash Box Year-End Charts: Top 100 Pop Singles, July 15, 1967". Tropicalglen.com. 1967-12-23. Retrieved 2017-04-18.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. Retrieved 2017-01-15.
Jump up ^ "Musicoutfitters.com". Musicoutfitters.com. Retrieved 2017-04-18.
Jump up ^ "Cash Box YE Pop Singles - 1967". Tropicalglen.com. 1967-12-23. Retrieved 2017-04-18.
Jump up ^ "Official Singles Chart Top 40 | Official Charts Company". Officialcharts.com. Retrieved 2016-09-30.
Jump up ^ Love, Andy by Andy Williams, album sleeve, 1967. New York: Columbia Records CS 9566
Jump up ^ "Official Singles Chart Top 40 | Official Charts Company". Officialcharts.com. Retrieved 2016-09-30.
Jump up ^ "Engelbert Humperdinck - A Man Without Love (Vinyl, LP)". Discogs.com. Retrieved 2016-09-30.
Jump up ^ "Brook Benton - Brook Benton Today (Vinyl, LP, Album)". Discogs.com. Retrieved 2016-09-30.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. Retrieved 2016-09-30.
Jump up ^ "Top 40-lijst van week 24, 1982". Top40.nl. Retrieved 2016-09-30.
Jump up ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 74. ISBN 1-904994-10-5.
Jump up ^ Gloria Gaynor - Can't Take My Eyes Off You - YourDancefloorTV on YouTube. Retrieved June 9, 2012.
Jump up ^ "JAARLIJST 1992". Members.chello.nl. Retrieved 2016-09-30.
Jump up ^ "Coneheads - Original Soundtrack | Songs, Reviews, Credits". AllMusic. 1993-07-20. Retrieved 2016-09-30.
Jump up ^ "Lauryn Hill | Awards". AllMusic. 1975-05-26. Retrieved 2016-09-30.
Jump up ^ "MP3 file". Spaceflight.nasa.gov. Retrieved 2016-09-30.
Jump up ^ [1][dead link]
Jump up ^ Girls' Generation Second Japan Arena Tour Set List Retrieved April 5th, 2013.
Jump up ^ 2013 Girls' Generation World Tour Set List. Retrieved June 9, 2013.
Jump up ^ "Applebee's 2 For $20 TV Commercial , 'I Love You, Baby' Song by Frankie Valli". iSpot.tv. Retrieved May 28, 2018.
Jump up ^ "Heineken TV Commercial, 'Perfect Introduction' Song By Frankie Valli". ispot.tv. Retrieved August 12, 2018.
External links[edit]
"Official Frankie Valli Site". Retrieved 2010-2-16.
Lyrics of this song at MetroLyrics
RIAA - Gold & Platinum Searchable Database
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text:
Pan-African flag
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The red, black, and green Pan-African flag designed by the UNIA in 1920.
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The Pan-African flag—also known as the UNIA flag, Afro-American flag, Black Liberation Flag and various other names—is a tri-color flag consisting of three equal horizontal bands of (from top down) red, black and green. The Universal Negro Improvement Association and African Communities League (UNIA-ACL) formally adopted it on August 13, 1920 in Article 39 of the Declaration of the Rights of the Negro Peoples of the World, during its month-long convention at Madison Square Garden in New York City.[1][2] Variations of the flag can and have been used in various countries and territories in Africa and the Americas to represent Pan-Africanist ideologies. Several Pan-African organizations and movements have often employed the emblematic tri-color scheme in various contexts.
Contents
1 History
1.1 2010s usage
2 Alternative names
3 Derivative flags
4 Proposed holiday
5 See also
6 Notes
7 References
8 External links
History[edit]
Main article: Pan-Africanism
Sheet Music for "Every Race Has a Flag but the Coon"
The flag was created in 1920 by members of UNIA in response to the enormously popular 1900 coon song "Every Race Has a Flag but the Coon".[3] which has been cited as one of the three songs that "firmly established the term coon in the American vocabulary". In a 1927 report of a 1921 speech appearing in the Negro World weekly newspaper, Marcus Garvey was quoted as saying:[4]
Show me the race or the nation without a flag, and I will show you a race of people without any pride. Aye! In song and mimicry they have said, "Every race has a flag but the coon." How true! Aye! But that was said of us four years ago. They can't say it now....
The Universal Negro Catechism, published by the UNIA in 1921, refers to the colors of the flag meaning:[5]
Red is the color of the blood which men must shed for their redemption and liberty; black is the color of the noble and distinguished race to which we belong; green is the color of the luxuriant vegetation of our Motherland.
