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Man in the Mirror
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For other uses, see Man in the Mirror (disambiguation).
"Man in the Mirror"
Single by Michael Jackson
from the album Bad
Released
January 16, 1988
Format
CD single
7" single
12" single
cassette
Recorded
May 1987[1]
Genre
R&B
gospel
Length
5:19 (album and 12" versions)
5:00 (single and video versions)
Label
Epic
Songwriter(s)
Siedah Garrett
Glen Ballard
Producer(s)
Quincy Jones
Michael Jackson (co-producer)
Michael Jackson singles chronology
"The Way You Make Me Feel"
(1987) "Man in the Mirror"
(1988) "Dirty Diana"
(1988)
"The Way You Make Me Feel"
(1987) "Man in the Mirror"
(1988) "Dirty Diana"
(1988)
Music video
"Man In The Mirror" on YouTube
Audio sample
file
help
"Man in the Mirror" is a song recorded by Michael Jackson, written by Glen Ballard and Siedah Garrett and produced by Jackson and Quincy Jones. It peaked at number 1 in the United States when released in January 1988 as the fourth single from his seventh solo album, Bad (1987). It was nominated for Record of the Year at the Grammy Awards.
The song topped the Billboard Hot 100 for 2 weeks. The song peaked at number 21 in the UK Singles Charts in 1988, but in 2009, following the news of Jackson's death, the song peaked at number 2, having re-entered the chart at 11 the previous week as his top song on the singles chart.[2] It also became the number 1 single in iTunes downloads in the US and the UK,[3] having sold over 1.3 million digital copies in the former alone.[4] The song was remixed for the soundtrack of Jackson's tribute tour Immortal.
Contents
[hide]
1 Composition
2 Critical response
3 Music video
4 Chart performance
5 Charts
5.1 Weekly charts
5.2 Year-end charts
5.3 Certifications
6 Live performances
7 Track listing
8 Sampling/remixes
9 Personnel
10 See also
11 References
12 External links
Composition[edit]
"Man in the Mirror" was composed by Glen Ballard and Siedah Garrett. Jackson added background vocals from Garrett, The Winans and the Andraé Crouch Choir, which gave the song its distinctive sound. The song is said to have been one of Jackson's favorite songs.[5] Arranged with a gospel choir, Jackson would use a gospel choir again several years later on his hit "Will You Be There". Siedah Garrett also sang Jackson's duet "I Just Can't Stop Loving You" in summer 1987. The song is played in the keys of G and G# Major at a tempo of 100bpm. The vocal range is Ab3-C6.[6]
The single sleeve for "Man in the Mirror" contained a dedication to Yoshiaki Ogiwara, a five-year-old boy from Takasaki, Gunma, Japan who was kidnapped for ransom and subsequently murdered in September 1987. The killing was highly traumatic to the Japanese public and to Jackson himself, who was touring Japan at the time and subsequently dedicated concerts in Osaka and Yokohama to the boy's memory.[7]
Critical response[edit]
When Ed Hogan reviewed the song, he called it "gentle."[8] Jon Pareles of The New York Times noted that this song has "gospelly lift."[9] Rolling Stone's Davitt Sigerson thought that "Man in the Mirror" stands among the half dozen best things Jackson has done, and he continued: "On "Man in the Mirror," a song he did not write, Jackson goes a step further and offers a straightforward homily of personal commitment: "I'm starting with the man in the mirror/I'm asking him to change his ways/And no message could have been any clearer/If you wanna make the world a better place/Take a look at yourself and then make a change.""[10]
Music video[edit]
One of the videos is a notable departure from Jackson's other videos mainly because Jackson himself does not appear in the video (aside from a brief clip toward the end of the video in which he can be seen donning a red jacket and standing in a large crowd). Instead, it featured a montage of footage from various major news events such as the nuclear explosion of Operation Crossroads, the Civil Rights March on Washington, John F. Kennedy and Robert Kennedy's assassinations, the Vietnam War, the Kent State shootings, the Iranian hostage crisis, Cesar Chavez, Solidarity's birth and growth, The Troubles, Ethiopian famine, increases in U.S. homelessness, Live Aid, the first Farm Aid with Willie Nelson, Jessica McClure's rescue, Salvadoran Civil War, Camp David Accords (with Anwar El Sadat, Menachem Begin and Jimmy Carter), INF Treaty signing (with Mikhail Gorbachev and Ronald Reagan), and other notable people including Martin Luther King, John Lennon, Lech Wałęsa, Mother Teresa, Desmond Tutu, Mahatma Gandhi, Rosa Parks, Nelson Mandela, Pieter Willem Botha, Muammar al-Gaddafi, the Ku Klux Klan, and Adolf Hitler.[11]
The Man in the Mirror music video was directed, produced and edited by Don Wilson. Don and Michael Jackson developed the idea for the video. Larry Stessel who was Video Commissioner at Epic Records at the time was the Executive Producer.
PCM Stereo music video version of this song was included on Number Ones, Michael Jackson's Vision, the Target version DVD of Bad 25, and the song's video that released on VHS in 1989.
An alternate live video was used as the opening song in Jackson's film Moonwalker with live audio and footage from several live performances of the song during the Bad World Tour. The first segment of Moonwalker is a live performance of "Man in the Mirror" during his Bad Tour in Europe. Clips from Wembley Stadium among others can be seen. It also features a montage of clips of children in Africa, Martin Luther King Jr., Mother Teresa, Mahatma Gandhi, Nelson Mandela, Jesus Christ, kids in Graduation, and other historical figures.
Chart performance[edit]
"Man In The Mirror" was the 4th consecutive number-one single for Jackson's Bad in the United States. The single debuted on the Billboard Hot 100 at number 48 on February 6, 1988, and reached number 1 by its 8th week on the chart, on March 26, 1988, where it remained for 2 weeks.
