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Foot binding
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Foot binding
A Chinese woman showing a "golden lotus" foot, image by Lai Afong, c. 1870s
Traditional Chinese
纏足
Simplified Chinese
缠足
showTranscriptions
Standard Mandarin
Hanyu Pinyin
chánzú
Wade–Giles
ch'an2-tsu2
IPA
[ʈʂʰǎn.tsǔ]
Yue: Cantonese
Yale Romanization
chìhn-jūk
IPA
[tsʰȉːn.tsók̚]
Jyutping
cin4-zuk1
Alternative (Min) Chinese name
Traditional Chinese
縛跤
Simplified Chinese
缚跤
showTranscriptions
Southern Min
Hokkien POJ
pa̍k-kha
Foot binding was the custom of applying tight binding to the feet of young girls to modify the shape of their feet. It was practiced in China from the Song dynasty until the early 20th century, and bound feet were considered a status symbol as well as a mark of beauty. Foot binding limited the mobility of women, and resulted in lifelong disabilities for most of its subjects, although some women with bound feet working outdoors have also been reported. Feet altered by binding were called lotus feet.
The practice possibly originated among upper class court dancers during the Five Dynasties and Ten Kingdoms period in 10th century China, then became popular among the elite during the Song dynasty, eventually spreading to all social classes by the Qing dynasty. Foot binding was practiced in different forms, and the more severe form of binding may have been developed in the 16th century. It has been estimated that by the 19th century, 40–50% of all Chinese women may have had bound feet, and up to almost 100% among upper class Chinese women.[1] The prevalence and practice of foot binding however varied in different parts of the country.
There had been attempts to end the practice during the Qing dynasty; Manchu Kangxi Emperor tried to ban foot binding in 1664 but failed.[2] In the later part of the 19th century, Chinese reformers challenged the practice but it was not until the early 20th century that foot binding began to die out as a result of anti-foot-binding campaigns. Only a few elderly Chinese women still survive today with bound feet.[1]
Contents
1 History
1.1 Origin
1.2 Later era and Manchu attempts to ban it
1.3 Demise
2 Practice
2.1 Variations and prevalence
2.2 Process
2.3 Health issues
3 Views and interpretations
3.1 Beauty and erotic appeal
3.2 Role of Confucianism
3.3 Feminist perspective
3.4 Other interpretations
4 In literature, film and television
5 See also
6 References
6.1 Notes
7 Further reading
History[edit]
Origin[edit]
18th-century illustration showing Yao Niang binding her own feet
There are a number of stories about the origin of foot binding before its establishment during the Song dynasty. One of these involves the story of a favorite consort of the Southern Qi emperor Xiao Baojuan, Pan Yunu (died 501 AD), who had delicate feet and danced barefoot on a floor decorated with golden lotus flower design. The emperor expressed admiration and said that "lotus springs from her every step!" (步步生蓮), a reference to the Buddhist legend of Padmavati under whose feet lotus springs forth. This story may have given rise to the terms "golden lotus" or "lotus feet" used to describe bound feet; there is, however, no evidence that Consort Pan ever bound her feet.[3]
The general view is that the practice is likely to have originated from the time of the 10th-century Emperor Li Yu of the Southern Tang, just before the Song dynasty.[2] Li Yu created a six-foot tall golden lotus decorated with precious stones and pearls, and asked his concubine Yao Niang (zh) to bind her feet in white silk into the shape of the crescent moon, and perform a ballet-like dance on the points of her feet on the lotus.[2] Yao Niang's dance was said to be so graceful that others sought to imitate her.[4] The binding of feet was then replicated by other upper-class women and the practice spread.[5]
Some of the earliest possible references to foot binding appear around 1100, when a couple of poems seemed to allude to the practice.[6][7][8][9] Soon after 1148,[9] in the earliest extant discourse on the practice of foot binding, scholar Zhang Bangji (zh) wrote that a bound foot should be arch-shape and small.[10][11] He observed that "women's footbinding began in recent times; it was not mentioned in any books from previous eras."[9] In the 13th century, scholar Che Ruoshui (zh) wrote the first known criticism of the practice: "Little girls not yet four or five years old, who have done nothing wrong, nevertheless are made to suffer unlimited pain to bind [their feet] small. I do not know what use this is."[9][12][13]
The earliest archaeological evidence for foot binding dates to the tombs of Huang Sheng, who died in 1243 at the age of 17, and Madame Zhou, who died in 1274. Each had her feet bound with 6-foot-long gauze strips. Zhou's skeleton was well preserved and showed that her feet fit the narrow, pointed slippers that were buried with her.[9] The style of bound feet found in Song dynasty tombs, where the big toe was bent upwards, appears to be different from the norm of later eras, and the excessive smallness of the feet, the "three-inch golden lotus", may be a later development in the 16th century.[14][15]
Later era and Manchu attempts to ban it[edit]
Small bound feet were once considered beautiful while large unbound feet were judged crude
At the end of the Song dynasty, men would drink from a special shoe whose heel contained a small cup. During the Yuan dynasty, some would also drink directly from the shoe itself. This practice was called "toast to the golden lotus" and lasted until the late Qing dynasty.[16]
The first European to mention footbinding was the Italian missionary Odoric of Pordenone in the fourteenth century during the Yuan dynasty.[17] However, no other foreign visitors to Yuan China mentioned the practice, including Ibn Battuta and Marco Polo (who nevertheless noted the dainty walk of Chinese women who took very small steps), perhaps an indication that it was not a widespread or extreme practice at that time.[18] The practice however was encouraged by the Mongol rulers on their Chinese subjects.[5] The practice became increasingly common among the gentry families, later spreading to the general population, as commoners and theatre actors alike adopted footbinding. By the Ming period, the practice was no longer the preserve of the gentry, but it was considered a status symbol.[19][20][21] As foot binding restricted female movement, one side effect of its rising popularity is the corresponding decline of the art of dance in China in women, and it became increasingly rare to hear about beauties and courtesans who were also great dancers after the Song era.[22][23]
A lotus shoe for bound feet. The ideal length for a bound foot was 3 Chinese inches (寸), which is around 4 inches (10 cm) in western measurement.