Journalist Charles Mowbray White has asserted that Garvey proposed the colors red, black and green for the following reasons: "Garvey said red because of sympathy for the 'Reds of the world', and the Green their sympathy for the Irish in their fight for freedom, and the Black [for] the Negro."[6]
According to the UNIA as of recent; the three Pan-African colors on the flag represent:
red: the blood that unites all people of Black African ancestry, and shed for liberation;
black: black people whose existence as a nation, though not a nation-state, is affirmed by the existence of the flag; and
green: the abundant natural wealth of Africa.[7]
The flag later became an African nationalist symbol for the worldwide liberation of people of African origin. As an emblem of Black pride, the flag became popular during the Black Liberation movement of the 1960s. In 1971, the school board of Newark, New Jersey, passed a resolution permitting the flag to be raised in public school classrooms. Four of the board's nine members were not present at the time, and the resolution was introduced by the board's teen member, a mayoral appointee. Fierce controversy ensued, including a court order that the board show cause why they should not be forced to rescind the resolution, and at least two state legislative proposals to ban ethnic flags and national flags (other than the U.S. flag) in public classrooms.
In the United States, the flag is presently widely available through flag shops or ethnic specialty stores. It is commonly seen at parades commemorating Martin Luther King, Jr. Day, civil rights rallies, and other special events.
2010s usage[edit]
In the United States, following the refusal of a grand jury to indict a police officer in the August 9, 2014 shooting of Michael Brown in Ferguson, Missouri, a Howard University student replaced the U.S. flag on that school's Washington, DC campus flagpole with a Pan-African flag flying at half-mast.[8][9] The incident resulted in the university president, Wayne Frederick, issuing a statement disapproving the flag-raising by unauthorized personnel.[10][11]
Alternative names[edit]
The flag goes by several other names with varying degrees of popularity:
the UNIA flag, after its originators;
the Marcus Garvey flag;
the Universal African flag;
the International African flag;
the Black Liberation flag;
the Black Nationalist flag;
the African Nationalist flag;
the Afro-American flag flag;
the Bendera Ya Taifa (Kiswahili for "flag of the Nation"), in reference to its usage during Kwanzaa.
Although other designs are also considered to be International African flags or Pan-African flags, the horizontal stripes of red, black, and green, originated by the UNIA in 1920, is the design most often referenced.
Derivative flags[edit]
Flag of Biafra
David Hammons, African American Flag, New York.
The Biafran flag another variant of this one, with a sunburst in the center.
The flag of Malawi issued in 1964 is very similar, reflects the pan-African flag's order of stripes.
Flag of Malawi
African American flag by David Hammons
Flag of the Republic of New Afrika
The African National Congress flag is three horizontal stripes, descending black, green, and dark yellow (gold).
Flag of Libya
Flag of Kenya
Flag of Saint Kitts and Nevis

The United States Postal Service issued a stamp in 1997 to commemorate Kwanzaa with a painting by fine artist Synthia Saint James of a dark-skinned family wearing garments traditional in parts of Africa and fashionable for special occasions among African-Americans. The family members are holding food, gifts, and a flag. The flag in the stamp may have been meant to represent the Pan-African flag, However, instead of the stripes descending red, black, and green, the stamp's flag transposes the top two bands and descends black, red, and green.[citation needed]
In 2000, artist David Hammons created a work called African-American Flag, which is held by the Museum of Modern Art in New York City. Based on the standard U.S. flag, its stripes are black and red, the field is green, and the stars on the field are black.[citation needed]
In response to the controversy over the flying of the Confederate flag, an African American-run company called NuSouth[12] created a flag based on the Confederate naval jack, with the white stars and saltire outline replaced by green and the blue saltire made black.[13]
Although Libya is located in Africa and its flag (introduced in 1951 and re-adopted in 2011) resembles a UNIA flag with a wider black band with a star and crescent in the center, it is actually based on the black flag of the Cyrenaica Emirate, with added red and green bands.[citation needed]
The flag of Kenya of 1963 is similar, but has white lines inserted in between the colors.[citation needed]
The flag of Saint Kitts and Nevis has similar colors, arranged diagonally and separated by yellow lines.[citation needed]
Proposed holiday[edit]
In 1999, an article appeared in the July 25 edition of The Black World Today suggesting that, as an act of global solidarity, every August 17 should be celebrated worldwide as Universal African Flag Day by flying the red, black, and green banner. August 17 is the birthday of Marcus Garvey.
See also[edit]
Vexillology
Pan-African colours
Notes[edit]
Jump up ^ 25,000 NEGROES CONVENE :International Gathering Will Prepare Own Bill of Rights. 1920. New York Times (1857-Current file), August 2, Proquest (Last accessed October 5, 2007)
Jump up ^ Special to The Christian Science Monitor from its Eastern News Office 1920. NEGROES ADOPT BILL OF RIGHTS: Convention Approves Plan for African Republic and Sets to Work on Preparation of Constitution of the Colored Race Negro Complaints Aggression Condemned Recognition Demanded. Christian Science Monitor (1908-Current file), August 17, Proquest (accessed October 5, 2007).