The song originally peaked at number 21 in the United Kingdom in 1988. However, following Jackson's death on June 25, 2009, "Man in the Mirror" re-entered the UK Singles Chart at number 11, and the following week the song peaked at number 2, held off by Cascada's "Evacuate the Dancefloor". The chart had also contained over 12 Michael Jackson songs in the Top 40. This song had been at top 100 for 15 consecutive weeks in this chart. In Australia the song originally charted at number 39. After the singer's death, the song re-entered the chart and peaked at number 8, much higher than its original release. It was also the top single in iTunes downloads in the US and the UK.[3] It has sold 567,280 copies in the UK as of January 2016.[12]
Charts[edit]
Weekly charts[edit]
Chart (1988-2010)
Peak
position
Australia (Kent Music Report)[13] 39
Belgium (VRT Top 30 Flanders)[14] 11
Canada (RPM Adult Contemporary)[15] 1
Canada (RPM 100 Singles)[16] 3
Germany (Official German Charts)[17] 23
Ireland (IRMA)[18] 3
Italy (FIMI)[19] 1
Netherlands (Dutch Top 40)[20] 13
New Zealand (Recorded Music NZ)[21] 4
Poland (Polish Singles Chart)[22] 1
UK Singles (Official Charts Company)[23] 21
US Billboard Hot 100[24] 1
US Billboard Hot Adult Contemporary[24] 2
US Billboard Hot Dance Music/Maxi-Singles Sales[24] 1
US Billboard Hot R&B/Hip-Hop Singles[24] 1
Chart (2008)
Peak
position
UK Singles (Official Charts Company)[23] 55
Chart (2009–10)
Peak
position
Australia (ARIA)[25] 8
Austria (Ö3 Austria Top 40)[26] 17
Belgium (Back Catalogue Singles Flanders)[27] 6
Denmark (Tracklisten)[28] 12
Eurochart Hot 100[29] 7
Hot Canadian Digital Singles[24] 7
Ireland (IRMA)[18] 3
Japan Hot 100[30] 65
Netherlands (Single Top 100)[31] 22
New Zealand (Recorded Music NZ)[21] 9
Norway (VG-lista)[32] 15
Spain (PROMUSICAE)[33] 50
Sweden (Sverigetopplistan)[34] 19
Switzerland (Schweizer Hitparade)[35] 22
UK Singles (Official Charts Company)[23] 2
UK R&B Chart 1
US Billboard Hot Digital Songs[24] 2
Year-end charts[edit]
Chart (1988)
Rank
US Billboard Hot 100[36] 21
Certifications[edit]
Region
Certification
Certified units/Sales
Denmark (IFPI Denmark)[37]
Gold 0^
United Kingdom (BPI)[38]
Platinum 600,000
sales+streaming figures based on certification alone
Live performances[edit]
Jackson performed a live, extended version of the song at the 1988 Grammy Awards. He also performed the song as the ending of the concert during the Bad World Tour's second leg, and regularly during the Dangerous World Tour. Live versions of the song are available on the DVDs Live at Wembley July 16, 1988 and Live in Bucharest: The Dangerous Tour. On July 16, 1996, Jackson also performed "Man in the Mirror" at the Royal Concert Brunei for the last time prior to the United We Stand benefit concert.
The instrumental introduction to the song was played at the end of Jackson's memorial service, while his casket was being carried out; followed by the appearance of a spotlight shining on a microphone on an empty stage. After a closing prayer that incorporated themes from the song, the spotlight remained shining on the lone microphone.[39] The song is also featured as the final number in Michael Jackson's This Is It.
Track listing[edit]
12" and CD
"Man in the Mirror" (single version) – 5:00
"Man in the Mirror" (album version) – 5:19
"Man In The Mirror" (instrumental) – 5:00
7"
Man in the Mirror (single version) - 5:00
Man in the Mirror (instrumental) - 5:00
Video single
Man in the Mirror (music video) - 5:00
Running time: 5 minutes 30 seconds
Sampling/remixes[edit]
2006: The song is sampled by Brooklyn hip hop artist Papoose during the summer of that year on his song "Gonna Make a Change" from mixtape The Boyz in the Hood.[40] The song describes his rough upbringing and his struggles.
2008: Chicago-based rapper Rhymefest freestyles over the instrumental version of "Man in the Mirror" with Michael Jackson singing the chorus and a part of the second verse. It released on his tribute mixtape Mark Ronson Presents: Man in the Mirror.[41][42]
Personnel[edit]
Written and composed by Siedah Garrett and Glen Ballard
Produced by Quincy Jones
Co-Produced by Michael Jackson
Michael Jackson: Solo & background vocals
Featuring Siedah Garrett, The Winans and The Andraé Crouch Choir
Ollie E. Brown: Clap
Dann Huff: Guitar
Greg Phillinganes: Keyboards
Glen Ballard, Randy Kerber: Synthesizers
Siedah Garrett: Background vocals
The Winans: Carvin, Marvin, Michael and Ronald Winans
Andrae Crouch and his Choir: Sandra Crouch, Maxi Anderson, Rose Banks, Geary Faggett, Vonciele Faggett, Andrew Gouche, Linda Green, Pattie Howard, Jean Johnson, Perry Morgan, Alfie Silas, Roberto Noriega
Rhythm arrangement by Glen Ballard and Quincy Jones
Synthesizer arrangement by Glen Ballard, Quincy Jones and Jerry Hey
Vocal arrangement by Andrae Crouch
See also[edit]
Man in the Mirror: The Michael Jackson Story, a 2004 TV film about Jackson's life. Starring Flex Alexander.
References[edit]
Jump up ^ Michael Goldberg; David Handelman (September 24, 1987). "Is Michael Jackson For Real?". RollingStone. Retrieved February 20, 2017.
Jump up ^ "Michael Jackson tops album chart". BBC News. BBC News. June 29, 2009. Retrieved January 22, 2011.
^ Jump up to: a b "Michael Jackson's music tops charts". CNN. Edition.cnn.com. July 1, 2009. Archived from the original on August 8, 2012. Retrieved January 22, 2011.
Jump up ^ Paul Grein (September 23, 2010). "Chart Watch Extra: Songs From The Last Century". Chart Watch. Nielsen Business Media. Yahoo! Music. Archived from the original on October 5, 2010. Retrieved May 7, 2012.
