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Waltzing Matilda

"Waltzing Matilda" is a song developed in the Australian style of poetry and folk music called a bush ballad. It has been described as the country's "unofficial national anthem".

The title was Australian slang for travelling on foot (waltzing) with one's belongings in a "matilda" (swag) slung over one's back. The song narrates the story of an itinerant worker, or "swagman", making a drink of billy tea at a bush camp and capturing a stray jumbuck (sheep) to eat. When the jumbuck's owner, a squatter (grazier), and three troopers (mounted policemen) pursue the swagman for theft, he declares "You'll never catch me alive!" and commits suicide by drowning himself in a nearby billabong (watering hole), after which his ghost haunts the site.

The original lyrics were composed in 1895 by Australian poet Banjo Paterson, to a tune played by Christina MacPherson. The first published setting of "Waltzing Matilda" was Harry Nathan's on 20 December 1902. Nathan wrote a new variation of Christina MacPherson's melody and changed some of the words. Sydney tea merchant, James Inglis, wanted to use "Waltzing Matilda" as an advertising jingle for Billy Tea. In early 1903, Inglis purchased the rights to 'Waltzing Matilda' and asked Marie Cowan, the wife of one of his managers, to try her hand at turning it into an advertising jingle. Cowan made some more changes to the words and some very minor changes to Nathan's melody and gave the song a simple, brisk, harmonious accompaniment which made it very catchy. Her song, published in 1903, grew in popularity, and Cowan's arrangement remains the best-known version of "Waltzing Matilda".

Extensive folklore surrounds the song and the process of its creation, to the extent that it has its own museum, the Waltzing Matilda Centre in Winton, in the Queensland outback, where Paterson wrote the lyrics. In 2012, to remind Australians of the song's significance, Winton organised the inaugural Waltzing Matilda Day to be held on 6 April, wrongly thought at the time to be the anniversary of its first performance.

The song was first recorded in 1926 as performed by John Collinson and Russell Callow. In 2008, this recording of "Waltzing Matilda" was added to the Sounds of Australia registry in the National Film and Sound Archive, which says that there are more recordings of "Waltzing Matilda" than any other Australian song.

Writing of the song
In 1895, Andrew Barton Paterson was living in Sydney, NSW. By day, he was a solicitor. By night he wrote his much-loved poetry and moonlighted as a freelance journalist under the pen name of "The Banjo". Banjo was the name of his favourite horse on his father's farm. Paterson took a holiday from his day job, probably in early August. He made a journey of at least 5 days to visit Sarah Riley, his fiancée of 7 years, in Winton, central-western Queensland and to see how people lived on the enormous, remote sheep stations in the district.

On arriving in Winton, Banjo attended a gathering where Christina Macpherson, Sarah’s friend from school days in St Kilda, Melbourne, played some music to entertain those present. One tune caught Banjo’s attention. In Christina’s own words, “Mr Paterson asked me what it was – I could not tell him & he then said that that he thought that he could write some lines to it. He then and there wrote the first verse.” The rest of the song was written and rehearsed over a period of some three or four weeks in August and early September at a number of locations. Credible accounts exist of the later verses being written at Dagworth Station, a sheep station 130 km northwest of Winton in Central West Queensland, owned by the Macpherson family. Paterson and others have left accounts of the song being written at Dick's Creek, en route to Winton from Dagworth Station. The song was then sung, with piano accompaniment, in a house in Winton (owned by members of the Riley family). There is photographic evidence of the song, at an advanced stage, being sung at Oondooroo Station, again with piano accompaniment. When no piano was available, the instrument that Christina played was a small, very early model of an instrument called a volkszither or akkordzither in Germany. In America, where it became very popular, it was called an autoharp  At Dagworth and Dick's Creek, Christina would have played the autoharp.