Jump up ^ "New Flag for Afro-Americans," Africa Times and Orient Review 1 (October 1912):134; Cited in RACE FIRST: The Ideological and Organizational Struggles of Marcus Garvey and the Universal Negro Improvement Association (Westport, Conn.: Greenwood Press, 1987), p43.
Jump up ^ Garvey, Marcus (March 19, 1927). "Honorable Marcus Garvey, Gifted Man of Vision, Sets Out In Unanswerable Terms the Reasons Why Negroes Must Build in Africa". Negro World (Vol XXII No. 6). Universal Negro Improvement Association. |access-date= requires |url= (help)
Jump up ^ Mcguire, George (1921). Universal Negro catechism: a course of instruction in religious and historical knowledge pertaining to the race. New York: Universal Negro Improvement Association. p. 34. Retrieved 14 March 2016.
Jump up ^ Garvey Papers Vol. 2, p. 603.
Jump up ^ "History - Red-Black-Green". The Universal Negro Improvement Association. Retrieved 14 March 2016.
Jump up ^ "Archived copy". Archived from the original on 2015-03-13. Retrieved 2015-08-18.
Jump up ^ "Howard University President Removes Pan-African Flag Flown at Half-Mast | DC Inno". Dcinno.streetwise.co. 2014-11-25. Retrieved 2017-04-06.
Jump up ^ Jaschik, Scott (2014-12-01). "Howard U. President Issues Statement on Flag Protest". Insidehighered.com. Retrieved 2017-04-06.
Jump up ^ "Archived copy". Archived from the original on 2015-08-08. Retrieved 2015-08-18.
Jump up ^ http://www.nusouth.com/
Jump up ^ "NuSouth Apparel Confederate Flag Photo by stagolee7 | Photobucket". Media.photobucket.com. Retrieved 2017-04-06.
References[edit]
"Black Flag," unattributed article in Time magazine, December 13, 1971.
External links[edit]
Afro-American flags at Flags of the World non-commercial vexillology site
Sheet music from the American Memory website of the Library of Congress
'Fly the Red, Black, and Green' article proposing holiday at The Black World Today, July 25, 1999
Kwanzaa Stamp U.S. postage depicting similar flag, with explanatory press release
MoMA Learning an educational exercise based on David Hammons' African-American Flag
UNIA official website
Nusouth website and flag
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text:
Possible results of a German victory at the Battle of Britain
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There is much speculation on the possible results of a German victory at the Battle of Britain including how the war might have progressed if the Germans had achieved their objective of suppressing the British air defences. The Battle of Britain (German: Luftschlacht um England or Luftschlacht um Großbritannien, literally "Air battle for England" or "Air battle for Great Britain") is the name given to the Second World War air campaign waged by the German Air Force (Luftwaffe) against the United Kingdom during the summer and autumn of 1940. The objective of the campaign was to gain air superiority over the Royal Air Force (RAF), especially Fighter Command.
The Battle of Britain was the first major campaign to be fought entirely by air forces,[1] and was also the largest and most sustained aerial bombing campaign to that date. From July 1940, coastal shipping convoys and shipping centres, such as Portsmouth, were the main targets; one month later the Luftwaffe shifted its attacks to RAF airfields and infrastructure. As the battle progressed the Luftwaffe also targeted aircraft factories and ground infrastructure. Eventually the Luftwaffe resorted to attacking areas of political significance and using terror bombing strategy.
The failure of Germany to achieve its objectives of destroying Britain's air defences, or forcing Britain to negotiate an armistice or an outright surrender, is considered its first major defeat and a crucial turning point in the Second World War.[2] By preventing Germany from gaining air superiority, the battle ended the threat that Hitler would launch Operation Sea Lion, a proposed amphibious and airborne invasion of Britain.
Contents
1 German objectives
2 Invasion attempted
3 Invasion not attempted
4 Fiction
5 References
German objectives[edit]
On 16 July Hitler ordered the preparation of a plan to invade Britain;[3] he also hoped that news of the preparations would frighten Britain into peace negotiations. "Directive No. 16; On the Preparation of a Landing Operation against England" read, in part, as follows:
Since England, despite its militarily hopeless situation, still has not shown any signs of being prepared to negotiate, I have decided to prepare a landing operation against England and, if necessary, carry it out.
The objective of this operation is to eliminate the English home country as a base for the continuation of the war against Germany…
2) Included in these preparations is the bringing about of those preconditions which make a landing in England possible;
a) The English air force must have been beaten down to such an extent morally and in fact that it can no longer muster any power of attack worth mentioning against the German crossing. (italics added)[4][nb 1][5]
Invasion attempted[edit]
The great majority of military historians believe Operation Sea Lion could not have succeeded. Kenneth Macksey asserts it would have only been possible if the Royal Navy had refrained from large-scale intervention[6] and the Germans had assaulted in July 1940 (although Macksey conceded they were unprepared at that time),[7] while others such as Peter Fleming, Derek Robinson and Stephen Bungay believe the operation would have most likely resulted in a disaster for the Germans. Len Deighton and some other writers have called the German amphibious plans a "Dunkirk in reverse".[8] Robinson argues that the massive superiority of the Royal Navy over the Kriegsmarine would have made Sea Lion a disaster.
