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Sebastian Shaw (actor)
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Sebastian Shaw
Shaw in a 1979 episode of Rumpole of the Bailey
Born
Sebastian Lewis Shaw
(1905-05-29)29 May 1905
Holt, Norfolk, England
Died
23 December 1994(1994-12-23) (aged 89)
Brighton, Sussex, England
Education
Slade School of Fine Art
Alma mater
Royal Academy of Dramatic Arts
Occupation
Actor
director
novelist
playwright
poet
Years active
1914–1991
Spouse(s)
Margaret Kate S Wellesley Lynn (stage name Delamere) (1929–1956)
Sebastian Lewis Shaw (29 May 1905 – 23 December 1994) was an English actor, director, novelist, playwright and poet. During his 65-year career, he appeared in dozens of stage performances and more than 40 film and television productions.
Shaw was born and brought up in Holt, Norfolk, and made his acting debut at age eight at a London theatre. He studied acting at Gresham's School and the Royal Academy of Dramatic Art. Although he worked primarily on the London stage, he made his Broadway debut in 1929, when he played one of the two murderers in Rope's End. He appeared in his first film, Caste, in 1930 and quickly began to create a name for himself in films. He described himself as a "rotten actor"[1] as a youth and said his success was primarily due to his good looks. He claimed to mature as a performer only after returning from service in the Royal Air Force during World War II.
Shaw was particularly known for his performances in productions of Shakespeare plays which were considered daring and ahead of their time. In 1966, he joined the Royal Shakespeare Company, where he remained for a decade and delivered some of his most acclaimed performances. He also wrote several poems and a novel, The Christening, in 1975. He is also known for his brief but important performance in Return of the Jedi, the original third installment in the Star Wars franchise, in which he portrayed an unmasked and redeemed Anakin Skywalker (formerly Darth Vader), and his ghost in the original version of the film.
Contents
1 Early life
2 Career
2.1 Early career
2.2 World War II and post-war career
2.3 Royal Shakespeare Company
2.4 Writing career
2.5 Return of the Jedi
2.6 Later career
3 Death
4 Filmography
5 References
6 External links
Early life[edit]
Shaw was one of three children born to Dr. Geoffrey Shaw, the music master at Gresham's School, a Norfolk independent boarding school, where Shaw began his education.[2] His uncle, Martin Shaw, was a composer of church music, and his family's love of music heavily influenced Shaw's career path.[3]
Career[edit]
Early career[edit]
Shaw made his acting debut at age eight on the London stage as one of the juvenile band in The Cockyolly Bird at the Royal Court Theatre in Chelsea[2] on New Year's Day of 1914.[3] During his time at Gresham's, he also played Petruchio in The Taming of the Shrew, his first of many performances from the works of William Shakespeare; schoolmate W. H. Auden, who would go on to become a highly regarded poet, portrayed Katherina in the play opposite him.[3] After Gresham's, Shaw planned to become a painter and spent two years at the Slade School of Fine Art before switching his interests to acting; regarding the change, his father informed him, "I wondered when you would come to your senses."[3] He earned a scholarship to the Royal Academy of Dramatic Art in Bloomsbury, London.[2] Actor Charles Laughton enrolled in the Academy at the same time as Shaw, who later said his first impression of Laughton was "a poor fat boy".[4] Although Shaw and his fellow students initially felt pity for Laughton, they were quickly impressed with his talent.[4]
A young Sebastian Shaw
Shaw appeared in regional theatres in Bristol, Liverpool and Hull. In 1925, he performed in London as the Archangel in The Sign of the Sun, and played first Lewis Dodd and then the Major in separate productions of The Constant Nymph.[1] He received instruction in verse speaking under famed theatre director William Bridges-Adams in the Stratford Festival Company at Stratford-upon-Avon,[3] where he played some of his early Shakespeare roles, including Romeo in Romeo and Juliet, Ferdinand in The Tempest and Prince Hal in Henry IV in 1926. He was criticised for the audacity he displayed in the latter role. When Prince Hal takes on his kingship and rejects the self-indulgent character Falstaff, convention of the day called for Prince Hal to change from a jovial drinking partner to an arrogant snob, but Shaw saw the view as simple-minded and contradictory toward Shakespeare's script. Instead, he displayed inward regrets about leaving Falstaff and accepting the new responsibilities. The interpretation was criticised at the time but, years later, became the standard approach to the character.[5]
Shaw made his Broadway debut in 1929, when he played the murderer Wyndham Brandon in Patrick Hamilton's stage thriller, Rope's End. In 1929, he married Margaret Delamere and lived with her in the Albany, an apartment complex off of Piccadilly in London.[2] The two would eventually have a daughter together named Drusilla (born 1932).[6] He returned to the works of William Shakespeare in 1931, playing Claudio in Measure for Measure at London's Fortune Playhouse. In 1932 he once again played Romeo at the Embassy Theatre.[1] Other works around this period included productions of Ivor Novello's Sunshine Sisters in 1933, Double Door alongside actress Sybil Thorndike in 1934, J.M. Barrie's A Kiss for Cinderella in 1937, and Robert Morley's Goodness, How Sad in 1938.[3]
The first film Shaw appeared in was Caste in 1930. He soon began to make a name for himself in films such as Brewster's Millions in 1935, Men Are Not Gods in 1936 and Farewell Again in 1937.[1] He was making about £300 a week during this stage of his career,[2] a significant sum higher than the salary of the British Prime Minister of the time. He brought what the Daily Telegraph described as a "smooth villainy"[1] to the role of Frank Sutton in The Squeaker in 1937, while in 1939 he played the hero Cmdr. David Blacklock alongside Conrad Veidt and Valerie Hobson in The Spy in Black, Michael Powell and Emeric Pressburger's first collaboration.[1] Shaw described himself as a film buff and called Academy Award-winning actor Spencer Tracy his "great god of all screen actors";[7] he was so impressed by Tracy's technique that he claimed to become depressed while watching his films because Tracy made acting look simple, while Shaw claimed to find it so difficult to master himself.[7]
World War II and post-war career[edit]
When World War II broke out, Shaw took a break from acting and joined the Royal Air Force.[2] He was commissioned as an Acting-Pilot Officer on probation in the Administrative and Special Duties Branch on 25 April 1941[8] and over the next three months was promoted to Pilot Officer on probation,[9] then Flying Officer[10] and then Flight Lieutenant.[11] According to his obituary in the Guardian, he saw little action in the service and was told the only chance he would have to fly would be as a rear gunner. Some of his fellow airmen hounded Shaw for autographs while others mocked his posh accent, to which he retaliated with an excellent and unflattering imitation of their less refined speech.[2] He continued to hold a Royal Air Force Volunteer Reserve commission after the war until he resigned the commission on 10 February 1954; he was permitted to retain his rank.[12]
Immediately upon returning to London after the war, Shaw lost his Albany flat and his acting contract, and essentially had to restart his acting career.[2] Although he made 20 films before the war and had already begun to develop a reputation as a strong leading man, in later years he would describe himself as "a rotten actor"[1] in the 1930s who landed roles based mainly on his good looks. He used the phrase "a piece of cinema beefcake"[1] to describe himself as an actor during that period.[1] He felt that after his return home from military service, he learned to act properly and began to mature as a performer.[2] Shaw's Royal Air Force experience was put to good use when he played a pilot in Journey Together, the 1946 RAF training film in which actor Edward G. Robinson coached actor Richard Attenborough in the rudiments of flying.[13]
In 1945, Shaw returned to the Embassy Theatre to direct Fyodor Dostoevsky's The Gambler. Significant theatre roles that decade included Hercules in The Thracian Horses at the Lyric Theatre, Hammersmith in 1946, Mr. Hern-Lawrence in Florida Scott-Maxwell's experimental I Said to Myself at the Mercury Theatre, Notting Hill Gate in 1947,[14] Sir James Kirkham in His Excellency at Prince's Theatre in 1950, and Filmer Jesson, MP, in Arthur Wing Pinero's His House In Order at New Theatre in 1951. In 1956, he played the title role in the first British production of Hugo von Hofmannsthal's Everyman.[1] That same year, he wrote the lyrics to his father's ballad-opera, All at Sea, which played at the Royal College of Music. In 1957, he played Lucifer in Brother Lucifer in Shrewsbury, Shropshire, and a sinister Venetian agent in Jonathan Griffin's The Hidden King in Edinburgh.[3]