On 24 April 1894, Christina had attended the annual Warrnambool steeplechase meeting in south western Victoria. The music at the meeting was provided by the Warrnambool Garrison Artillery Band. The first item played by the band was the quick march "Craigielee", composed by English-born Australian Thomas Bulch, in or before 1891, using the pseudonym Godfrey Parker. 'Craigielee' was a typical march with three strains. The first strain in the main section was based on "Bonnie Wood of Craigielee", composed by Glasgow musician James Barr, published in 1818 for Robert Tannahill's poem "Thou Bonnie Wood o Craigielee" which was written prior to 1806. Christina had a good memory for songs and, when she had the opportunity, tried to play the first strain by ear on piano. Christina's memory was not perfect. The first strain of "Craigielee" had the musical form AABC. Christina remembered the AAB section and put it into her tune as bars 1-12. For some reason she did not add the C section to her song as bars 13-16. To complete her tune, Christina repeated the second A section. Christina's tune had the musical form AABA. This is the musical form of "Waltzing Matilda" sung today.

When Christina arrived at Dagworth in June 1895 she found an autoharp with three or four chord bars, which belonged to the bookkeeper, John Tait Wilson. As there was no piano at Dagworth, Christina learned to play this autoharp. Within 7 weeks she was able to play the tune that she heard at Warrnambool, well enough to catch the attention of Banjo Paterson. During the rest of her stay at Dagworth she mastered it.

About seven weeks after she arrived at Dagworth, Christina and her brothers went into Winton for a week or so. This coincided with the time that Banjo Paterson arrived to meet Sarah Riley. Banjo and Sarah were immediately invited to join the group returning to Dagworth Station. This was an irresistible temptation for a man venturing into the outback, the ‘never-never’ for the first time. During his stay, Paterson would have seen the places, heard the stories and encountered the people who inspired the lyrics of the original "Waltzing Matilda".

Some of the stories and events that may have inspired the lyrics of "Waltzing Matilda" are below.

In Queensland, in 1891, the Great Shearers' Strike brought the colony close to civil war and was broken only after the Premier of Queensland, Samuel Griffith, called in the military. In July and August 1894, as the shearing season approached, the strike broke out again in protest at a wage and contract agreement proposed by the 'squatters'. During July and August, seven shearing sheds in central Queensland were burned by striking union shearers before shearing could begin with 'scab' labour. Early on the morning of 2 September, a group of striking union shearers, firing rifles and pistols, set fire to the shearing shed at Dagworth. The fire killed over a hundred sheep. The shed was defended by Constable Michael Daly, Bob Macpherson and his brothers and employees. In the early afternoon of the same day, Senior Constable Austin Cafferty, in Kynuna, was informed that a man had shot himself at a striking shearers' camp in a billabong 4 miles from Kynuna and about 15 miles from Dagworth. When he arrived at the camp, S/C Cafferty found the body of Samuel Hoffmeister, also known as "Frenchy", with a bullet wound through the mouth, in an apparent suicide. Hoffmeister was a known leader of the striking unionists and suspected of being involved in the arson attack at Dagworth on the night before. Later S/C Cafferty was joined by Constable Michael Daly, who had travelled from Dagworth. Three days later, a Coronial inquest into Hoffmeister's death was held at Kynuna Station. Police Magistrate, Ernest Eglington, travelled from Winton to conduct it. Dr Welford accompanied him to carry out a post mortem. Evidence was given by shearers who were in the camp when Hoffmeister died. The coroner found that the cause of Hoffmeister’s death was “suicide” – a single gunshot to the mouth. That finding has, in 2010, been questioned.

Banjo Paterson was a first-class horseman and loved riding. It is likely that he would have seized any opportunity to go riding at Dagworth. Bob Macpherson (the brother of Christina) and Paterson went riding together and, in Christina's words, "they came to a waterhole (or billabong) & found the skin of a sheep which had been recently killed—all that had been left by a swagman". This incident may have inspired the second verse. Tom Ryan worked at Dagworth in 1895 and recorded an incident in which Paterson accompanied Dagworth horse breaker, Jack Lawton, when he went to the Combo to bring in a mob of horses. They brought them part of the way in and then put them against a fence running into a waterhole. Lawton then took the saddle from his horse and gave it a swim. He then stripped off and dived from a gum tree into the waterhole. Paterson followed suit. Jack then noticed that the mob of horses were walking away and would probably go back to their starting point. He jumped on his own horse without waiting to don any clothes and galloped after the mob. He was surprised, on looking around, to find his companion had again followed his example. On reaching the station that night, Paterson told him it was the best day's outing he had ever had.