Invasion not attempted[edit]
Some historians believe that Hitler did not envisage actually carrying out his invasion plans but intended to use the defeat of the RAF and threat of invasion to bring Britain to the negotiating table.[citation needed]
Fiction[edit]
A fictional Axis (or German) victory in World War II is a common concept of alternate history. World War II is one of the two most popular points of divergence for the English language alternative history fiction (the other being the American Civil War).[9][10][11][12] Such writings express ideas of what the world would be like had the Axis powers of Germany, Italy and Japan won World War II.[11]
References[edit]
Jump up ^ The entire text of Directive 16 is translated in Kieser 1999 as Appendix, on pp. 274–277. Directive No. 17; On the conduct of the Air and Sea War against England is translated on pp. 277–8. Another document, Appeal To the Population of England, is translated on p. 278.

Jump up ^ "92 Squadron – Geoffrey Wellum." Battle of Britain Memorial Flight via raf.mod.uk.. Retrieved 17 November 2010.
Jump up ^ Bungay 2000, p. 388.
Jump up ^ Bungay 2000, p. 111.
Jump up ^ Kieser 1999, p. 274.
Jump up ^ Hitler's Directive of 16 July (see "Appendix 1") Archived 2008-08-27 at the Wayback Machine. Retrieved: 13 June 2008.
Jump up ^ Macksey 1990, pp. 144–146.
Jump up ^ Macksey 1990, pp. 209–210
Jump up ^ Deighton, Len Battle of Britain Jonathan Cape, 1980
Jump up ^ Silver, Steven H. "Alternate History Month Contest". Steven Silver's SF Web Site. Retrieved 30 November 2008.
Jump up ^ Schmunk, Robert B. (2008). "Uchronia: The Alternate History List". Online database. Uchronia: The Alternate History List. Archived from the original on 17 December 2008. Retrieved 30 November 2008.
^ Jump up to: a b Fred Bush (July 15, 2002). "The Time of the Other: Alternate History and the Conquest of America". Strange Horizons. Retrieved 2 January 2009.
Jump up ^ Evelyn C. Leeper (August 13, 2001). "Alternate History 101". Archived from the original on 2009-10-19. Retrieved 2009-05-26.
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A Rose for Emily
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"A Rose for Emily"
Author
William Faulkner
Country
United States
Language
English
Genre(s)
Southern gothic
Published in
1930
"A Rose for Emily" is a short story by American author William Faulkner, first published in the April 30, 1930, issue of The Forum. The story takes place in Faulkner's fictional city, Jefferson, Mississippi, in the fictional southern county of Yoknapatawpha. It was Faulkner's first short story published in a national magazine.[1]
Contents
[hide]
1 Title
2 Plot summary
3 Characters
4 Structure
5 Themes
6 Critical response
7 Adaptations
8 References
9 Bibliography
Title[edit]
Faulkner described his reasoning for the title "A Rose For Emily" as an allegorical title; this woman had undergone a great tragedy, and for this Faulkner pitied her. And as a salute, he handed her a rose.[2] The word rose in the title has multiple meanings to it. The rose may be seen as Homer, interpreting the rose as a dried rose. Homer's body could be the dried rose, such as one that is pressed between the pages of a book, kept in perfect condition as Emily did with Homer's body.[3] The "Rose" also represents secrecy. Roses have been portrayed in Greek legends as a gift of secrecy and of confidentiality, known as sub rosa, introducing that the "Rose" is a symbol of silence between the narrator and Miss Emily, the narrator keeps Emily's secrets until her death.

Plot summary[edit]
The story opens with a brief first-person account of the funeral of Emily Grierson, an elderly Southern woman whose funeral is the obligation of their small town. It then proceeds in a non-linear fashion to the narrator's recollections of Emily's archaic and increasingly strange behavior throughout the years. Emily is a member of a family of the antebellum Southern aristocracy. After the Civil War, the family falls into hard times. She and her father, the last two of the clan, continue to live as if in the past; Emily’s father refuses for her to marry. Her father dies when Emily is about the age of 30, which takes her by surprise. She refuses to give up his corpse, and the townspeople write it off as her grieving process. The townspeople pity Emily not only after her father's death, but also during his life when he wouldn't let Emily marry.