As Shaw grew older, his reputation as a dramatic actor grew stronger, and he became known for a sharp intelligence and dignified style. Although his good looks diminished, reviewers felt that he used his florid and weatherbeaten face well in evoking grandeur and self-assuredness in such roles as generals, priests and his familiar Shakespearean parts.[1][13] In 1956, his wife Margaret Delamere died; she was survived by their daughter Drusilla.[6] Shaw began a romantic relationship in the mid-1950s with Joan Ingpen, the well-known classical music and opera talent agent who had previously represented him. The two were romantically involved, to the point that she took his surname, until Shaw's death.[15] During the 1980s, however, Shaw also had a brief relationship with Harriet Ravenscroft, the mother of the disc jockey John Peel, whom he met while performing at Ludlow Castle at Ludlow. He split his time between Ingpen and Ravenscroft on a four-day rotating basis to which both women consented. Although Peel got along with Shaw and said he made his mother happy, he said he did not feel comfortable with the arrangement. He felt it disrupted his mother's friendships and prospects for a more stable relationship.[16]
In 1965, British theatre director William Gaskill was named artistic director of the Royal Court Theatre, where he hoped to re-establish a repertoire. He approached Shaw, who had made his acting début at the Royal Court Theatre as a youth, and Shaw agreed to return.[13] There he delivered several performances over the next year, including General Conrad von Hotzendorf in John Osborne's A Patriot for Me; various roles in Ann Jellicoe's Shelley; Sir Francis Harker in N.F. Simpson's The Cresta Run and Pte Atterclife in John Arden's Serjeant Musgrave's Dance.[1]
Royal Shakespeare Company[edit]
In 1966, Shaw joined the Royal Shakespeare Company, where he spent the next decade of his career[2] and eventually became an associate artist.[3] He mostly appeared in Shakespeare plays, including the title role in Cymbeline, Edmund of Langley in Richard II,[1] the King in All's Well That Ends Well, Ulysses in Troilus and Cressida, and Leonato in Much Ado About Nothing.[3] The Times described his performance in the title role of Cymbeline as "awe-inspiring",[3] and The Independent described his performance as Polonius in Hamlet as "unrivalled in his complacency and sense of circumstance".[13] The Telegraph described his performance of Gloucester in King Lear as "doleful"[1] and his performance of Duncan in Macbeth as "decent".[1] Many of the company's Shakespearean productions at the time were considered interpretive and modern, which drew criticism from some traditionalists, but Shaw defended the experimental nature of the shows and rejected the notion that plays should be restricted to preconceived interpretations.[5]
During his time with the company, he also demonstrated what the Daily Telegraph called a "crusty charm"[1] as Sir Oblong Fitz Oblong in Robert Bolt's children's play The Thwarting of Baron Bolligrew.[1] He was also noted as possessing a gift for dry comedy during this period of his acting career, exemplified by his roles in Maxim Gorky's plays Enemies and Summerfolk. He demonstrated a particular knack for Russian comedy in Jonathan Miller's productions of the Anton Chekhov plays Three Sisters and Ivanov.[1]
In 1978, Shaw earned acclaim for his performance as a judge in the stage debut of Whose Life Is It Anyway? at the Mermaid Theatre. The production won Laurence Olivier Awards for Best Play and Best Actor (Tom Conti).[1] Although 73 years old, Shaw did not let his age slow down his career. During the run of this production a mugger tried to steal his money, but Shaw chased him down, tackled him and recovered his property. Later that year, he was painted in the nude by his nephew, Brian Ocean.[2] During his later years, Shaw suffered a physical disability that made him tremble, which had a negative impact on his television roles, particularly when handling cups or trays of drinks. One of his later television appearances was in The Old Curiosity Shop, a 1979 mini-series based on the novel by Charles Dickens. Around this time, he also voiced the part of Squire Beltham in a radio production of The Adventures of Harry Richmond, which the Daily Telegraph said was "remembered with affection".[1] He lent his voice to several radio performances, both Shakespearean and modern, including protagonist John Tanner in the five-hour Man and Superman by George Bernard Shaw.[3]
Writing career[edit]
Shaw wrote Take a Life, his first play, in 1961. He directed a production of the show at London's Mermaid Theatre, where he also played the lead role of the Detective.[2] That same year he played two lead roles in George Bernard Shaw plays at the Dublin Theatre Festival: Mrs. Warren's Profession and Candida.[1] Around this time, he also wrote an outline for a television comedy series about four girls sharing a flat, inspired by his real-life daughter, who was in her early twenties and living in a flat with other girls her age. The series was submitted to the Granada Television company, which expressed interest in the show and said it was one of two under consideration for television. The company ultimately chose the other show, the long-running British soap opera Coronation Street.[5]
Shaw agreed to take certain roles only on the condition that he have complete freedom to rewrite his dialogue. When he appeared in It Happened Here, a 1966 World War II film, he wrote many of his own lines, which the filmmakers later said "gave his dialogue an individual slant which enhanced his performance".[13] He also helped in other aspects of the filmmaking, including casting; he introduced the filmmakers to Fiona Leland, who would be cast as Shaw's wife in It Happened Here.[13] He wrote other plays, including The Ship's Bell, The Cliff Walk, The Glass Maze and Cul de Sac.[4] He also wrote Poems, a collection of his personal poetry, which saw a limited print of 300 editions by publisher Exeter University.[17]
Shaw wrote The Christening, his only novel, in 1975.[1] It centres around Miles Madgwick, who believes that he is bisexual but is too timid to find out through physical intercourse, so he instead describes his most intimate thoughts in his diary. He then meets a married woman named Alice and her son, Rodney; he comes to identify with Rodney's childhood innocence, and in Alice sees a symbol both of his mother and a heterosexual lover. Alice starts to tire of her husband and grow fonder of Madgwick, who experiences mixed emotions in his continued interactions with her and Rodney. One night, Rodney stays overnight at Madgwick's house and, when he takes the boy home in a taxicab, the driver observes their strange behaviour and accuses Madgwick of being a pederast. When Alice asks Madgwick to become the godfather to her new child, the driver threatens to expose Madgwick, creating a conflict between losing his first feelings of intimacy with others or facing humiliation and ridicule at the driver's exposure.[18]
A description in the book cover flap reads, "In this tender, sensitive and blackly comic novel, Sebastian Shaw, the distinguished Shakespearean actor, explores areas of sexual and emotional encounter that are rarely seen and, unfortunately, too rarely understood."[1] Shaw originally planned to call the novel The Godfather, but later said he was glad he did not due to the popularity of Mario Puzo's book of that name.[5] He was said to have been working on another novel shortly after The Christening was completed, but no others were ever published.[5]
Return of the Jedi[edit]
Shaw in his portrayal as redeemed Anakin Skywalker, unmasked in Return of the Jedi
In 1982, Shaw was chosen for the small but crucial role of redeemed, unmasked and dying Anakin Skywalker in Return of the Jedi, the third and final film in the original Star Wars trilogy. Although David Prowse played the costumed scenes and James Earl Jones voiced Darth Vader, just as they had in the first two films, Shaw was cast in a single scene with Mark Hamill, during the moment aboard the second Death Star when Luke Skywalker unmasks his dying father. Since the scene was unquestionably the emotional climax of the film, the casting crew sought an experienced actor for the role.[7]
When Shaw arrived at the set for filming, he ran into his friend Ian McDiarmid, the actor playing Emperor Palpatine. When McDiarmid asked him what he was doing there, Shaw responded, "I don't know, dear boy, I think it's something to do with science-fiction."[19] His presence during the filming was kept secret from all but the minimum cast and crew, and Shaw was contractually obliged not to discuss any film secrets with anyone, even his family. The unmasking scene, directed by Richard Marquand, was filmed in one day and required only a few takes, with no alteration from the original dialogue.[7] When the film was re-released on DVD in 2004, a few changes were made: the unmasking scene with Hamill remained mostly the same, but Shaw's eyebrows were digitally removed to tie in with the injuries Darth Vader suffers at the end of Revenge of the Sith. Shaw's eyes were also digitally coloured to look like those of Hayden Christensen, the actor who played Anakin in Attack of the Clones and Revenge of the Sith.