Banjo’s stay at Dagworth Station was short. He would have spent at least 16 days travelling during his absence from Sydney. While claims are made that he attended Combo Waterhole, they are not confirmed by Banjo or others who were present at the time of any visit there. There is no evidence that Banjo made the 52 km round trip to the Four Mile Billabong where Hoffmeister’s body was found. It is highly unlikely that he would have had time to do so during his short stay at Dagworth Station.

Christina's manuscripts
Paterson returned to Sydney in early September. Sometime later, Banjo wrote to Christina and asked her to send him a copy of the music of their song. This presented Christina with a serious problem: Christina played music by ear: she did not use sheet music. Writing down music from memory is quite challenging, even for musicians who read music well. It is extremely challenging for one who does not. In Christina's own words, "I am no musician but did my best." Christina managed to get hold of some 12-stave manuscript paper and wrote a first draft, writing down the notes of her song on the stave, as little open circles, at the pitch, and in the order that she remembered them. Christina would have used a piano to help her do this. She made no effort to indicate the lengths of the notes. Christina had a very good ear. Except for bars 9 and 10, the pitch of the notes in her draft is the same as the corresponding notes in 'Craigielea'. In bar 9, Christina wrote the first 2 notes as a C. This was a mistake: they should have been B flat. Christina corrected this in a later manuscript. In bar 10, Christina's memory let down slightly: she ran the melody down the E flat major6 chord instead of down the scale. This gave bar 10 in her tune a slightly dreamier sound. From Christina's first draft, any musician who can scan a poem and knows how to represent the time value of notes, can quickly write a full draft by matching the note values to the meter of the lyrics. Unfortunately, Christina had very limited ability to represent the time value of notes. Her full drafts have many mistakes. Some are minor and easily corrected. Some are fundamentally wrong. In bars 8, 9 and 10 there is a mysterious dot that appears in every draft. It meant something to Christina but is a mystery to everyone else. Christina's final drafts do not accurately represent what she sang, and as written, they are unplayable. Despite this, it is possible to infer, with considerable accuracy, the tune that Christina recalled when she eventually drafted the manuscript and it established the Scottish origin of the song.

It is not known when Banjo wrote to Christina or where Christina was when the manuscripts were written. Christina may have still been in Queensland or she may have returned to Melbourne. Christina wrote at least 3 full drafts of the song. She kept one, now known as the Macpherson manuscript. She sent one to Banjo and gave another to W. B. Bartlam, the manager of a station adjoining Dagworth at the time. This one is now known as the Bartlam-Roulston manuscript. The Bartlam-Roulson manuscript has the correct notes at the beginning of bar 9, indicating that it was written after the Macpherson manuscript. The manuscript that she kept was passed down to her sister, Margaret (McArthur) who in turn passed it down to her daughter, Diana (Baillieu). It was made public in 1992 and was later donated it to the National Library of Australia. The Bartlams knew what their manuscript was, but no one believed them until 1971. This allowed some myths about the song to grow. Both full drafts and the first draft are held at the National Library of Australia. The manuscript sent to Paterson was lost.

Memories and miscellanea
Some 40 years later, and not long before Christina died, Christina and Banjo each left different accounts of their recollection of the events surrounding the writing of "Waltzing Matilda". In the early 1930s, English musician Dr Thomas Wood worked his way around Australia as a music examiner and searched for Australian folk songs. He was captivated by "Waltzing Matilda". In 1931, the Argus newspaper reported him saying that 'Waltzing Matilda' was written on a moment's inspiration by Banjo Paterson, his sister composing the music equally spontaneously. In 1934, in his book "Cobbers", Wood wrote a brief, colourful, but very incomplete account of the composition of "Waltzing Matilda". Christina carefully drafted a letter to him to set the record straight but did not date or send it. In it, Christina stated that when the first verse was written, she had travelled to Winton with her brothers and that she had heard the music played by a band at Warrnambool. Christina then added more information from 1895 through to the song's inclusion in the "Australasian Students Song Book", which was published in 1911. Christina had a comprehensive memory and was proud of her role in producing the song. About the same time, for a talk on ABC radio, Paterson wrote that in 1894 the shearers staged a strike by way of expressing themselves, and Macpherson's shearing shed was burnt down, and a man was picked up dead. .... while resting for lunch or changing horses on our four-in-hand-journeys, Miss Macpherson, afterwards the wife of financial magnate, J McCall McCowan, used to play a little Scottish tune on a zither, and I put words to the tune and called it "Waltzing Matilda". These scanty details complement Christina's account but do not suggest that the song meant a lot to him. Paterson also attributed the playing of the music to the wrong Macpherson sister. Christina's sister Jean married McCall McCowan. Christina never married. As time passed, Banjo’s memories of his trip to Dagworth faded.