After her father's death, the only person seen moving about Emily's home is Tobe- a black man, serving as Emily's butler, going in and out with a market basket. Although Emily did not have a strong relationship with her community, she did give art lessons to young children within her town. The townspeople even referred to her as Miss Emily as a sign of the respect that they had for her. With the acceptance of her father's death, Emily somewhat revives, even changing the style of her hair and becomes friendly with Homer Barron. He is a Northern laborer who comes to town shortly after Mr. Grierson’s death. The connection surprises some of the community while others are glad she is taking an interest. However, Homer claims that he is not a marrying man, but a bachelor. Emily shortly buys arsenic from a druggist in town, telling him that it will be used to kill rats. However, the townspeople are convinced that she will use it to poison herself. Emily’s distant cousins are called into town by the minister’s wife to supervise Miss Emily and Homer Barron. Homer leaves town for some time, reputedly to give Emily a chance to get rid of her cousins, and returns three days later after the cousins have left. Homer is never seen again.
Despite these turnabouts in her social status, Emily continues to behave haughtily, as she had before her father died. Her reputation is such that the city council finds itself unable to confront her about a strong smell that has begun to emanate from the house. Instead, they decide to send men to her house under the cover of darkness to sprinkle lime around the house, after which the smell dissipates. The mayor of the town, Colonel Sartoris, made a gentleman's agreement to overlook her taxes as an act of charity, though it was done under a pretense of repayment towards her father to assuage Emily's pride after her father had died. Years later, when the next generation has come to power, Emily insists on this informal arrangement, flatly refusing that she owes any taxes; the council declines to press the issue. Emily has become a recluse: she is never seen out of the house, and only rarely accepts people into it. The community comes to view her as a "hereditary obligation" on the town, who must be humored and tolerated.
The funeral is a large affair; Emily had become an institution, so her death sparks a great deal of curiosity about her reclusive nature and what remains of her house. After she is buried, a group of townsfolk enter her house to see what remains of her life there. The door to her upstairs bedroom is locked; some of the townsfolk kick in the door to see what has been hidden for so long. Inside, among the possessions that Emily had bought for Homer, lies the decomposed corpse of Homer Barron on the bed; on the pillow beside him is the indentation of a head and a single strand of gray hair, indicating that Emily had slept with Homer's corpse.
Characters[edit]
Emily Grierson - The main character of the story. Emily's father kept her from seeing suitors and controlled her social life, essentially keeping her in isolation until his death, when she is 30 years old. Her struggle with loss and attachment is the impetus for the plot, driving her to kill Homer Barron, the man that is assumed to have married her. Because no man has ever been able to stay with her before, Emily poisons and kills Homer. She sees murder as the only way to keep Homer with her permanently, and she treats him as if he is her husband even after she kills him. This is shown by her keeping his clothes in the room, keeping his engraved wedding items on the dresser, and even sleeping with him, all act that normal married couples do. Her act of murdering Homer also displays her obstinate nature. Emily deals in absolutes throughout the story. She refuses to pay her taxes because she didn’t have to pay them when her father was alive. She has her servant Tobe follow the same patterns, such as his grocery errands. She kills Homer to ensure that he will never leave her. By the end of the story, Emily’s story is seen as a tragedy rather than an atrocity because of what her character has gone through.
Homer Barron - Emily's romantic interest. He is later found dead and decomposed in Emily's bedroom after her funeral. He initially enters the story as a foreman for a road construction project occurring in the town. He is soon seen to be with Emily in her Sunday carriage rides, and it is soon expected for them to be married. Homer differs from the rest of the town because he is a Northerner. The story takes place in the South shortly after the Civil War, and while Homer is not necessarily unwelcome to the town, he does stand out. This, along with the fact that he is seemingly courting Emily, sets him apart from all of the other characters in the story. It is because he is an outlier that Emily becomes attracted to him. It is generally unknown if Homer reciprocates the romantic feelings Emily has for him. Recently the topic of whether or not Homer is homosexual has been discussed and whether or not it factors into the story.
The Narrator - An unnamed member(s) of the town who watched the events of Emily's life unfold in its entirety. The story is presented to the reader in an non-chronological order; this suggests that the story is being patched together by multiple people. Some parts of the story are repeated, such as Homer’s disappearance, the idea that Emily and Homer will get married, and Emily’s refusal to pay taxes, also indicating that the narrator is a voice for the town. Though the townspeople disapprove of most of Emily’s actions, such as refusing to pay her taxes and purchasing poison, nobody intervenes.
Colonel Sartoris - The former mayor who remitted Emily's taxes. While he is in the story very little, his decision to remit Emily’s taxes lead to her refusal to pay them ever again, contributing to her stubborn personality. The reason for Sartoris remitting her taxes is never given, only that he told Emily it was because her father loaned the money to the town.