Jump up ^ Siedah Garrett on writing a song for Michael Jackson. YouTube. Retrieved July 31, 2013.
Jump up ^ "Michael Jackson: Man In The Mirror Sheet Music". Sheetmusicdirect.com. Aerostation Corporation. Retrieved July 31, 2013.
Jump up ^ Related by Casey Kasem on "American Top 40", week of February 27, 1988.
Jump up ^ Ed Hogan. "Man in the Mirror review at Allmusic". Allmusic. Rovi Corporation. Retrieved October 12, 2013.
Jump up ^ Jon Pareles (August 31, 1987). "POP: MICHAEL JACKSON'S 'BAD,' FOLLOW-UP TO A BLOCKBUSTER". The New York Times. Retrieved October 12, 2013.
Jump up ^ Davitt Sigerson (October 22, 1987). "Michael Jackson – Bad". Rolling Stone. Jann S. Wenner. Retrieved October 12, 2013.
Jump up ^ ""Man In The Mirror" short film (with photos and video)". Leaf & Letters (in Japanese). Archived from the original on March 3, 2012. Retrieved April 16, 2012.
Jump up ^ Jones, Alan (15 January 2016). "Official Charts Analysis: Bieber continues to dominate Top 5 singles". Music Week. Intent Media. Retrieved 15 January 2016. (Subscription required (help)).
Jump up ^ bulion. "Forum - ARIA Charts: Special Occasion Charts - CHART POSITIONS PRE 1989, part 2". ARIA. Australian-charts.com. Archived from the original on September 29, 2013. Retrieved July 31, 2013.
Jump up ^ "Man In The Mirror - MICHAEL JACKSON". VRT (in Dutch). Top30-2.radio2.be. Archived from the original on April 9, 2012. Retrieved July 31, 2013.
Jump up ^ "Adult Contemporary - Volume 48, No. 1, April 23, 1988". Library and Archives Canada. Retrieved July 31, 2013.
Jump up ^ "Top Singles - Volume 47, No. 25, April 09 1988". Library and Archives Canada. Retrieved July 31, 2013.
Jump up ^ "Offiziellecharts.de – Michael Jackson – Man In The Mirror". GfK Entertainment Charts. Retrieved July 31, 2013.
^ Jump up to: a b "The Irish Charts - All there is to know". IRMA. Archived from the original on January 5, 2010. Retrieved July 31, 2013. Only results when searching "Man in the mirror"
Jump up ^ "Indice per Interprete: J". HitParadeItalia (in Italian). Creative Commons. Retrieved July 31, 2013.
Jump up ^ "Nederlandse Top 40 – Michael Jackson - Man In The Mirror search results" (in Dutch) Dutch Top 40. Retrieved July 31, 2013.
^ Jump up to: a b "Charts.org.nz – Michael Jackson – Man In The Mirror". Top 40 Singles. Retrieved July 31, 2013.
Jump up ^ "MAN IN THE MIRROR - Michael Jackson". Nowe Media, Polskie Radio S.A. LP3.polskieradio.pl. Retrieved July 31, 2013.
^ Jump up to: a b c "Michael Jackson: Artist Chart History" Official Charts Company. Retrieved June 19, 2013.
^ Jump up to: a b c d e f "Bad awards at Allmusic". Allmusic. Rovi Corporation. Retrieved June 19, 2013.
Jump up ^ "Australian-charts.com – Michael Jackson – Man In The Mirror". ARIA Top 50 Singles. Retrieved July 31, 2013.
Jump up ^ "Austriancharts.at – Michael Jackson – Man In The Mirror" (in German). Ö3 Austria Top 40. Retrieved July 31, 2013.
Jump up ^ "50 Back Catalogue Singles – 20 February 2010". Ultratop 50. Hung Medien. Retrieved July 31, 2013.
Jump up ^ "Danishcharts.com – Michael Jackson – Man In The Mirror". Tracklisten. Retrieved July 31, 2013.
Jump up ^ "Michael Jackson - Chart History". Billboard. Retrieved July 31, 2013.
Jump up ^ "Japan Singles Chart". Achart.us. Retrieved July 31, 2013. [dead link]
Jump up ^ "Dutchcharts.nl – Michael Jackson – Man In The Mirror" (in Dutch). Single Top 100. Retrieved July 31, 2013.
Jump up ^ "Norwegiancharts.com – Michael Jackson – Man In The Mirror". VG-lista. Retrieved July 31, 2013.
Jump up ^ "Spanishcharts.com – Michael Jackson – Man In The Mirror" Canciones Top 50. Retrieved July 31, 2013.
Jump up ^ "Swedishcharts.com – Michael Jackson – Man In The Mirror". Singles Top 100. Retrieved July 31, 2013.
Jump up ^ "Swisscharts.com – Michael Jackson – Man In The Mirror". Swiss Singles Chart. Retrieved July 31, 2013.
Jump up ^ "Top 100 Songs of 1988 - Billboard Year End Charts". Retrieved February 20, 2017.
Jump up ^ "Danish single certifications – Michael Jackson – Man in the Mirror". IFPI Denmark. Click on næste to go to page if certification from official website
Jump up ^ "British single certifications – Michael Jackson – Man in the Mirror". British Phonographic Industry. Enter Man in the Mirror in the search field and then press Enter.
Jump up ^ Michael Jackson Memorial Final Closing Prayer by Pastor Lucious Smith "Man in the Mirror" (Youtube video). CNN. YouTube. July 7, 2009. Retrieved January 22, 2011. Note: The poster of the video added the segment of the song at the end of the video after the prayer.
Jump up ^ "Papoose's Gonne Make That Change sample of Michael Jackson's Man in the Mirror". WhoSampled.com. Retrieved June 19, 2013.
Jump up ^ "Man In The Mirror REMIX - MICHAEL JACKSON Ft RHYMEFEST". YouTube. Retrieved July 31, 2013.
Jump up ^ DJ Pizzo (February 14, 2008). "Mark Ronson Presents Rhymefest – "Man In The Mirror" – @@@@ Hiphopsite.com". Hiphopsite.com. Retrieved June 19, 2013. "Ronson teamed up with Chicago super-emcee Rhymefest for Man In The Mirror, a tribute album built upon samples from the King Of Pop himself, Michael Jackson."