The Manchus issued a number of edicts to ban the practice, first in 1636 when the Manchu leader Hong Taiji declared the founding of the new Qing dynasty, then in 1638, and another in 1664 by the Kangxi Emperor.[24] However, few Han Chinese complied with the edicts and Kangxi eventually abandoned the effort in 1668. By the 19th century, it was estimated that 40-50% of Chinese women had bound feet, and among upper class Han Chinese women, the figure was almost 100%.[1] Bound feet became a mark of beauty and was also a prerequisite for finding a husband. It also became an avenue for poorer women to marry into money in some areas; for example, in late 19th century Guangdong, it was customary to bind the feet of the eldest daughter of a lower-class family who was intended to be brought up as a lady. Her younger sisters would grow up to be bond-servants or domestic slaves and be able to work in the fields, but the eldest daughter would assume to never have the need to work. Women, their families, and their husbands took great pride in tiny feet, with the ideal length, called the "Golden Lotus", being about three Chinese inches long (around 4 inches (10 cm) in Western measurement).[25][26] This pride was reflected in the elegantly embroidered silk slippers and wrappings girls and women wore to cover their feet. Walking on bound feet necessitated bending the knees slightly and swaying to maintain proper movement and balance, a dainty walk that was also considered erotic to some men.[27]
Some women with bound feet may not walk without the support of their shoes and were severely limited in their mobility.[28] However, many women with bound feet were still able to walk and work in the fields, albeit with greater limitation than their non-bound counterparts. In the 19th and early 20th century, dancers with bound feet were popular, as were circus performers who stood on prancing or running horses. Women with bound feet in one village in Yunnan Province even formed a regional dance troupe to perform for tourists in the late 20th century, though age has since forced the group to retire.[29] In other areas, women in their 70s and 80s could be found providing limited assistance to the workers in the rice fields well into the 21st century.[1]
Demise[edit]
Opposition to foot binding had been raised by some Chinese writers in the 18th century. In the mid-19th century, many of the rebel leaders of the Taiping Rebellion were of Hakka background whose womenfolk did not bind their feet, and foot binding was outlawed.[30][31] The rebellion however failed, and Christian missionaries, who had provided education for girls and actively discouraged what they considered a barbaric practice, then played a part in changing elite opinion on footbinding through education, pamphleteering, and lobbying of the Qing court.[32][33] The earliest-known Western anti-foot binding society, Jie Chan Zu Hui (截纏足会), was formed in 1874.[34] In 1875, 60-70 Christian women in Xiamen attended a meeting presided over by a missionary John MacGowan formed the Natural Foot (tianzu, literally Heavenly Foot) Society.[35] It was then championed by the Woman's Christian Temperance Movement founded in 1883 and advocated by missionaries including Timothy Richard, who thought that Christianity could promote equality between the sexes.[36]
"Chinese Women's Feet"
Scientific American 1880
Read by Availle for LibriVox
Audio 00:04:29 (full text)
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Reform-minded Chinese intellectuals began to consider footbinding to be an aspect of their culture that needed to be eliminated.[37] In the 1883, Kang Youwei founded the Anti-Footbinding Society near Canton to combat the practice, and anti-footbinding societies sprang up across the country, with membership for the movement claimed to reach 300,000.[38] The anti-footbinding movement however stressed pragmatic and patriotic reasons rather than feminist ones, arguing that abolition of footbinding would lead to better health and more efficient labour.[33] Reformers such as Liang Qichao, influenced by Social Darwinism, also argued that it weakened the nation, since enfeebled women supposedly produced weak sons.[39] At the turn of the 20th century, early feminists, such as Qiu Jin, called for the end of foot-binding.[40][41] Many members of anti-footbinding groups pledged to not bind their daughters' feet nor to allow their sons to marry women with bound feet.[34][42] In 1902, the Empress Dowager Cixi issued an anti-foot binding edict, but it was soon rescinded.[43]
In 1912, the new Republic of China government banned foot binding (though not actively implemented),[44] and leading intellectuals of the May Fourth Movement saw footbinding as a major symbol of China's backwardness.[45] Local warlords such as Yan Xishan in Shanxi engaged in their own sustained campaign against footbinding with feet inspectors and fines for those who continued with the practice,[44] and regional governments of the later Nanjing regime also enforced the ban.[32] The campaign against footbinding was very successful in some regions; in one province, a 1929 survey showed that while only 2.3% of girls born before 1910 had unbound feet, 95% of those born after were not bound.[46] In a region south of Beijing, Dingxian, where over 99% of women were once bound, no new cases were found among those born after 1919.[47][48] In Taiwan, the practice was also discouraged by the ruling Japanese from the beginning of Japanese rule, and from 1911 to 1915 it was gradually made illegal.[49] The practice however lingered on in some regions in China; in 1928, a census in rural Shanxi found that 18% of women had bound feet,[29] while in some remote rural areas such as Yunnan Province it continued to be practiced until the 1950s.[50][51] In most parts of China, however, the practice had virtually disappeared by 1949.[46] The practice was also stigmatized in Communist China, and the last vestiges of footbinding were stamped out, with the last new case of footbinding reported in 1957.[52][53] By the 21st century, only a few elderly women in China still have bound feet.[54][55] In 1999, the last shoe factory making lotus shoes, the Zhiqiang Shoe Factory in Harbin, closed.[56][57]
Practice[edit]
Variations and prevalence[edit]
A comparison between a woman with normal feet (left) and a woman with bound feet in 1902
Foot binding was practiced in various forms and its prevalence varied in different regions. A less severe form in Sichuan, called "cucumber foot" (huanggua jiao) due to its slender shape, folded the four toes under but did not distort the heel and taper the ankle.[29][58] Some working women in Jiangsu made a pretense of binding while keeping their feet natural.[32] Not all women were always bound—some women once bound remained bound all through their lives, but some were only briefly bound, and some were bound only until their marriage.[59] Footbinding was most common among women whose work involved domestic crafts and those in urban areas;[32] it was also more common in northern China where it was widely practiced by women of all social classes, but less so in parts of southern China such as Guangdong and Guangxi where it was largely a practice of women in the provincial capitals or among the gentry.[60][61]
The Manchu "flower bowl" shoes designed to imitate bound feet, mid 1880s.
Manchu women, as well as Mongol and Chinese women in the Eight Banners, did not bind their feet, and the most a Manchu woman might do was to wrap the feet tightly to give them a slender appearance.[62] The Manchus, wanting to emulate the particular gait that bound feet necessitated, adapted their own form of platform shoes to cause them to walk in a similar swaying manner. These "flower bowl" (花盆鞋) or "horse-hoof" shoes (馬蹄鞋) have a platform generally made of wood two to six inches in height and fitted to the middle of the sole, or they have a small central tapered pedestal. Many Han Chinese in the Inner City of Beijing also did not bind their feet, and it was reported in the mid-1800s that around 50-60% of non-banner women had unbound feet. Bound feet nevertheless became a significant differentiating marker between Han women and Manchu or other banner women.[62]
The Hakka people however were unusual among Han Chinese in not practicing foot binding at all.[63] Most non-Han Chinese people, such as the Manchus, Mongols and Tibetans, did not bind their feet; however, some non-Han ethnic groups did. Foot binding was practiced by the Hui Muslims in Gansu Province,[64] the Dungan Muslims, descendants of Hui from northwestern China who fled to central Asia, were also seen practicing foot binding up to 1948.[65] In southern China, in Guangzhou, 19th century Scottish scholar James Legge noted a mosque that had a placard denouncing foot binding, saying Islam did not allow it since it constituted violating the creation of God.[66]
Process[edit]
A bound foot
A bandaged bound foot
The process was started before the arch of the foot had a chance to develop fully, usually between the ages of 4 and 9. Binding usually started during the winter months since the feet were more likely to be numb, and therefore the pain would not be as extreme.[67]
First, each foot would be soaked in a warm mixture of herbs and animal blood; this was intended to soften the foot and aid the binding. Then, the toenails were cut back as far as possible to prevent in-growth and subsequent infections, since the toes were to be pressed tightly into the sole of the foot. Cotton bandages, 3 m long and 5 cm wide (10 ft by 2 in), were prepared by soaking them in the blood and herb mixture. To enable the size of the feet to be reduced, the toes on each foot were curled under, then pressed with great force downwards and squeezed into the sole of the foot until the toes broke.
The broken toes were held tightly against the sole of the foot while the foot was then drawn down straight with the leg and the arch of the foot was forcibly broken. The bandages were repeatedly wound in a figure-eight movement, starting at the inside of the foot at the instep, then carried over the toes, under the foot, and around the heel, the freshly broken toes being pressed tightly into the sole of the foot. At each pass around the foot, the binding cloth was tightened, pulling the ball of the foot and the heel together, causing the broken foot to fold at the arch, and pressing the toes underneath the sole. The binding was pulled so tightly that the girl could not move her toes at all and the ends of the binding cloth were then sewn so that the girl could not loosen it.