Mr. Grierson - Emily's father, the patriarchal head of the Grierson family. His control over Emily's personal life prohibited her from romantic involvement. The reason for his refusal to let Emily court men is not explained in the story. It could be that he is overprotective because he loves Emily too much. It could be because he believes that there is not a man good enough to marry his daughter. It could be that he is set in his ways and does not want Emily to become distracted from her societal duties. Whatever the reason, Mr. Grierson shapes the person that Emily becomes. His decision to have her taxes remitted allows her to think that she does not have to pay taxes ever again. His decision to lie to her about the reason for her taxes being remitted makes her ignorant and unwilling to accept any explanations or reasons for paying. His decision to bar all men from her life drive her to kill the first man she is attracted to and can be with, Homer Barron, in order to keep him with her permanently.
The cousins - Emily's extended relatives from Alabama. They come to town during Emily's courting of Homer Barron to check on Emily's well-being. They are thought of as even more uptight and stuffy than Emily by the townspeople.They are called in to prevent Emily and Homer from marrying; however they are later sent back home so that the two can be wed. There seems to be some type of dispute between Emily and the cousins, indicated by them living far away from Emily and the fact that they did not go to Emily’s father’s funeral.
Tobe - Emily's cook/gardener, who is also very likely her secret keeper. During the years of Emily's isolation, he provides no details of her life to the townspeople and promptly disappears directly following her death. He became old and stooped from all of his work while Emily grew large and immobile. This could suggest that he resented Emily, or at the very least disliked working for her, as he does not mourn her or stay for her funeral.
Structure[edit]
Faulker tells this story in a series of flashbacks and stretches the story out over decades. It starts with the announcement of Emily’s death, an event that has the entire town talking. This leads the reader to assume that she was an important figure in the town. As Fassler says in his article “The Key,” “Clearly, this lady who died unmarried was of importance to everyone. And yet the town itself is eventually divided,”[4] and we see that division with the events depicted in between the announcement at the beginning and the revelation at the end are told out of order, making the reader analyze the story more closely than if it was told chronologically. Based on the townspeople’s thoughts of Emily displayed in this section, the reader discovers that the town was not dreading Emily’s death; on the other hand, it was somewhat welcomed. Emily stuck out from the rest of the town as a figure stuck in the past, desperately trying to cling to old traditions and ways of life. With her passing on, the town can finally be free of this remnant, being wholly set in the present. Had the story been told in a linear fashion, this understanding would have been lost, something Faulkner knew and incorporated into the story. By presenting the story in terms of present and past events, he could examine how they influence each other. In terms of mathematical precision, time moves on and what exists is only the present. In terms of the more subjective time, time moves on but memories can exist no matter how much time changes. Those memories stay unhindered. Through this Faulkner could analyze the depth at which Miss Emily could change as a character. If Faulkner presented the story in a linear fashion, the chances of the reader sympathizing with Emily would be far less. By telling the story out of order, the reader sees Emily as a tragic product of her environment rather than a twisted necrophiliac.
Themes[edit]
"A Rose for Emily" discusses many dark themes that characterized the Old South and Southern Gothic fiction.
The story explores themes of death and resistance to change; they reflect the decaying of the societal tenants of the South in the 1930s. Emily Grierson had been oppressed by her father for most of her life and hadn’t questioned it because that was her way of living. Likewise, the antiquated traditions of the south (often harmful, such as in the treatment of black people) had remained acceptable, as that was their way of living. Once her father had passed, Emily, in denial, refused to give his corpse up for burial—this shows her inability to functionally adapt to change. When the present mayor and aldermen insist Miss Emily pay the taxes which she had been exempted from, she refuses and continues to live in her house[5]. Miss Emily's stubborn insistence that she "pays no taxes in Jefferson" and her mistaking the new mayor for Colonel Sartoris brings into question whether her acts of resistance are a conscious act of defiance or a result of a decayed mental stability. The reader is only shown Emily from an external perspective, we can not ascertain whether she acts in a rational manner or not. The death of Homer, if interpreted as having been a murder, can be seen in the context of the North-South clash. Homer, notably a northerner, is not one for the tradition of marriage. In the framework that his death was not an accident, but a murder on the part of Emily, Homer's rejection of the marriage can be seen as the North's rejection of Southern tradition. The South ends its relations with the North in retaliation. Emily continuing to sleep next to Homer's body can be seen as the south holding on to an ideal that is no longer feasible.
Control and its repercussions is a persistent theme throughout the story. Emily's father was an intimidating and manipulative figure, keeping her from experiencing life in her own terms. She was never able to grow, learn, live her life, start a family, and marry the one she truly loved. Even after Emily's father died, his presence and impact on his daughter was still apparent. Discussing Emily and her father, the townspeople said "We had long thought of them as a tableau, Miss Emily a slender figure in white in the background, her father a spraddled silhouette in the foreground, his back to her and clutching a horsewhip, the two of them framed by the back-flung front door.".[6] Emily is portrayed as small and powerless, placed behind the overbearing frame of her father. She wears white, a symbol of innocence and purity. Emily falls victim to the ruling hand of her father and to her place in the society: she has to uphold the noblesse oblige to which she was born into.[7] In this way, her father's influence remains after he has passed. This control leads to Emily's isolation, both externally and internally imposed. Emily is alone, yet always being watched by the townspeople; she is both apart from and a part of the community.[8] Her position prevents her from ever finding happiness.