Star Wars creator George Lucas personally directed Shaw for his appearance in the final scene of the film, in which he is a Force ghost of Anakin.[7] Shaw's image in this scene was replaced with that of Christensen in the 2004 release. This last attempt to tie the prequel and original trilogies together proved to be possibly the most controversial change in the Star Wars re-releases.[20][21]
Although Shaw's unmasking scene lasted only two minutes and seven seconds and included just 24 words of dialogue spoken by Shaw,[22] he received more fan mail and autograph requests from Return of the Jedi than he had for any role in the rest of his career. He later reflected that he very much enjoyed his experience filming for Return of the Jedi and expressed particular surprise that an action figure was made of him from the film.[7]
Later career[edit]
Shaw remained active in his later years; along with fellow Royal Shakespeare Company actors Ian Richardson, John Nettles, Martin Best and Ann Firbank, he engaged in discussions and workshops with acting teachers and students in the early 1980s.[4][23] Although appearances in films became far less common in his later career, he received much acclaim for his performance as the Cold War spy Sharp in Clare Peploe's High Season at the New York Film Festival in 1987;[3] The San Diego Union-Tribune said Shaw played the role with "endearing, sweet gravity".[24] One of his last performances was in the Christmas season of 1988 and 1989, when he played the wizard in a stage production of The Wizard of Oz at the Barbican Centre. The Times said audiences were "delighted to recognise his honeyed threats from behind the great carapace that disguised the Wizard of Oz".[3] Shaw became an honorary life-member at the Garrick Club, which included such past members as writers Charles Dickens, J.M. Barrie, Kingsley Amis and A.A. Milne; artists Dante Gabriel Rossetti and John Everett Millais; and composer Edward Elgar.[3]
Death[edit]
Shaw died of natural causes on 23 December 1994 at age 89 in Brighton, Sussex, England.[1] A memorial service was held 15 February 1995 at St Paul's, Covent Garden, commonly known as the Actors' Church due to its long association with the theatre community. Actors Ian Richardson and Ben Kingsley read works by William Shakespeare, stage actress Estelle Kohler read How Do I Love Thee? by Victorian poet Elizabeth Barrett Browning, actress Sheila Allen read Life by Welsh poet George Herbert and actor Kenneth Branagh read from the works of Canon Henry Scott Holland. One of Shaw's own poems, Gemini, was also read. Baritone Stephen Varcoe sang Wie bist du meine Königin by Johannes Brahms, accompanied by Graham Johnson on the piano, and guitarist Martin Best performed and sang his composition of Ariel's Songs from The Tempest. Shaw was survived by his partner Joan Ingpen, daughter Drusilla MacLeod, sisters Susan Bonner-Morgan and Penelope Harness, and sister-in-law Olga Young.[6]
Filmography[edit]
Year
Title
Role
Notes
1930 Caste Hon. George d'Alroy
1933 Little Miss Nobody Pat Carey
1933 House of Dreams Unknown
1933 Taxi to Paradise Tom Fanshawe
1934 The Way of Youth Alan Marmon
1934 The Four Masked Men Arthur Phillips
1934 Get Your Man Robert Halbean
1934 Adventure Ltd. Bruce Blandford
1935 Brewster's Millions Frank
1935 The Lad Jimmy
1935 The Ace of Spades Trent
1935 Three Witnesses Roger Truscott
1935 Jubilee Window Peter Ward
1935 Department Store John Goodman Johnson
1936 Tomorrow We Live Eric Morton
1936 Birds of a Feather Jack Wortle
1936 Jury's Evidence Philip
1936 Men Are Not Gods Edmund Davey
1937 Farewell Again Capt. Gilbert Reed
1937 The Squeaker Frank Sutton
1938 Julius Caesar Marcus Brutus
1939 Too Dangerous to Live Jacques Leclerc
1939 Prison Without Bars Doctor
1939 Table d'Hote Adam "Doubting Hall" section
1939 The Spy in Black Lieutenant Ashington
Commander David Blacklock
1940 Now You're Talking Charles Hampton
1940 Three Silent Men Sir James Quentin
1940 Bulldog Sees It Through Derek Sinclair
1940 The Flying Squad Inspector Bradley
1941 East of Piccadilly Tamsie Green
1945 Journey Together Squadron Leader Marshall
1947 Hamlet Claudius
1949 The Glass Mountain Bruce McLeod
1949 Landfall Wing Commander Dickens
1952 BBC Sunday Night Theatre Archdeacon Adam Brandon Episode: "The Cathedral"
1953 Laxdale Hall Hugh Marvell, MP
1958 Armchair Theatre Unknown Episode: "The Terrorist"
1960 Here Lies Miss Sabry James "Cracker" Talbot
1966 It Happened Here Dr. Richard Fletcher
1966 Out of the Unknown Major Gregory Episode: "Walk's End"
1968 All's Well That Ends Well King of France
1968 A Midsummer Night's Dream Quince
1972 Thirty-Minute Theatre Judge Episode: "The Judge's Wife"
1972 Dead of Night Powys Jubb Episode: "Death Cancels All Debts"
1975 Village Hall Ralph Episode: "Lot 23"
1977 Play for Today Abbot General Episode: "A Choice of Evils"
1978 BBC2 Play of the Week Unknown Episode: "Liza"
1979 Rumpole of the Bailey Mr. Justice Skelton Episode: "Rumpole and the Show Folk"
1979 The Old Curiosity Shop Grandfather
1981 Nanny Mr. Starkie Episode: "Goats and Tigers"
1981 Timon of Athens Old Athenian
1983 Reilly: Ace of Spies Reverend Thomas Episode: "An Affair with a Married Woman"
1983 The Weather in the Streets Mr. Curtis
1983 Return of the Jedi Anakin Skywalker Also appears as Skywalker's ghost in original release and 1997 Special Edition
1983 The Nation's Health Dr. Thurson Episodes: "Collapse" and "Decline"
1984 Crown Court Justice Bewes Episodes: "There Was an Old Woman" and "Drunk, Who Cares"
1987 High Season Sharp
1988 The Master Builder Knut Brovik
1988 Casualty Charles Howlett Episode: "Drake's Drum"
1989 Chelworth Lord Toller
1991 Chernobyl: The Final Warning Grandpa
1991 Chimera Dr. Liawski
References[edit]
^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w x "Sebastian Shaw Obituary," the Daily Telegraph, 2 January 1995.
^ Jump up to: a b c d e f g h i j k l Leech, Richard. "Better Than Beefcake: Sebastian Shaw," The Guardian, 29 December 1994, Features (section), pg. T12.
^ Jump up to: a b c d e f g h i j k l m n "Sebastian Shaw," The Times, 30 December 1994, Features (section).
^ Jump up to: a b c d Kernan, Michael. "Sebastian Shaw & the Shades of the Bard" The Washington Post, 1 March 1980, Style (section), pg. B2.
^ Jump up to: a b c d e Seaton, Ray. "Mr. Shaw's Voyage of Discovery," Express and Star, 29 April 1974.
^ Jump up to: a b c "IN MEMORIAM Mr. Sebastian Shaw," The Daily Telegraph, 15 February 1995.
^ Jump up to: a b c d e f Pirani, Adam. "Sebastian Shaw: The Return of Anakin Skywalker," Starlog, July 1987, Vol. 11, Iss. 120, pg. 56–57,+96.
Jump up ^ "No. 35171". The London Gazette. 23 May 1941. p. 2952.
Jump up ^ "No. 35391". The London Gazette. 23 December 1941. p. 7255.
Jump up ^ "No. 35606". The London Gazette. 23 June 1942. p. 2767.
Jump up ^ "No. 36618". The London Gazette (Supplement). 18 July 1944. pp. 3402–3403.
Jump up ^ "No. 40271". The London Gazette (Supplement). 3 September 1954. pp. 5138–5140.
^ Jump up to: a b c d e f Benedick, Adan. "Sebastian Shaw," The Independent, 13 February 1995 Gazette (section), pg. 12.
Jump up ^ "Classified Advertising: Theatre". The Times. London (50803): 10. 3 July 1947.
Jump up ^ Sutcliffe, Tom. "Obituary: Joan Ingpen, Inspirational artistic organiser at Covent Garden, Paris Opera and the New York Met," Archived 6 March 2016 at the Wayback Machine. the Guardian, 14 January 2008, Obituaries Pages (section), pg. 34.
Jump up ^ Peel, John and Ravenscroft, Sheila (2007). Margrave of the Marches, Chicago: Chicago Review Press, pg. 87–89. ISBN 978-1-55652-652-7.
Jump up ^ Shaw, Sebastian (1969). Poems – Sebastian Shaw, Exeter: University of Exeter. ISBN n/a.
Jump up ^ Shaw, Sebastian (1975). The Christening, London: W.H. Allen Ltd. ISBN 978-0-491-01823-4.
Jump up ^ Chernoff, Scott. "Ian McDiarmid: An Interview with the Emperor." Star Wars Insider, iss. 37, April/May 1998, pg. 33.
Jump up ^ Johnson, Derek. "Star Wars fans, DVD, and cultural ownership: an interview with Will Brooker; Interview," Velvet Light Trap, 22 September 2005, pg. 36–44.
Jump up ^ Ebert, Roger. "Anakin's fans strike back," Chicago Sun-Times, 1 May 2005, Sunday Showcase (section), pg. 3.
Jump up ^ Return of the Jedi (1983), written by George Lucas and Lawrence Kasdan, directed by Richard Marquand.
Jump up ^ Lardner, James. "Theatre Notes" The Washington Post, 28 February 1980, Style (section), pg. D9.
Jump up ^ Elliott, David. "Paradise found in witty, sensual 'High Tension'," The San Diego Union-Tribune, 6 July 1988, Lifestyle (section), pg. D-1.
External links[edit]
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Sebastian Shaw on IMDb
Sebastian Shaw at AllMovie
Sebastian Shaw at Find a Grave
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WorldCat Identities
BNE: XX4441445
BNF: cb16602730c (data)
GND: 106205430X
ISNI: 0000 0001 1664 8141
LCCN: no91017519
SUDOC: 178278696
VIAF: 68493236
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text:
All You Need Is Love
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the Beatles song. For other uses, see All You Need Is Love (disambiguation).