An X-ray of two bound feet
Schema of an x-ray comparison between an unbound and bound foot
The girl's broken feet required a great deal of care and attention, and they would be unbound regularly. Each time the feet were unbound, they were washed, the toes carefully checked for injury, and the nails carefully and meticulously trimmed. When unbound, the broken feet were also kneaded to soften them and the soles of the girl's feet were often beaten to make the joints and broken bones more flexible. The feet were also soaked in a concoction that caused any necrotic flesh to fall off.[37]
Immediately after this procedure, the girl's broken toes were folded back under and the feet were rebound. The bindings were pulled even tighter each time the girl's feet were rebound. This unbinding and rebinding ritual was repeated as often as possible (for the rich at least once daily, for poor peasants two or three times a week), with fresh bindings. It was generally an elder female member of the girl's family or a professional foot binder who carried out the initial breaking and ongoing binding of the feet. It was considered preferable to have someone other than the mother do it, as she might have been sympathetic to her daughter's pain and less willing to keep the bindings tight.[67]
For most the bound feet eventually became numb. However, once a foot had been crushed and bound, attempting to reverse the process by unbinding was painful,[68] and the shape could not be reversed without a woman undergoing the same pain all over again.[56]
Health issues[edit]
The most common problem with bound feet was infection. Despite the amount of care taken in regularly trimming the toenails, they would often in-grow, becoming infected and causing injuries to the toes. Sometimes, for this reason, the girl's toenails would be peeled back and removed altogether. The tightness of the binding meant that the circulation in the feet was faulty, and the circulation to the toes was almost cut off, so any injuries to the toes were unlikely to heal and were likely to gradually worsen and lead to infected toes and rotting flesh. The necrosis of the flesh would also initially give off a foul odor, and later the smell may come from various microorganisms that colonized the folds.[69]
If the infection in the feet and toes entered the bones, it could cause them to soften, which could result in toes dropping off; although, this was seen as a benefit because the feet could then be bound even more tightly. Girls whose toes were more fleshy would sometimes have shards of glass or pieces of broken tiles inserted within the binding next to her feet and between her toes to cause injury and introduce infection deliberately. Disease inevitably followed infection, meaning that death from septic shock could result from foot-binding, and a surviving girl was more at risk for medical problems as she grew older. It is thought that as many as 10% of girls may have died from gangrene and other infections due to footbinding.[70]
At the beginning of the binding, many of the foot bones would remain broken, often for years. However, as the girl grew older, the bones would begin to heal. Even after the foot bones had healed, they were prone to re-breaking repeatedly, especially when the girl was in her teenage years and her feet were still soft. Bones in the girls' feet would often be deliberately broken again in order to further change the size or shape of the feet. This was especially the case with the toes, as small toes were especially desirable.[citation needed] Older women were more likely to break hips and other bones in falls, since they could not balance securely on their feet, and were less able to rise to their feet from a sitting position.[71] Other issues that might arise from foot binding included paralysis and muscular atrophy.[68]
Views and interpretations[edit]
Beauty and erotic appeal[edit]
Bound feet were considered by some to be highly appealing
Before footbinding was practiced in China, admiration for small feet already existed as demonstrated by the Tang dynasty tale of Ye Xian written around 850 by Duan Chengshi. This tale of a girl who lost her shoe and then married a king who sought the owner of the shoe as only her foot was small enough to fit the shoe contains elements of the European story of Cinderella, and is thought to be one of its antecedents.[72][73] For many, the bound feet were an enhancement to a woman's beauty and made her movement more dainty,[74] and a woman with perfect lotus feet was likely to make a more prestigious marriage. The desirability varies with the size of the feet – the perfect bound feet and the most desirable (called "golden lotuses") would be around 3 Chinese inches (around 4 inches (10 cm) in Western measurement) or smaller, while those larger may be called "silver lotuses" (4 Chinese inches) or "iron lotuses" (5 Chinese inches or larger and the least desirable for marriage).[75] The belief that footbinding made women more desirable to men is widely used as an explanation for the spread and persistence of footbinding.[76]
Some also considered bound feet to be intensely erotic, and Qing Dynasty sex manuals listed 48 different ways of playing with women's bound feet. Some men preferred never to see a woman's bound feet, so they were always concealed within tiny "lotus shoes" and wrappings. According to Robert van Gulik, the bound feet were also considered the most intimate part of a woman's body; in erotic art of the Qing to Song periods where the genitalia may be shown, the bound feet were never depicted uncovered.[77] Howard Levy however suggests that the barely revealed bound foot may also only function as an initial tease.[76]
An erotic effect of the bound feet was the lotus gait, the tiny steps and swaying walk of a woman whose feet had been bound. Women with such deformed feet avoided placing weight on the front of the foot and tended to walk predominantly on their heels. As a result, women who had undergone foot-binding would walk in a cautious and unsteady manner.[67] Some men found the smell of the bound feet attractive, and some also apparently believed that bound feet would cause layers of folds to develop in the vagina, and that the thighs would become sensuously heavier and the vagina tighter.[78] The psychoanalyst Sigmund Freud considered footbinding to be a "perversion that corresponds to foot fetishism".[79]
Role of Confucianism[edit]
A woman with her feet unwrapped
A common argument is that the revival of Confucianism as Neo-Confucianism during the Song dynasty resulted in the decline of the status of women, and that in addition to promoting the seclusion of women and the cult of widow chastity, it also contributed to the development of footbinding.[80] According to Robert van Gulik, the prominent Song Confucian scholar Zhu Xi stressed the inferiority of women as well as the need to keep men and women strictly separate.[81] It was claimed by Lin Yutang among others, probably based on an oral tradition, that Zhu Xi also promoted footbinding in Fujian as a way of encouraging chastity among women, that by restricting their movement it would help keep men and women separate.[80] However, historian Patricia Ebrey suggests that this story might be fictitious.[82]
Some Confucian moralists in fact disapproved of the erotic associations of footbinding, and unbound women were also praised.[83] The Neo-Confucian Cheng Yi was said to be against footbinding and his family and descendants did not bind their feet.[84][85] Modern Confucian scholars such as Tu Weiming also dispute any causal link between neo-Confucianism and footbinding.[86] It has been noted that Confucian doctrine in fact prohibits mutilation of the body as people should not "injure even the hair and skin of the body received from mother and father". It is however argued that such injunction applies less to women, rather it is meant to emphasize the sacred link between sons and their parents. Furthermore, it is argued that Confucianism institutionalized the family system in which women are called upon to sacrifice themselves for the good of the family, a system that fostered such practice.[87] Confucian instructions on the moral behaviour of women would include examples of women who were prepared to die or suffer mutilation to show their commitment to the Confucian ethos.[56]
Historian Dorothy Ko proposed that footbinding may be an expression of the Confucian ideals of civility and culture in the form of correct attire or bodily adornment, and that footbinding was seen as a necessary part of being feminine as well as being civilized. Footbinding was often classified in Chinese encyclopedia as clothing or a form of bodily embellishment rather than mutilation; one from 1591 for example placed footbinding in a section on "Female Adornments" that included hairdos, powders, and ear-piercings. According to Ko, the perception of footbinding as a civilised practice may be evinced from a Ming dynasty account that mentioned a proposal to "entice [the barbarians] to civilize their customs" by encouraging footbinding among their womenfolk.[88] The practice was also carried out only by women on girls, and it served to emphasize the distinction between male and female, an emphasis that began from an early age.[89][90] Anthropologist Fred Blake argued that the practice of footbinding was a form of discipline undertaken by women themselves, and perpetuated by women on their daughters, so as to inform their daughters of their role and position in society, and to support and participate in the neo-Confucian way of being civilized.[87]
Feminist perspective[edit]
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Foot binding is often seen by feminists as an oppressive practice against women who were victims of a sexist culture.[91][92] It is also widely seen as a form of violence against women.[93][94][95] Bound feet rendered women dependent on their families, particularly their men, as they became largely restricted to their homes.[96] The early Chinese feminist Qiu Jin, who underwent the painful process of unbinding her own bound feet, attacked footbinding and other traditional practices. She argued that women, by retaining their small bound feet, made themselves subservient as it would mean women imprisoning themselves indoors. She believed that women should emancipate themselves from oppression, that girls can ensure their independence through education, and that they should develop new mental and physical qualities fitting for the new era.[97][41] The ending of the practice is seen as a significant event in the process of female emancipation in China.[98]
Other interpretations[edit]
Some scholars such as Laurel Bossen and Hill Gates reject the theories that bound feet in China were considered more beautiful, or that it was a means of male control over women, a sign of class status, or a chance for women to marry well. They argued that foot binding was important in work, and can be seen as a way by mothers to tie their daughters down, train them in handwork and keep them close at hand.[99][100]
It has also been argued that while the practice started out as a fashion, it persisted because it became an expression of Han identity after the Mongols invaded China in 1279, and later the Manchus' conquest in 1644, as it was then practiced only by Han women.[56][89] During the Qing Dynasty, attempts were made by the Manchus to ban the practice but failed, and it has been argued the attempts at banning may have in fact led to a spread of the practice among Han Chinese in the 17th and 18th centuries.[101]
In literature, film and television[edit]
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The bound foot has played a prominent part in many media works, both Chinese and non-Chinese, modern and traditional. These depictions are sometimes based on observation or research and sometimes on rumors or supposition. Sometimes, as in the case of Pearl Buck's The Good Earth (1931), the accounts are relatively neutral, implying a respect for Chinese culture and assuming that it is not the role of outsiders to promote reform. Sometimes the accounts seem intended to rouse like-minded Chinese and foreign opinion to abolish the custom, and sometimes the accounts imply condescension or contempt for China.[102]
Flowers in the Mirror (1837) by Ju-Chen Li includes chapters set in the "Country of Women", where men bear children and have bound feet.[103]
The Three-Inch Golden Lotus (1994) by Feng Jicai[104] presents a satirical picture of the movement to abolish the practice, which is seen as part of Chinese culture.
In the film The Inn of the Sixth Happiness (1958), Ingrid Bergman portrays British missionary to China Gladys Aylward who is assigned as a foreigner the task by a local Mandarin to unbind the feet of young women, an unpopular order that the civil government had failed to fulfill. Later, the children are able to escape troops by walking miles to safety.
Ruthanne Lum McCunn wrote a biographical novel A Thousand Pieces of Gold (1981, adapted into a 1991 film), about Polly Bemis, a Chinese American pioneer woman. It describes her feet being bound, and later unbound, when she needed to help her family with farm labour.
Emily Prager's short story "A Visit from the Footbinder", from her collection of short stories of the same name (1982), describes the last few hours of a young Chinese girl's childhood before the professional footbinder arrives to initiate her into the adult woman's life of beauty and pain.
Lisa Loomer's play The Waiting Room (1994) deals with themes of body modification. One of the three main characters is an 18th-century Chinese woman who arrives in a modern hospital waiting room seeking medical help for complications resulting from her bound feet.