Some 30 years later again and also for a talk on ABC radio, Hugh Paterson, Banjo’s son, wrote his recollection of what Banjo had told him about the role that the autoharp played in the composition of “Waltzing Matilda”. When Christina played her tune derived from “Bonnie Wood of Craigielea”, Banjo said, “I told her that I thought I could write some whimsical words to match the tune’s appeal to me...... We were too far out in the ‘never-never’ for pianos. But Miss Macpherson played it for me on an autoharp while I wrote the words that seemed to me to express its whimsicality and dreaminess.”

For many years, it was believed that the song was first performed on 6 April 1895 by Sir Herbert Ramsay, 5th Bart., at the North Gregory Hotel in Winton, Queensland. The occasion was a banquet for the Premier of Queensland. This day is still celebrated as 'Waltzing Matilda Day'. In fact, Christina, Jean and Ewen Macpherson left Melbourne on the SS Wodonga on 1 June 1895 and the song was not written until probably late August. "Waltzing Matilda" was certainly not sung on 6 April 1895. Sir Herbert Ramsay did sing "Waltzing Matilda" when Bob Macpherson, Christina and Banjo visited Oondooroo Station, owned by the Ramsay family probably in the first week of September 1895. Herbert was dressed up as a swagman and his photo was taken.

Barrister, Trevor Monti, made a study of the transcript of the Coronial inquest into the death of Samuel Hoffmeister. In February 2010, ABC News reported his opinion that the death of Hoffmeister was more akin to a gangland assassination than to suicide.

Alternative theories
Given the tumultuous events of the shearers' strike and the burning down of 8 shearing sheds in the Winton & Kynuna districts in 1894, and given Paterson's socialist views, it is not difficult to see why historians look for a political allegory in the words of "Waltzing Matilda", penned in the districts in 1895. Ross Fitzgerald, emeritus professor in history and politics at Griffith University, argued that the defeat of the strike only a year or so before the song's creation, would have been in Paterson's mind, most likely consciously but at least "unconsciously", and thus was likely to have been an inspiration for the song. Fitzgerald stated, "the two things aren't mutually exclusive" —a view shared by others, who, while not denying the significance of Paterson's relationship with Macpherson, nonetheless recognise the underlying story of the shearers' strike and Hoffmeister's death in the lyrics of the song.

According to writer, Mathew Richardson, the ‘swagman’, at his most corporeal, is Frenchy Hoffmeister, who actually committed suicide by a billabong......In a more general way, the swagman represents the ‘free citizen, the itinerant with no vote, no award, no arbitration, standing for the union’.

These theories were not shared by other historians. In 2008, Australian writers and historians Peter and Sheila Forrest claimed that the widespread belief that Paterson had penned the ballad as a socialist anthem, inspired by the Great Shearers' Strike, was false and a "misappropriation" by political groups. The Forrests asserted that Paterson had in fact written the self-described "ditty" as part of his flirtation with Christina Macpherson, despite his engagement to Sarah Riley.

The original words of the first two lines of the first chorus of 'Waltzing Matilda' are, 'Who'll come a'waltzing Matilda my darling? Who'll come a'waltzing Matilda with me?' In 2019, in his meticulously researched book Waltzing Matilda- Australia's Accidental Anthem, W Benjamin Lindner asks two questions. "Is 'Waltzing Matilda' a serenade and who was the 'darling' to whom Paterson posed the question, 'Who'll come a'waltzing Matilda with me? Lindner gives the unequivocal answer, Waltzing Matilda' is a serenade to Paterson's musical muse, Christina."

