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All You Need Is Love
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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]
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Jump up ^ Davies, Hunter (1996). The Beatles.
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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.
Jump up ^ Miles 2001, pp. 270–71.
Jump up ^ Frontani 2007, pp. 147–48.
^ Jump up to: a b c Lewisohn 2005, p. 120.
^ Jump up to: a b c Unterberger 2006, p. 178.
Jump up ^ Everett 1999, pp. 125–26.
Jump up ^ Unterberger 2006, p. 323.
Jump up ^ Unterberger 2006, p. 179.
Jump up ^ Rowe, Matt (18 September 2015). "The Beatles 1 To Be Reissued With New Audio Remixes … And Videos". The Morton Report. Retrieved 9 January 2016.
Jump up ^ Castleman & Podrazik 1976, p. 62.
Jump up ^ "Beatles" > "All You Need Is Love" > "Chart Facts". Official Charts Company. Retrieved 11 March 2017.
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Jump up ^ Norman 1996, p. 299.
^ 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.
Jump up ^ The Beatles 2000, p. 259.
Jump up ^ Everett 1999, p. 129.
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.
Jump up ^ Castleman & Podrazik 1976, p. 63.
^ Jump up to: a b Womack 2014, p. 34.
Jump up ^ Schaffner 1978, pp. 86, 99.
Jump up ^ Womack 2014, p. 216.
Jump up ^ Womack 2014, pp. 34, 216.
Jump up ^ Wiener 1991, pp. 39–40.
Jump up ^ Wiener 1991, pp. 40–41.
Jump up ^ Doggett 2007, pp. 97–98.
^ Jump up to: a b Hertsgaard 1996, pp. 226–27.
Jump up ^ Riley 2002, pp. 233–34.
Jump up ^ Wiener 1991, pp. 305–06.
Jump up ^ MacDonald 2005, pp. 261–62.
Jump up ^ MacDonald 2005, p. 263.
Jump up ^ Stossel, Scott (May 2013). "What Makes Us Happy, Revisited: A new look at the famous Harvard study of what makes people thrive". The Atlantic. Archived from the original on 25 June 2017. Retrieved 25 June 2017.
^ 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.
Jump up ^ "Ultratop.be – The Beatles – All You Need Is Love" (in Dutch). Ultratop 50.
Jump up ^ "All you need is love in Canadian Top Singles Chart". Library and Archives Canada. Retrieved 5 July 2013.
Jump up ^ "Offiziellecharts.de – The Beatles – All You Need Is Love". GfK Entertainment Charts.
^ 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.
Jump up ^ "The Beatles awards on Allmusic". AllMusic. Retrieved 5 July 2013.
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.
Jump up ^ "Tom Jones discography". BBC Wales. 2009. Retrieved 27 November 2009.
Jump up ^ "The Undead Till Death". AllMusic. 2009. Retrieved 27 November 2009.
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.
Riley, Tim (2002) [1988]. Tell Me Why: A Beatles Commentary. Cambridge, MA: Da Capo Press. ISBN 978-0-306-81120-3.
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=798730326"
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Elinor Dashwood
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Elinor Dashwood
Full name
Elinor Dashwood
Gender
Female
Age
19
Income
£500 per year. This £500 yearly income was her mother's marriage settlement which must support Mrs. Dashwood and three unwed daughters. According to "Jane Austen's World"[1] the spending power would have been roughly equivalent to just under £17,000 per year in 2008.
Education
Home schooled
Primary residence
Norland Park
Barton Cottage
Family
Romantic interest(s)
Edward Ferrars
Parents
Henry Dashwood
and Mrs. Dashwood
Sibling(s)
John Dashwood (half-brother)
Marianne Dashwood
Margaret Dashwood
Elinor Dashwood is a fictional character and the protagonist of Jane Austen's novel Sense and Sensibility.
In this novel, Austen analyses the conflict between the opposing temperaments of sense (logic, propriety, and thoughtfulness, as expressed in Austen's time by neo-classicists), and sensibility (emotion, passion, unthinking action, as expressed in Austen's time by romantics). In this conflict, Elinor, a reserved, practical, and thoughtful young woman who embodies the "sense" of the title, is juxtaposed to her flighty younger sister Marianne who embodies "sensibility". Elinor appears to be vaguely based on the author's older sister, Cassandra Austen.[citation needed]
Contents
[hide]
1 Description of her character
2 Role in the plot of Sense and Sensibility
3 Notable dramatic portrayals
4 References
5 External links
Description of her character[edit]
Elinor is described as possessing a coolness of judgement and strength of understanding which qualifies her to be her mother's frequent counsellor, and sometimes she shows more common sense than her mother, whose judgment is shown to be flawed by her exaggerated notions of romantic delicacy. Austen describes Dashwood as "the comforter of others in her own distress, no less than theirs".[2] Her mother is more often preoccupied with Marianne and her problems. Although Austen writes that Elinor's feelings are just as passionate and deep as Marianne's, she knows how to govern them better, as she is more aware of the demands society makes upon women and more prepared to compromise.