Lensey Namioka's novel Ties that Bind, Ties that Break (1999) follows a girl named Ailin in China who refuses to have her feet bound, which comes to affect her future.[105]
Lisa See's novel Snow Flower and the Secret Fan (2005) is about two Chinese girls who are destined to be friends. The novel is based upon the sacrifices women make to be married and includes the two girls being forced into getting their feet bound. The book was adapted into a 2011 film directed by Wayne Wang.
Feng Shui and sequel Feng Shui 2 features a ghost of a foot-bound woman inhabits a bagua and cursed those who holds the item.
See also[edit]
Artificial cranial deformation
Attraction to disability
Body modification
Corset
Cosmetic surgery
Foot Emancipation Society
Foot fetishism
High-heeled footwear
Signalling theory
Women in ancient and imperial China
References[edit]
^ Jump up to: a b c d Lim, Louisa (19 March 2007). "Painful Memories for China's Footbinding Survivors". Morning Edition. National Public Radio.
^ Jump up to: a b c "Chinese Foot Binding". BBC.
Jump up ^ Dorothy Ko (2002). Every Step a Lotus: Shoes for Bound Feet. University of California Press. pp. 32–34. ISBN 978-0-520-23284-6.
Jump up ^ Dorothy Ko (2002). Every Step a Lotus: Shoes for Bound Feet. University of California Press. p. 42. ISBN 978-0-520-23284-6.
^ Jump up to: a b Victoria Pitts-Taylor, ed. (2008). Cultural Encyclopedia of the Body. Greenwood. p. 203. ISBN 978-0-313-34145-8.
Jump up ^ "Han Chinese Footbinding". Textile Research Centre.
Jump up ^ Xu Ji 徐積 《詠蔡家婦》： 「但知勒四支，不知裹两足。」(translation: "knowing about arranging the four limbs, but not about binding her two feet); Su Shi 蘇軾 《菩薩蠻》：「塗香莫惜蓮承步，長愁羅襪凌波去；只見舞回風，都無行處踪。偷穿宮樣穩，並立雙趺困，纖妙說應難，須從掌上看。」
Jump up ^ Patricia Buckley Ebrey (1 December 1993). The Inner Quarters: Marriage and the Lives of Chinese Women in the Sung Period. University of California Press. pp. 37–39. ISBN 9780520913486.
^ Jump up to: a b c d e Morris, Ian (2011). Why the West Rules - For Now: The Patterns of History, and What They Reveal About the Future. McClelland & Stewart. p. 424. ISBN 978-1-55199-581-6.
Jump up ^ Dorothy Ko (2008). Cinderella's Sisters: A Revisionist History of Footbinding. University of California Press. pp. 111–115. ISBN 978-0-520-25390-2.
Jump up ^ "墨庄漫录-宋-张邦基 8-卷八".
Jump up ^ Valerie Steele; John S. Major (2000). China Chic: East Meets West. Yale University Press. pp. 38–40. ISBN 978-0-300-07931-9.
Jump up ^ 车若水. "脚气集". Original text: 妇人纒脚不知起于何时，小儿未四五岁，无罪无辜而使之受无限之苦，纒得小来不知何用。
Jump up ^ Dorothy Ko (2008). Cinderella's Sisters: A Revisionist History of Footbinding. University of California Press. pp. 187–191. ISBN 978-0-520-25390-2.
Jump up ^ Dorothy Ko (2002). Every Step a Lotus: Shoes for Bound Feet. University of California Press. pp. 21–24. ISBN 978-0-520-25390-2.
Jump up ^ Marie-Josèphe Bossan (2004). The Art of the Shoe. Parkstone Press Ltd. p. 164. ISBN 978-1-85995-803-2.
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Jump up ^ Valerie Steele; John S. Major (2000). China Chic: East Meets West. Yale University Press. p. 37. ISBN 978-0-300-07931-9.
Jump up ^ Ping Wang (2000). Aching for Beauty: Footbinding in China. University of Minnesota Press. pp. 32–. ISBN 978-0-8166-3605-1.
Jump up ^ Anders Hansson (1996). Chinese Outcasts: Discrimination and Emancipation in Late Imperial China. Brill. p. 46. ISBN 978-9004105966.
Jump up ^ Robert Hans van Gulik (1961). Sexual life in ancient China:A Preliminary Survey of Chinese Sex and Society from Ca. 1500 B.C. Till 1644 A.D. Brill. p. 222.
Jump up ^ Li-Hsiang, Lisa Rosenlee (2007). Confucianism and Women: A Philosophical Interpretation. State University of New York Press. p. 144. ISBN 978-0-7914-6750-3.
Jump up ^ Hill Gates (2014). Footbinding and Women's Labor in Sichuan. Routledge. p. 8. ISBN 978-0-415-52592-3.
Jump up ^ Manning, Mary Ellen (10 May 2007). "China's "Golden Lotus Feet" - Foot-binding Practice". Archived from the original on 28 September 2013. Retrieved 29 January 2012.
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Jump up ^ Bossen, Laurel (2004). "Film Review - Footbinding: Search for the Three Inch Golden Lotus". Anthropologica. 48 (2): 301–303.
^ Jump up to: a b c Simon Montlake (November 13, 2009). "Bound by History: The Last of China's 'Lotus-Feet' Ladies". Wall Street Journal.
Jump up ^ Vincent Yu-Chung Shih; Yu-chung Shi (1968). The Taiping Ideology: Its Sources, Interpretations, and Influences. University of Washington Press. pp. 27–29. ISBN 978-0-295-73957-1.
Jump up ^ Olivia Cox-Fill (1996). For Our Daughters: How Outstanding Women Worldwide Have Balanced Home and Career. Praeger Publishers. p. 57. ISBN 978-0-275-95199-3.
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^ Jump up to: a b Mary I. Edwards (1986). The Cross-cultural Study of Women: A Comprehensive Guide. Feminist Press at The City University of New York. pp. 255–256. ISBN 978-0-935312-02-7.
^ Jump up to: a b Whitefield, Brent (2008). "The Tian Zu Hui (Natural Foot Society): Christian Women in China and the Fight against Footbinding" (PDF). Southeast Review of Asian Studies. 30: 203–12.
Jump up ^ Dorothy Ko (2008). Cinderella's Sisters: A Revisionist History of Footbinding. University of California Press. pp. 14–16. ISBN 978-0-520-25390-2.
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^ Jump up to: a b Levy, Howard S. (1991). The Lotus Lovers: The Complete History of the Curious Erotic Tradition of Foot Binding in China. New York: Prometheus Books. p. 322.
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Jump up ^ "Cixi Outlaws Foot Binding", History Channel
^ Jump up to: a b Dorothy Ko (2008). Cinderella's Sisters: A Revisionist History of Footbinding. University of California Press. pp. 50–63. ISBN 978-0-520-25390-2.
Jump up ^ Wang Ke-wen (1996). Thomas Reilly, Jens Bangsbo, A Mark Williams, eds. Science and Football III. Taylor & Francis. p. 8. ISBN 978-0-419-22160-9. CS1 maint: Uses editors parameter (link)
^ Jump up to: a b Mary White Stewart (27 January 2014). Ordinary Violence: Everyday Assaults against Women Worldwide. Praeger. pp. 4237–428. ISBN 978-1-4408-2937-6.
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Jump up ^ Sidney D. Gamble (September 1943). "The Disappearance of Foot-Binding in Tinghsien". American Journal of Sociology. 49 (2): 181–183. doi:10.1086/219351. JSTOR 2770363.
Jump up ^ Hu, Alex. The Influence of Western Women on the Anti-Footbinding Movement. Historical Reflections, Vol. 8, No. 3, Women in China: Current Directions in Historical Scholarship, Fall 1981, pp. 179-199. " Besides improvements in civil engineering, progress was made in social areas as well. The traditional Chinese practice of foot binding was widespread in Taiwan's early years. Traditional Chinese society perceived women with smaller feet as being more beautiful. Women would bind their feet with long bandages to stunt growth. Even housemaids were divided into those with bound feet and those without. The former served the daughters of the house, while the latter were assigned heavier work. This practice was later regarded as barbaric. In the early years of the Japanese colonial period, the Foot-binding Liberation Society was established to promote the idea of natural feet, but its influence was limited. The fact that women suffered higher casualties in the 1906 Meishan quake with 551 men and 700 women dead, and 1,099 men and 1,334 women injured--very different from the situation in Japan--raised public concern. Foot binding was blamed and this gave impetus to the drive to stamp out the practice."
Jump up ^ Favazza, Armando R. Bodies under Siege: Self-mutilation, Nonsuicidal Self-injury, and Body Modification in Culture and Psychiatry (2011), p. 118.
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Jump up ^ Hill Gates (2014). Footbinding and Women's Labor in Sichuan. Routledge. p. 7. ISBN 978-0-415-52592-3.
