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Tariff of Abominations
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The "Tariff of Abominations" was a protective tariff passed by the Congress of the United States on May 19, 1828, designed to protect industry in the northern United States. Created during the presidency of John Quincy Adams and enacted during the presidency of Andrew Jackson, it was labeled the Tariff of Abominations by its southern detractors because of the effects it had on the antebellum Southern economy. It set a 38% tax on 92% of all imported goods.
Industries in the northern United States were being driven out of business by low-priced imported goods; the major goal of the tariff was to protect these industries by taxing those goods. The South, however, was harmed directly by having to pay higher prices on goods the region did not produce, and indirectly because reducing the exportation of British goods to the U.S. made it difficult for the British to pay for the cotton they imported from the South.[1] The reaction in the South, particularly in South Carolina, would lead to the Nullification Crisis.[2] The tariff marked the high point of U.S. tariffs in terms of average percent of value taxed,[3] though not resulting revenue as percent of GDP.[4]
Contents
[hide]
1 Passage of the bill
2 Effects of the tariff
3 See also
4 References
Passage of the bill[edit]
Average Tariff Rates in USA (1821-2016)
The 1828 tariff was part of a series of tariffs that began after the War of 1812 and the Napoleonic Wars, when the blockade of Europe led British manufacturers to offer goods in America at low prices that American manufacturers often could not match. The first protective tariff was passed by Congress in 1816; its tariff rates were increased in 1824. Southern states such as South Carolina contended that the tariff was unconstitutional and were opposed to the newer protectionist tariffs, but Western agricultural states favored them, as well as New England’s industries.[5]
In an elaborate scheme to prevent passage of still higher tariffs, while at the same time appealing to Andrew Jackson’s supporters in the North, John C. Calhoun and other southerners joined them in crafting a tariff bill that would also weigh heavily on materials imported by the New England states. It was believed that President John Quincy Adams’s supporters in New England, the National Republicans, or as they would later be called, Whigs, would uniformly oppose the bill for this reason and that the southern legislators could then withdraw their support, killing the legislation while blaming it on New England.
“ What that plan was, Calhoun explained very frankly nine years later, in a speech reviewing the events of 1828 and defending the course taken by himself and his southern fellow members. A high-tariff bill was to be laid before the House. It was to contain not only a high general range of duties, but duties especially high on those raw materials on which New England wanted the duties to be low. It was to satisfy the protective demands of the Western and Middle States, and at the same time to be obnoxious to the New England members.; The Jackson men of all shades, the protectionists from the North and the free-traders from the South, were to unite in preventing any amendments; that bill, and no other, was to be voted on. When the final vote came, the southern men were to turn around and vote against their own measure. The New England men, and the Adams men in general, would be unable to swallow it, and would also vote against it. Combined, they would prevent its passage, even though the Jackson men from the North voted for it. The result expected was that no tariff bill at all would be passed during the session, which was the object of the southern wing of the opposition. On the other hand, the obloquy of defeating it would be cast on the Adams party, which was the object of the Jacksonians of the North. The tariff bill would be defeated, and yet the Jackson men would be able to parade as the true “friends.”[6] ”
Southern opponents generally felt that the protective features of tariffs were harmful to southern agrarian interests and claimed they were unconstitutional because they favored one sector of the economy over another.[citation needed] New England importers and ship owners also had reason to oppose provisions targeting their industries—provisions inserted by Democratic Party legislators to induce New England constituents to sink the legislation.[citation needed]
Those in Western states and manufacturers in the Mid-Atlantic States argued that the strengthening of the nation was in the interest of the entire country.[citation needed] This same reasoning swayed two-fifths of U.S. Representatives in the New England states to vote for the tariff increase:
House Vote on Tariff of 1828[7]
For
Against
New England 16 23
Middle States (New York, New Jersey, Pennsylvania, Delaware) 56 6
West (Ohio, Indiana, Illinois, Missouri, Kentucky) 29 1
South 4 64
Total 105 94
Free States 88 29
Slave States 17 65
A substantial minority of New England Congressmen (41%) saw what they believed to be long-term national benefits of an increased tariff, and voted for it; they believed the tariff would strengthen the manufacturing industry nationally (see table).[8]
The Democratic Party had miscalculated: despite the insertion by Democrats of import duties calculated to be unpalatable to New England industries, most specifically on raw wool imports, essential to the wool textile industry, the New Englanders failed to sink the legislation, and their plan backfired.[8]
The 1828 tariff was signed by President Adams, although he realized it could weaken him politically.[9] In the presidential election of 1828, Andrew Jackson defeated Adams with a popular tally of 642,553 votes and an electoral count of 178 as opposed to Adams’s 500,897 tally and 83 electoral votes.
Effects of the tariff[edit]
John C. Calhoun
Vice President John C. Calhoun of South Carolina strongly opposed the tariff, anonymously authoring a pamphlet in December 1828 titled the South Carolina Exposition and Protest, in which he urged nullification of the tariff within South Carolina.[10] The South Carolina legislature, although it printed and distributed 5,000 copies of the pamphlet, took none of the legislative action that the pamphlet urged.[11]
The expectation of the tariff’s opponents was that with the election of Jackson in 1828, the tariff would be significantly reduced.[12][13] When the Jackson administration failed to address its concerns, the most radical faction in South Carolina began to advocate that the state itself declare the tariff null and void within South Carolina.[citation needed]
In Washington, an open split on the issue occurred between Jackson and Vice-President Calhoun.[13][14][15] On July 14, 1832, Jackson signed into law the Tariff of 1832 which made some reductions in tariff rates.[citation needed] Calhoun resigned on December 28 of the same year.[16]
The reductions were too little for South Carolina. In November 1832 the state called for a convention.[citation needed] By a vote of 136 to 26, the convention overwhelmingly adopted an ordinance of nullification drawn by Chancellor William Harper.[citation needed] It declared that the tariffs of both 1828 and 1832 were unconstitutional and unenforceable in South Carolina.[17] While the Nullification Crisis would be resolved with a compromise known as the Tariff of 1833, tariff policy would continue to be a national political issue between the Democratic Party and the newly emerged Whig Party for the next twenty years.[citation needed].
See also[edit]
Protectionism in the United States
References[edit]
Jump up ^ "1816–1860: The Second American Party System and the Tariff", Tax History Museum
Jump up ^ Stamp, Kenneth. The Causes of the Civil War. 3rd ed. New York: Touchstone, 1991
Jump up ^ See File:Droits de douane (France, UK, US).png
Jump up ^ See File:Federal taxes by type.pdf. Revenue depends on the percent of goods produced domestically vs. internationally, and non-maximal revenue can result from either a rate that taxes imports too little, or rate so high that it severely discourages importation.