The American scholar Susan Morgan called Dashwood the "moral center" of the novel, having "both deep affections and the willingness to control the desires of her own heart for the sake of the people she loves".[3] A central problem in the novel, like other of Austen's book is that of knowing people, as people either don't reveal their true feelings and/or one's powers of observation could only be extended so far.[4] Dashwood's response to this problem is simply to wait until time reveals the true character of the people she encounters.[5] Unlike her younger sister, Elinor knows that social conventions are to a certain extent dishonest as people engage in polite lies, and she does not take them at face value, giving her better judgement.[6] Despite her reserved and self-disciplined nature, Elinor "feels more" than her sister.[7] Through Elinor makes mistakes in judging people as with Mrs. Jennings, her awareness of her own flaws allows her to learn from her mistakes.[8] She is described as having a delicate complexion, regular features, and a remarkably pretty figure—although less striking than Marianne, more "correct"—which Austen uses as a good overall summary of their characters as well as their physical appearance. She is more polite than Marianne, though her repugnance towards vulgarity and selfishness is quite equal; and thus she can "really love" the rather vulgar but good hearted Mrs. Jennings, and be civil to people Marianne would be repulsed by—even people like Lucy Steele. Elinor's politeness not only reflects good manner, but also a concern for the feelings others.[9] Elinor says "my doctrine has never aimed at the subjection of understanding" and "it is my wish to be candid in my judgement of everybody".[10] Elinor's concern with decorum reflects her understanding that politeness offers a way for others to become more understanding of her as he becomes more understanding of them.[11] Unlike her sister, Elinor's way of understanding the world is based upon careful observation of the character of others instead of fixed maxims or impulsive emotionism.[12] Elinor is not a fixed character, but rather one who constantly evolves while remaining true to her values.[13] Morgan argued that the key moments for Austen heroines is when they are able to think beyond their immediate concerns to view others with "disinterested sympathy" to see them as they really are.[14] In this regard, Morgan argued that for Austen, the purpose of politeness when she created the character of Dashwood is to enforce social norms, but a way of understanding the world, to cover uncertainties and sudden vicissitude which occur in life.[15]
The British scholar Robert Irvine argued that popular dichotomy between the reserved Elinor vs. her more passionate sister Marianne is to a certain extent mistaken, for the two sisters have as much in common as divides them, with for instance, both the Dashwood sisters represent "feeling" against their selfish and greedy half-brother John.[16] Irvine wrote the real divide between the Dashwood sisters is that Marianne favors the sort of openness she has with her family with outsiders whereas Elinor does not.[17] At one point, Elinor draws a line between someone's ability to feel emotions, which are described in the novel as "the heart" vs. the ability to be presentable in polite society, saying "Through I think very well of Mrs. Jennings' heart, she is not a woman whose society can afford us pleasure, or whose protection will give us consequence".[18] Later, Elinor explains her values to Marianne as:
"My doctrine has never aimed at the subjection of the understanding. All I have ever attempted to influence has been the behavior...I am guilty, I confess, of having often wished you to treat our acquaintance in general with greater attention; but when have I advised you to adopt their sentiments or conform to their judgment in serious matters?"[19]
Elinor criticizes Marianne for her "sincerity" not in itself, but rather because Marianne makes no effort to hide her feelings, despite the pain she sometimes causes others, which makes her "sincerity" a type of selflessness for Elinor.[20] The novel described Elinor's character as: "She was stronger alone, and her own good sense so well supported her, that her firmness was as unshaken, her appearance of cheerfulness as invariable, as with regards and so fresh, it was possible for them to be".[21] Irvine noted that if the similarities between the Dashwood sisters is sometimes overlooked by readers, it is because the novel is largely told from their viewpoint, which led Austen to highlight the differences to give her characters different voices.[22] Irvine points out when Lady Middleton reflects on the Dashwood sisters, she sees them as more similar than different with the novel telling the reader that Lady Middleton thinks:
"Because they neither flattered herself nor her children, she could not believe them good-natured; and because they were fond of reading, she fancied them satirical: perhaps without exactly knowing what it was to be satirical; but that did not signify.It was censure in common use, and easily given".[23]