External links[edit]
Official Music Video on YouTube
Glen Ballard biography
Lyrics of this song at MetroLyrics
Preceded by
"Never Gonna Give You Up" by Rick Astley Billboard Hot 100 number-one single
March 26, 1988 – April 2, 1988 Succeeded by
"Get Outta My Dreams, Get Into My Car" by Billy Ocean
Preceded by
"Fishnet" by Morris Day Billboard Hot Black Singles number-one single
March 26, 1988 Succeeded by
"Wishing Well" by Terence Trent D'Arby
Preceded by
"Boom Boom Pow" by The Black Eyed Peas UK R&B Chart number-one single
July 5, 2009 – July 19, 2009 Succeeded by
"Beat Again" by JLS
[show]
v
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e
Michael Jackson: Bad
Side one
"Bad"
"The Way You Make Me Feel"
"Speed Demon"
"Liberian Girl"
"Just Good Friends"
Side two
"Another Part of Me"
"Man in the Mirror"
"I Just Can't Stop Loving You"
"Dirty Diana"
"Smooth Criminal"
CD and Digital Download bonus track(s)
"Leave Me Alone"
Related articles
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Bad (tour)
Moonwalker
Michael Jackson's Moonwalker
One Night in Japan
Bad 25 (film)
Live at Wembley July 16, 1988
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National Commission for Scheduled Castes
From Wikipedia, the free encyclopedia
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2012) (Learn how and when to remove this template message)
National Commission for Scheduled Castes (NCSC) is an Indian constitutional body established with a view to provide safeguards against the exploitation of Scheduled Castes to promote and protect their social, educational, economic and cultural interests, special provisions were made in the Constitution.[1]
Contents
[hide]
1 History
1.1 Commission for SCs and STs
1.2 NCSC
2 Functions
3 See also
4 References
5 External links
History[edit]
Commission for SCs and STs[edit]
The first Commission for Scheduled Castes and Scheduled Tribes was set up in August 1978 with Bhola Paswan Shastri as Chairman and other four Members. In 1990 the Commission for SCs and STs was renamed as the National Commission for Scheduled Castes and Scheduled Tribes were formed as per 1987[2] and it was set up as a National Level Advisory Body to advise the Government on broad policy issues and levels of development of Scheduled Castes and Scheduled Tribes.
The first Commission was constituted in 1992 with S. H. Ramdhan as Chairman.
The second Commission was constituted in October 1995 with H. Hanumanthappa as chairman.
The third Commission was constituted in December 1998 with Dileep Singh Bhuria as the Chairman.
The fourth Commission was constituted in March 2002 with Dr. Bizay Sonkar Shastri as the Chairperson.
Consequent upon the Constitution (Eighty-Ninth Amendment) Act, 2003 the erstwhile National Commission for Scheduled Castes and Scheduled Tribes has been replaced by
(1) National Commission for Scheduled Castes and
(2) National Commission for Scheduled Tribes.
NCSC[edit]
The first NCSC was constituted on 2004 with Suraj Bhan as the Chairperson. The second was constituted on May 2007 (chairperson: Buta Singh); the third from October 2010 (P. L. Punia); and the fourth from 2013, also with Punia as chairperson. The fifth NCSC began work in 2017 under chairmanship of Ram Shankar Katheria.[3]
Functions[edit]
The following are the functions of the commission:[4]
To investigate and monitor all matters relating to the safeguards provided for the Scheduled Castes under this Constitution or under any other law for the time being in force or under any order of the Government and to evaluate the working of such safeguards;
To inquire into specific complaints with respect to the deprivation of rights and safeguards of the Scheduled Castes;
To participate and advise on the planning process of socio-economic development of the Scheduled Castes and to evaluate the progress of their development under the Union and any State;
To present to the President, annually and at such other times as the Commission may deem fit, reports upon the working of those safeguards;
To make in such reports recommendations as to the measures that should be taken by the Union or any State for the effective implementation of those safeguards and other measures for the protection, welfare and socio-economic development of the Scheduled Castes; and
To discharge such other functions in relation to the protection, welfare and development and advancement of the Scheduled Castes as the President may, subject to the provisions of any law made by Parliament, by rule specify.[5]
See also[edit]
National Commission for Backward Classes
References[edit]
Jump up ^ National Commission for Schedule Castes | India Environment Portal
Jump up ^ "Genesis Genesis". ncsc.nic.in. Retrieved 2017-02-13.
Jump up ^ "Who's Who". National Commission for Scheduled Castes. Retrieved 2017-07-24.
Jump up ^ "THE CONSTITUTION (EIGHTY-NINTH AMENDMENT) ACT, 2003". by Government of India. indiacode.nic.in. Retrieved 28 July 2013.
Jump up ^ II. Provisions relating to SCs (Page 6) – Constitutional Provisions: Ministry of Social Justice and Empowerment, Government of India
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Official Website
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text:
Love in the Time of Cholera
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For the 2007 movie, see Love in the Time of Cholera (film).
Love in the Time of Cholera
First edition (Colombia)
Author
Gabriel García Márquez
Original title
El amor en los tiempos del cólera
Translator
Edith Grossman
Country
Colombia
Language
Spanish
Publisher
Editorial Oveja Negra (Colombia)
Alfred A. Knopf (US)
Publication date
1985
Published in English
1988
Media type
Print (Hardback & Paperback)
Pages
348 pp (First English hardback edition)
Love in the Time of Cholera (Spanish: El amor en los tiempos del cólera) is a novel by Nobel prize winner Colombian author Gabriel García Márquez first published in Spanish in 1985. Alfred A. Knopf published an English translation in 1988, and an English-language movie adaptation was released in 2007.