"All You Need Is Love"
US picture sleeve
Single by the Beatles
B-side
"Baby, You're a Rich Man"
Released
7 July 1967
Format
7-inch record
Recorded
14 and 19–25 June 1967
Studio
Olympic Sound Studios, London; EMI Studios, London
Genre
Pop[1]
Length
3:57
Label
Parlophone, Capitol
Songwriter(s)
Lennon–McCartney
Producer(s)
George Martin
The Beatles singles chronology
"Strawberry Fields Forever"/"Penny Lane"
(1967) Strawberry Fields ForeverPenny Lane1967 "All You Need Is Love"
(1967) All You Need Is Love1967 "Hello, Goodbye"
(1967) Hello, Goodbye1967
"All You Need Is Love" is a song by the English rock band the Beatles that was released as a non-album single in July 1967. It was written by John Lennon[2] and credited to Lennon–McCartney. The Beatles performed the song over a pre-recorded backing track as Britain's contribution to Our World, the first live global television link. Watched by over 400 million in 25 countries, the programme was broadcast via satellite on 25 June 1967.[3] The song captured the utopian sentiments of the Summer of Love era and topped singles charts in Britain, the United States and many other countries.
"All You Need Is Love" was later included on the US Magical Mystery Tour album. It also appears in a sequence in the Beatles' 1968 animated film Yellow Submarine and on the accompanying soundtrack album.
Contents
[hide]
1 Background and inspiration
2 Composition and musical structure
3 Recording
3.1 Backing track
3.2 Live broadcast
4 Release and reception
5 Cultural responses and legacy
6 Personnel
7 Charts and certifications
7.1 Weekly charts
7.2 Year-end charts
7.3 Certifications
8 Cover versions
9 Notes
10 References
11 Sources
12 External links
Background and inspiration[edit]
For Our World, the Beatles were asked to provide a song with a message that could be easily understood by everyone.[4] The band undertook the assignment at a time when they were committed to two film projects:[5] a planned television special, Magical Mystery Tour, and the animated feature Yellow Submarine, for which they were contractually obliged to United Artists to supply four new recordings.[6] "All You Need Is Love" was selected for Our World for its contemporary social significance over the Paul McCartney-written "Your Mother Should Know".[7][nb 1] In a statement to Melody Maker magazine, Brian Epstein, the band's manager, said of "All You Need Is Love": "It was an inspired song and they really wanted to give the world a message. The nice thing about it is that it cannot be misinterpreted. It is a clear message saying that love is everything."[9] Lennon later attributed the song's simple lyrical statements to his liking of slogans and television advertising. He also likened the song to a propaganda piece, adding: "I'm a revolutionary artist. My art is dedicated to change."[10] Author Mark Hertsgaard views it as the Beatles' "most political song yet" up to 1967 and the origins of Lennon's posthumous standing as a "humanitarian hero".[11]
In the book The Beatles Anthology, McCartney and George Harrison say they were unsure whether "All You Need Is Love" was written for Our World, while Ringo Starr and George Martin, the Beatles' producer, assert that it was. McCartney said: "It was certainly tailored to [the broadcast] once we had it. But I've got a feeling it was just one of John's songs that was coming anyway."[12]
Composition and musical structure[edit]
The song starts with the intro to the French national anthem, "La Marseillaise", and contains elements from Glenn Miller's 1939 hit "In the Mood", as well as elements from Wayne Shanklin's 1958 hit "Chanson D'Amour". "All You Need Is Love" is notable for its asymmetric time signature and complex changes.[13] The main verse pattern contains a total of 29 beats, split into two 7
4 measures, a single bar of 8
4, followed by a one bar return of 7
4 before repeating the pattern. The chorus, however, maintains a steady 4
4 beat with the exception of the last bar of 6
4 (on the lyric "love is all you need"). The prominent cello line draws attention to this departure from pop-single normality, although it was not the first time that the Beatles had experimented with varied metre within a single song: "Love You To" and "She Said She Said" were earlier examples.[14] The song is in the key of G and the verse opens (on "There's nothing you can do") with a G chord and D melody note, the chords shifting in a I–V–vi chord progression while the bass simultaneously moves from the tonic (G) note to the root note of the relative minor (E minor), via an F♯,[15] supporting a first inversion D chord.
After the verse "learn how to play the game, it's easy", the bass alters the prolonged V (D) chord with F♯, E, C and B notes.[16] The song is notable for a dramatic use of a dominant or V chord (here D) on "It's easy."[17] The "Love, love, love" chant involves chords in a I–V7–vi shift (G–D–Em)[18] and simultaneous descending B, A, G notes with the concluding G note corresponding not to the tonic G chord, but acting as the third of the E minor chord; this also introducing the E note of the Em chord as a 6th of the tonic G scale. Supporting the same melody note with different and unexpected chords has been termed a characteristic Beatles technique.[19]
The song's use of quotations from other musical works follows an approach adopted by the Beatles in Harrison's composition "It's All Too Much",[20] which similarly reflects the ideology behind the hippie movement during the 1967 Summer of Love.[21] George Martin recalled that in "All You Need Is Love" "the boys ... wanted to freak out at the end, and just go mad".[22] During the long fade-out, elements of various other songs can be heard, including "Greensleeves", Invention No. 8 in F major (BWV 779) by J. S. Bach, "In the Mood", and the Beatles' own songs "She Loves You" and "Yesterday".[23] The first of these three pieces had been included in the arrangement by Martin. "She Loves You" and "Yesterday" were the result of improvisation by Lennon in rehearsals – he had also experimented with interpolating "She'll Be Coming 'Round the Mountain" – although it was McCartney who led "She Loves You" on the subsequent studio recording.[24]
Recording[edit]
Backing track[edit]
The Beatles began recording the backing track for the song at Olympic Sound Studios in south-west London on 14 June 1967.[2][25] The producers of Our World were initially unhappy about the use of a backing track, but it was insisted upon by Martin, who said that "we can't just go in front of 350 million people without some work".[24]
The lineup was Lennon on harpsichord, McCartney on double bass, Harrison on violin – three instruments that were unfamiliar to the musicians[26] – while Starr played drums. The band recorded 33 takes, before choosing the tenth take as the best. Over the following days, they recorded overdubs including vocals, piano (played by Martin), banjo, guitar and orchestral parts.[24]
Live broadcast[edit]
There was a tremendous feeling that [the Beatles] really did believe all this, and they'd very consciously written an anthemic piece that could be understood worldwide. This was the first time TV had been beamed to so many countries, and obviously most of the listeners wouldn't be English speakers. They wrote something really, really basic, and yet still got the countercultural message across.[27]
– Barry Miles, 2007
The Our World broadcast on 25 June cut to Abbey Road studios at 8:54 pm London time, about 40 seconds earlier than expected. Martin and engineer Geoff Emerick were drinking scotch whisky to calm their nerves for the task of mixing the audio for a live worldwide broadcast, and had to scramble the bottle and glasses beneath the mixing desk when they were told they were about to go on air.[24][28]
McCartney and Lennon performing "All You Need Is Love" on Our World. Music journalist Peter Doggett has described the Beatles' performance as "one of the strongest visual impressions" from the Summer of Love.[29]
For the broadcast, the Beatles (except for Starr) were seated on stools, accompanied by a thirteen-piece orchestra. The band were surrounded by friends and acquaintances seated on the floor, who sang along with the refrain during the fade-out. These guests included Mick Jagger, Eric Clapton, Marianne Faithfull, Keith Richards, Keith Moon, Graham Nash, Mike McGear, Patti Boyd and Jane Asher.[24] The studio setting was designed to reflect the communal aspect of the occasion while also demonstrating the position of influence that the Beatles held among their peers, particularly following the recent release of their album Sgt. Pepper's Lonely Hearts Club Band.[30][nb 2] Many of the invitations were extended through Beatles aides Mal Evans and Tony Bramwell, who visited various London nightclubs the night before the broadcast.[35] Also among the studio audience were members of the Small Faces and the design collective the Fool.[36][nb 3] Balloons, flowers, streamers and "Love" graffiti added to the celebratory atmosphere. The Beatles and their entourage were dressed in psychedelic clothes and scarves; in his report on the performance, Barry Miles likened the setting to a medieval gathering, broken only by the presence of modern studio equipment such as large headphones and microphones.[38] According to Michael Frontani, an associate professor of communications, whereas Sgt. Pepper had showed the Beatles as artists and "serious musicians", the broadcast emphasised their identity as members of the hippie counterculture.[39]
The segment opened with the band simulating a rehearsal for about a minute, before Martin suggested that the orchestral musicians should take their places for the recording as the tape was rewound.[24] The Beatles, the orchestra and the guests then overdubbed onto the pre-recorded rhythm track. In addition to the lead and backing vocals and the orchestra, the live recorded elements were McCartney's bass guitar part, Harrison's guitar solo and Starr's drums.[40][41][nb 4]
Lennon, affecting indifference, was said to be nervous about the broadcast, given the potential size of the international TV audience. Dissatisfied with his singing, he rerecorded the solo verses for use on the single.[40][41] Starr also overdubbed a drum roll at the start of the track, replacing a tambourine part.[41][42]
The programme was shown in black-and-white since colour television had yet to commence broadcasting in Britain and most of the world. The Beatles' footage was colourised, based on photographs of the event, for the 1995 documentary The Beatles Anthology.[43] Over the documentary's end credits, a snippet of studio conversation from the 25 June overdubbing session includes Lennon telling Martin: "I'm ready to sing for the world, George, if you can just give me the backing …"[44] The colour version of the band's Our World appearance also appears on the Beatles' 2015 video compilation 1.[45]
Release and reception[edit]
The day before the Our World broadcast, the Beatles decided that the song should be their next single.[24] Issued in the UK on 7 July 1967, with "Baby, You're a Rich Man" on the B-side,[46] it entered the national singles chart at number 2 before topping the listings for three weeks.[47] It was similarly successful in the United States after its release on 17 July, reaching number one for a week.[48] In his feature on the song in Rolling Stone, Gavin Edwards writes that "All You Need Is Love" "hit Number One all over the world, providing the sing-song anthem for the Summer of Love, with a sentiment that was simple but profound".[24]
The Aegean Sea, off the coast of Greece. In the weeks following the release of the single, the Beatles holidayed on the Aegean in search of an island on which to establish a private commune.