The power of death is a consistent theme throughout the story. Emily herself is portrayed as a "skeleton" that is both "small and spare" which is representative of the fact that she emanates death. When it comes to death itself, Emily is in denial and most of that feeling has to do with her loneliness. After her father dies, she keeps his corpse for three days and refuses to admit that he is dead. The reader also sees this with the corpse of Homer Barron, except she is the one who inflicts death upon him. She poisons him and keeps him locked away in her room; she did not want to lose the only other person she had ever loved, so she made his stay permanent. These examples show that the power of death triumphs everything, including "poor Emily", herself.[9]
Critical response[edit]
Floyd C. Watkins wrote about the structure of "A Rose for Emily" in "Modern Language Notes". Watkins claims that this is Faulkner's best story and is among the best American writers of this time period. Faulkner had to carefully dissect his sections, bringing importance to every aspect of Miss Emily's life, but Watkins sees this as a "structural problem" but later goes on to rave about the symmetry of this short story. Watkins enjoys this story in its entirety, and is impressed by Faulkner's ordering, as building suspense was an important aspect in the response.[10]
This critical response by John Skinner explores the interpretations of Faulkner’s short story in detail while reviewing the importance of over analyzing a piece of literary work. William Faulkner published this story in the 1930s, Skinner had published his critical response in 1985. More than 40 years has passed and people are still ignoring his claim; “A Rose for Emily” should not be interpreted any further. The characters and theme of this tale have been scrutinized by many. There have been numerous interpretations for what Miss Emily stands for; Skinner gives examples of scholars including S.W. M. Johnson “Emily represented a refusal to submit to, or even concede, to the inevitability of change”. Whereas William Going pictures Emily as a rose, “the treasured memory of the confederate veterans”. The point of view according to Skinner, is of immediate relevance to the story as the chief character, the narrator tells the chronology of the story. This narrator gives approximately “round figures” for the important events of the accounts. Yet the exact chronology is of little relevance to the overall importance of the story itself. John Skinner states that Faulkner should be taken literally, appreciate his formal subtlety in his works.[11]
Alice Petry introduces a different type of critical response that is not focused on the usual subjects. Rather, she focuses on the complex and provocative language. For example, Hall discusses how the sentence, "Thus she passed from generation to generation-dear, inescapable, impervious, tranquil and perverse" has been considered misleading, but is in fact strategically placed to provide foreshadowing and unification of plot. The five descriptive words used in the sentence each correspond to one of the five parts in the order they are seen. For example, the adjective "inescapable" corresponds to Part II, to the incident of the strange smell coming from Miss Emily's home. Faulkner's placement of these adjectives at the end of Part IV serves as an important unifying sentence that connects all five parts to each other.[12]
Jim Barloon of the University of St. Thomas wrote about an idea introduced to him by his students, that Homer was homosexual, possibly providing another reason for his murder. He proposes that Emily did not kill Homer because of her own insecurities, but also because he did not reciprocate her romantic feelings. Thus, she could have murdered him out of affection as well as spite. Whether or not this theory is correct, it proves that the story is still being closely analyzed decades after it was written. As Barloon states in his article, “Positing that Homer Barron is gay not only raises a new set of questions but transforms [the story], or at least our perspective of it.”[13]
The psychology of Emily Grierson has been analyzed countless times, with many people reaching the conclusion that she was mentally ill, and from that point, the reasons why. Though many different diagnoses have been made, the most common can be summarized as follows by Nicole Smith in her psychological analysis of the character: “It is reasonable to propose that Miss Emily developed [schizophrenia] as a response to the demanding conditions in which she was living as a Southern woman from an aristocratic family.”[14] This has been thought to represent just how unbearable life in the old South could be, not only for a person similar to Emily, but to the people around them as well. A contributing factor to this point would be change. The story is an allegory for the change that the South dealt with after the Civil War, with Emily representing the resistance of that change. This is shown in the story through Emily’s conflicts with the town and her refusal of cooperation. Tuncay Tezcan in his analysis of the story states: “It represents the numerous conflicts in the main character's life, illustrating the effect of social change on the individual.”[15]
There has been much discussion over the title of the story. Why have a rose for Emily? At that time, giving a rose to a woman was common if they had been through a great tragedy. Emily’s tragedy is her environment, changing quickly and with volatility, causing her to cling to the past in hopes of stopping the change from occurring. This has a deep impact on her mental state, driving her to extreme acts such as murdering Homer and then sleeping with his corpse for years. The town does nothing to stop these events, merely entertain the idea. Terry Heller writes in his analysis of the story that the town, “[chose] to deal with an idea of Emily, rather than with Emily herself; they are different in that they have different ideas of her and, therefore, approach her… differently.”[16] With nobody willing to help her, Emily died a broken person, and for that Faulkner gave her a rose, in sympathy of her ending.