Contents
[hide]
1 Plot summary
1.1 Other characters
2 Setting
3 Major themes
3.1 Narrative as seduction
3.2 Narrative as deconstruction
3.3 Love as an emotional and physical disease
3.4 Aging and death
4 Film adaptation
5 References in popular culture
6 Publication details
7 Footnotes
8 External links
Plot summary[edit]
The main characters of the novel are Florentino Ariza and Fermina Daza. Florentino and Fermina fall in love in their youth. A secret relationship blossoms between the two with the help of Fermina's Aunt Escolástica. They exchange several love letters. However, once Fermina's father, Lorenzo Daza, finds out about the two, he forces his daughter to stop seeing Florentino immediately. When she refuses, he and his daughter move in with his deceased wife's family in another city. Regardless of the distance, Fermina and Florentino continue to communicate via telegraph. However, upon her return, Fermina realizes that her relationship with Florentino was nothing but a dream since they are practically strangers; she breaks off her engagement to Florentino and returns all his letters.
A young and accomplished national hero, Dr. Juvenal Urbino, meets Fermina and begins to court her. Despite her initial dislike of Urbino, Fermina gives in to her father's persuasion and the security and wealth Urbino offers, and they wed. Urbino is a medical doctor devoted to science, modernity, and "order and progress". He is committed to the eradication of cholera and to the promotion of public works. He is a rational man whose life is organized precisely and who greatly values his importance and reputation in society. He is a herald of progress and modernization.[1]
Even after Fermina's engagement and marriage, Florentino swore to stay faithful and wait for her. However, his promiscuity gets the better of him. Even with all the women he is with, he makes sure that Fermina will never find out. Meanwhile, Fermina and Urbino grow old together, going through happy years and unhappy ones and experiencing all the reality of marriage. At an elderly age, Urbino attempts to get his pet parrot out of his mango tree, only to fall off the ladder he was standing on and die. After the funeral, Florentino proclaims his love for Fermina once again and tells her he has stayed faithful to her all these years. Hesitant at first because of the advances he made to a newly made widow, Fermina eventually gives him a second chance. They attempt a life together, having lived two lives separately for over five decades.
Urbino's function in the novel is to contrast with Florentino Ariza and his archaic and boldly romantic love. Urbino proves in the end not to have been an entirely faithful husband, confessing one affair to Fermina many years into their marriage. Though the novel seems to suggest that Urbino's love for Fermina was never as spiritually chaste as Florentino Ariza's was, it also complicates Florentino's devotion by cataloging his many trysts as well as a few potentially genuine loves. By the end of the book, Fermina comes to recognize Florentino's wisdom and maturity, and their love is allowed to blossom during their old age.
Other characters[edit]
Lorenzo Daza – Fermina Daza's father, a mule driver; he despised Florentino and forced him to stop meeting Fermina. He is revealed to have been involved in some illicit businesses to build his fortune.
Jeremiah de Saint-Amour – The man whose suicide is introduced as the opening to the novel; a photographer and chess-player.
Aunt Escolástica – The woman who attempts to aid Fermina in her early romance with Florentino by delivering their letters for them. She is ultimately sent away by Lorenzo Daza for this.
Tránsito Ariza – Florentino's mother.
Hildebranda Sánchez – Fermina's cousin.
Miss Barbara Lynch – The woman with whom Urbino confesses having had an affair, the only one during his long marriage.
Leona Cassiani – She starts out as the "personal assistant" to Uncle Leo XII at the R.C.C., the company which Florentino eventually controls. At one point, it is revealed that the two share a deep respect, possibly even love, for each other, but will never actually be together. She has a maternal love for him as a result of his "charity" in rescuing her from the streets and giving her a job.
Diego Samaritano – The captain of the riverboat on which Fermina and Florentino ride at the end of the novel.
América Vicuña – The fourteen-year-old girl who towards the end of the novel is sent to live with Florentino; he is her guardian while she is in school. They have a sexual relationship, and after being rejected by Florentino and failing her exams, she kills herself. Her suicide illustrates the selfish nature of Florentino's love for Fermina.
Setting[edit]
The story occurs mainly in an unnamed port city somewhere near the Caribbean Sea and the Magdalena River. Given that Rafael Núñez is mentioned as the "author of the national anthem", the country is likely Colombia. While the city remains unnamed throughout the novel, descriptions and names of places suggest it is based on Cartagena with the addition of the Magdalena River, which meets the sea at the nearby city of Barranquilla. The fictional city is divided into such sections as "The District of the Viceroys" and "The Arcade of the Scribes." The novel takes place approximately during the half century between 1880 and 1930.[2] The city's "steamy and sleepy streets, rat-infested sewers, old slave quarter, decaying colonial architecture, and multifarious inhabitants" are mentioned variously in the text and mingle amid the lives of the characters.[3] Locations within the story include:
The house Fermina shares with her husband, Dr. Juvenal Urbino.
The "transient hotel" where Florentino Ariza stays for a brief time.
Ariza's office at the river company.
The Arcade of the Scribes.
The Magdalena River.
Major themes[edit]
This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (February 2009) (Learn how and when to remove this template message)
Narrative as seduction[edit]
Some critics choose to consider Love in the Time of Cholera as a sentimental story about the enduring power of true love. Others criticize this opinion as being too simple. García Márquez himself said in an interview, "you have to be careful not to fall into my trap."[4]
This is manifested by Ariza's excessively romantic attitude toward life, and his gullibility in trying to retrieve the sunken treasure of a shipwreck. It is also made evident by the fact that society in the story believes that Fermina and Juvenal Urbino are perfectly happy in their marriage, while the reality of the situation is not so ideal. Critic Keith Booker compares Ariza's position to that of Humbert Humbert in Vladimir Nabokov's Lolita, saying that just as Humbert is able to charm the reader into sympathizing with his situation, even though he is a "pervert, a rapist, and a murderer," Ariza is able to garner the reader's sympathy, even though the reader is reminded repeatedly of his more sinister exploits.[4]
Narrative as deconstruction[edit]
The novel examines romantic love in myriad forms, both "ideal" and "depraved", and continually forces the reader to question such ready-made characterizations by introducing elements antithetical to these facile judgments.