According to author Jonathan Gould, the Beatles "bask[ed] in the glow of their artistic achievements" while enjoying their first summer free of tour commitments,[49] having quit performing concerts the previous year.[50] In late July, the band investigated the possibility of buying a Greek island with a view to setting up a hippie-style commune for themselves,[51] their partners and children,[52] and members of their inner circle such as Neil Aspinall, Evans, Epstein and Derek Taylor. After sailing around the Aegean Sea and approving a location on the island of Leslo,[52] the Beatles decided against the idea and returned to London.[53][54] In early August, Harrison, accompanied by a small entourage including Taylor and Aspinall,[55] made a highly publicised visit to the international hippie capital of Haight-Ashbury, in San Francisco.[4][56]
Writing in 2001, Peter Doggett said that the Beatles' performance on Our World "remains one of the strongest visual impressions of the summer of love".[29] Rolling Stone ranks "All You Need Is Love" 370th on its list of the "500 Greatest Songs of All Time"[57] and 21st on its "100 Greatest Beatles Songs" list.[58] Mojo placed it at number 28 on a similar list of the best Beatles songs. In his commentary for the magazine, producer and musician Dave Stewart admired the track's "jumbled-up mix of music – marching band and rock'n'roll" and recalled the Beatles' appearance on Our World as "a signal for those [of us] who felt we were trapped in a mental hospital in some suburban town to break out".[59]
"All You Need Is Love" was also included on the American LP version of Magical Mystery Tour in November 1967,[60] and on the Yellow Submarine album, animated film and 1999 "songtrack".[61] As a statement on the power of universal love, the song served as the moral in the film.[62][63] It plays over a scene where Lennon's character defeats the Blue Meanies by throwing the word "Love" at their evil Flying Glove.[64]
The track is also featured in Cirque du Soleil's show Love, based on the songs of the Beatles, and its album. In 1978, the Rutles parodied "All You Need Is Love" in their song "Love Life".[61]
Cultural responses and legacy[edit]
A demonstrator offers a flower to military policemen during an anti-Vietnam War demonstration in October 1967 (photo by Marc Riboud). "All You Need Is Love" provided an anthem for the flower power movement but has since attracted criticism for its simplistic message.
According to author Jon Wiener, "All You Need Is Love" served as "the anthem of flower power" during the summer of 1967 but also, like the Beatles' Sgt. Pepper album, highlighted the ideological gulf between the predominately white hippie movement and the increasingly political ghetto culture in the United States.[65] Wiener says that the song's pacifist agenda infuriated many student radicals from the New Left and that these detractors "continued to denounce [Lennon] for it for the rest of his life".[66][nb 5] In the decades following its release, Beatles biographers and music journalists have criticised the lyrics as naive and simplistic and detected a smugness in the message; the song's musical content has also been dismissed as unimaginative.[68] Writing in 1988, author and critic Tim Riley identified the track's "internal contradictions (positivisms expressed with negatives)" and "bloated self-confidence ('it's easy')" as qualities that rendered it as "the naive answer to 'A Day in the Life'".[69]
Maybe in the Sixties we were naive and like children and later everyone went back to their rooms and said, "We didn't get a wonderful world of flowers and peace." … Crying for it wasn't enough. The thing the Sixties did was show us the possibility and the responsibility we all had.[70]
– John Lennon, 1980
Mark Hertsgaard considers "All You Need Is Love" to be among the Beatles' finest songs and one of the few highlights of their recordings from the Magical Mystery Tour–Yellow Submarine era.[7] In his opinion, Lennon's detractors fail to discern between "shallow and utopian" when ridiculing the song as socially irrelevant, and he adds: "one may as well complain that Martin Luther King was a poor singer as criticize Lennon on fine points of political strategy; his role was the Poet, not the Political Organizer."[68] Ian MacDonald views the song as "one of The Beatles' less deserving hits" and, in its apparently chaotic production, typical of the band's self-indulgent work immediately after Sgt. Pepper.[71] Regarding the song's message, McDonald writes:
During the materialistic Eighties, this song's title was the butt of cynics, there being, obviously, any number of additional things needed to sustain life on earth. It should, perhaps, be pointed out that this record was not conceived as a blueprint for a successful career. "All you need is love" is a transcendental statement, as true on its level as the principle of investment on the level of the stock exchange. In the idealistic perspective of 1967 – the polar opposite of 1987 – its title makes perfect sense.[72]
In 2009, George Vaillant, the chief investigator of the Grant Study, which tracked 268 Harvard undergraduates for a period of 80 years with the goal of finding what factors led to happiness, stated that its findings could be summarized as "Happiness is love. Full stop."[73] When pressed for being sentimental or too general, he revisited his findings and again stated, "the short answer is L-O-V-E."[74] The CBC claimed that the "[grant] study proves Beatles right: All You Need is Love."[74]
Personnel[edit]
According to Ian MacDonald:[25]
The Beatles
John Lennon – lead and backing vocals, harpsichord, banjo
Paul McCartney – bass, double bass, backing vocals
George Harrison – lead guitar, violin, backing vocals
Ringo Starr – drums
Additional participants
George Martin – piano, orchestral arrangement, production
Mike Vickers – conductor
Sidney Sax, Patrick Halling, Eric Bowie, Jack Holmes – violins
Rex Morris, Don Honeywill – tenor saxophones
David Mason – trumpet
Stanley Woods – trumpet, flugelhorn[40]
Evan Watkins, Harry Spain – trombones
Jack Emblow – accordion
Mick Jagger, Keith Richards, Eric Clapton, Marianne Faithfull, Jane Asher, Patti Boyd, Mike McGear, Keith Moon, Graham Nash, Hunter Davies, Gary Leeds and others – background vocals
Charts and certifications[edit]
Weekly charts[edit]
Chart (1967)
Peak
position
Australia (Kent Music Report)[75] 1
Austria (Ö3 Austria Top 40)[76] 1
Belgium (Ultratop 50 Flanders)[77] 4
Canadian RPM 100[78] 1
Germany (Official German Charts)[79] 1
Irish Singles Chart[80] 1
Italy (FIMI)[81] 10
Netherlands (Dutch Top 40)[82] 1
Netherlands (Single Top 100)[83] 1
Norway (VG-lista)[84] 1
UK (Official Charts Company)[85] 1
US Billboard Hot 100[86] 1
US Cash Box Top 100[87] 1
Chart (1987) (Reissue)
Peak
position
Irish Singles Chart[80] 19
UK (Official Charts Company)[85] 47
Year-end charts[edit]
Chart (1967)
Rank
Canada[88] 3
US Billboard[89] 30
US Cash Box[90] 43
Certifications[edit]
Region
Certification
Certified units/Sales
United States (RIAA)[91]
Gold 1,000,000^
*sales figures based on certification alone
^shipments figures based on certification alone
Cover versions[edit]
Group or artist's name
Release date
Album title
Additional information
The 5th Dimension 1971–10 The 5th Dimension/Live![92]
New Musik 1982 Warp
Echo & the Bunnymen 1984 Seven Seas
"Life at Brian's – Lean and Hungry"
This version is included on the 1988 release New Live and Rare.[93] This version is also included on Crystal Days: 1979–1999; they also released a live cover as a bonus track on the 2003 re-release of their 1984 album Ocean Rain.
Elvis Costello 1985 Costello played the song at Wembley Stadium at the London leg of Live Aid, introducing it as an "old Northern English folk song".[24]
Bajaga i Instruktori 1986 7" single[94]
Eddie Chacon 1987 12" single Columbia 4406930
Tears for Fears 1990 Going to California (live DVD) Orzabal changed some of the lyrics and incorporated the phrase "Raoul and the Kings of Spain" which would go on to be the title of a future album.