Unlike the characters, the Dashwood sisters read much, which distinguishes in a place like Barton Park, and neither is especially deferential to Lady Middleton, who does not understand what the term satirical actually means.[24] Irvine also points is both the Dashwood sisters share fundamentally the same values, which sets them in opposition to other characters, and it this very friendliness within the family that allows their differences to emerge within their conversations.[25] At one point, the Dashwood sisters keep secrets from one another as Elinor hides Edward Ferrar's engagement to Lucy Steele from her sister while Marianne becomes too close to John Willoughby.[26] After Edward's engagement become public, the narrator says that "confidence between them" [the Dashwood sisters] was "restored to its proper state".[27] The book ends with the implication that the Dashwood sisters will remain closer to each other than their husbands as the narrator says:
"Between Barton and Delaford, there was that constant communication which strong family affection would naturally dictate;-and among the merits and the happiness of Elinor and Marianne, let it not be ranked as the least considerable, that though the sisters, and living almost within sight of each other, they could live without disagreement between themselves, or producing coolness between their husbands".[28]
However, the novel tends to take Elinor's side and to describe events from her viewpoint more than it does Marianne's.[29] Free indirect discourse is when a narrator summarizes what a character is thinking without the character speaking, and was often used by Austen to portray the workings of Elinor's mind.[30] Austen used free indirect discourse in such way as to make the reader pay close attention to whatever statements in the novel were actually those of Elinor or the narrator, but overall leaves the reader with the impression that Elinor's views are the correct ones.[31] Throughout the novel, Elinor subjects herself to relentless self-scrutiny and self-discipline, what she calls her "self-command", as to control her consciousness to accept only "certain thoughts and feelings".[32] In the last chapters, Elinor turns her "self-command" onto Marianne and her mother, leading her to tell Marianne she is an example to be followed, with Marianne saying that from now on, "my feelings shall be governed".[33] Irvine wrote the novel never tells the reader what sort of books Elinor reads, but in the last chapters, Elinor's voice sounds remarkably like something out of the "conduct books" that were popular in the Regency England setting out the proper values for a young woman.[34] Irvine noted that Austen did not entirely like the "conduct books", and it is doubtful she wanted a character who in the last chapters talks like a "conduct book" character to be representing her values.[35]
Role in the plot of Sense and Sensibility[edit]
Following the death of their father in the opening chapter, the sisters (with their mother) are reduced to near-poverty by the selfishness and greed of their sister-in-law, Fanny. Their half-brother, Fanny's husband, inherits their father's entire estate by law. Although their father made him promise to 'take care' of his half-sisters and stepmother, Fanny easily persuades him that this does not actually mean monetary assistance, leaving his stepmother and half-sisters with no dowry and very little to live on.
Elinor falls in love with Edward Ferrars, Fanny's older brother, but her reduced circumstances and Edward's reticence in wooing her do not allow her to hope for an offer of marriage. After they move to Barton Cottage on a relative's estate, Barton Park in Devon, the practical Elinor takes the initiative to make sure that they live within their means and do not overspend on luxuries.
She is shown to be compassionate and caring towards the older and grave Colonel Brandon, and pities the hopelessness of his love for Marianne. Her calmness and cool demeanour allow her to endure Mrs Jennings's teasing over her mysterious suitor, but she also has to endure Lucy Steele's confession that she and Edward Ferrars are secretly engaged. In the book, Elinor suppresses her feelings and does her best to convince Lucy that she feels nothing for Edward. She is concerned by the developing relationship between Marianne and Willoughby, thinking that impulsive, volatile Marianne is too open with her feelings and reckless about obeying social conventions. She assumes that Marianne is secretly engaged to Willoughby and is shocked when Marianne confesses that this is not the case.
Notable dramatic portrayals[edit]
Madge Evans in 1950
Joanna David in 1971
Irene Richards in the 1981 British television serial
Emma Thompson in the 1995 film adaptation
Tabu in the 2000 Tamil adaptation Kandukondain Kandukondain
Hattie Morahan in the 2008 BBC serial adaptation
Camilla Belle as "Nora Dominguez" in the 2011 modern adaption From Prada to Nada
Amanda Hale in Helen Edmundson's 2013 BBC Radio 4 adaptation[36]
Sriti Jha in the 2014 television serial Kumkum Bhagya
References[edit]
Jump up ^ "Jane Austen's World". Retrieved 24 March 2014.