Jump up ^ [1] Taussig, F.W., The Tariff History of the United States, Part I, 5th ed. G. P. Putnam’s Sons, 1910, pp. 70–74 (pp. 44–47 in .pdf format)
Jump up ^ [2] Taussig, F.W., The Tariff History of the United States, Part I, Fifth Edition, G. P. Putnam’s Sons, 1910, pp. 88, 89, (p. 55 in .pdf format)
Jump up ^ https://www.govtrack.us/congress/votes/20-1/h81
^ Jump up to: a b Bailey, Thomas A. The American Pageant D.C. Heath and Co. (1971)
Jump up ^ "Tariff of 1828".
Jump up ^ McDonald, Forrest, States’ Rights and the Union: Imperium in Imperio 1776–1876, pp. 104–05 (2000) ISBN 0-7006-1040-5
Jump up ^ Hofstadter, Richard. The American Political Tradition. 1973 edition, p. 93
Jump up ^ Remini, Robert V., Andrew Jackson and the Course of American Democracy, 1833–1845, pp. 136–37, (1984) ISBN 0-06-015279-6
^ Jump up to: a b Niven, John. John C. Calhoun and the Price of Union, pp. 135–37 >, William W., Prelude to Civil War: The Nullification Crisis in South Carolina 1816–1836, p. 143 (1965) ISBN 0-19-507681-8
Jump up ^ Freehling, William W., Prelude to Civil War: The Nullification Crisis in South Carolina 1816–1836, p. 143 (1965) ISBN 0-19-507681-8
Jump up ^ Craven, Avery. The Coming of the Civil War, p. 65 (1942) ISBN 0-226-11894-0
Jump up ^ U.S. Senate profile of Calhoun
Jump up ^ "South Carolina Ordinance of Nullification, November 24, 1832". Yale Law School. Retrieved July 27, 2017.
[show]
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United States House of Representatives, 1831–1848
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Bureau of Engraving and Printing
From Wikipedia, the free encyclopedia
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Bureau of Engraving and Printing
Seal of the Bureau of Engraving and Printing
Flag of the U.S. Department of the Treasury
Agency overview
Formed
August 29, 1862[1]
Headquarters
Washington, D.C.
Employees
2,169 (2006)
Agency executive
Leonard R. Olijar, Director
Parent agency
Department of the Treasury
Website
www.MoneyFactory.gov
The Bureau of Engraving and Printing (BEP) is a government agency within the United States Department of the Treasury that designs and produces a variety of security products for the United States government, most notable of which is Federal Reserve Notes (paper money) for the Federal Reserve, the nation's central bank. In addition to paper currency, the BEP produces Treasury securities; military commissions and award certificates; invitations and admission cards; and many different types of identification cards, forms, and other special security documents for a variety of government agencies. The BEP does not produce coins; all coinage is produced by the United States Mint. With production facilities in Washington, DC, and Fort Worth, Texas, the Bureau of Engraving and Printing is the largest producer of government security documents in the United States.
Contents
[hide]
1 History
2 Production
2.1 Postage stamp production
2.2 Currency production
3 Locations
3.1 District of Columbia location
3.2 Fort Worth location
3.3 Historic locations
4 BEP Police
5 See also
6 References
7 External links
History[edit]
Aerial view of the BEP in Washington, D.C. circa 1918
United States Souvenir Card issued by the Bureau of Engraving and Printing, for the HAPEX APS 70 exhibition and 84th Annual Convention of the American Philatelic Society in 1970
The Bureau of Engraving and Printing has its origins in legislation enacted to help fund the Civil War. In July 1861, Congress authorized the Secretary of the Treasury to issue paper currency in lieu of coins due to the lack of funds needed to support the conflict. The paper notes were essentially government IOUs and were called Demand Notes because they were payable "on demand" in coin at certain Treasury facilities. At this time the government had no facility for the production of paper money so a private firm produced the Demand Notes in sheets of four. These sheets were then sent to the Treasury Department where dozens of clerks signed the notes and scores of workers cut the sheets and trimmed the notes by hand. The Second Legal Tender Act (July 11, 1862; 12 Stat. 532) authorized the Treasury Secretary to engrave and print notes at the Treasury Department; the design of which incorporates fine-line engraving, intricate geometric lathe work patterns, a Treasury seal, and engraved signatures to aid in counterfeit deterrence.[2]
Initially, the currency processing operations in the Treasury were not formally organized. When Congress created the Office of Comptroller of the Currency and National Currency Bureau in 1863, currency-processing operations were nominally subordinated to that agency and designated the "First Division, National Currency Bureau." For years, however, the currency operations were known by various semi-official labels, such as the "Printing Bureau," "Small Note Bureau," "Currency Department," and "Small Note Room." It was not until 1874 that the "Bureau of Engraving and Printing" was officially recognized in congressional legislation with a specific allocation of operating funds for fiscal year 1875.
From almost the very beginning of its operations, the Bureau of Engraving and Printing designed and printed a variety of products in addition to currency. As early as 1864, the offices which would later become the BEP made passports for the State Department and money orders for the Post Office Department. Passports are now produced by the Government Publishing Office. Other early items produced by the BEP included various government debt instruments, such as interest-bearing notes, refunding certificates, compound interest Treasury notes, and bonds. The production of postage stamps began in 1894, and for almost the next century the BEP was the sole producer of postage stamps in the country.
15th Street SW entrance to the BEP in Washington, D.C.
13th Street SW entrance to the BEP Annex in Washington, D.C.
The Bureau's Fort Worth location, with visitor tours available during business hours.
Production[edit]
The Bureau of Engraving and Printing officially took over production of postage stamps for the United States government in July 1894. Paper currency was later produced on hand presses around 1918, utilizing plates capable of printing four notes per sheet.
Garfield, Issue of 1894
1st postage stamp printed by BEP
Postage stamp production[edit]
The Bureau of Engraving and Printing officially took over production of postage stamps for the United States government in July 1894. The first of the works printed by the BEP was placed on sale on July 18, 1894, and by the end of the first year of stamp production, the BEP had printed and delivered more than 2.1 billion stamps. The United States Postal Service switched purely to private postage stamp printers in 2005, ending 111 years of production by the Bureau.[3][4] Starting in 2011 the United States Postal Service in-housed all postage stamp printing services.