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Jump up ^ William Duiker; Jackson Spielvoge, eds. (2012). World History (7th Revised ed.). Wadsworth Publishing Co Inc. p. 282. ISBN 978-1-111-83165-3.
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^ Jump up to: a b Elliott, Mark C. (2001). The Manchu Way: the Eight Banners and Ethnic Identity in Late Imperial China. Stanford, CA: Stanford University Press. pp. 246–249. ISBN 978-0-8047-3606-0.
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Jump up ^ James Legge (1880). The religions of China: Confucianism and Tâoism described and compared with Christianity. LONDON: Hodder and Stoughton. p. 111. Retrieved June 28, 2010. (Original from Harvard University)
^ Jump up to: a b c Jackson, Beverley (1997). Splendid Slippers: A Thousand Years of an Erotic Tradition. Ten Speed Press. ISBN 978-0-89815-957-8.
^ Jump up to: a b Margo DeMello (2007). Encyclopedia of Body Adornment. Greenwood Press. pp. 116–117. ISBN 978-0-313-33695-9.
Jump up ^ Newham, Fraser (21 March 2005). "The ties that bind". The Guardian.
Jump up ^ Mary White Stewart (27 January 2014). Ordinary Violence: Everyday Assaults against Women Worldwide. Praeger. p. 423. ISBN 978-1-4408-2937-6.
Jump up ^ Cummings, S. & Stone, K. (1997) "Consequences of Foot Binding Among Older Women in Beijing China", in: American Journal of Public Health EBSCO Host. Oct 1997
Jump up ^ Shirley See Yan Ma (4 December 2009). Footbinding: A Jungian Engagement with Chinese Culture and Psychology. Taylor & Francis Ltd. pp. 75–78. ISBN 9781135190071.
Jump up ^ Beauchamp, Fay. "Asian Origins of Cinderella: The Zhuang Storyteller of Guangxi" (PDF). Oral Tradition. 25 (2): 447–496.
Jump up ^ Ebrey, Patricia Buckley (2010). 'Cambridge Illustrated History of China (2nd ed.). New York: Cambridge University Press. pp. 160–161. ISBN 9780521124331.
Jump up ^ King, Ian (31 March 2017). The Aesthetics of Dress. Springer. p. 59. ISBN 9783319543222.
^ Jump up to: a b Hill Gates (2014). Footbinding and Women's Labor in Sichuan. Routledge. p. 56. ISBN 978-0-415-52592-3.
Jump up ^ Robert Hans van Gulik (1961). Sexual life in ancient China:A Preliminary Survey of Chinese Sex and Society from Ca. 1500 B.C. Till 1644 A.D. Brill. p. 218. ISBN 9004039171.
Jump up ^ Armando R. Favazza (2 May 2011). Bodies under Siege: Self-mutilation, Nonsuicidal Self-injury, and Body Modification in Culture and Psychiatry (third ed.). Johns Hopkins University Press. p. 117. ISBN 9781421401119.
Jump up ^ Hacker, Authur (2012). China Illustrated. Turtle Publishing. ISBN 9781462906901.
^ Jump up to: a b Patricia Buckley Ebrey (19 September 2002). Women and the Family in Chinese History. Routledge. pp. 10–12. ISBN 978-0415288224.
Jump up ^ Anders Hansson (1996). Chinese Outcasts: Discrimination and Emancipation in Late Imperial China. Brill. p. 46. ISBN 978-9004105966.
Jump up ^ Li-Hsiang Lisa Rosenlee (April 2006). Confucianism and Women: A Philosophical Interpretation. p. 139. ISBN 978-0-7914-6749-7.
Jump up ^ Bonnie G. Smith (2008). The Oxford Encyclopedia of Women in World History: 4 Volume Set. Oxford University Press, USA. pp. 358–. ISBN 978-0-19-514890-9.
Jump up ^ 丁传靖 编 (1981). 《宋人轶事汇编》. 北京: 中华书局. p. 卷9，第2册，页455.
Jump up ^ Bin Song (16 March 2017). "Foot-binding and Ruism (Confucianism)". Huffington Post.
Jump up ^ Tu Wei-ming (1985). Confucian thought: selfhood as creative transformation. State University of New York Press.
^ Jump up to: a b C. Fred Blake (1994). "Foot-Binding in Neo-Confucian China and the Appropriation of Female Labor" (PDF). Signs. 19 (3): 676–712. doi:10.1086/494917.
Jump up ^ Ko, Dorothy (1997). "The Body as Attire: The Shifting Meanings of Footbinding in Seventeenth-Century China" (PDF). Journal of Women's History. 8 (4): 8–27. doi:10.1353/jowh.2010.0171.
^ Jump up to: a b Valerie Steele; John S. Major (2000). China Chic: East Meets West. Yale University Press. pp. 40–41. ISBN 978-0-300-07931-9.
Jump up ^ Dorothy Ko (1994). Teachers of the Inner Chambers: Women and Culture in Seventeenth-century China. Stanford University Press. pp. 149–. ISBN 978-0-8047-2359-6.
Jump up ^ Li-Hsiang Lisa Rosenlee. Confucianism and Women: A Philosophical Interpretation. SUNY Press. p. 139. ISBN 9780791481790. CS1 maint: Uses authors parameter (link)
Jump up ^ Fan Hong. Footbinding, Feminism and Freedom: The Liberation of Women's Bodies in Modern China. Routledge. ISBN 9781136303142.
Jump up ^ Mary White Stewart (27 January 2014). Ordinary Violence: Everyday Assaults against Women Worldwide (2nd ed.). Praeger. pp. 423–437. ISBN 9781440829383.
Jump up ^ Claire M. Renzetti, Jeffrey L. Edleson, eds. (6 August 2008). Encyclopedia of Interpersonal Violence, Volume 1. SAGE Publications. p. 276–277. ISBN 978-1412918008. CS1 maint: Uses editors parameter (link)
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Jump up ^ Fairbank, John King (1986). The Great Chinese Revolution, 1800–1985. New York: Harper & Row. p. 70.
Jump up ^ Hong Fan (1 June 1997). Footbinding, Feminism, and Freedom: The Liberation of Women's Bodies in Modern China. Routledge. pp. 90–96. ISBN 978-0714646336.
Jump up ^ Hong Fan (1 June 1997). Footbinding, Feminism, and Freedom: The Liberation of Women's Bodies in Modern China. Routledge. p. 1. ISBN 978-0714646336.
Jump up ^ Colleen Walsh (December 9, 2011). "Unraveling a brutal custom". Harvard Gazette.
Jump up ^ Hill Gates (2014). Footbinding and Women's Labor in Sichuan. Routledge. ISBN 978-0-415-52592-3.
Jump up ^ Dorothy Ko (2008). Cinderella's Sisters: A Revisionist History of Footbinding. University of California Press. p. 266. ISBN 978-0-520-25390-2.
Jump up ^ Patricia Ebrey, "Gender and Sinology: Shifting Western Interpretations of Footbinding, 1300–1890", Late Imperial China 20.2 (1999): 1-34.
Jump up ^ Ruzhen Li (1965). Flowers in the Mirror. translation by Lin Tai-yi. University of California Press. ISBN 978-0-520-00747-5.
Jump up ^ Jicai, Feng & Wakefield, David (Translator) (1994). The Three Inch Lotus. Honolulu: University of Hawaii Press. CS1 maint: Uses authors parameter (link)
Jump up ^ "Children's Book Review: Ties That Bind, Ties That Break by Lensey Namioka". Publishers Weekly. Retrieved April 23, 2018.
Notes[edit]
This article incorporates text from Encyclopædia of religion and ethics, Volume 8, by James Hastings, John Alexander Selbie, Louis Herbert Gray, a publication from 1916 now in the public domain in the United States.
This article incorporates text from The religions of China: Confucianism and Tâoism described and compared with Christianity, by James Legge, a publication from 1880 now in the public domain in the United States.
Further reading[edit]
Wikimedia Commons has media related to:
Bound feet (category)
Eugene E.Berg, MD, Chinese Footbinding. Radiology Review – Orthopaedic Nursing 24, no. 5 (September/October) 66–67
Fan Hong (1997) Footbinding, Feminism and Freedom. London: Frank Cass
Ko, Dorothy (2005) Cinderella’s Sisters: A Revisionist History of Footbinding. Los Angeles: University of California Press.
Ko, Dorothy (2008). "Perspectives on Foot-binding" (PDF). ASIANetwork Exchange. XV (3). Archived from the original (PDF) on 3 December 2011.
Levy, Howard S. (1991). The Lotus Lovers: The Complete History of the Curious Erotic Tradition of Foot Binding in China. New York: Prometheus Books.