Graham Seal, Professor of Folklore at Curtain University, WA, wrote that “Waltzing Matilda” is - “let’s be honest – a pretty silly ditty about a swaggie knocking off a sheep and throwing himself in the billabong when the squatter and the cops turn up.” Several alternative theories for the origins of the words of "Waltzing Matilda" have been proposed since the time it was written. Some oral stories collected during the twentieth century claimed that Paterson had merely modified an existing bush song, but there is no evidence for this. In 1905, Paterson himself published a book of bush ballads he had collected from around Australia entitled Old Bush Songs, with nothing resembling "Waltzing Matilda" in it. Nor do any other publications or recordings of bush ballads include anything to suggest it preceded Paterson. Meanwhile, manuscripts from the time the song originated indicate the song's origins with Paterson and Christina Macpherson, as do their own recollections and other pieces of evidence.

History of the music
The story of "Waltzing Matilda" began in West Paisley, Scotland, about 2 km south of where Glasgow airport is today. Robert Tannahill, the weaver poet, wrote a poem, "Thou Bonnie Wood of Craigielea", prior to 1806. It was written in the pattern chorus, verse, chorus, verse, ready to be set to music. Tannahill's friend James Barr set it to music, and it was published in 1818. Barr's song was unusually melodious: it used four 4-bar phrases in a 16-bar song. It had the musical form ABCD. In 1850, an arrangement was published in 'The Lyric Gems of Scotland', page 65, which was written in the pattern verse, chorus, verse, chorus, and it dropped the second phrase of the verse and repeated the first. It had the musical form AABC. In 1880, an arrangement by T S Gleadhill, published in 'Kyles Scottish Lyric Gems', pages 244, 245, also dropped the second phrase of the verse and repeated the first. Thomas Bulch, an English expat living in Australia, wrote a quick march arrangement for brass band, called 'Craigielee' most likely in 1891. The opening strain of 'Craigielee' was 'Bonnie Wood of Craigielea' with the musical form AABC. It is very close to the melody in the "Lyric Gems" and perhaps even closer to the melody in Gleadhill's "Kyles Scottish Lyric Gems". This was the tune that caught Christina Macpherson's attention at the races at Warrnambool, Victoria, in 1894. Christina had a good ear and, when she next sat at a piano, she tried to play the opening strain. Christina remembered the AAB phrases and transcribed them into bars 1 to 12 of her tune. For some reason, Christina did not transcribe the C phrase into bars 13 to 16 of her tune. Instead, she repeated bars 5 to 8 in bars 13 to 16. This gave Christina's tune the musical form AABA, popular American style. This is the musical form of "Waltzing Matilda" sung today.

One more change needed to be made. The tune that Christina played for Banjo was written to set the poem "Thou Bonnie Wood of Craigielea" to music. The words of its chorus are, Thou bonnie wood of Craigielee, Thou bonnie wood of Craigielee, Near thee I pass'd life's early day, An' won my Mary's heart in thee.

The number of syllables in each line is 8, 8, 8, 7. The verses are the same.

The words of the original chorus of Christina's Waltzing Matilda are Who'll come a Waltzing Matilda my darling? Who'll come a waltzing Matilda with me? Waltzing Matilda and leading a water bag, Who'll come a waltzing Matilda with me?

The number of syllables in each line is 11, 10, 12, 10. The verses are similar.

As Banjo and Christina collaborated on their song, Christina had to add more notes to her initial tune. She did this by breaking up several notes in each line into shorter ones. While doing this, Christina retained the shape of the melody and the typical 2/4 type rhythm of 'Craigielee'. Typical of songs with multiple verses, the melody had to be changed slightly in some verses to fit the meter of the words. Christina and Banjo would have had some arguments, Christina wanting to preserve the tune and Banjo wanting the strict meter of the lyrics to be preserved. Despite this, the two tunes sound very similar. Many may even say that they are the same.