Currency production[edit]
Federal Reserve $1 note, 2009 issue
Plate capacity on power presses increased from four to eight notes per sheet in 1918 in order to meet greatly expanded production requirements related to World War I. With the dramatic redesign of currency in 1929 – the first major change since paper currency was first issued in 1861 – note design was not only standardized but note size was also significantly reduced. Due to this reduction in size, the Bureau was able to convert from eight-note printing plates to twelve-note plates. The redesign effort came about for several reasons, chief among them a reduction in paper costs and improved counterfeit deterrence through better public recognition of currency features.
A further increase in the number of notes per sheet was realized in 1952 after breakthrough developments in the production of non-offset inks. Beginning in 1943, the BEP experimented with new inks that dried faster, therefore obviating the need to place tissues between sheets to prevent ink from offsetting to other sheets. The faster drying ink also enabled printed sheets of backs to be kept damp until the faces were printed, thereby reducing distortion caused by wetting, drying, and re-wetting of the paper (sheets needed to be dampened before each printing).
Three consecutive $2 notes, 2009 issue
By reducing the distortion that increases proportionally with the size of the sheet of paper, the Bureau was able to convert from 12-note printing plates to plates capable of printing 18 notes in 1952. Five years later in 1957, the Bureau began printing currency via the dry intaglio method that utilizes special paper and non-offset inks, enabling a further increase from 18 to 32 notes per sheet. Since 1968, all currency has been printed by means of the dry intaglio process, whereby wetting of the paper prior to printing is unnecessary. In this process, fine-line engravings are transferred to steel plates from which an impression is made on sheets of distinctive paper. Ink is applied to a plate containing 32 note impressions, which is then wiped clean, leaving ink in the engraved lines. The plate is pressed against the sheet of paper with such pressure as to actually press the paper into the lines of the plate to pick up the ink. Both faces and backs are printed in this manner – backs first. After the faces are printed, the sheets are then typographically overprinted with Treasury Seals and serial numbers.
During the Fiscal Year 2013, the Bureau delivered 6.6 billion notes at an average cost of 10 cents per note.[5]
Locations[edit]
The Bureau of Engraving and Printing has two locations: one in Washington, DC, and another in Fort Worth, Texas.
District of Columbia location[edit]
The Washington, D.C., facility comprises two adjacent buildings, the elder of which is located between 14th and 15th streets SW. The architectural style of what is considered the main building is neoclassical. It has a steel superstructure with fireproof concrete, Indiana limestone, and granite trim exterior. The main façade of the building faces Raoul Wallenberg Place (15th St), the Tidal Basin, and the Jefferson Memorial, with stone columns spanning the 505-foot (154 m) length of the building's front. The building is 296 feet (90 m) deep and 105 feet (32 m) high with four wings that extend back toward 14th Street. The building is listed on the U.S. National Register of Historic Places as Auditor's Building Complex.
In May 1938, work was completed on an addition to the Washington, D.C., facility to accommodate increases in personnel and production. The annex building, as it is called, is located on 14th Street, between C and D streets SW, just opposite the main building. The building is 570 feet (170 m) long, 285 feet (87 m) wide, and made entirely of reinforced concrete with a limestone façade. The structure consists of a central backbone running from 14th Street to 13th Street with five wings extending north and south from the backbone.
The Washington, D.C., location offers a free 30-minute guided tour which features the various phases of currency production. Tours may be taken Monday through Friday. The Bureau is closed for all federal holidays and the week between Christmas and New Year's Day.[6][7]
Fort Worth location[edit]
In 1987, construction began on a second facility in Fort Worth, Texas. In addition to meeting increased production requirements, a western location was seen to serve as a contingency operation in case of emergencies in the DC metropolitan area; additionally, costs for transporting currency to Federal Reserve banks in San Francisco, Dallas, and Kansas City would be reduced. Currency production began in December 1990 at the Fort Worth facility, and the official dedication took place on April 26, 1991. Any currency printed at Fort Worth includes a small "FW", usually located to the left of the bill's face plate number, and most also have larger back plate numbers.[8]
Historic locations[edit]
The Bureau moved into its own building in 1880 with the completion of a facility at 14th St. and Independence Ave. SW, now the Sidney Yates Building. An addition was built on the south side of the building in 1891. The Bureau relocated to its present Washington location, just south of the original building, in 1915.
BEP Police[edit]
A Bureau of Engraving and Printing Police (BEP) patrol car.
The Bureau operates a police department, the Bureau of Engraving and Printing Police Force, that protects BEP personnel and facilities. The BEP Police are responsible for enforcing federal and local laws, Treasury Department rules and regulations, Washington, DC Criminal Code through a Memorandum of Understanding, and Texas Criminal Code.[9]
See also[edit]
United States Mint
Title 31 of the Code of Federal Regulations
Charles R. Chickering, chief stamp designer for BEP
Federal Reserve System
United States Department of the Treasury
Who's Minding the Mint?, a 1967 film with the D.C. Bureau of Engraving and Printing as its setting
References[edit]
Jump up ^ Treasury.gov Archived December 26, 2007, at the Wayback Machine.
Jump up ^ "U.S. Currency". Bureau of Engraving and Printing U.S. Department of the Treasury. Retrieved March 29, 2017.
Jump up ^ McAllister, Bill (13 June 2005). "After 111 Years, Postage Stamps Go Private". Washington Post. Retrieved 9 April 2012.
Jump up ^ "2005 Comprehensive Statement on Postal Operations". USPS. Retrieved 9 April 2012.
Jump up ^ Bureau of Engraving and Printing. "Annual Production Figures" Archived 2011-08-27 at the Wayback Machine., referenced 2014-03-11.
Jump up ^ "Washington, D.C. -- Places To Tour -- Bureau of Engraving and Printing".
Jump up ^ "Bureau of Engraving and Printing". Yelp. 8 November 2015.
Jump up ^ "USPaperMoney.Info: Features of Current Notes".
Jump up ^ Dempsey, John S.; Forst, Linda S. (2009). An Introduction to Policing. Cengage Learning. p. 63. ISBN 1435480538.
External links[edit]
Wikimedia Commons has media related to Bureau of Engraving and Printing.
Official website
BEP Annual Production Figures
BEP Monthly Production Figures
BEP production figures broken down by month, as well as some other currency-related articles
Bureau of Engraving and Printing at the Wayback Machine (archived May 30, 1997)
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Flag of Haiti
From Wikipedia, the free encyclopedia
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Haiti
Name
Bicolour
Use
National flag
Proportion
3:5
Adopted
26 February 1986
Design
A horizontal bicolour of blue and red, charged with the Coat of Arms in a small white box in the center.