Ping, Wang. Aching for Beauty: Footbinding in China. New York: Anchor Books, 2002.
Robert Hans van Gulik (1961). Sexual life in ancient China:A Preliminary Survey of Chinese Sex and Society from Ca. 1500 B.C. Till 1644 A.D. Brill. ISBN 9004039171.
Collection of bound foot shoes Article on Yang Shaorong, collector of bound foot shoes. Includes images of peasant/winter models and western-style models.
The Virtual Museum of The City of San Francisco, Chinese Foot Binding – Lotus Shoes’’
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How Sweet It Is (To Be Loved by You)
From Wikipedia, the free encyclopedia
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"How Sweet It Is (To Be Loved by You)"
Single by Marvin Gaye
from the album How Sweet It Is to Be Loved by You
B-side
"Forever"
Released
November 4, 1964
Format
7" single
Recorded
July 24, 1964
Studio
Hitsville U.S.A. (Studio A)
Genre
Soul
pop rock
Length
2:57
Label
Tamla
Songwriter(s)
Holland–Dozier–Holland
Producer(s)
Brian Holland
Lamont Dozier
Marvin Gaye singles chronology
"Baby Don't You Do It"
(1964) "How Sweet It Is (To Be Loved by You)"
(1964) "I'll Be Doggone"
(1965)
"Baby Don't You Do It"
(1964) "How Sweet It Is (To Be Loved By You)"
(1964) "I'll Be Doggone"
(1965)
"How Sweet It Is (To Be Loved by You)"
Single by James Taylor
from the album Gorilla
B-side
"Sarah Maria"
Released
June 1975
Format
7" single
Recorded
1975
Genre
Soft rock
Length
3:33
Label
Warner Bros.
Songwriter(s)
Holland–Dozier–Holland
Producer(s)
Russ Titelman, Lenny Waronker
James Taylor singles chronology
"Walking Man"
(1974) "How Sweet It Is (To Be Loved by You)"
(1975) "Mexico"
(1975)
"Walking Man"
(1974) "How Sweet It Is (To Be Loved by You)"
(1975) "Mexico"
(1975)
"How Sweet It Is (To Be Loved by You)" is a song recorded by American soul singer Marvin Gaye from his album of the same name, How Sweet It Is to Be Loved by You. It was written in 1964 by the Motown songwriting team of Holland–Dozier–Holland.
Contents
[hide]
1 Marvin Gaye version (1964)
2 Chart history
2.1 Weekly charts
2.2 Year-end charts
3 Notable later versions
3.1 Junior Walker & the All Stars (1966)
3.2 Grateful Dead (1972)
3.3 James Taylor (1975)
3.3.1 Personnel
3.4 The Simpsons (2016)
4 Chart history
4.1 Weekly charts
4.2 Year-end charts
5 References
6 External links
Marvin Gaye version (1964)[edit]
Produced by Brian Holland and Lamont Dozier, Marvin Gaye released the song as a single in September 1964. It peaked at number 6 on the U.S. Billboard Hot 100 chart in January 1965 and at number 3 on U.S. Billboard's R&B Singles chart.[1] Up to that point, it was Gaye's most successful single with record sales exceeding 900,000 copies.[2] The song's personnel includes Marvin Gaye on lead vocals;[3] The Andantes on background vocals; and The Funk Brothers on various instruments, including piano and percussion. Gaye also released a German-language version of the song entitled "Wie Schön Das Ist".
AllMusic critic Jason Ankeny described the song as a "radiant pop confection," noting that it was unusual for Gaye in being a "straightforward love song" that doesn't reflect Gaye's usual demons.[4] Ankeny commented on the soulfulness of the song, and particularly noted the piano riff.[4]
Gaye's recording has subsequently been released on many greatest hits albums.[4]
Chart history[edit]
Weekly charts[edit]
Chart (1964–65)
Peak
position
UK (Official Charts Company)[5] 49
US Billboard Hot 100[6] 6
US Billboard R&B 3
US Cash Box Top 100[7] 9
Year-end charts[edit]
Chart (1965)
Rank
US Billboard Hot 100[8] 100
Notable later versions[edit]
Since Marvin Gaye's original 1964 release, "How Sweet It Is (To Be Loved by You)" has been recorded by artists in a variety of genres including soul, pop, gospel, folk, and country. It was a staple for the Jerry Garcia Band in the 1970s, 1980's and 1990's often used as his opening song.
Junior Walker & the All Stars (1966)[edit]
In 1966, Junior Walker & the All Stars released the song as a single, which reached number 3 on the R&B Singles chart and No. 18 on the Billboard Hot 100 chart. According to Jason Ankeny of AllMusic, this version makes up in grit what it lacks in Gaye's grace, increasing the "celebratory" feel of the song.[4] Ankeny described the version as "a rollicking floor-shaker fueled by his smoldering saxophone."[4] The drums are played by James Graves (1941-1967).[9]
Grateful Dead (1972)[edit]
A Grateful Dead version is popular among the crowd despite they have only played it live once(3/25/72). It was a staple of the Jerry Garcia band though from 1972 to 1995.
James Taylor (1975)[edit]
James Taylor released his version of "How Sweet It Is (To Be Loved by You)" as the lead single from his album Gorilla (1975).[10] Taylor's 1975 single has been the most successful remake of the song to date, hitting No. 1 on the Easy Listening chart and No. 5 on the US Billboard Hot 100 chart.[11] In addition to James Taylor on lead vocals and guitar, other personnel include Carly Simon on harmony vocals, David Sanborn on saxophone, Clarence McDonald on piano, Fender Rhodes electric piano and possibly ARP String Ensemble, Lee Sklar on bass and both Jim Keltner and Russ Kunkel on drums with Kunkel doubling on tambourine.[12] Author Ian Halperin believes that the song was included on Gorilla as a tribute to Simon, who was then his wife.[13] It was produced by Lenny Waronker and Russ Titelman.[13] After his success with "How Sweet It Is (To Be Loved By You)," Taylor continued to record R&B hits applying his soft rock approach.[10]
Rolling Stone Magazine critic Bud Scoppa described Taylor's version as "a relaxed rendition" and considered it to be Taylor's way of acknowledging Gaye as a source of inspiration for Taylor's romantic point of view at the time.[14] Music critic Robert Christgau regarded Taylor's version as a "desecration of Marvin Gaye."[15] Taylor biographer Timothy White described it as "music for the park on Sunday."[12]
Taylor's version has been released on many live and compilation albums. These include the compilation albums Greatest Hits (1976), Classic Songs (1990), The Best of James Taylor (2003) and The Essential James Taylor (2013).[16][17][18][19] Live versions have been included on Live and Live at the Beacon Theater.
Personnel[edit]
Source:[20]
James Taylor - vocals, electric guitar
Danny Kortchmar - electric rhythm guitar
Jim Keltner - drums
Russ Kunkel - drums, tambourine, tom-tom drum
Clarence McDonald - piano, Fender Rhodes electric piano
David Sanborn - saxophone
Carly Simon - vocals
Lee Sklar - bass
The Simpsons (2016)[edit]
In a web-only exclusive, The Simpsons released a video highlighting the 2016 presidential election. In it, Marge is struggling to sleep because she is frustrated that basic manners are gone from politics. Homer convinces her to imagine a world in which the candidates are cordial with each other. The candidates briefly sing the song before going back to fighting again.[21]
Chart history[edit]
Weekly charts[edit]
Chart (1975)
Peak
position
Australia KMR 35
Canada RPM Top Singles[22] 1
Canada RPM Adult Contemporary[23] 1
New Zealand 30
US Billboard Hot 100[6] 5
US Billboard Adult Contemporary[24] 1
US Cash Box Top 100[25] 7
Year-end charts[edit]
Chart (1975)
Rank
Canada RPM Top Singles[26] 17
US Billboard Hot 100[27] 68
US Cash Box[28] 98
References[edit]
Jump up ^ "Marvin Gaye awards". Allmusic. Retrieved 2014-04-14.
Jump up ^ Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p. 225.
Jump up ^ Gilliland, John (1969). "Show 26 - The Soul Reformation: Phase two, the Motown story. [Part 5]" (audio). Pop Chronicles. University of North Texas Libraries.
^ Jump up to: a b c d e Ankeny, J. "How Sweet It Is (To Be Loved by You)". AllMusic. Retrieved 2014-04-14.
Jump up ^ "UK Official Singles Chart". UK Official Charts Company. December 16, 1964. Retrieved March 9, 2018.
^ Jump up to: a b Joel Whitburn's Top Pop Singles 1955-1990 - ISBN 0-89820-089-X
Jump up ^ "Cash Box Top 100 Singles, January 30, 1965". Retrieved 18 April 2018.