Jump up ^ Morgan, Susan "Polite Lies: The Veiled Heroine of Sense and Sensibility" pages 188-205 from Nineteenth-Century Fiction, Volume 31, Issue # 2, September 1976 page 188.
Jump up ^ Morgan, Susan "Polite Lies: The Veiled Heroine of Sense and Sensibility" pages 188-205 from Nineteenth-Century Fiction, Volume 31, Issue # 2, September 1976 page 191.
Jump up ^ Morgan, Susan "Polite Lies: The Veiled Heroine of Sense and Sensibility" pages 188-205 from Nineteenth-Century Fiction, Volume 31, Issue # 2, September 1976 page 194.
Jump up ^ Morgan, Susan "Polite Lies: The Veiled Heroine of Sense and Sensibility" pages 188-205 from Nineteenth-Century Fiction, Volume 31, Issue # 2, September 1976 page 194.
Jump up ^ Morgan, Susan "Polite Lies: The Veiled Heroine of Sense and Sensibility" pages 188-205 from Nineteenth-Century Fiction, Volume 31, Issue # 2, September 1976 pages 198-199
Jump up ^ Morgan, Susan "Polite Lies: The Veiled Heroine of Sense and Sensibility" pages 188-205 from Nineteenth-Century Fiction, Volume 31, Issue # 2, September 1976 page 199
Jump up ^ Morgan, Susan "Polite Lies: The Veiled Heroine of Sense and Sensibility" pages 188-205 from Nineteenth-Century Fiction, Volume 31, Issue # 2, September 1976 page 200
Jump up ^ Morgan, Susan "Polite Lies: The Veiled Heroine of Sense and Sensibility" pages 188-205 from Nineteenth-Century Fiction, Volume 31, Issue # 2, September 1976 page 200.
Jump up ^ Morgan, Susan "Polite Lies: The Veiled Heroine of Sense and Sensibility" pages 188-205 from Nineteenth-Century Fiction, Volume 31, Issue # 2, September 1976 page 202.
Jump up ^ Morgan, Susan "Polite Lies: The Veiled Heroine of Sense and Sensibility" pages 188-205 from Nineteenth-Century Fiction, Volume 31, Issue # 2, September 1976 page 203.
Jump up ^ Morgan, Susan "Polite Lies: The Veiled Heroine of Sense and Sensibility" pages 188-205 from Nineteenth-Century Fiction, Volume 31, Issue # 2, September 1976 page 203.
Jump up ^ Morgan, Susan "Polite Lies: The Veiled Heroine of Sense and Sensibility" pages 188-205 from Nineteenth-Century Fiction, Volume 31, Issue # 2, September 1976 page 204.
Jump up ^ Morgan, Susan "Polite Lies: The Veiled Heroine of Sense and Sensibility" pages 188-205 from Nineteenth-Century Fiction, Volume 31, Issue # 2, September 1976 page 204.
Jump up ^ Morgan, Susan "Polite Lies: The Veiled Heroine of Sense and Sensibility" pages 188-205 from Nineteenth-Century Fiction, Volume 31, Issue # 2, September 1976 page 204.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 49.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 49.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 49.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 50.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 50.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 44.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 50.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 51.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 51.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 51.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 pages 51-52.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 52.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 48.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 52.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 52.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 pages 52-53.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 53.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 53.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 54.
Jump up ^ Irvine, Robert Jane Austen, London: Routledge, 2005 pages 54=55.
Jump up ^ "BBC - Sense And Sensibility - Media Centre".
External links[edit]
Jane Austen portal
Fictional characters portal
Sense and Sensibility at Project Gutenberg
[hide]
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Jane Austen's Sense and Sensibility
Characters
Elinor Dashwood
Edward Ferrars
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Colonel Brandon
Films
Sense and Sensibility (1995)
Soundtrack
List of accolades
Kandukondain Kandukondain (2000)
From Prada to Nada (2011)
Miniseries
Sense and Sensability (1971)
Sense and Sensibility (1981)
Sense and Sensibility (2008)
Novels
The Secrets of Love (2005)
Sense and Sensibility and Sea Monsters (2009)
Others
Kumkum Bhagya (2014)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Elinor_Dashwood&oldid=791072057"
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Mexico at the FIFA World Cup
From Wikipedia, the free encyclopedia
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Mexico national team at the 2018 FIFA World Cup in Russia
This is a record of the results of the Mexico national football team at the FIFA World Cup. The World Cup is the premier competitive international football tournament, first played in 1930, and then every four years since, except 1942 and 1946, due to World War II.