Love as an emotional and physical disease[edit]
García Márquez's main notion is that lovesickness is literally an illness, a disease comparable to cholera. Florentino suffers from this just as he might suffer from any malady. At one point, he conflates his physical pain with his amorous pain when he vomits after eating flowers in order to imbibe Fermina's scent. In the final chapter, the Captain's declaration of metaphorical plague is another manifestation of this.
The term cholera as it is used in Spanish, cólera, can also denote passion or human rage and ire in its feminine form. (The English adjective choleric has the same meaning.) Considering this meaning, the title is a pun: cholera as the disease, and cholera as passion, which raises the central question of the book: is love helped or hindered by extreme passion? The two men can be contrasted as the extremes of passion: one having too much, one too little; the central question of which is more conducive to love and happiness becomes the specific, personal choice that Fermina faces through her life. Florentino's passionate pursuit of nearly countless women stands in contrast to Urbino's clinical discussion of male anatomy on their wedding night. Urbino's eradication of cholera in the town takes on the additional symbolic meaning of ridding Fermina's life of rage, but also passion. It is this second meaning to the title that manifests itself in Florentino's hatred for Urbino's marriage to Fermina, as well as in the social strife and warfare that serves as a backdrop to the entire story.
Aging and death[edit]
Jeremiah Saint-Amour's death inspires Urbino to meditate on his own death, and especially on the infirmities that precede it. It is necessary for Fermina and Florentino to transcend not only the difficulties of love, but also the societal opinion that love is a young person's prerogative (not to mention the physical difficulties of love when one is older).
Film adaptation[edit]
Main article: Love in the Time of Cholera (film)
Stone Village Pictures bought the movie rights from the author for US$3 million, and Mike Newell was chosen to direct it, with Ronald Harwood writing the script. Filming started in Cartagena, Colombia, during September 2006.[5]
The $50 million film, the first major foreign production filmed in the scenic walled city in twenty years,[5] was released on November 16, 2007, by New Line Cinema. On his own initiative, García Márquez persuaded singer Shakira, who is from the nearby city of Barranquilla, to provide two songs for the film.
References in popular culture[edit]
In the movie Serendipity, Sara asks Jonathan to write his name and phone number on a $5 bill, while she writes her name and number on the inside cover of a copy of Love in the Time of Cholera. If they are meant to be together, he will find the book and she will find the $5 bill, and they will find their way back to each other.
The book is referenced in the TV series How I Met Your Mother. It was Ted Mosby and Tracy McConnell's (aka the Mother's) favorite book.
In the film High Fidelity the character Rob Gordon mentions the novel: "Hey, I'm not the smartest guy in the world, but I'm certainly not the dumbest. I mean, I've read books like The Unbearable Lightness of Being and Love in the Time of Cholera, and I think I've understood them. They're about girls, right? Just kidding. But I have to say my all-time favorite book is Johnny Cash's autobiography Cash by Johnny Cash."
Also, in the film Playing It Cool, Topher Grace plays the character Scott. Scott is a writer and is deeply moved by the book so much that he often leaves copies of the book in public places for others to find and read. He leaves a note in the book for the assumed reader explaining how this book changed his life. Chris Evans the main character/narrator finally picks up the book to read. After reading the book, the narrator applies it to his own life. He says that there are people in our lives that are so important, they dwarf everything else.
Publication details[edit]
1985, Colombia, Spanish edition, Oveja Negra, 1985, hardback ISBN 958-06-0000-7 and paperback ISBN 958-06-0001-5 (first edition)
1985, Argentina, Spanish edition, Editorial Sudamericana, 1985, hardback ISBN 950-07-0321-1(E) (first Argentine edition)
1985, Mexico DF, Spanish edition, Editorial Diana, 1985, paperback ISBN 968-13-1547-2 (first Mexican edition: 100,000 copies)
1988, US, Alfred A. Knopf ISBN 0-394-56161-9, Pub date 1 January 1988, hardback (first English-language edition)
1989, US, Penguin Books ISBN 0-14-011990-6, Pub date 7 September 1989, paperback
2003, US, Vintage International ISBN 1-4000-3468-X, paperback
Footnotes[edit]
Jump up ^ Morana, Mabel (winter, 1990). "Modernity and Marginality in Love in the Time of Cholera". Studies in Twentieth Century Literature 14:27–43
Jump up ^ Simpson, Mona (September 1, 1988) "Love Letters". London Review of Books 10:22–24
Jump up ^ Taylor, Anna-Marie (1995). Reference Guide to World Literature, 2nd ed. St. James Press.
^ Jump up to: a b Booker, M. Keith (summer, 1993) "The Dangers of Gullible Reading: Narrative as Seduction in García Márquez's Love in the Time of Cholera". Studies in Twentieth Century Literature 17:181-95
^ Jump up to: a b A.R. Lakshmanan, Indira. "Love in the Time of Cholera: On location, out on a limb". December 11, 2006. Accessed May 26, 2007.
External links[edit]
The Heart's Eternal Vow – New York Times Book Review from 1988 by Thomas Pynchon
[hide]
v
t
e
Works by Gabriel García Márquez
Novels
In Evil Hour
One Hundred Years of Solitude
The Autumn of the Patriarch
Chronicle of a Death Foretold
Love in the Time of Cholera
The General in His Labyrinth
Of Love and Other Demons
Memories of My Melancholy Whores
Short stories
Leaf Storm
No One Writes to the Colonel
Big Mama's Funeral
The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother
Strange Pilgrims
The Handsomest Drowned Man in the World
A Very Old Man with Enormous Wings
Non-fiction
The Story of a Shipwrecked Sailor
Clandestine in Chile
News of a Kidnapping
Living to Tell the Tale
Speech
The Solitude of Latin America
Authority control
GND: 4308202-6
BNF: cb167707028 (data)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Love_in_the_Time_of_Cholera&oldid=826714250"
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For He's a Jolly Good Fellow
From Wikipedia, the free encyclopedia
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"For He's a Jolly Good Fellow"
Song
Language
English
"For He's a Jolly Good Fellow" is a popular song that is sung to congratulate a person on a significant event, such as a promotion, a birthday, a wedding (or playing a major part in a wedding), a wedding anniversary, the birth of a child, or the winning of a championship sporting event. The melody originates from the French song "Marlbrough s'en va-t-en guerre" ("Marlborough Has Left for the War"). The traditional children's song "The Bear Went Over the Mountain" is sung to the same tune.