Jump up ^ "Top 100 Hits of 1965/Top 100 Songs of 1965". www.musicoutfitters.com. Retrieved August 20, 2017.
Jump up ^ Talevski, Nick (7 April 2010). "Rock Obituaries - Knocking On Heaven's Door". Omnibus Press. Retrieved August 20, 2017 – via Google Books.
^ Jump up to: a b Ruhlmann, W. "Gorilla". Allmusic. Retrieved 2014-04-12.
Jump up ^ Whitburn, Joel (2002). Top Adult Contemporary: 1961-2001. Record Research. p. 239.
^ Jump up to: a b White, T. (2009). Long Ago and Far Away. Omnibus Press. pp. 233–235. ISBN 9780857120069.
^ Jump up to: a b Halperin, I. (2003). Fire and Rain: The James Taylor Story. Citadel. pp. 166–167. ISBN 978 0806523484.
Jump up ^ Scoppa, B. (July 17, 1975). "Gorilla". Rolling Stone Magazine. Retrieved 2014-04-12.
Jump up ^ Christgau, R. "James Taylor". robertchristgau.com. Retrieved 2014-04-12.
Jump up ^ Ruhlmann, W. "Greatest Hits". Allmusic. Retrieved 2014-04-12.
Jump up ^ Woodstra, C. "Classic Songs". Allmusic. Retrieved 2014-04-12.
Jump up ^ Jurek, T. "The Best of James Taylor". Allmusic. Retrieved 2014-04-12.
Jump up ^ Collar, M. "The Essential James Taylor". Allmusic. Retrieved 2014-04-12.
Jump up ^ "Classic Tracks: "How Sweet It Is (to Be Loved by You)"". Retrieved 18 April 2018.
Jump up ^ Stedman, Alex (February 21, 2016). "Watch: 'The Simpsons' Mocks 2016 Presidential Candidates in 'The Debateful Eight'". Variety. Retrieved 2016-02-21.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. Missing or empty |url= (help)
Jump up ^ "RPM Weekly Top Singles August 23, 1975 (Volume 23, No. 26)". Library and Archives Canada. RPM Weekly (archived). Archived from the original on February 12, 2018. Retrieved February 12, 2018.
Jump up ^ "Adult Contemporary Chart - Billboard", Billboard, retrieved January 10, 2017
Jump up ^ "Cash Box Top 100 8/16/75". tropicalglen.com. Retrieved 20 August 2017.
Jump up ^ Lyttle, Brendan. "Top 200 Singles of 1975". Library and Archives Canada. RPM Weekly (archived). Retrieved February 25, 2018.
Jump up ^ "Top 100 Hits of 1975/Top 100 Songs of 1975". www.musicoutfitters.com. Retrieved 20 August 2017.
Jump up ^ "The Cash Box Year-End Charts - 1975". tropicalglen.com. December 27, 1975. Retrieved February 27, 2017.
External links[edit]
Lyrics of this song at MetroLyrics
Preceded by
"At Seventeen" by Janis Ian Billboard Easy Listening Singles number-one single (James Taylor version)
August 23, 1975 Succeeded by
"Fallin' in Love" by Hamilton, Joe Frank & Reynolds
show
v
t
e
Marvin Gaye
Studio
albums
The Soulful Moods of Marvin Gaye (1961)
That Stubborn Kinda Fellow (1962)
When I'm Alone I Cry (1964)
Hello Broadway (1964)
How Sweet It Is to Be Loved by You (1965)
A Tribute to the Great Nat "King" Cole (1965)
Moods of Marvin Gaye (1966)
In the Groove/I Heard It Through the Grapevine! (1968)
M.P.G. (1969)
That's the Way Love Is (1970)
What's Going On (1971)
Trouble Man (1972)
Let's Get It On (1973)
I Want You (1976)
Here, My Dear (1978)
In Our Lifetime (1981)
Midnight Love (1982)
Posthumous
albums
Dream of a Lifetime (1985)
Romantically Yours (1986)
Vulnerable (1997)
Duet albums
Together (with Mary Wells, 1964)
Take Two (with Kim Weston, 1966)
United (with Tammi Terrell, 1967)
You're All I Need (with Tammi Terrell, 1968)
Easy (with Tammi Terrell, 1969)
Diana & Marvin (with Diana Ross, 1973)
Compilations
Greatest Hits (1964)
Greatest Hits, Vol. 2 (1967)
Marvin Gaye and His Girls (1969)
Marvin Gaye and Tammi Terrell's Greatest Hits (1970)
Super Hits (1970)
Anthology (1974)
Marvin Gaye's Greatest Hits (1976)
Motown Remembers Marvin Gaye: Never Before Released Masters (1986)
The Marvin Gaye Collection (1990)
The Norman Whitfield Sessions (1994)
Love Starved Heart: Rare and Unreleased (1994)
The Very Best of Marvin Gaye (1994)
The Master (1961–1984) (1995)
Marvin Gaye: The Love Songs (2000)
The Complete Duets (2001)
The Very Best of Marvin Gaye (2001)
Live albums
Marvin Gaye Recorded Live on Stage (1963)
Marvin Gaye Live! (1974)
Live at the London Palladium (1977)
Marvin Gaye at the Copa (2005)
Video albums
Greatest Hits Live (Live in Holland 1976) (2000)
Live In Montreux 1980 (2003)
The Real Thing: In Performance (1964–1981) (2006)
Live In Belgium 1981 (2006)
US/UK Top
Ten singles
"Pride and Joy"
"How Sweet It Is (To Be Loved by You)"
"I'll Be Doggone"
"Ain't That Peculiar"
"Your Precious Love"
"If I Could Build My Whole World Around You"
"Ain't Nothing Like the Real Thing"
"You're All I Need to Get By"
"I Heard It Through the Grapevine"
"Too Busy Thinking About My Baby"
"That's the Way Love Is"
"Abraham, Martin and John"
"The Onion Song"
"What's Going On"
"Mercy Mercy Me (The Ecology)"
"Inner City Blues (Make Me Wanna Holler)"
"Trouble Man"
"Let's Get It On"
"You Are Everything"
"Got to Give It Up"
"Sexual Healing"
Family
Marvin Gay Sr. (father)
Alberta Gay (mother)
Anna Gordy Gaye (first wife)
Denise Gordy (son's birth mother)
Nona Gaye (daughter)
Frankie Gaye (brother)
Gordon Banks (brother-in-law)
Related
topics
Discography
Songs
Albums
Songs by Marvin Gaye
Albums produced by Marvin Gaye
Songs in memory
Songs produced by Marvin Gaye
Personal life
Death
Tributes
The Marquees
Harvey Fuqua
Tammi Terrell
Leon Ware
Marvin's Room
Marvin Is 60: A Tribute Album
Book
Category
Portal
show
v
t
e
Marvin Gaye singles discography
1960s: (Tamla)
1961
"Let Your Conscience Be Your Guide"
1962
"Sandman"
"Soldier's Plea"
"Stubborn Kind of Fellow"
"Hitch Hike"
1963
"Pride and Joy"
"Can I Get a Witness"
1964
"You're a Wonderful One"
"Once Upon a Time"
"What's the Matter with You Baby"
"Try It Baby"
"Baby Don't You Do It"
"What Good Am I Without You"
"How Sweet It Is (To Be Loved by You)"
1965
"I'll Be Doggone"
"Pretty Little Baby"
"Ain't That Peculiar"
1966
"One More Heartache"
"Take This Heart of Mine"
"Little Darling (I Need You)"
"It Takes Two"
1967
"Ain't No Mountain High Enough"
"Your Unchanging Love"
"Your Precious Love"
"You"
"If I Could Build My Whole World Around You"/"If This World Were Mine"
1968
"Ain't Nothing Like the Real Thing"
"You're All I Need to Get By"
"Chained"
"Keep On Lovin' Me Honey"
"You Ain't Livin' till You're Lovin'"
"His Eye Is on the Sparrow"
"I Heard It Through the Grapevine"
1969
"Good Lovin' Ain't Easy to Come By"
"Too Busy Thinking About My Baby"
"That's the Way Love Is"
"Abraham, Martin and John"
"What You Gave Me"
"How Can I Forget"
1970s: (Tamla)
1970
"Gonna Give Her All the Love I've Got"
"The Onion Song"
"California Soul"
"The End of Our Road"
1971
"What's Going On"
"Mercy Mercy Me (The Ecology)"
"Inner City Blues (Make Me Wanna Holler)"
"Save the Children"
1972
"You're the Man"
"Trouble Man"
"I Want to Come Home for Christmas"
1973
"Let's Get It On"
"You're a Special Part of Me"
"Stop, Look, Listen (To Your Heart)"
"Come Get to This"
1974
"You Sure Love to Ball"
"My Mistake (Was to Love You)"
"Don't Knock My Love"
"You Are Everything"
"Distant Lover"
1976
"I Want You"
"After the Dance"
"Since I Had You"
1977
"Got to Give It Up"
1978