Variant flag of Haiti
Use
Civil flag and ensign
Proportion
3:5
Adopted
26 February 1986
Design
A horizontal bicolour of blue and red.
The flag of Haiti is a bicolour flag featuring two horizontal bands coloured blue and red, defaced by a white panel bearing the coat of arms. The coat of arms depicts a trophy of weapons atop a green hill, ready to defend freedom, and a royal palm symbolizing independence. The palm is topped by the Cap of Liberty. The motto L'Union Fait La Force ("Unity Is Strength") appears on a white ribbon below the arrangement.
Contents
1 Present design
1.1 National flag
1.2 Civil flag
2 History
3 See also
4 Notes and references
5 External links
Present design[edit]
National flag[edit]
The present design was first used by the Republic of Haiti under President Alexandre Pétion in 1806.[1] It was most recently readopted on 25 February 2012 under Title I, Chapter I, Article 3 of the current Constitution of Haiti:
L'emblême de la Nation Haïtienne est le Drapeau qui répond à la description suivante:
Deux (2) bandes d'étoffe d'égales dimensions: l'une bleue en haut, l'autre rouge en bas, placées horizontalement;
Au centre, sur un carré d'étoffe blanche, sont disposées les Armes de la République;
Les Armes de la République sont : Le Palmiste surmonté du Bonnet de la Liberté et, ombrageant des ses Palmes, un Trophée d'Armes avec la Légende: L'Union fait la Force.
The English translation adopted by the Embassy of Haiti in Washington, D.C., reads:[2]
The emblem of the Haitian Nation shall be a flag with the following description:
Two (2) equal-sized horizontal bands: a blue one on top and a red one underneath;
The coat of arms of the Republic shall be placed in the center on a white square;
The coat of arms of the Republic are: a Palmette [sic][a] surmounted by the liberty cap, and under the palms a trophy with the legend: In Union there is Strength.
Contrary to the constitutional mandate, the white field is rarely (if ever) rendered as a square. A rectangle with a 11:9 ratio has been adopted by the Haitian Ministry of Information and Coordination since 1987 or earlier.[3]
Civil flag[edit]
The civil flag and ensign omits the coat of arms.[4]
History[edit]
The first purely Haitian flag was adopted on 18 May 1803, on the last day of the Congress of Arcahaie, about 80 kilometres (50 mi) north of Port-au-Prince. Haitian lore holds that the newly appointed revolutionary leader Jean-Jacques Dessalines created the flag by taking a French tricolor and ripping out the white center, which he discarded. He then asked Catherine Flon, his god-daughter,[5] to sew the remaining bands together. The white pale removed, the blue was taken to represent Haiti's black citizens and the red the gens de couleur. The story is widely known in Haiti: the anniversary of the date is celebrated as the Haitian Flag Day and images of Catherine Flon have appeared on Haitian currency and stamps.[6]
Following his proclamation as Emperor Jacques I, Dessalines promulgated a new constitution on 20 May 1805. In it, the colors of the flag were altered to black and red.[7] This flag being subsequently adopted by Henri Christophe, the republicans under Alexandre Pétion returned to the colors blue and red, subsequently turning them horizontal and adding the newly adopted Haitian coat of arms.
During the period of the Haitian Empire of Faustin I, his coat of arms was used on the flag and for official functions, but it was subsequently abandoned upon his removal from office.
Between 1964 and 1986, the family dictatorships of François "Papa Doc" and Jean-Claude "Baby Doc" Duvalier returned to Dessalines' black and red design. They included the national coat of arms, but altered the flags in its trophy to black as well.
Because the coat of arms is only used for national and military flags, whereas the civil flag consists solely of the two unaugmented horizontal bands, it was discovered at the 1936 Summer Olympics in Berlin that Haiti and Liechtenstein were using the same flag. This led to the addition of a crown to the design of the flag of Liechtenstein.[8]
Flag before the French Revolution (1625–1803)
Flag of the Empire of Haiti (1804–1806)
Flag of the State of Haiti (1806–1811)
Flag of the Kingdom of Haiti (1811–1814)
Flag of the Kingdom of Haiti (1814–1820)
Flag of the Empire of Haiti (1849–1859)
Flag of the First Haitian Republic (1859–1964)
Flag of Haiti used by Duvalier (1964–1986)
See also[edit]
List of Haitian flags
Flag of France
Flag of Liechtenstein
Notes and references[edit]
Jump up ^ palmiste correctly translates to "royal palm", not palmette.[3]
Jump up ^ Beauvoir, Max G. "Colors of the Flags." Accessed 11 February 2011.
Jump up ^ "Flag and Coat of Arms". Embassy of the Republic of Haiti, Washington, DC. Retrieved 17 May 2017.
^ Jump up to: a b Željko Heimer; Armand du Payrat; Zoltán Horváth; Ivan Sache (13 December 1999). "Haiti". Flags of the World. Retrieved 17 May 2017.
Jump up ^ CIA- The World Factbook. Liechtenstein- Flag Description Archived 16 September 2012 at the Wayback Machine.. Accessed 19 August 2012.
Jump up ^ Various sources Archived 10 July 2011 at the Wayback Machine.. Op. cit. L'histoire d'Haiti. "18 Mai." Accessed 12 February 2011.
Jump up ^ Clinton, Hillary. Remarks on Republic of Haiti Flag Day. 18 May 2010. Accessed 12 February 2011.
Jump up ^ New York Evening Post: "Constitution of Hayti." General Dispositions: Article 20. 15 July 1805. Op. cit. Corbett, Bob. The 1805 Constitution of Haiti Archived 28 December 2005 at the Wayback Machine.. 4 April 1999. Accessed 12 February 2011.
Jump up ^ CIA- The World Factbook. Liechtenstein- Flag Description Archived 16 September 2012 at the Wayback Machine.. Accessed 19 August 2012.
External links[edit]
Fombrun, Odette Roy, ed. (2009). History of The Haitian Flag of Independence (PDF). The Flag Heritage Foundation Monograph And Translation Series Publication No. 3. p. 13. Retrieved 24 December 2015.
Cahoon, Ben M. (ed.). "Haiti". Worldsstatesmen.
de Vries, Hubert, ed. (1 June 2009). "Haiti – L'Union Fait La Force". Hubert Herald.
The Armorial of Haiti: Symbols of Nobility in the Reign of Henry Christophe
République d'Haïti
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text:
The Phantom of the Opera (Andrew Lloyd Webber song)
From Wikipedia, the free encyclopedia
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"The Phantom of the Opera" is a song from the stage musical of the same name. It was composed by Andrew Lloyd Webber, with lyrics written by Charles Hart and Richard Stilgoe, and additional lyrics by Mike Batt.[1] The song was originally recorded by Sarah Brightman and Steve Harley, which became a UK hit single in 1986, prior to the musical. In its theatrical debut, it was sung by Brightman and Michael Crawford in their roles as Christine Daaé and the Phantom.