This tune did not spread very quickly: an electronic search of Australian newspapers between 1895 and 1902, using trove, reveals only two reports of 'Waltzing Matilda' being sung. On 9 October 1900, the governor of Queensland visited Winton and Mr. A. Ramsay sang 'Waltzing Matilda', "one of Banjo Patterson's ditties composed in the Winton district." On 23 November 1901, the Hughenden representative of the N.Q. Herald reported that, Waltzing Matilda' is all the rage here now." Three regional newspapers printed the words of the "quaint trifle", but not the tune. Some of the words had been changed and resembled the words later used by Marie Cowan.

Alternative theories and myths
There has been speculation about the similarity of "Waltzing Matilda" and a British song, "The Bold Fusilier" or "The Gay Fusilier" (also known as "Marching through Rochester", referring to Rochester in Kent and the Duke of Marlborough). Author Matthew Richardson writes that a "direct creative link is indisputable" between the two and that Banjo Paterson would have been familiar with "The Bold Fusilier" and was likely guided by the pattern and sound. The similarity is so obvious that one is clearly a copy of the other. "The Bold Fusilier" is dated by some to the start of the 18th century. In the early 1900s only one verse and chorus of the song were known. This snippet was printed in The Bulletin magazine in Sydney, Australia on 8 October 1941. Verse: A gay fusilier was marching down through Rochester Bound for the wars in the low country, And he cried as he tramped through the drear streets of Rochester, Who'll be a sojer for Marlboro with me? Chorus: Who'll be a sojer, Who'll be a sojer, Who'll be a sojer for Marlboro with me? And he cried as he tramped through the drear streets of Rochester, Who'll be a sojer for Marlboro with me? The song sung today has the musical form AABA and is sung to the same tune as Marie Cowan's "Waltzing Matilda", published in Sydney, Australia, in 1903. The lyrics describe events as happening in Rochester, England, during the reign of Queen Anne, 1702 to 1714. It was widely, though not universally, accepted that the song was written at that time. English folklore authority Ralph Vaughan Williams considered that the earlier existence of the song was very doubtful because its language was not appropriate to the early eighteenth century. There is no documentary proof that "The Bold Fusilier" existed before 1900. The song has the musical form AABA, which suggests a much later origin. On the other hand, the origin of "Waltzing Matilda" can be traced from "Thou Bonny Wood of Craigie Lee" published in 1818. Hearsay evidence exists that 'Waltzing Matilda' was sung by Australian soldiers in South Africa during the Boer War and that the British troops returned friendly fire by singing "The Gay/Bold Fusilier" as a parody. In about 1970, English folk singer Peter Coe reworked the existing first verse and chorus and added another four verses. This song, a timeless comment about war, is quite popular today and has spawned other similar lyrics. Peter's song is called "The Rochester Recruiting Sergeant".

In his 1987 book, Richard Magoffin speculated that the music of “Waltzing Matilda” may have been sourced from an Irish Jig, “Go to the Devil and Shake Yourself”, which was probably composed by Irishman, John Field, and which began to appear in print about 1797. In a letter to Magoffin, the City Librarian of Dublin Library said that he thought he could detect a slight resemblance in it to “Waltzing Matilda”. This is very tenuous evidence. Magoffin also went to say that it would be nice to think that the Irish have played a part in providing Australia with her song.

Until the internet arrived, it was extremely difficult for researchers to access old music. Now, with YouTube and digital collections of old music, it is a quick and simple task. An audio file of “Go to the Devil and Shake Yourself”can be heard, and the sheet music can be viewed, at the above links and numerous other websites. It is now obvious to anyone that there is no resemblance between it and “Waltzing Matilda”.

Ownership
On 12 January 1903, Paterson sold the rights to "Waltzing Matilda" and "some other pieces" to Angus & Robertson for "a fiver", five Australian pounds. A good shearer could easily make more than that in a week. Very soon after, tea trader James Inglis, owner of Inglis and Co., purchased the musical rights to 'Waltzing Matilda' from Angus and Robertson for 5 guineas (5 pounds and 5 shillings). Inglis asked Marie Cowan, who was married to his accountant, to 'rejig' the song for use as an advertising jingle for the Billy Tea company, making it nationally famous. Within two months of Paterson selling the copyright, musicians could buy a copy of Marie Cowan's altered lyrics set to a new arrangement of Christina's music for 9 pence.