Anything Box 1991–05 Worth[95]
Tom Jones 1993–01 single[96]
Ferrante & Teicher 1993-01-29 The Greatest Love Songs of All
The Undead 1998–07 Till Death[97]
Lynden David Hall 2003-11-11 Love Actually[98]
Nada Surf 2006 Featured in a Chase credit card commercial
Dana Fuchs & Jim Sturgess 2007 Across the Universe
Beatallica 2008 single Parodied as "All You Need is Blood"
Noel Gallagher 2009 The Dreams We Have as Children
Bandaged 2009 single (BBC Children in Need) Taken from the Bandaged Together album and featuring rock, pop and classical artists[99]
One Direction 2010 Performed live on The X Factor during the show's elimination rounds.
Japan United with Music 2012-03-07 single Charity single for recovery from the 2011 Tōhoku earthquake and tsunami. Produced by Ryuichi Sakamoto and Takeshi Kobayashi, and featuring many artists such as Yellow Magic Orchestra, Crystal Kay, Tomoyasu Hotei, Kazutoshi Sakurai, Sugizo and Bonnie Pink.[100]
The Flaming Lips (feat. Alex and Jade of Edward Sharpe and the Magnetic Zeros) 2013-04-01 The Terror Taken from the UK Bella Union exclusive 3" mini CD
Glee cast 2013 Glee Sings the Beatles Also performed on Season Five Premiere, "Love Love Love"
Dave Koz 2015 Collaborations: 25th Anniversary Collection featuring Eric Benét, Johnny Mathis, Heather Headley, Richard Marx, Jonathan Butler, Maysa, BeBe Winans, Gloria Estefan and Stevie Wonder
Notes[edit]
Jump up ^ McCartney also offered "Hello, Goodbye" for consideration.[8]
Jump up ^ The idea to film the performance in the company of their friends and fellow artists reprised the orchestral overdubbing session for "A Day in the Life" in February 1967,[31][32] when the Beatles had hosted a happening-style event at EMI's Studio 1.[33] Author Ian MacDonald cites a television performance by Pink Floyd of their June 1967 single "See Emily Play", when the band were "surrounded by a kaftan-clad crowd of beatific followers", as a precedent.[34]
Jump up ^ Starr recalls that his outfit was designed by the Fool especially for the event. It included a yellow sequin jacket with a fur collar and edging, and rings of beads around his neck; he says that together "it weighed a ton."[37]
Jump up ^ Among a number of placards featuring the word "love" translated into a variety of languages, a sign was held up during the clip with the words "Come Back Milly". This was a plea to an aunt of McCartney's who was in Australia visiting her son and grandchildren.[24]
Jump up ^ When considering the island commune scheme, Lennon was similarly oblivious to the political upheaval in Greece, three months after the country had become a fascist state. At the time, he told the Beatles' official biographer, Hunter Davies: "I'm not worried about the political situation in Greece, as long as it doesn't affect us. I don't care if the government is all fascist or communist."[67]
References[edit]
Jump up ^ Unterberger, Richie. "The Beatles 'All You Need Is Love'". AllMusic. Retrieved 20 August 2011.
^ Jump up to: a b Lewisohn 2005, p. 116.
Jump up ^ Davies, Hunter (1996). The Beatles.
^ Jump up to: a b Schaffner 1978, p. 86.
Jump up ^ Hertsgaard 1996, pp. 223–24.
Jump up ^ Lewisohn 2005, pp. 111, 116.
^ Jump up to: a b Hertsgaard 1996, p. 224.
Jump up ^ Womack 2014, p. 31.
Jump up ^ Dowlding 1989, p. 188.
Jump up ^ Henke 2003, p. 30.
Jump up ^ Hertsgaard 1996, p. 223.
Jump up ^ The Beatles 2000, p. 257.
Jump up ^ Everett 1999, p. 124.
Jump up ^ Everett 1999, pp. 40–41, 66.
Jump up ^ Everett 1999, pp. 124–25.
Jump up ^ Pedler 2003, p. 459.
Jump up ^ Pedler 2003, p. 9.
Jump up ^ Everett 1999, p. 125.
Jump up ^ Pedler 2003, p. 720.
Jump up ^ MacDonald 2005, pp. 260, 262.
Jump up ^ Inglis 2010, pp. 10–11.
Jump up ^ Gilliland 1969, show 46, track 2.
Jump up ^ Pollack, Alan W. (1996). "Notes on 'All You Need Is Love'". soundscapes.info. Retrieved 8 October 2014.
^ Jump up to: a b c d e f g h i j Edwards, Gavin (28 August 2014). "The Beatles Make History With 'All You Need Is Love': A Minute-by-Minute Breakdown". rollingstone.com. Retrieved 27 December 2015.
^ Jump up to: a b MacDonald 2005, p. 261.
Jump up ^ Hertsgaard 1996, p. 225.
Jump up ^ Harris 2007, p. 89.
Jump up ^ Badman, Keith. "Universal Love". In: Mojo Special Limited Edition 2002, p. 106.
^ Jump up to: a b Miles 2001, p. 272.
Jump up ^ Harris 2007, pp. 87–89.
Jump up ^ Lewisohn 2005, p. 96.
Jump up ^ Gould 2007, p. 427.
Jump up ^ Harris 2007, pp. 76, 82.
Jump up ^ MacDonald 2005, p. 262.
Jump up ^ Harris 2007, pp. 88–89.
Jump up ^ Miles 2001, p. 271.
Jump up ^ The Beatles 2000, pp. 256–57.
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^ Jump up to: a b c Lewisohn 2005, p. 120.
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Jump up ^ Castleman & Podrazik 1976, p. 62.
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Jump up ^ Frontani, Michael R. (8 February 2014). "It was 50 years ago today ...". Winston-Salem Journal. Retrieved 18 March 2017.
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^ Jump up to: a b Hunt, Chris. "Fantasy Island". In: Mojo Special Limited Edition 2002, p. 109.
Jump up ^ Miles 2001, pp. 273–74.
Jump up ^ Hampson, Sam (12 January 2014). "Acid and Ukeleles: The Truth About The Beatles' Greek Island". Sabotage Times. Retrieved 18 March 2017.
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Jump up ^ Rolling Stone staff (7 April 2011). "500 Greatest Songs of All Time: 370. The Beatles, 'All You Need is Love'". rollingstone.com. Retrieved 13 March 2017.
Jump up ^ Womack 2014, p. 33.
Jump up ^ Alexander, Phil; et al. (July 2006). "The 101 Greatest Beatles Songs". Mojo. p. 84.
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^ Jump up to: a b Womack 2014, p. 34.
Jump up ^ Schaffner 1978, pp. 86, 99.
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Jump up ^ Wiener 1991, pp. 39–40.
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^ Jump up to: a b CBC News Staff (31 July 2009). "Study proves Beatles right: All you need is love". Canadian Broadcasting Corporation. Archived from the original on 25 June 2017. Retrieved 25 June 2017.
Jump up ^ Worldcharts.co.uk. "Australia n°1 Hits – 60's". Archived from the original on 31 July 2013. Retrieved 5 July 2013.
Jump up ^ "Austriancharts.at – The Beatles – All You Need Is Love" (in German). Ö3 Austria Top 40.
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Jump up ^ "All you need is love in Canadian Top Singles Chart". Library and Archives Canada. Retrieved 5 July 2013.
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^ Jump up to: a b "All you need is love in Irish Chart". IRMA. Archived from the original on 3 June 2009. Retrieved 5 July 2013. Only results when searching "All you need is love"
Jump up ^ "The best-selling singles of 1967 in Italy". HitParadeItalia (it). Retrieved 5 July 2013.
56. All you need is love – The Beatles [#10]
Jump up ^ "Nederlandse Top 40 – The Beatles search results" (in Dutch) Dutch Top 40.
Jump up ^ "Dutchcharts.nl – The Beatles – All You Need Is Love" (in Dutch). Single Top 100.
Jump up ^ "Norwegiancharts.com – The Beatles – All You Need Is Love". VG-lista.
^ Jump up to: a b "Beatles". Official Charts Company. Retrieved 5 July 2013.
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Jump up ^ Hoffmann, Frank (1983). The Cash Box Singles Charts, 1950–1981. Metuchen, NJ & London: The Scarecrow Press, Inc. p. 32.
Jump up ^ "RPM 100 Top Singles of 1967". RPM. Library and Archives Canada. Retrieved 18 June 2016.
Jump up ^ "Top 100 Hits of 1967/Top 100 Songs of 1967". musicoutfitters.com. Retrieved 18 June 2016.
Jump up ^ "The Cash Box Year-End Charts: 1967". Cashbox Archives. Archived from the original on 4 March 2016. Retrieved 18 June 2016.