The Mexico national team has competed in the tournament since the inaugural 1930 FIFA World Cup, and has entered ever since, for a total of 16 tournaments, although it has failed to qualify for the finals proper on 3 occasions: 1934 (Italy), 1974 (West Germany), and 1982 (Spain). In addition, it withdrew from the finals in 1938 (France), and was banned by FIFA from entering the 1990 World Cup (Italy) after fielding over-aged players during the 1988 Olympic Games qualifiers, which was a youth tournament.
The tournament consists of two parts, the qualification phase and the final phase (officially called the World Cup Finals). The qualification phase, which currently take place over the three years preceding the Finals, is used to determine which teams qualify for the Finals. The current format of the Finals involves 32 teams competing for the title, at venues within the host nation (or nations) over a period of about a month. The World Cup Finals is the most widely viewed sporting event in the world, with an estimated 715.1 million people watching the 2006 tournament final.[1] Along with Brazil, Mexico holds the record for most consecutive 2nd round appearances.[2][3]
Contents
[hide]
1 Records
2 By match
3 Record players
4 Top goalscorers
5 References
6 External links
Records[edit]
FIFA World Cup record
Year
Round
Position
Pld
W
D
L
GF
GA
1930 Group stage 13th 3 0 0 3 4 13
1934 Did not qualify
1938 Withdrew
1950 Group stage 12th 3 0 0 3 2 10
1954 Group stage 14th 2 0 0 2 2 8
1958 Group stage 16th 3 0 1 2 1 8
1962 Group stage 11th 3 1 0 2 3 4
1966 Group stage 12th 3 0 2 1 1 3
1970 Quarterfinal 6th 4 2 1 1 6 4
1974 Did not qualify
1978 Group stage 16th 3 0 0 3 2 12
1982 Did not qualify
1986 Quarterfinal 6th 5 3 2 0 6 2
1990 Banned
1994 Round of 16 13th 4 1 2 1 4 4
1998 Round of 16 13th 4 1 2 1 8 7
2002 Round of 16 11th 4 2 1 1 4 4
2006 Round of 16 15th 4 1 1 2 5 5
2010 Round of 16 14th 4 1 1 2 4 5
2014 Round of 16 10th 4 2 1 1 5 3
2018 Round of 16 12th 4 2 0 2 3 6
2022 To be determined
2026 To be determined
Total Quarterfinal 16/21 57 16 14 27 60 98
By match[edit]
World Cup
Round
Against
Score
Scorers
1930 Group stage France 1–4 Carreño
Chile 0–3
Argentina 3–6 Manuel Rosas (2), Gayón
1950 Group stage Brazil 0–4
Yugoslavia 1–4 Héctor Ortiz
Switzerland 1–2 Casarín
1954 Group stage Brazil 0–5
France 2–3 Lamadrid, Balcázar
1958 Group stage Sweden 0–3
Wales 1–1 Belmonte
Hungary 0–4
1962 Group stage Brazil 0–2
Spain 0–1
Czechoslovakia 3–1 Díaz, del Águila, Hernández
1966 Group stage France 1–1 Borja
England 0–2
Uruguay 0–0
1970 Group stage Soviet Union 0–0
El Salvador 4–0 Valdivia (2), Fragoso, Basaguren
Belgium 1–0 Peña
Quarterfinal Italy 1–4 González
1978 Group stage Tunisia 1–3 Vázquez Ayala
West Germany 0–6
Poland 1–3 Rangel
1986 Group stage Belgium 2–1 Quirarte, Hugo Sánchez
Paraguay 1–1 Luis Flores
Iraq 1–0 Quirarte
Round of 16 Bulgaria 2–0 Negrete, Servín
Quarterfinal West Germany 0–0 (AET), 1–4 (p)
1994 Group stage Norway 0–1
Republic of Ireland 2–1 García (2)
Italy 1–1 Bernal
Round of 16 Bulgaria 1–1 (AET), 1–3 (p) García Aspe
1998 Group stage South Korea 3–1 Peláez, Hernández (2)
Belgium 2–2 García Aspe, Blanco
Netherlands 2–2 Peláez, Hernández
Round of 16 Germany 1–2 Hernández
2002 Group stage Croatia 1–0 Blanco
Ecuador 2–1 Borgetti, Torrado
Italy 1–1 Borgetti
Round of 16 United States 0–2
2006 Group stage Iran 3–1 Bravo (2), Zinha
Angola 0–0
Portugal 1–2 Fonseca
Round of 16 Argentina 1–2 (AET) Márquez
2010 Group stage South Africa 1–1 Márquez
France 2–0 Javier Hernández, Blanco
Uruguay 0–1
Round of 16 Argentina 1–3 Javier Hernández
2014 Group stage Cameroon 1–0 Peralta
Brazil 0–0
Croatia 3–1 Márquez, Guardado, Javier Hernández
Round of 16 Netherlands 1–2 G. Dos Santos
2018 Group stage Germany 1–0 Lozano
South Korea 2–1 Vela, Javier Hernández
Sweden 0–3
Round of 16 Brazil 0–2
Record players[edit]
Mexico's record World Cup player, Rafael Márquez, and goalkeeper Antonio Carbajal have appeared in five FIFA World Cups each, a record they only share with German midfielder Lothar Matthäus.