According to the Guinness World Records, "For He's a Jolly Good Fellow" is the second-most popular song in the English language, following "Happy Birthday to You" and followed by "Auld Lang Syne".
Contents
1 History
2 Lyrics
2.1 British version
2.2 American version
2.3 Danish version
2.4 French version
2.5 Italian version
2.6 Polish version
2.7 Portuguese (Brazil) version
2.8 Spanish (Spain) version
2.9 Spanish (Latin America) version
2.10 Swedish version
2.11 Croatian version
2.12 Catalan version
2.13 Hebrew version
2.14 Russian version
3 Pause length
4 Variations
5 References
6 External links
History[edit]
The tune is of French origin and dates at least from the 18th century.[1] Allegedly it was composed the night after the Battle of Malplaquet in 1709.[2] It became a French folk tune and was popularized by Marie Antoinette after she heard one of her maids singing it.[3] The melody became so popular in France that it was used to represent the French defeat in Beethoven's composition "Wellington's Victory" Opus 91 written in 1813.[4]
The melody also became widely popular in the United Kingdom.[5] By the mid-19th century[6] it was being sung with the words "For he's a jolly good fellow", often at all-male social gatherings.[7] By 1862, it was already familiar in America.[8]
The British and American versions of the lyrics differ. "And so say all of us" is typically British,[9] while "which nobody can deny" is regarded as the American version,[4] but "which nobody can deny" has been used by non-American writers, including Charles Dickens in Household Words,[10] Hugh Stowell Brown in Lectures to the Men of Liverpool[11] and James Joyce in Finnegans Wake.[12] In addition, the 1935 American film Ruggles of Red Gap, set in rural Washington state, ends with repeated choruses of the song, with the two variations sung alternately. This may have been chosen by the writer or director because while the crowd singing it is almost completely American, the person they are singing it about is British.
In the United States, the "And so say all of us" version is often found East of the Mississippi, while the "which nobody can deny" variation is far more common West of the Mississippi.[citation needed] In both regions, prior to the popularization of the "Happy Birthday to You" song, "For He's a Jolly Good Fellow" was the most commonly sung birthday song.
Lyrics[edit]
As with many songs that use gender-specific pronouns, the song can be altered to agree with the sex of the intended recipient, "he" being replaced with "she".[13] If the song is being sung to two or more people (e.g. twins or triplets) it is altered to use plurals (i.e. "For They are Jolly Good Fellows.")
British version[edit]
For he's a jolly good fellow, for he's a jolly good fellow
For he's a jolly good fellow (pause), and so say all of us
And so say all of us, and so say all of us
For he's a jolly good fellow, for he's a jolly good fellow
For he's a jolly good fellow (pause), and so say all of us!
American version[edit]
For he's a jolly good fellow, for he's a jolly good fellow
For he's a jolly good fellow (pause), which nobody can deny
Which nobody can deny, which nobody can deny
For he's a jolly good fellow, for he's a jolly good fellow
For he's a jolly good fellow (pause), which nobody can deny!
Danish version[edit]
For han/hun er en af vor egne, for han/hun er en af vor egne
For han/hun er en af vor egne (pause), en rigtig guttermand
En rigtig guttermand, en rigtig guttermand
For han/hun er en af vor egne, for han/hun er en af vor egne
For han/hun er en af vor egne (pause), en rigtig guttermand!
French version[edit]
Car c'est un bon camarade, Car c'est un bon camarade
Car c'est un bon camarade (pause), Buvons à sa santé
Buvons à sa santé, Buvons à sa santé
Car c'est un bon camarade, Car c'est un bon camarade
Car c'est un bon camarade (pause), Buvons à sa santé !
Italian version[edit]
Perché è un bravo ragazzo, perché è un bravo ragazzo
perché è un bravo ragazzo (pause), nessuno lo può negar
Nessuno lo può negar, nessuno lo può negar
Perché è un bravo ragazzo, perché è un bravo ragazzo
perché è un bravo ragazzo (pause), nessuno lo può negar!
Polish version[edit]
Bo fajny z niego jest kumpel, bo fajny z niego jest kumpel
Bo fajny z niego jest kumpel (pauza) i nie zaprzeczy nikt
I nie zaprzeczy nikt i nie zaprzeczy nikt
Bo fajny z niego jest kumpel, bo fajny z niego jest kumpel
Bo fajny z niego jest kumpel (pauza) i nie zaprzeczy nikt
Portuguese (Brazil) version[edit]
Ele é um bom companheiro, ele é um bom companheiro
Ele é um bom companheiro (pause), ninguém pode negar
ninguém pode negar, ninguém pode negar
Ele é um bom companheiro, ele é um bom companheiro
Ele é um bom companheiro (pause), ninguém pode negar!
Spanish (Spain) version[edit]
Porque es un chico excelente, porque es un chico excelente
Porque es un chico excelente..., y siempre lo será.
Y siempre lo será, y siempre lo será.
Porque es un chico excelente, porque es un chico excelente
Porque es un chico excelente..., y siempre lo será.
Y siempre lo será, y siempre lo será...
Spanish (Latin America) version[edit]
Porque es un buen compañero, porque es un buen compañero
Porque es un buen compañero (pausa), y nadie lo puede negar
Y nadie lo puede negar, y nadie lo puede negar
Porque es un buen compañero, porque es un buen compañero
Porque es un buen compañero (pausa), y nadie lo puede negar!
Swedish version[edit]
För han är en jättebra kompis, för han är en jättebra kompis
För han är en jättebra kompis..., fy fan vad han är bra!
Fy fan vad han är bra, fy fan vad han är bra
För han är en jättebra kompis, för han är en jättebra kompis
För han är en jättebra kompis (paus), fy fan vad han är bra!
Croatian version[edit]
Jer on je najbolji kompa, jer on je najbolji kompa,
jer on je najbolji kompa, (pauza) i nitko to nemre poreć'!