Jump up ^ "American single certifications – The Beatles – All You Need Is Love". Recording Industry Association of America. Retrieved 14 May 2016. If necessary, click Advanced, then click Format, then select Single, then click SEARCH
Jump up ^ Torreano, Bradley. "The 5th Dimension The 5th Dimension/Live!!". AllMusic.
Jump up ^ Ankeny, Jason (2009). "Echo & the Bunnymen New Live and Rare". AllMusic. Retrieved 27 November 2009.
Jump up ^ "All You Need Is Love (Verzija 1986)" / "Jahači magle (Ukratko)" at Discogs
Jump up ^ Cooper, William (2009). "Review of Worth by Anything Box". AllMusic. Retrieved 27 November 2009.
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Jump up ^ Phares, Heather (2009). "Various Artists Love Actually – Original Soundtrack". AllMusic. Retrieved 27 November 2009.
Jump up ^ "All You Need is Love" charity single 2009 Archived 12 March 2012 at the Wayback Machine.
Jump up ^ (in Japanese) YMO、小林武史、桜井和寿ら30人がBEATLES名曲カバー.
Sources[edit]
The Beatles (2000). The Beatles Anthology. San Francisco, CA: Chronicle Books. ISBN 0-8118-2684-8.
Castleman, Harry; Podrazik, Walter J. (1976). All Together Now: The First Complete Beatles Discography 1961–1975. New York, NY: Ballantine Books. ISBN 0-345-25680-8.
Doggett, Peter (2007). There's a Riot Going On: Revolutionaries, Rock Stars, and the Rise and Fall of '60s Counter-Culture. Edinburgh, UK: Canongate. ISBN 978-1-84195-940-5.
Dowlding, William J. (1989). Beatlesongs. New York, NY: Simon & Schuster.
Everett, Walter (1999). The Beatles as Musicians: Revolver Through the Anthology. New York, NY: Oxford University Press. ISBN 0-19-512941-5.
Frontani, Michael R. (2007). The Beatles: Image and the Media. Jackson, MS: University Press of Mississippi. ISBN 978-1-57806-966-8.
Gilliland, John (1969). "Sergeant Pepper at the Summit: The very best of a very good year" (audio). Pop Chronicles. University of North Texas Libraries.
Gould, Jonathan (2007). Can't Buy Me Love: The Beatles, Britain and America. London: Piatkus. ISBN 978-0-7499-2988-6.
Harris, John (March 2007). "The Day the World Turned Day-glo!". Mojo. pp. 72–89.
Henke, James (2003). Lennon Legend: An Illustrated Life of John Lennon. San Francisco, CA: Chronicle Books. ISBN 978-0-8118-3517-6.
Hertsgaard, Mark (1996). A Day in the Life: The Music and Artistry of the Beatles. London: Pan Books. ISBN 0-330-33891-9.
Inglis, Ian (2010). The Words and Music of George Harrison. Santa Barbara, CA: Praeger. ISBN 978-0-313-37532-3.
Lewisohn, Mark (2005) [1988]. The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years 1962–1970. London: Bounty Books. ISBN 978-0-7537-2545-0.
MacDonald, Ian (2005). Revolution in the Head: The Beatles' Records and the Sixties (2nd rev. edn). Chicago, IL: Chicago Review Press. ISBN 978-1-55652-733-3.
Miles, Barry (2001). The Beatles Diary Volume 1: The Beatles Years. London: Omnibus Press. ISBN 0-7119-8308-9.
Mojo Special Limited Edition: 1000 Days That Shook the World (The Psychedelic Beatles – April 1, 1965 to December 26, 1967). London: Emap. 2002.
Norman, Philip (1996) [1981]. Shout!: The Beatles in Their Generation. New York, NY: Fireside. ISBN 0-684-83067-1.
Pedler, Dominic (2003). The Songwriting Secrets of the Beatles. London: Omnibus Press. ISBN 978-0-7119-8167-6.
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Schaffner, Nicholas (1978). The Beatles Forever. New York, NY: McGraw-Hill. ISBN 0-07-055087-5.
Turner, Steve (2005). A Hard Day's Write: The Stories Behind Every Beatles Song (3rd ed.). New York: Harper Paperbacks. ISBN 0-06-084409-4.
Unterberger, Richie (2006). The Unreleased Beatles: Music & Film. San Francisco, CA: Backbeat Books. ISBN 978-0-87930-892-6.
Wiener, Jon (1991). Come Together: John Lennon in His Time. Urbana, IL: University of Illinois Press. ISBN 978-0-252-06131-8.
Womack, Kenneth (2014). The Beatles Encyclopedia: Everything Fab Four. Santa Barbara, CA: ABC-CLIO. ISBN 978-0-313-39171-2.
External links[edit]
Wikiquote has quotations related to: Magical Mystery Tour
Lyrics of this song at MetroLyrics
CoverTogether: "All You Need is Love" Cover Versions
Preceded by
"A Whiter Shade of Pale" by Procol Harum UK Singles Chart number one single
19 July 1967 (three weeks) Succeeded by
"San Francisco (Be Sure to Wear Flowers in Your Hair)" by Scott McKenzie
Preceded by
"Light My Fire" by the Doors Billboard Hot 100 number one single
19 August 1967 (one week) Succeeded by
"Ode to Billie Joe" by Bobbie Gentry
Preceded by
"A Whiter Shade of Pale" by Procol Harum French number one single
22 July 1967 (one week) Succeeded by
"Adios Amor" by Sheila
[show]
v
t
e
The Beatles singles discography
UK and US
(all labels)
1963
"Please Please Me" / "Ask Me Why"
"From Me to You" / "Thank You Girl"
"She Loves You" / "I'll Get You"
1964
"Can't Buy Me Love" / "You Can't Do That"
"I Feel Fine" / "She's a Woman"
1965
"Ticket to Ride" / "Yes It Is"
"Help!" / "I'm Down"
"We Can Work It Out" / "Day Tripper"
1966
"Paperback Writer" / "Rain"
"Yellow Submarine" / "Eleanor Rigby"
1967
"Penny Lane" / "Strawberry Fields Forever"
"All You Need Is Love" / "Baby, You're a Rich Man"
"Hello, Goodbye" / "I Am the Walrus"
1968
"Lady Madonna" / "The Inner Light"
"Hey Jude" / "Revolution"
1969
"Get Back" / "Don't Let Me Down"
"The Ballad of John and Yoko" / "Old Brown Shoe"
"Something" / "Come Together"
1970
"Let It Be" / "You Know My Name (Look Up the Number)"
1978
"Sgt. Pepper's Lonely Hearts Club Band/With a Little Help from My Friends" / "A Day in the Life"
1982
"The Beatles Movie Medley" / "I'm Happy Just to Dance with You"
1995
"Free as a Bird" / "Christmas Time (Is Here Again)"
1996
"Real Love" / "Baby's in Black"
UK only
(Parlophone,
Apple)
1962
"My Bonnie" / "The Saints"
"Love Me Do" / "P.S. I Love You"
1963
"I Want to Hold Your Hand" / "This Boy"
1964
"Ain't She Sweet" / "If You Love Me, Baby"
"A Hard Day's Night" / "Things We Said Today"
1976
"Yesterday" / "I Should Have Known Better"
"Back in the U.S.S.R." / "Twist and Shout"
US only
(Vee-Jay,
Swan,
Tollie,
Capitol,
Apple)
1963
"I Want to Hold Your Hand" / "I Saw Her Standing There"
1964
"Twist and Shout" / "There's a Place"
"Do You Want to Know a Secret" / "Thank You Girl"
"Love Me Do" / "P.S. I Love You"
"Sie liebt dich" / "I'll Get You"
"I'll Cry Instead" / "I'm Happy Just to Dance with You"
"And I Love Her" / "If I Fell"
"A Hard Day's Night" / "I Should Have Known Better"
"Matchbox" / "Slow Down"
1965
"Eight Days a Week" / "I Don't Want to Spoil the Party"
"Yesterday" / "Act Naturally"
1966
"Nowhere Man" / "What Goes On"
1970
"The Long and Winding Road" / "For You Blue"
1976
"Got to Get You into My Life" / "Helter Skelter"
"Ob-La-Di, Ob-La-Da" / "Julia"
Other
countries
(Odeon,
Parlophone,
Apple)
1963
"All My Loving" / "This Boy" (Canada)
1964
"Komm, gib mir deine Hand / Sie liebt dich" (Germany)
1966
"Norwegian Wood (This Bird Has Flown)" / "Nowhere Man" (Australia)
1968
"Ob-La-Di, Ob-La-Da" / "While My Guitar Gently Weeps" (Europe, Japan, Australia)
"Ob-La-Di, Ob-La-Da" / "I Will" (Philippines)
"Back in the U.S.S.R." / "Don't Pass Me By" (Sweden)
1969
"You're Going to Lose That Girl" / "Tell Me What You See" (Japan)
1970
"Oh! Darling" / "Here Comes the Sun" (Japan)
1972
"All Together Now" / "Hey Bulldog" (Europe)
1978
"Sgt. Pepper's Lonely Hearts Club Band/With a Little Help from My Friends" / "Within You Without You" (Germany)
[show]
v
t
e
Magical Mystery Tour
Songs
Side one
"Magical Mystery Tour"
"The Fool on the Hill"
"Flying"
"Blue Jay Way"
"Your Mother Should Know"
"I Am the Walrus"
Side two
"Hello, Goodbye"
"Strawberry Fields Forever"
"Penny Lane"
"Baby, You're a Rich Man"
"All You Need Is Love"
Outtakes
"All Together Now"
"It's All Too Much"
"You Know My Name (Look Up the Number)"
Related articles
Magical Mystery Tour (film)
The Beatles discography
Please Please Me
With the Beatles
A Hard Day's Night
Beatles for Sale
Help!