Rafael Márquez is Mexico's record World Cup player and one of only three players with appearances in five tournaments.
No.
Name
Matches
World Cups
1 Rafael Márquez 19 2002, 2006, 2010, 2014 and 2018
2 Andrés Guardado 12 2006, 2010, 2014 and 2018
Javier Hernández 12 2010, 2014 and 2018
4 Antonio Carbajal 11 1950, 1954, 1958, 1962 and 1966
Cuauhtémoc Blanco 11 1998, 2002 and 2010
Gerardo Torrado 11 2002, 2006 and 2010
7 Carlos Salcido 10 2006, 2010 and 2014
8 Chava Reyes 9 1958, 1962 and 1966
Giovani Dos Santos 9 2010, 2014 and 2018
Héctor Moreno 9 2010, 2014 and 2018
Top goalscorers[edit]
No.
Name
Goals
World Cups
1 Luis Hernández 4 1998
Javier Hernández 4 2010 (2), 2014 (1), and 2018 (1)
3 Cuauhtémoc Blanco 3 1998, 2002 and 2010
Rafael Márquez 3 2006, 2010 and 2014
5 Manuel Rosas 2 1930
Javier Valdivia 2 1970
Fernando Quirarte 2 1986
Luis García 2 1994
Alberto García Aspe 2 1994 and 1998
Ricardo Peláez 2 1998
Jared Borgetti 2 2002
Omar Bravo 2 2006
References[edit]
Jump up ^ 2006 FIFA World Cup TV Coverage In 2018 mexico created one of the biggest upsets after defeating World champions Germany 1-0 in the opening game of the World CupArchived 2007-06-14 at the Wayback Machine. (PDF), FIFA.com, Retrieved on 6 June 2007
Jump up ^ "Sports News & Articles – Scores, Pictures, Videos - ABC News". Abcnews.go.com. 2014-12-02. Retrieved 2015-05-09.