Contents
[hide]
1 Background
1.1 Influences
1.2 Plagiarism allegations
2 Sarah Brightman and Steve Harley version
2.1 Background
2.2 Release
2.3 Music video
2.4 Track listing
2.5 Chart performance
3 Cover versions
4 References
Background[edit]
The song is performed in Act I after the song "Angel of Music" (The Mirror) and before "The Music of the Night" (and is reprised in Act Two at the end of the song "Notes/Twisted Every Way"). It takes place as the Phantom escorts Christine by boat to his lair beneath the Opera Garnier. It is sung as a duet by Christine and the Phantom. At the end of the song, Christine sings her highest note in the show, an E6. In different shows, Sarah Brightman sings this song in different duets with other performers, Antonio Banderas, Chris Thompson, Alessandro Safina, Mario Frangoulis, Colm Wilkinson, Anthony Warlow, John Owen-Jones, Peter Jöback and Erkan Aki.
Influences[edit]
What makes this particular song unique within the musical is its unusual hard rock style, since most of the songs in the musical have a more operatic style. Early in the musical's production, Andrew Lloyd Webber met Jim Steinman, who described "The Phantom of the Opera" as a rock song invading an opera house. This is what inspired the hard rock style of the song, which influenced all of the rock-based instruments in the song including drums and electric guitar.
"The Phantom of the Opera" song was also specially arranged by the show's original orchestrator, David Cullen, for a virtuoso cello version for cellist Julian Lloyd Webber, Andrew's brother, for the CD Lloyd Webber Plays Lloyd Webber.
Plagiarism allegations[edit]
Ray Repp sued Andrew Lloyd Webber over the main melody of Phantom, claiming that it was based on his folk song "Till You" which he recorded in 1978. Webber won the case however, with the counter-claim that the section of "Phantom" in question was actually based on Webber's "Close Every Door", which was written before Till You. Repp ultimately lost the case.
In addition, Roger Waters of Pink Floyd had asserted that Andrew Lloyd Webber had plagiarised the intro section from the Pink Floyd song "Echoes", which largely resembles it, although he decided against filing a lawsuit.
"Yeah, the beginning of that bloody Phantom song is from Echoes. *DAAAA-da-da-da-da-da* [sic]. I couldn't believe it when I heard it. It's the same time signature – it's 12/8 – and it's the same structure and it's the same notes and it's the same everything. It probably is actionable. It really is! But I think that life's too long to bother with suing Andrew fucking Lloyd Webber."[2]
Sarah Brightman and Steve Harley version[edit]
"The Phantom of the Opera"
Single by Sarah Brightman and Steve Harley
from the album The Phantom of the Opera
B-side
"Overture - The Phantom of the Opera"
Released
January 1986[3]
Format
7", 12", CD single
Genre
Musical
Length
4:38
Label
Polydor Records
Songwriter(s)
Andrew Lloyd Webber (music)
Richard Stilgoe (lyrics)
Charles Hart (lyrics)
Mike Batt (additional lyrics)
Producer(s)
Mike Batt (producer)
Andrew Lloyd Webber (executive producer)
Sarah Brightman singles chronology
"Pie Jesu"
(1985) Pie Jesu1985 "The Phantom of the Opera"
(1986) The Phantom of the Opera1986 "All I Ask of You"
(1986) All I Ask of You1986
Steve Harley singles chronology
"Irresistible"
(1985) Irresistible1985 "The Phantom of the Opera"
(1986) The Phantom of the Opera1986 "Heartbeat Like Thunder"
(1986) Heartbeat Like Thunder1986
In January 1986, the original version of "The Phantom of the Opera" was released as a single to promote the upcoming musical of the same name. The duet was performed by Sarah Brightman and Steve Harley. The song became a Top 10 hit in the UK, peaking at #7, and remaining within the Top 100 for ten weeks.[4]
Background[edit]
In 1984, Andrew Lloyd Webber and producer Cameron Mackintosh began working on the Phantom of the Opera musical. Sarah Brightman, whom Webber married in 1984, was set to play the heroine Christine. As development of the musical continued, Webber decided that releasing the title track as a pop single would be a good way of promoting the upcoming musical, and to "test the water" in terms of public reception. He stressed that he wanted the song to have a rock 'n' roll sound, to which producer Mike Batt added an "electro-pop beat and heavy metal guitars".[5]
Having worked together on the 1983 single "Ballerina (Prima Donna)", Batt phoned Steve Harley with the offer of singing the role of the Phantom on the track,[6] and duly suggested Harley to Webber. Batt believed Harley's voice was just right for the song.[7] Although he was currently working on his own solo album, having signed a new contract with Mickie Most's label RAK,[8] Harley "jumped at the chance" to record the song.[9]
Harley had to audition for the recording of the song at Webber's home. Speaking to Number One magazine's Debbi Voller in February 1986, Harley revealed: "I don't mean to boast but after only singing one verse he told me I'd got the job!"[10][11] He also commented to the Daily Star at the time: "A friend said he was going to tell Andrew that my voice was just right for the song. I thought he was joking. But I really enjoyed working with Andrew. I'd love to play the Phantom when he puts the show on stage."[7]
Speaking of the recording of the song, Harley said: "I felt a bit like a fish out of water. Sarah would record her part perfectly then leave, and I'd have to stay until I hit those notes. It really stretched me."[9] In the 2005 Behind the Mask documentary, Harley recalled: "I'd never done a duet. I knew Sarah could sing with an angelic soprano. I was quite happy to give it a crack, as it were."[12]
The single was released in January 1986, and reached #7 in the UK in early February. At the time of its success, the UK press reported the rumour that Brightman had not wanted to work with Harley due to a negative review he gave on radio years before of one of her previous records. In the 23 March 1986 issue of the Mail on Sunday's You magazine, Brightman commented: "That was just a joke. I was very pleased to work with him. Anyway, I didn't say that. I don't bear grudges."[13]
Despite the success of the single, the masked nature of the Phantom character, (particularly in the music video), meant that Harley did not gain instant recognition for his role. He commented to the Daily Star in February 1986: "It's crazy. Here I am back in the charts and not even my nearest and dearest know it's me. But, in a way, I like my face not being seen. It's great to have fame and anonymity at the same time."[7]
Being the prime candidate for the role of the Phantom in the musical, Harley ended up auditioning in front of the creative team, and was given the role the following day. He then spent five months rehearsing, including working with producer Hal Prince. He also recorded other tracks from the musical including "Music of the Night" and "All I Ask of You". He was surprised to find he was later replaced by Michael Crawford. For Behind the Mask, Cameron Mackintosh said: "He wasn't that experienced as an actor. It became obvious to me, and then I discussed it with Hal and Andrew, who also came to the same conclusion that this was a lovely impulse but not the right decision for the show."[12]