Although by 1996, no copyright applied to the song in Australia and many other countries, the Australian Olympic organisers had to pay royalties to an American publisher, Carl Fischer Music, following the song being played at the 1996 Summer Olympics held in Atlanta. According to some reports, the song was copyrighted by Carl Fischer Music in 1941 as an original composition. However, The Sydney Morning Herald reported that Carl Fischer Music had collected the royalties on behalf of Messrs Allan & Co, an Australian publisher that claimed to have bought the original copyright, though Allan's claim "remains unclear". Arrangements such as those claimed by Richard D. Magoffin remain in copyright in America.

Cowan's melody
Over time and as they travel, folk songs tend to change. This happened to Banjo and Christina's 'Waltzing Matilda'. On 23/11/1901, the Hughenden representative of the N.Q. Herald reported that, Waltzing Matilda' is all the rage here just now and some clever fellow has managed to fit the quaint trifle with an exceedingly catchy air". The report contained the words, but not the tune. Some of the words had been changed. Banjo's swagman had become a jolly swagman and the second line of verse 1 was repeated as the second line of the chorus following each of the verses.

The first setting of 'Waltzing Matilda' that was published was Harry Nathan's, with Sydney publisher Palings' Brisbane office on 20/12/1902. This was two weeks before Paterson sold the rights to 'Waltzing Matilda' to Angus and Robertson. Nathan credited Banjo for the lyrics, with the music arranged and harmonized by Harry A. Nathan. Nathan changed some of the lyrics and wrote a new variation of the original tune. Banjo's swagman had become a jolly swagman who sang as he waited till his billy boiled.

Very soon after Paterson sold his rights on 12/01/1903, they were purchased by tea merchant James Inglis, who wanted to use 'Waltzing Matilda' as an advertising jingle for Billy Tea. By this time, Nathan's arrangement of 'Waltzing Matilda' would have been on sale at Palings Sydney shop for several weeks and Inglis would have had the opportunity to purchase it. Inglis did not find any of the existing settings satisfactory and invited Marie Cowan, the wife of one of his managers, to try her hand at it. The melody of Harry Nathan's and Marie Cowan's arrangements are so similar that one is clearly a copy of the other. Marie Cowan made some minor changes to Nathan's tune and changed a few of the lyrics. The policemen became troopers in verse 3 and the swagman cried, "You'll never take me alive." in verse 4. Cowan repeated the second line of each verse in the corresponding chorus. She gave the song a simple, brisk, harmonious accompaniment which made it very catchy. Her song, published in 1903, quickly grew in popularity and Cowan's arrangement remains the best-known version of "Waltzing Matilda".

Source.

Typical lyrics
There are no "official" lyrics to "Waltzing Matilda" and slight variations can be found in different sources. The following lyrics are the Cowan version published as sheet music in early 1903. Once a jolly swagman camped by a billabong Under the shade of a coolibah tree, And he sang as he watched and waited till his "Billy" boiled, "You'll come a-waltzing Matilda, with me."

Chorus: Waltzing Matilda, waltzing Matilda, You'll come a-waltzing Matilda, with me, And he sang as he watched and waited till his "Billy" boiled, "You'll come a-waltzing Matilda, with me."

Down came a jumbuck to drink at that billabong, Up jumped the swagman and grabbed him with glee, And he sang as he shoved that jumbuck in his tucker bag, "You'll come a-waltzing Matilda, with me."

(Chorus)

Up rode the squatter, mounted on his thoroughbred. Down came the troopers, one, two, and three. "Whose is that jumbuck you've got in your tucker bag? You'll come a-waltzing Matilda, with me."

(Chorus)

Up jumped the swagman and sprang into the billabong. "You'll never catch me alive!" said he And his ghost may be heard as you pass by that billabong: "You'll come a-waltzing Matilda, with me."