Jump up ^ [https://archive.is/20140702031132/http://www.newsday.com/sports/soccer/netherlands-vs-mexico-netherlands-wins-2-1-in-2014-fifa-world-cup-elimination-game-1.8606268
External links[edit]
FIFA Official Ranking of all Participants at Finals 1930–2002. FIFA Match Results for all Stages 1930–2002
FIFA official site[permanent dead link]
show
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e
Mexico national football team
General
Mexican Football Federation
History
Managers
Venues
Estadio Azteca
Statistics
Results
All-time record
Honours
Players
Squad
Previous squads
Footballer records
Performances
FIFA World Cup
FIFA Confederations Cup
CONCACAF Gold Cup
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Argentina
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U23
U20
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Futsal
Beach soccer
show
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Mexico national football team squads
show
v
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e
Mexico squad – 1930 FIFA World Cup
MF Amézcua
GK Bonfiglio
FW Carreño
FW Castro
DF F. Garza Gutiérrez
DF R. Garza Gutiérrez (c)
FW Gayón
FW López
FW Mejía
FW Olivares
FW Pérez
MF Rodríguez
MF F. Rosas
DF M. Rosas
FW Ruiz
MF Sánchez
GK Sota
Coach: Luque de Serrallonga
show
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e
Mexico squad – 1950 FIFA World Cup
GK Carbajal
GK Córdoba
DF Gómez
DF Gutiérrez
DF Montemayor
DF Roca
DF Ruiz
DF Zetter
MF Cuburu
MF Flores
MF Guevara
MF Hernández
MF Ochoa
MF Ortiz
MF Pérez
FW Borbolla
FW Casarín (c)
FW Naranjo
FW Navarro
FW Prieto
FW Septién
FW Velázquez
Coach: Vial
show
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Mexico squad – 1954 FIFA World Cup
1 Carbajal
2 López
3 Romo
4 Martínez
5 Cárdenas
6 Ávalos
7 Torres
8 Naranjo (c)
9 Lamadrid
10 Balcázar
11 Arellano
12 Mota
13 Bravo
14 Gómez
15 Blanco
16 Nájera
17 Septién
18 Carus
19 Jinich
20 Roca
21 Ochoa
22 Cortés
Coach: López Herranz
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Mexico squad – 1958 FIFA World Cup
1 Carbajal (c)
2 del Muro
3 Romo
4 Villegas
5 Portugal
6 Flores
7 Hernández
8 Reyes
9 Calderón de la Barca
10 C. Gutiérrez
11 Sesma
12 Camacho
13 Gómez
14 M. Gutiérrez
15 Sepúlveda
16 Roca
17 Cárdenas
18 Salazar
19 Belmonte
20 Blanco
21 López
22 González
Coach: López Herranz
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Mexico squad – 1962 FIFA World Cup
1 Carbajal (c)
2 del Muro
3 Sepúlveda
4 Villegas
5 Cárdenas
6 Nájera
7 del Águila
8 Reyes
9 H. Hernández
10 Ortíz
11 Díaz
12 Gómez
13 Chaires
14 Romero
15 Jáuregui
16 Farfán
17 Ruvalcaba
18 A. Hernández
19 Jasso
20 Velarde
21 Baeza
22 Mota
Coach: Trelles
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Mexico squad – 1966 FIFA World Cup
1 Carbajal
2 Chaires
3 Peña (c)
4 del Muro
5 Jáuregui
6 Díaz
7 Ruvalcaba
8 Padilla
9 Cisneros
10 Fragoso
11 Jara
12 Calderón
13 González
14 Núñez
15 Hernández
16 Regueiro
17 Mercado
18 Muñoz
19 Reyes
20 Borja
21 Navarro
22 Vargas
Coach: Trelles
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Mexico squad – 1970 FIFA World Cup
1 Calderón
2 Alejándrez
3 Peña (c)
4 Montes
5 Pérez
6 Hernández
7 Rivas
8 Munguía
9 Borja
10 Salgado
11 Padilla
12 Mota
13 Vantolrá
14 Guzmán
15 Pulido
16 Díaz
17 González
18 Velarde
19 Valdivia
20 Basaguren
21 Fragoso
22 Castrejón
Coach: Cárdenas
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Mexico squad – 1978 FIFA World Cup
1 Reyes
2 Nájera
3 Tena
4 Ramos
5 Vázquez (c)
6 Mendizábal
7 de la Torre
8 López
9 Rangel
10 Ortega
11 Sánchez
12 Martínez
13 Cisneros
14 Gómez
15 Flores
16 Cárdenas
17 Cuéllar
18 Lugo
19 Rodríguez
20 Medina
21 Isiordia
22 Soto
Coach: Roca
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Mexico squad – 1986 FIFA World Cup
1 Larios
2 Trejo
3 Quirarte
4 Manzo
5 Francisco Cruz
6 de los Cobos
7 España
8 Domínguez
9 Sánchez