Harley later recalled: "What happened is a mystery to me. There was no hint that they were unhappy with me, or that they were seeing anyone behind my back." Harley received £20,000 compensation after he was removed from the musical, but was given no explanation.[12] It has been suggested that due to suffering from polio as a child, there were doubts as to whether Harley could effectively cope with the part.[14]
Release[edit]
The single was released by Polydor Records on 7" and 12" vinyl, as well as on CD in Japan. The single was released in the UK, Ireland, America, Canada, Australia, Japan and across Europe including Germany, France, Portugal and Spain.[15][16] In the UK, a limited edition 7" release was issued in addition to the standard one. This limited edition version featured a luminous disc.[17]
The B-Side "Overture - The Phantom of the Opera" is a two-minute instrumental version of the A-Side. It was written and produced by Andrew Lloyd Webber.[18] On the American 7" vinyl release, the B-Side was re-titled "The Phantom of the Opera (Instrumental)". The graphic artwork and sleeve design for all versions of the single was created by Dewynters Ltd, London.[19]
On the back sleeve of the release, a short passage reads:
"Ladies and Gentlemen, On this recording I have required that Sarah Brightman and Steve Harley perform the theme from the forthcoming musical, which I have instructed Andrew Lloyd Webber to write around my legend 'The Phantom of the Opera.' Your Obedient Servant, The Phantom".[3]
The 12" version of the single features a seven-minute extended remix of the song, as well as the standard version.[20][21] Following the original mini CD release of the single in Japan, it was re-issued there again in 1992 on the same format.[22][23]
Brightman and Harley's version of the song would later appear on the 1994 compilation The Very Best of Andrew Lloyd Webber,[24] as well as another Webber compilation titled Gold - The Definitive Hit Singles Collection, released in 2001.[25]
Music video[edit]
Directed by Ken Russell, the music video for the single also acted as promotion for the upcoming musical.[14] After the chart success of the single, Webber wanted to further promote the musical, and the resultant video took a week to shoot.[26] In his book Phallic Frenzy: Ken Russell and His Films, author Joseph Lanza noted that the video: "packs in the gist of the musical's message and story in just over four minutes."[5] In his interview with Number One magazine, Harley spoke of Russell, describing him as "terribly friendly, though I must admit his work does give the impression that he lives on another planet!"[10]
The video starts with Brightman as Christine running to her dressing room. On her way there, Raoul gives her a purple flower bouquet, which she takes with her. In her dressing room, she finds a gift box from the Phantom (portrayed by Harley). She opens it and puts the veil inside on her head. Then, she enters the mirror, arriving in the Phantom's lair, with the Phantom standing across the other side of a lake. Christine crosses the lake on a boat the moves by itself. The closing segment features Christine performing on stage in front of an audience including Raoul. The Phantom, secretly spectating, cuts a rope backstage which causes the chandelier to crash on top of Raoul. The video ends with Christine screaming before blood red drips over and envelops the screen.
In the Behind the Mask documentary, Richard Stilgoe described the video as "wonderful, as over-the-top as you can get". Cameron Mackinstosh said: "Ken Russell came up with the most brilliant, outrageous video. It's fantastic fun, and completely over-the-top, which of course Andrew and I loved."[12]
Track listing[edit]
7" Single
"The Phantom of the Opera" - 4:40
"Overture - The Phantom of the Opera" - 2:10
7" Single (US release)
"The Phantom of the Opera" - 4:40
"The Phantom of the Opera (Instrumental)" - 2:10
12" Single
"The Phantom of the Opera (Extended Version)" - 7:09
"The Phantom of the Opera" - 4:40
"Overture - The Phantom of the Opera" - 2:10
12" Single (Canadian promo)
"The Phantom of the Opera (Edited Version)" - 3:44
"The Phantom of the Opera" - 4:39
CD Single (Japanese release)
"The Phantom of the Opera" - 4:44
"Overture - The Phantom of the Opera" - 2:13
Chart performance[edit]
Chart (1986)
Peak
position
Irish Singles Chart[27] 11
UK Singles Chart (The Official Charts Company)[4] 7
Cover versions[edit]
The British guitarist Hank Marvin did an instrumental version of the song on his 1997 album Hank Plays the Music of Tim Rice & Andrew Lloyd Webber.
The song "The Phantom of the Opera" was covered in 1998 by Charlotte Church and Peter Karrie.
It was also covered in 2002 by the Finnish symphonic power metal quintet Nightwish and released on the album Century Child. This particular version of the song, with Tarja Turunen (soprano) singing Christine's part and Marco Hietala (baritone/tenor) singing the part of The Phantom, is set in a different register (one whole tone below) to the original version written by Andrew Lloyd Webber. On the recorded version, the female vocalisation at the end of the song is quite different from the original, however, when the song is performed live, the vocalisation is the same, although with a slightly different key progression. Tarja Turunen hits E6 in live at the end of the song. She also sings it in her solo concerts. There is also another gothic metal version released in 1999 by Austrian band Dreams of Sanity (Masquerade album). Tarja also performed the song live in Rock in Rio 2011, along with Brazilian power metal band Angra. Japanese Symphonic Metal band Liv Moon have also covererd the song live, as a duet between lead singer Akane Liv and guitarist Takayoshi Ohmura.
The song was also covered by Israeli countertenor David D'Or, backed by the Israeli Philharmonic Orchestra, on David D’Or & the Philharmonic; Live Concert, released on 1 April 2003.[28][29]
Power metal band HolyHell also covered the song, with Eric Adams of Manowar making a guest appearance singing the part of The Phantom.
The song was also covered by Me First and the Gimme Gimmes on their show-tune album, Are A Drag. Also, in Rufus Wainwright's song "Between My Legs", from the album Release the Stars, the last 30 seconds plays the main theme from this song. The song was also covered by X Factor finalist, Rhydian Roberts, for which Lord Lloyd Webber wrote a male solo version specially for the artist.
The beginning melody for this song was also used in the Alice Cooper concert DVD Live in Montreux before the song "Department of Youth".