Adaptations[edit]
A Rose for Emily—PBS adaptation with Anjelica Huston.
My Chemical Romance's song "To The End" from Three Cheers for Sweet Revenge (2005) loosely retells the story of Homer and Miss Emily.
The Zombies' song "A Rose for Emily" retells the story, and is about a strong theme present in the story: Miss Emily living and dying alone, unloved.[17]
Andrea Camilleri has a similar theme in his novel The Scent of the Night influencing his character Detective Salvo Montalbano.
References[edit]
Jump up ^ "WFotW ~ "A Rose for Emily": COMMENTARY & RESOURCES". www.mcsr.olemiss.edu. Retrieved 2017-04-19.
Jump up ^ Outón, Cristina Blanco (1999). Introducción a la narrativa breve de William Faulkner (in Spanish). ISBN 9788481217469.
Jump up ^ Getty, Laura (Summer 2005). "Faulkner's A ROSE FOR EMILY" (PDF). The Explicator. 63: 230–234.
Jump up ^ https://www.theatlantic.com/entertainment/archive/2017/02/the-key-to-writing-a-mystery-is-asking-the-perfect-question/515799/
Jump up ^ Reference 5
Jump up ^ Kennedy, X.J. (2016). Literature An Introduction to Fiction, Poetry, Drama, and Writing. p. 32.
Jump up ^ "Crytical Analysis Essay on "A Rose for Emily"". AnalysisEssay.org. 2012-12-22. Retrieved 2017-04-19.
Jump up ^ "A Rose for Emily Themes - eNotes.com". eNotes. Retrieved 2016-10-28.
Jump up ^ Kim, Ji-won (2011). "Narrator as Collective 'We':The Narrative Structure of "A Rose for Emily"". English Language and Literature Teaching.
Jump up ^ Watkins, Floyd C. "Structure of "A Rose for Emily"." Modern Language Notes 7th ser. 69 (1954): 508-10. JSTOR. Web. 5 Apr. 2017.
Jump up ^ Skinner, John (Winter 1985). ""A Rose for Emily": Against Interpretation."". The Journal of Narrative Technique. 15.1: 42–51.
Jump up ^ Petry, Alice (Spring 1986). "Faulkner's A ROSE FOR EMILY". Explicator. 44: 52–54.
Jump up ^ http://www.semo.edu/cfs/teaching/10186.html
Jump up ^ http://www.articlemyriad.com/psychological-character-analysis-rose-emily/[full citation needed]
Jump up ^ Tezcan, Tuncay (2014). "A Stylistic Analysis of a Rose for Emily by William Faulkner and its Turkish Translation". Procedia - Social and Behavioral Sciences. 158: 364–9. doi:10.1016/j.sbspro.2014.12.101.
Jump up ^ http://www.public.coe.edu/~theller/essays/rose.html[full citation needed]
Jump up ^ Petridis, Alexis (17 April 2017). "The story behind A Rose for Emily – and why it's perfect for S-Town". The Guardian.
Bibliography[edit]
Morton, Clay (2005). "'A Rose for Emily': Oral Plot, Typographic Story", Storytelling: A Critical Journal of Popular Narrative 5.1.
[hide]
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William Faulkner
Bibliography
Novels
Soldiers' Pay (1926)
Mosquitoes (1927)
Sartoris / Flags in the Dust (1929 / 1973)
The Sound and the Fury (1929)
As I Lay Dying (1930)
Sanctuary (1931)
Light in August (1932)
Pylon (1935)
Absalom, Absalom! (1936)
The Unvanquished (1938)
If I Forget Thee, Jerusalem (1939)
The Hamlet (1940)
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Requiem for a Nun (1951)
A Fable (1954)
The Town (1957)
The Mansion (1959)
The Reivers (1962)
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collections
These 13 (1931)
Go Down, Moses (1942)
Knight's Gambit (1949)
Collected Stories (1950)
Short stories
"Landing in Luck" (1919)
"A Rose for Emily" (1930)
"Red Leaves" (1930)
"Dry September" (1931)
"Spotted Horses" (1931)
"That Evening Sun" (1931)
"Mountain Victory" (1932)
"Barn Burning" (1939)
"The Tall Men" (1941)
"Shingles for the Lord" (1943)
Screenplays
Flesh (1932)
Today We Live (1933)
Submarine Patrol (1938)
To Have and Have Not (1944)
Children's books
The Wishing Tree (1927)
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William Clark Falkner (great-grandfather)
Rowan Oak home
Papers and manuscripts
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Yoknapatawpha County
Compson family
Louis Grenier
Ikkemotubbe
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Snopes trilogy
Southern Renaissance
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PEN/Faulkner Award for Fiction
Authority control
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