10 Boy (c)
11 Hermosillo
12 Rodríguez
13 Aguirre
14 Félix Cruz
15 Flores
16 Muñoz
17 Servín
18 Amador
19 Hernández
20 Heredia
21 Ortega
22 Negrete
Coach: Milutinović
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Mexico squad – 1994 FIFA World Cup
1 Campos
2 Suárez
3 Ramírez Perales
4 Ambríz (c)
5 Ramírez
6 Bernal
7 Hermosillo
8 García Aspe
9 Sánchez
10 García
11 Zague
12 Fernández
13 J. Chávez
14 del Olmo
15 Espinoza
16 Valdéz
17 Galindo
18 Salgado
19 Salvador
20 Rodríguez
21 Gutiérrez
22 A. Chávez
Coach: Mejía Barón
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Mexico squad – 1998 FIFA World Cup
1 Campos
2 Suárez
3 J. Sánchez
4 Villa
5 Davino
6 Bernal
7 Ramírez
8 García Aspe (c)
9 Peláez
10 García
11 Blanco
12 O. Sánchez
13 Pardo
14 Lara
15 Hernández
16 Terrazas
17 Palencia
18 Carmona
19 Luna
20 Ordiales
21 Arellano
22 Pérez
Coach: Lapuente
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Mexico squad – 2002 FIFA World Cup
1 Pérez
2 Gabriel
3 García
4 Márquez (c)
5 Vidrio
6 Torrado
7 Morales
8 García Aspe
9 Borgetti
10 Blanco
11 Luna
12 Sánchez
13 Mercado
14 Villa
15 Hernández
16 Carmona
17 Palencia
18 J. Rodríguez
19 Caballero
20 Brown
21 Arellano
22 A. Rodríguez
23 Campos
Coach: Aguirre
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Mexico squad – 2006 FIFA World Cup
1 Sánchez
2 Suárez
3 Salcido
4 Márquez (c)
5 Osorio
6 Torrado
7 Sinha
8 Pardo
9 Borgetti
10 Franco
11 Morales
12 Corona
13 Ochoa
14 Pineda
15 Castro
16 Méndez
17 Fonseca
18 Guardado
19 Bravo
20 García
21 Arellano
22 Rodríguez
23 Pérez
Coach: La Volpe
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Mexico squad – 2010 FIFA World Cup
1 Pérez
2 Rodríguez
3 Salcido
4 Márquez (c)
5 Osorio
6 Torrado
7 Barrera
8 Castro
9 Franco
10 Blanco
11 Vela
12 Aguilar
13 Ochoa
14 Hernández
15 Moreno
16 Juárez
17 dos Santos
18 Guardado
19 Magallón
20 Torres Nilo
21 Bautista
22 Medina
23 Michel
Coach: Aguirre
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Mexico squad – 2014 FIFA World Cup
1 Corona
2 Rodríguez
3 Salcido
4 Márquez (c)
5 Reyes
6 H. Herrera
7 Layún
8 Fabián
9 Jiménez
10 dos Santos
11 Pulido
12 Talavera
13 Ochoa
14 Hernández
15 Moreno
16 Ponce
17 Brizuela
18 Guardado
19 Peralta
20 Aquino
21 Peña
22 Aguilar
23 Vázquez
Coach: M. Herrera
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Mexico squad – 2018 FIFA World Cup
1 Jo. Corona
2 Ayala
3 Salcedo
4 Márquez (c)
5 Gutiérrez
6 J. dos Santos
7 Layún
8 Fabián
9 Jiménez
10 G. dos Santos
11 Vela
12 Talavera
13 Ochoa
14 Hernández
15 Moreno
16 Herrera
17 Je. Corona
18 Guardado
19 Peralta
20 Aquino
21 Álvarez
22 Lozano
23 Gallardo
Coach: Osorio
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Countries at the FIFA World Cup
Team appearances
Teams with no appearances
All-time table
AFC
Australia2
China
Indonesia1
Iran
Iraq
Japan
Kuwait
North Korea
Saudi Arabia
South Korea
United Arab Emirates
CAF
Algeria
Angola
Cameroon
DR Congo1
Egypt
Ghana
Ivory Coast
Morocco
Nigeria
Senegal
South Africa
Togo
Tunisia
CONCACAF
Canada
Costa Rica
Cuba
El Salvador
Haiti
Honduras
Jamaica
Mexico
Panama
Trinidad and Tobago
United States
CONMEBOL
Argentina
Bolivia
Brazil
Chile
Colombia
Ecuador
Paraguay
Peru
Uruguay
OFC
New Zealand
UEFA
Austria
Belgium
Bosnia and Herzegovina
Bulgaria
Croatia
Czech Republic1
Denmark
East Germany3
England
France
Germany1
Greece
Hungary
Iceland
Israel2
Italy
Netherlands
Northern Ireland
Norway
Poland
Portugal
Republic of Ireland
Romania
Russia1
Scotland
Serbia1
Slovakia1
Slovenia
Spain
Sweden
Switzerland
Turkey
Ukraine
Wales
1 Considered a successor team by FIFA, or have competed under another name(s). 2 Have been member of multiple confederations. 3 Team and national federation no longer exist.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Mexico_at_the_FIFA_World_Cup&oldid=850406779"
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