In about 2001, the song was covered by Sophie Viskich and Kris Phillips live in Beijing, China.
Richard Clayderman has also arranged a piano-orchestral version of the song; originally found in his album The Best of Andrew Lloyd Webber.[30]
In 2011, Hawaiian-American singer Nicole Scherzinger sang this song at the annual Royal Variety Performance in the United Kingdom, which is often attended by Queen Elizabeth II but was attended by her daughter Princess Anne this year. Nicole Scherzinger was accompanied by four male "Phantoms" (John Owen-Jones, Ramin Karimloo, Simon Bowman and Earl Carpenter) for the performance, which was performed to make the 25th anniversary of Andrew Lloyd Webber's 1986 musical.
This is used as Kyla Ross' floor music. She was part of the gold winning gymnastics team at the 2012 Olympics. It is also covered by Vocaloid character Hatsune Miku portraying as Christine.
Violinist Lindsey Stirling did an accompanied instrumental version of the song on her Phantom of the Opera single in 2012.
References[edit]
Jump up ^ "Songs from the Phantom of the Opera - Various Artists | Songs, Reviews, Credits | AllMusic". allmusic.com. Retrieved 2016-11-10.
Jump up ^ "Who the hell does Roger Waters think he is?". Q. November 1992. Archived from the original on 22 October 2015. Retrieved 2009-11-20.
^ Jump up to: a b "Sarah Brightman And Steve Harley - The Phantom Of The Opera / Overture The Phantom Of The Opera - Polydor - UK - POSP 800". 45cat. Retrieved 2016-05-26.
^ Jump up to: a b "SARAH BRIGHTMAN & STEVE HARLEY | full Official Chart History | Official Charts Company". Officialcharts.com. 2016-05-20. Retrieved 2016-05-26.
^ Jump up to: a b "Phallic Frenzy: Ken Russell and His Films - Joseph Lanza - Google Books". Books.google.co.uk. Retrieved 2016-05-26.
Jump up ^ "Phantom Frolic - N.M.E. 8.02.86". Harleyfanzone.com. Archived from the original on 1 July 2016. Retrieved 26 May 2016.
^ Jump up to: a b c "Unmasked - Daily Star 3.02.86". Harleyfanzone.com. Archived from the original on 1 July 2016. Retrieved 26 May 2016.
Jump up ^ "The Phantom Strikes Again - Bill Hagerty". Harleyfanzone.com. Archived from the original on 29 June 2016. Retrieved 26 May 2016.
^ Jump up to: a b "The Phantom of the Opera - Article With Lyrics". Harleyfanzone.com. Archived from the original on 1 July 2016. Retrieved 26 May 2016.
^ Jump up to: a b "Kniestedt.com/theatre". Kniestedt.com. Retrieved 2016-05-26.
Jump up ^ "Steve Harley : Who Was That Masked Man Article & Picture(s): Amazon.co.uk: NewspaperClipping: Books". Amazon.co.uk. Retrieved 2016-05-26.
^ Jump up to: a b c d Behind the Mask: The Story of 'The Phantom of the Opera' - Steve Harley Interview - 2005 Documentary
Jump up ^ "1980s Newspapers". Early-sarah-brightman.com. Retrieved 2016-05-26.
^ Jump up to: a b "Rebel Thespian - Readers Letter Reply, Mojo '09". Harleyfanzone.com. Archived from the original on 1 July 2016. Retrieved 26 May 2016.
Jump up ^ "Sarah Brightman, Steve Harley - The Phantom Of The Opera at Discogs". Discogs.com. Retrieved 2016-05-26.
Jump up ^ "Sarah Brightman And Steve Harley Discography - All Countries". 45cat. Retrieved 2016-05-26.
Jump up ^ "Sarah Brightman, Steve Harley, Andrew Lloyd Webber - The Phantom Of The Opera (Vinyl) at Discogs". Discogs.com. Retrieved 2016-05-26.
Jump up ^ "Sarah Brightman, Steve Harley - The Phantom Of The Opera (Vinyl) at Discogs". Discogs.com. Retrieved 2016-05-26.
Jump up ^ "Sarah Brightman & Steve Harley, Andrew Lloyd Webber - The Phantom Of The Opera (Vinyl) at Discogs". Discogs.com. Retrieved 2016-05-26.
Jump up ^ "Sarah Brightman / Steve Harley - The Phantom Of The Opera (Vinyl) at Discogs". Discogs.com. Retrieved 2016-05-26.
Jump up ^ "Steve Harley With Sarah Brightman - The Phantom Of The Opera (Vinyl) at Discogs". Discogs.com. Retrieved 2016-05-26.
Jump up ^ "Sarah Brightman, Steve Harley - The Phantom Of The Opera (CD) at Discogs". Discogs.com. Retrieved 2016-05-26.
Jump up ^ "Sarah Brightman, Steve Harley - The Phantom Of The Opera (CD) at Discogs". Discogs.com. Retrieved 2016-05-26.
Jump up ^ "Various, Andrew Lloyd Webber - The Very Best Of Andrew Lloyd Webber (CD) at Discogs". Discogs.com. Retrieved 2016-05-26.
Jump up ^ "Andrew Lloyd Webber - Gold - The Definitive Hit Singles Collection at Discogs". Discogs.com. Retrieved 2016-05-26.
Jump up ^ "The Phantom Of The Opera". Web.archive.org. 2004-03-18. Archived from the original on 2004-03-18. Retrieved 2016-05-26. CS1 maint: Unfit url (link)
Jump up ^ Jaclyn Ward. "The Irish Charts - All there is to know". Irishcharts.ie. Archived from the original on 3 June 2009. Retrieved 2016-05-26.
Jump up ^ "David D'Or & The Philharmonic". daviddor.com. February 2009. Archived from the original on 2009-01-01. Retrieved 2009-05-05.