Rubber Soul
Revolver
Sgt. Pepper's Lonely Hearts Club Band
Magical Mystery Tour
The Beatles (White Album)
Yellow Submarine
Abbey Road
Let It Be
Past Masters
[show]
v
t
e
Yellow Submarine
Songs
Side one
"Yellow Submarine"
"Only a Northern Song"
"All Together Now"
"Hey Bulldog"
"It's All Too Much"
"All You Need Is Love"
Side two
"Pepperland"
"Sea of Time"
"Sea of Holes"
"Sea of Monsters"
"March of the Meanies"
"Pepperland Laid Waste"
"Yellow Submarine in Pepperland"
Related articles
Film
Yellow Submarine (sculpture)
Yellow Submarine Songtrack
The Beatles discography
George Martin
Blue Meanies
Chief Blue Meanie
Jeremy Hillary Boob
Ringo's Yellow Submarine
Please Please Me
With the Beatles
A Hard Day's Night
Beatles for Sale
Help!
Rubber Soul
Revolver
Sgt. Pepper's Lonely Hearts Club Band
Magical Mystery Tour
The Beatles (White Album)
Yellow Submarine
Abbey Road
Let It Be
Past Masters
[show]
v
t
e
Tom Jones
Studio albums
Along Came Jones (It's Not Unusual) (1965)
What's New Pussycat? (1965)
A-tom-ic Jones (1966)
From the Heart (1966)
Green, Green Grass of Home (1967)
Delilah (1968)
Help Yourself (1968)
Reload (1999)
Mr. Jones (2002)
Praise & Blame (2010)
Spirit in the Room (2012)
Long Lost Suitcase (2015)
Live albums
John Farnham & Tom Jones – Together in Concert (2005)
Tom Jones Live in Las Vegas
Songs
"All You Need Is Love"
"Baby, It's Cold Outside"
"Black Betty"
"Burning Down the House"
"Carrying a Torch"
"Darlin'"
"Daughter of Darkness"
"Delilah"
"Detroit City"
"Gimme Shelter"
"Green, Green Grass of Home"
"Help Yourself"
"I (Who Have Nothing)"
"Islands in the Stream"
"It's Four in the Morning"
"It's Not Unusual"
"I'll Never Fall in Love Again"
"Kiss"
"Lady Lay Down"
"Mama Told Me Not to Come"
"Move Closer"
"Say You'll Stay Until Tomorrow"
"Sex Bomb"
"Sixteen Tons"
"She's a Lady"
"Stoned in Love"
"Till"
"What's New Pussycat?"
"Without Love (There Is Nothing)"
"The Young New Mexican Puppeteer"
"Thunderball"
Related articles
Discography
This Is Tom Jones (1969–71 TV show)
Tom Jones (1980–81 TV show)
Tom Jones: The Right Time (1992 TV show)
The Wexford Carols
Retrieved from "https://en.wikipedia.org/w/index.php?title=All_You_Need_Is_Love&oldid=804354956"
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text:
List of Premier League players with 100 or more goals
From Wikipedia, the free encyclopedia
This is the latest accepted revision, reviewed on 30 October 2018.
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See also: List of footballers in England and Scotland by number of league goals
Alan Shearer was the first player to score 200 Premier League goals, and is the only player to score 100 goals for two separate clubs.
Wayne Rooney is the second Premier League player to score 200 goals or more and the player with the most goals for a single club.
Frank Lampard is the Premier League's highest scoring midfielder of all time.
Thierry Henry scored 175 Premier League goals, the most by a foreign player.
Ryan Giggs is the only player to have scored in each of the first 21 Premier League seasons.
Didier Drogba is the only African player to score 100 Premier League goals.
Since the Premier League's formation at the start of the 1992–93 season, 28 players have managed to accrue 100 or more goals in the competition.
During the 1995–96 season, Alan Shearer became the first player to score 100 Premier League goals, and holds the record for the fewest games taken to reach 100, doing so in 124 appearances. He also holds the record for most goals scored in the Premier League.[1][2] After Shearer, Harry Kane is the second-fastest to 100 goals, doing so in 141 games.[3]
Players[edit]
List of Premier League players with 100 or more goals
As of 30 October 2018.
Sources:[4][5]
Rank
Nat.
Player
Premier League club(s)
Goals
Played
Ratio
1 England Alan Shearer Blackburn Rovers, Newcastle United 260 441 0.59
2 England Wayne Rooney Everton, Manchester United 208 494 0.42
3 England Andy Cole Newcastle United, Manchester United, Blackburn Rovers, Fulham, Manchester City, Portsmouth 187 414 0.45
4 England Frank Lampard West Ham United, Chelsea, Manchester City 177 609 0.29
5 France Thierry Henry Arsenal 175 258 0.68
6 England Robbie Fowler Liverpool, Leeds United, Manchester City 163 379 0.43
7 England Jermain Defoe West Ham United, Portsmouth, Tottenham Hotspur, Sunderland, Bournemouth 162 492 0.33
9 England Michael Owen Liverpool, Newcastle United, Manchester United, Stoke City 150 326 0.46
10 England Les Ferdinand Queens Park Rangers, Newcastle United, Tottenham Hotspur, West Ham United, Leicester City, Bolton Wanderers 149 351 0.42
8 Argentina Sergio Agüero Manchester City 150 218 0.69
11 England Teddy Sheringham Nottingham Forest, Tottenham Hotspur, Manchester United, Portsmouth, West Ham United 146 418 0.35
12 Netherlands Robin van Persie Arsenal, Manchester United 144 280 0.51
13 Netherlands Jimmy Floyd Hasselbaink Leeds United, Chelsea, Middlesbrough, Charlton Athletic 127 288 0.44
14 Republic of Ireland Robbie Keane Coventry City, Leeds United, Tottenham Hotspur, Liverpool, West Ham United, Aston Villa 126 349 0.36
15 France Nicolas Anelka Arsenal, Liverpool, Manchester City, Bolton Wanderers, Chelsea, West Bromwich Albion 125 364 0.34
16 Trinidad and Tobago Dwight Yorke Aston Villa, Manchester United, Blackburn Rovers, Birmingham City, Sunderland 123 375 0.33
17 England Steven Gerrard Liverpool 120 504 0.24
18 England Ian Wright Arsenal, West Ham United 113 213 0.53
England Harry Kane Tottenham Hotspur, Norwich City 163 0.69
20 England Dion Dublin Manchester United, Coventry City, Aston Villa 111 312 0.36
21 England Emile Heskey Leicester City, Liverpool, Birmingham City, Wigan Athletic, Aston Villa 110 516 0.21
22 Wales Ryan Giggs Manchester United 109 632 0.17
23 England Peter Crouch Aston Villa, Southampton, Liverpool, Portsmouth, Tottenham Hotspur, Stoke City 108 462 0.23
24 England Paul Scholes Manchester United 107 499 0.21
25 England Darren Bent Ipswich Town, Charlton Athletic, Tottenham Hotspur, Sunderland, Aston Villa, Fulham 106 276 0.38
26 Belgium Romelu Lukaku Chelsea, West Bromwich Albion, Everton, Manchester United 105 227 0.46
27 Ivory Coast Didier Drogba Chelsea 104 254 0.41
28 England Matt Le Tissier Southampton 100 270 0.37
Italics show players still playing professional football; Bold shows players still playing in the Premier League.[4]
See also[edit]
English football first tier top scorers
List of top Premier League goal scorers by season
List of Premier League players with 500 or more appearances
References[edit]
Jump up ^ "Bent poised to join 100 club". PremierLeague.com. Premier League. 30 January 2012. Archived from the original on 20 October 2013. Retrieved 2 February 2012.
Jump up ^ "Bent delighted to join 100 goals club". PremierLeague.com. Premier League. 2 February 2012. Retrieved 2 February 2012.
Jump up ^ Dan Kilpatrick (4 February 2018). "Tottenham striker Harry Kane scores 100th Premier League goal". ESPN.
^ Jump up to: a b "Premier League Player Stats: Goals". PremierLeague.com. Premier League. Retrieved 10 December 2017.
Jump up ^ "Premier League Players – Overview and Stats". PremierLeague.com. Premier League. Retrieved 10 December 2017.
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