I nitko to nemre poreč' i nitko to nemre poreć'.
Jer on je najbolji kompa, jer on je najbolji kompa,
jer on je najbolji kompa, (pauza) i nitko to nemre poreć'!
Catalan version[edit]
És un xicot excel·lent, és un xicot excel·lent.
És un xicot excel·lent..., això no es pot negar.
Això no es pot negar, això no es pot negar.
És un xicot excel·lent, és un xicot excel·lent.
És un xicot excel·lent..., això no es pot negar.
Això no es pot negar, això no es pot negar...
Hebrew version[edit]
Ki hu bahur ka'erez, ki hu bahur ka'erez
Ki hu bahur ke'e-e-e-rez
Kulanu pe ehad YEEEEEH!
Russian version[edit]
Какой хороший парень, какой хороший парень,
Какой хороший парень...
Приятно, что он среди нас,
Приятно, что он среди нас, приятно, что он среди нас.
Какой хороший парень, какой хороший парень,какой хороший парень...
Приятно, что он среди нас.
Pause length[edit]
The last syllable of the third iteration of "For he's a jolly good fellow" is often sung with an exaggerated fermata or pause before going on, making it difficult for groups or crowds to sing the next line in unison. This is evident, for example, when sung as a crowd chant in a football stadium or at a birthday party. Typically the note is extended an additional half measure, though it's acceptable to have no addition or extend the note for a full measure.
Variations[edit]
The British and American versions can be combined, normally with "and so say all of us" in the middle of the verse, and "which nobody can deny" at the end.
In Australia, many people have traditionally replaced "He's a jolly good fellow" with "She's a jolly good lassie" when singing to a female.[14][15][16]
In Spain, it is sometimes sung at birthdays instead of "Happy Birthday to You". This is also the case in America on television and in movies, because Warner/Chappell Music claimed copyright to "Happy Birthday To You" until 2016, while "For He's a Jolly Good Fellow" has long been in the public domain.
"Nobody" is sometimes replaced by "no one".
Bing Crosby included the song in a medley on his album 101 Gang Songs (1961)
In the Porridge episode "Disturbing the Peace", all the prisoners greet Mr. Mackay to this song, having successfully eliminated Mr. Wainwright.
The song is used to dramatic effect -- accompanying a suicide -- in Eugene O'Neill's 1914 one-act play "Abortion."
References[edit]
Notes
Jump up ^ The Oxford Dictionary of Music, 2nd. ed.(revised). Ed. Michael Kennedy:‘18th‐cent. Fr. nursery song. ... It is usually stated that ‘Malbrouck’ refers to the 1st Duke of Marlborough, but the name is found in medieval literature.’
Jump up ^ Catalogue of rare books of and relating to music. London: Ellis. p. 32.
Jump up ^ West, Nancy Shohet (9 June 2011). "Mining nuggets of music history". Boston Globe. Retrieved 22 June 2011.
^ Jump up to: a b Cryer, Max (2010). Love Me Tender: The Stories Behind the World's Favourite Songs (Large Print). Exisle Publishing. pp. 26 ff. ISBN 1-4587-7956-4.
Jump up ^ The Times (London, England), 28 March 1826, p. 2:'The Power of Music'. A visiting foreigner, trying to recall the address of his lodgings in Marlborough Street, hums the tune to a London cabman: he immediately recognises it as 'Malbrook'.
Jump up ^ The song may have featured in an "extravaganza" given at the Princess theatre in London at Easter 1846, during which fairies hold a moonlight meeting: "...the meeting closes with a song of thanks to Robin Goodfellow (Miss Marshall), who had occupied the chair,...and who is assured that "he’s a jolly good fellow." "Princess's." Times [London, England] 14 Apr. 1846: 5. The Times Digital Archive. Web. 1 Oct. 2012.
Jump up ^ The Times reprinted an article from Punch describing a drunken speech given at a (fictional) public meeting. The speech ends: "Zshenl’men, here’s all your vehgood healts! I beggapard’n – here’s my honangal’n fren’s shjolly goo’ health! "For he’s a jolly good fellow, &c (Chorus by the whole of the company, amid which the right hon. orator tumbled down.)" "The After Dinner Speech At The Improvement Club." Times [London, England] 23 Mar. 1854: 10. The Times Digital Archive. Web. 1 Oct. 2012.
Jump up ^ Review of a piano recital: “As a finale he performed for the first time, a burlesque on the French air, "Marlbrook," better known to the American student of harmony as "He's a jolly good fellow." New York Times, 4 October 1862
Jump up ^ An 1859 version quoted in The Times however has some ‘red-faced’ English officers at an Indian entertainment dancing before their host: ‘...declaring that he was "a right good fellow; he’s a jolly good fellow, which nobody dare deny hip, hip, hip, hoorah!" &c.’ The Times(London, England), 24 March 1859, p. 9
Jump up ^ Dickens, Charles (1857). Household Words. 15. p. 142.
Jump up ^ Brown, Hugh Stowell (1860). Lectures to the Men of Liverpool. p. 73.
Jump up ^ Joyce, James. Finnegans Wake. p. 25.
Jump up ^ Originally the song was associated with after-dinner drinking by all-male groups and not used for females. In 1856 British officers in the Crimea mistakenly sang it after a toast had been made, in Russian, to the Empress of Russia:'...peals of laughter followed when they all learned the subject of the toast, which was afterwards drunk again with due honour and respect.' Blackwood's Magazine, Volume 80, October 1856
Jump up ^ "Preview For He's A Jolly Good Fellow - For Easy Piano By Traditional (S0.107999) - Sheet Music Plus". www.choralsheetmusic.com. Retrieved 2016-09-27.
Jump up ^ Katz, Danny (2015-10-30). "Modern guru". Retrieved 2016-09-27.
Jump up ^ "ZEERUST NEWS - COMING OF AGE PARTY - Shepparton Advertiser (Vic. : 1914 - 1953) - 10 Feb 1941". Trove. Retrieved 2016-09-27.
External links[edit]
For He's a Jolly Good Fellow, Lyrics and Sound
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