Jump up ^ "David D'Or – David D'Or and the Philharmonic". Allmusic. Retrieved 2009-05-05. [dead link]
Jump up ^ Amazon.com: The Best of Andrew Lloyd Webber: Richard Clayderman: Music
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The Phantom of the Opera by Gaston Leroux
Books
The Phantom of the Opera (1909–1910)
Phantom (1990)
The Canary Trainer (1993)
The Phantom of Manhattan (1999)
Stage adaptations
Phantom of the Opera (1976)
The Phantom of the Opera (1986)
Phantom (1991)
Love Never Dies (2010)
Film and television
The Phantom of the Opera (1925)
Song at Midnight (1937)
Phantom of the Opera (1943)
The Phantom of the Opera (1962)
The Phantom of Hollywood (1974)
Phantom of the Paradise (1974)
Opera (1987)
The Phantom of the Opera (1989)
Phantom of the Mall: Eric's Revenge (1989)
The Phantom of the Opera (1990)
The Phantom Lover (1995)
The Phantom of the Opera (1998)
The Phantom of the Opera (2004)
The Phantom of the Opera at the Royal Albert Hall (2011)
Characters
Erik
Christine Daaé
Viscount Raoul de Chagny
The Persian
Carlotta
Madame Giry
Meg Giry
Joseph Buquet
Songs
"The Phantom of the Opera"
"The Music of the Night"
"All I Ask of You"
"Learn to Be Lonely"
"'Til I Hear You Sing"
Other
Don Juan Triumphant
Punjab lasso
Adaptations
Return of the Phantom
Palais Garnier
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Steve Harley/Steve Harley & Cockney Rebel
Steve Harley
Barry Wickens
Robbie Gladwell
James Lascelles
Kuma Harada
Adam Houghton
Jean-Paul Crocker
Paul Jeffreys
Milton Reame-James
Jim Cregan
George Ford
Duncan Mackay
Stuart Elliott
Lincoln Anderson
Studio albums (Cockney Rebel)
The Human Menagerie (1973)
The Psychomodo (1974)
Studio albums (Steve Harley & Cockney Rebel)
The Best Years of Our Lives (1975)
Timeless Flight (1976)
Love's a Prima Donna (1976)
The Quality of Mercy (2005)
Studio albums (Steve Harley)
Hobo with a Grin (1978)
The Candidate (1979)
Yes You Can (1992)
Poetic Justice (1996)
Stranger Comes to Town (2010)
Live albums
Face to Face: A Live Recording (1977)
Stripped to the Bare Bones (1999)
Acoustic and Pure: Live (2003)
Anytime! (A Live Set) (as The Steve Harley Band, 2004)
Birmingham (Live with Orchestra & Choir) (2013)
Compilations
A Closer Look (1975)
The Best of Steve Harley and Cockney Rebel (1980)
The Collection (1983)
Greatest Hits (1987)
Mr Soft (1988)
Live at the BBC (1995)
More Than Somewhat – The Very Best of Steve Harley (1998)
The Cream of Steve Harley & Cockney Rebel (1999)
Best of the '70s (2000)
The Cockney Rebel - A Steve Harley Anthology (2006)
The Best of Steve Harley and Cockney Rebel (2008)
Cavaliers: An Anthology 1973-1974 (2012)
Original Album Series (2014)
Singles (Cockney Rebel)
"Sebastian"
"Judy Teen"
"Hideaway"
"Psychomodo"
"Mr. Soft"
"Tumbling Down"
Singles (Steve Harley & Cockney Rebel)
"Make Me Smile (Come Up and See Me)"
"Mr. Raffles (Man, It Was Mean)"
"Black or White"
"White, White Dove"
"Here Comes the Sun"
"(I Believe) Love's a Prima Donna"
"(Love) Compared with You"
"The Best Years of Our Lives (live)"
"I Can't Even Touch You"
"Irresistible"
"The Last Goodbye"
Singles (Steve Harley)
"Big Big Deal"
"Roll the Dice"
"Someone's Coming"
"Freedom's Prisoner"
"Ballerina (Prima Donna)"
"Heartbeat Like Thunder"
"Irresistible"
"The Phantom of the Opera" (with Sarah Brightman)
"Whatever You Believe" (as Anderson, Harley & Batt)
"When I'm with You"
"Star for a Week (Dino)"
"A Friend for Life"
"Faith & Virtue"
"For Sale. Baby Shoes. Never Worn"
"Ordinary People"
Video
Live from London (1985)
The Come Back, All is Forgiven Tour: Live (1989)
Live at the Isle of Wight Festival (2005)
Birmingham (Live with Orchestra & Choir) (2013)
Related articles
Discography
List of songs recorded by Steve Harley
The Alan Parsons Project
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Nightwish
Tuomas Holopainen
Emppu Vuorinen
Jukka Nevalainen
Marco Hietala
Troy Donockley
Floor Jansen
Tarja Turunen
Sami Vänskä
Anette Olzon
Studio albums
Angels Fall First
Oceanborn
Wishmaster
Century Child
Once
Dark Passion Play
Imaginaerum
Endless Forms Most Beautiful
Live albums
From Wishes to Eternity
End of Innocence
End of an Era
Made in Hong Kong (And in Various Other Places)
Showtime, Storytime
Vehicle of Spirit
EPs
Over the Hills and Far Away
Compilations
Wishmastour 2000
Tales from the Elvenpath
Highest Hopes
The Sound of Nightwish Reborn
Walking in the Air: The Greatest Ballads
Decades
Box sets
Wishbox
Lokikirja
Singles
"The Carpenter"
"Sacrament of Wilderness"
"Passion and the Opera"
"Walking in the Air"
"Sleeping Sun (Four Ballads of the Eclipse)"
"The Kinslayer"
"Deep Silent Complete"
"Ever Dream"
"Bless the Child"
"Nemo"
"Wish I Had an Angel"
"Kuolema Tekee Taiteilijan"
"The Siren"
"Sleeping Sun"
"Eva"
"Amaranth"
"Erämaan viimeinen"
"Bye Bye Beautiful"
"The Islander"
"Storytime"
"The Crow, the Owl and the Dove"
"Élan"
"Endless Forms Most Beautiful"
Songs
"FantasMic"
"Sleepwalker"
"Beauty of the Beast"
"Planet Hell"
"While Your Lips Are Still Red"
"Last Ride of the Day"
Tours
The First Tour of the Angels
Oceanborn Europe Tour
Wishmaster World Tour
World Tour of the Century
Once Upon a Tour
Dark Passion Play World Tour
Imaginaerum World Tour
Endless Forms Most Beautiful World Tour
Decades: World Tour
Related acts
Tarja Turunen
Almah
Altaria
Alyson Avenue
Auri
Barilari
Brother Firetribe
For My Pain...
Kai Hahto
Kotiteollisuus
Northern Kings
Northward
Pain
ReVamp
Sethian
Tapio Wilska
Tarot
Timo Rautiainen
Tony Kakko
Related articles
Awards and nominations
Discography
Members
Songs recorded
Once Upon a Nightwish
Imaginaerum (film)
Music Inspired by the Life and Times of Scrooge
Book:Nightwish
Category:Nightwish
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Phantom_of_the_Opera_(Andrew_Lloyd_Webber_song)&oldid=840848672"
Categories:
Sarah Brightman songs
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Hidden categories:
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