"Pops, We Love You (A Tribute to Father)"
1979
"A Funky Space Reincarnation"
"Anger"
"Ego Tripping Out"
1980s: (Tamla/
Columbia)
1981
"Praise"
"Heavy Love Affair"
1982
"Sexual Healing"
1983
"My Love Is Waiting"
"'Til Tomorrow"
"Joy"
Posthumous
1985
"Sanctified Lady"
"It's Madness"
"Just Like"
1986
"The World Is Rated X"
1991
"My Last Chance"
1994
"Lucky, Lucky Me"
1995
"This Love Starved Heart Of Mine(It's Killing Me)"
2001
"Music"
2005
"Let's Get It On (The M.P.G. Groove Remix)"
2015
"Where Are We Going"
Book
Category
Portal
show
v
t
e
Holland–Dozier–Holland
Brian Holland
Lamont Dozier
Eddie Holland
Songs
1962
"Dearest One"
"Old Love (Let's Try It Again)"
"Darling, I Hum Our Song"
1963
"Leaving Here"
"Locking Up My Heart"
"What Goes Up Must Come Down" / "Come on Home"
"Tie a String Around Your Finger"
"Come and Get These Memories" / "Jealous Lover"
"You Lost the Sweetest Boy"
"Heat Wave" / "A Love Like Yours (Don't Come Knocking Everyday)"
"(He Won't Be True) Little Girl Blue"
"Mickey's Monkey"
"Too Hurt to Cry, Too Much in Love to Say Goodbye" / "Come on Home"
"When the Lovelight Starts Shining Through His Eyes" / "Standing at the Crossroads of Love"
"I Gotta Dance to Keep From Crying"
"Quicksand" / "Darling I Hum Our Song"
"Live Wire" / "Old Love (Let's Try It Again)"
"Run, Run, Run" / "I'm Giving You Your Freedom"
"Can I Get a Witness"
1964
"A Tear from a Woman's Eyes"
"My Lady Bug Stay Away from That Beatle"
"Like a Nightmare" / "If You Were Mine"
"In My Lonely Room"
"Just Ain't Enough Love"
"Where Did Our Love Go"
"Baby Don't You Do It"
"Guarantee for a Lifetime"
"Baby I Need Your Loving" / "Call on Me"
"Candy to Me" / "If You Don't Want My Love"
"Whisper You Love Me Boy"
"Baby Love" / "Ask Any Girl"
"Come See About Me" / (You're Gone But) Always in My Heart"
"Without the One You Love (Life's Not Worth While)" / "Love has Gone"
"You're a Wonderful One"
"How Sweet It Is (To Be Loved by You)"
1965
"Where Did You Go"
"Stop! In the Name of Love" / "I'm in Love Again"
"You've Been a Long Time Coming"
"Who Could Ever Doubt My Love"
"Nowhere to Run"
"Back in My Arms Again" / "Whisper You Love Me Boy"
"I Can't Help Myself (Sugar Pie Honey Bunch)"
"The Only Time I'm Happy"
"Mother Dear" / "He Holds His Own"
"Nothing but Heartaches" / "He Holds His Own"
"Love (Makes Me Do Foolish Things)"
"It's the Same Old Song" / "Your Love Is Amazing"
"Mother Dear" / "Who Could Ever Doubt My Love"
"I Hear a Symphony" / "Who Could Ever Doubt My Love"
"Something About You"
"Take Me in Your Arms (Rock Me a Little While)"
"Darling Baby"
"There's a Ghost in My House"
1966
"(I'm a) Roadrunner"
"This Old Heart of Mine (Is Weak for You)"
"Ask any Man"
"My World Is Empty Without You"
"Put Yourself in My Place"
"There's No Love Left"
"Shake Me, Wake Me (When It's Over)" / "Just as Long as You Need Me"
"Helpless" / "A Love Like Yours (Don't Come Knocking Everyday)"
"Call on Me"
"Love Is Like an Itching in My Heart" / "He's All I Got"
"Who Could Ever Doubt My Love"
"I Like Everything About You"
"I Guess I'll Always Love You"
"Nothing but Soul"
"Love's Gone Bad" / "Put Yourself in My Place"
"You Can't Hurry Love" / "Put Yourself in My Place"
"Little Darling (I Need You)"
"Reach Out I'll Be There" / "Until You Love Someone"
"Stay in My Lonely Arms"
"You Keep Me Hangin' On" / "I Wanna Mother You, Smother You With Love"
"You Keep Me Hangin' On" / "Remove This Doubt"
"Standing in the Shadows of Love" / Since You've Been Gone"
"I'm Ready for Love"
"(Come 'Round Here) I'm the One You Need"
"Heaven Must Have Sent You"
1967
"Just One Last Look"
"Love Is Here and Now You're Gone" / There's No Stopping Us Now"
"Your Love Is Amazing"
"Jimmy Mack" / "Third Finger, Left Hand"
"Bernadette" / "I Got a Feeling"
"My World Is Empty Without You"
"The Happening" / "All I Know About You"
"Just Ain't Enough Love"
"7-Rooms of Gloom" / "I'll Turn to Stone"
"I Understand My Man"
"Your Unchanging Love" / "I'll Take Care of You"
"Reflections" / "Going Down for the Third Time"
"One Way Out"
"You Keep Me Running Away" / "If You Don't Want My Love"
"I Got a Feeling"
"In and Out of Love" / "I Guess I'll Always Love You"
1968
"Whisper You Love Me Boy"
"Forever Came Today"
"I'm in a Different World"
1969
"We've Got a Way Out Love"
"Crumbs off the Table"
1970
"Give Me Just a Little More Time"
"(You've Got Me) Dangling on a String"
"Everything's Tuesday"
"Band of Gold"
"Westbound #9"
1972
"The Day I Found Myself"
"Don't Leave Me Starvin' for Your Love"
"Why Can't We Be Lovers"
1973
"You're Gonna Need Me"
1975
"We're Almost There"
"Just a Little Bit of You"
"Early Morning Love"
"Where Do I Go from Here"
1976
"I'm Gonna Let My Heart Do the Walking"
"High Energy"
"Let Yourself Go"
1982
"We Can Never Light That Old Flame Again"
Related
topics
Motown
Hot Wax Records
Invictus Records
List of songs written by Holland, Dozier and Holland
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James Taylor
Studio albums
James Taylor
Sweet Baby James
Mud Slide Slim and the Blue Horizon
One Man Dog
Walking Man
Gorilla
In the Pocket
JT
Flag
Dad Loves His Work
That's Why I'm Here
Never Die Young
New Moon Shine
Hourglass
October Road
Covers
Before This World
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Holiday albums
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The Best of James Taylor
Extended plays
Other Covers
Singles
"Carolina in My Mind"
"Knocking 'Round the Zoo"
"Sweet Baby James"
"Fire and Rain"
"Country Road"
"You've Got a Friend"
"Long Ago and Far Away"
"Don't Let Me Be Lonely Tonight"
"One Man Parade"
"Hymn"
"Mockingbird (with Carly Simon)
"How Sweet It Is (To Be Loved by You)"
"Mexico"
"Shower the People"
"Woman's Gotta Have It"
"Handy Man"
"Your Smiling Face"
"Honey Don't Leave L.A."
"Devoted to You" (with Carly Simon)
"Up on the Roof"
"Her Town Too"
"Hard Times
"Everyday"
"It's Growing"
"Change"
Other songs
"Night Owl
"Something in the Way She Moves"
"Sunny Skies"
"Steamroller Blues"
"You Can Close Your Eyes"
"Highway Song"
"Bartender's Blues"
"Secret O' Life"
"Millworker"
"Summer's Here"
Related articles
Discography
James Taylor and the Original Flying Machine
Working
Vote for Change Tour
Troubadour Reunion Tour
Carly Simon
Ben Taylor
Sally Taylor
Kate Taylor
Livingston Taylor
Alex Taylor
Isaac M. Taylor
Two-Lane Blacktop
Retrieved from "https://en.wikipedia.org/w/index.php?title=How_Sweet_It_Is_(To_Be_Loved_by_You)&oldid=843653047"
Categories:
1964 singles
1965 singles
1975 singles
Marvin Gaye songs
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Pop ballads
Billboard Adult Contemporary number-one singles
Songs written by Holland–Dozier–Holland
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1964 songs
Song recordings produced by Lamont Dozier
Song recordings produced by Brian Holland
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Song recordings produced by Russ Titelman
Warner Bros. Records singles
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