(Chorus)

Glossary
The lyrics contain many distinctively Australian English words, some now rarely used outside the song. These include:

 * Waltzing : derived from the German term auf der Walz, which means to travel while working as a craftsman and learn new techniques from other masters.
 * Matilda: a romantic term for a swagman's bundle. See below, "Waltzing Matilda".
 * Waltzing Matilda: from the above terms, "to waltz Matilda" is to travel with a swag, that is, with all one's belongings on one's back wrapped in a blanket or cloth. The exact origins of the term "Matilda" are disputed; one fanciful derivation states that when swagmen met each other at their gatherings, there were rarely women to dance with. Nonetheless, they enjoyed a dance and so danced with their swags, which was given a woman's name. However, this appears to be influenced by the word "waltz", hence the introduction of dancing. It seems more likely that, as a swagman's only companion, the swag came to be personified as a female.

 * The National Library of Australia states:
 * Matilda is an old Teutonic female name meaning "mighty battle maid". This may have informed the use of "Matilda" as a slang term to mean a de facto wife who accompanied a wanderer. In the Australian bush a man's swag was regarded as a sleeping partner, hence his "Matilda". (Letter to Rt. Hon. Sir Winston Churchill, KG from Harry Hastings Pearce, 19 February 1958. Harry Pearce Papers, NLA Manuscript Collection, MS2765)

 * In Germany the terms "Waltzing Matilda" have a very specific meaning:
 * It refers to the tradition where craftsmen, after having completed their apprenticeship, spend 3 years away from their hometown, travelling on minimal budget, working in many places in order to acquire experience and master their craft. See Journeyman Years for a detailed description. In this context, (Walz) or (auf der Walz) refers to this activity. And (Mathilda) is the patron saint of the road, looking after the men (and women), helping them but sometimes dealing harsh lessons.
 * Hence (Waltzing Matilda) would refer to the activity of a journey man traveling the road, only carrying a simple swag.

"'Weiter zogen wir durch die Schweiz, um uns in der Genfer Gegend neue Arbeit zu suchen. Aber Mathilda, unsere Straßengöttin, meinte es dieses Mal nicht gut mit uns. Wenn es regnete, wenn es kalt war, wenn man keinen Lift fand, kein Bett und auch keine Arbeit, dann hieß es bei uns: Kann man nichts machen, das will die Mathilda jetzt so.' We kept travelling through Switzerland, to look for work around Geneva. But Mathilda, our patron saint of the road, was not kind to us this time. When it rains, it is icy cold, or when we couldn't find a ride, a bed for the night or even no work, then we used to say: 'no can do, this is what Mathilda wants it to be'"

"'Aktuell ist also Mathilda meine beste Freundin – so nennen wir die Straße. Mathilda ist unsere Schutzpatronin, sie hilft uns, wenn wir etwas brauchen. Wenn ich mir ein warmes Bett wünsche oder an ein weit entferntes Ziel mitgenommen werden möchte, hat Mathilda bisher immer dafür gesorgt, dass es klappt.' Currently Mathilda is my best friend - this is what we call the road. Mathilda is our patron saint. She helps us when we are in need. If I really long for a warm bed or look for a ride for a distant destination, I always found that Mathilda helped to make it work."

 * swagman: a man who travelled the country looking for work. The swagman's "swag" was a bed roll that bundled his belongings.
 * billabong: an oxbow lake (a cut-off river bend) found alongside a meandering river
 * coolibah tree: a kind of eucalyptus tree which grows near billabongs
 * jumbuck: a sheep
 * billy: a can for boiling water, usually 1–1.5 litres (2–3 pints)
 * tucker bag: a bag for carrying food
 * troopers: mounted policemen
 * squatter: Australian squatters started as early farmers who raised livestock on land which they did not have the legal title to use; in many cases they later gained legal use of the land even though they did not have full possession, and became wealthy thanks to these large land holdings. The squatter's claim to the land may be as unfounded as is the swagman's claim to the jumbuck.

Variations
The lyrics of "Waltzing Matilda" have been changed since it was written. Banjo Paterson wrote the original lyrics of "Waltzing Matilda" in his notebook. When Paterson visited Winton and Dagworth in August 1895, he carried a foolscap size, 1892 Legal Diary that was never used for legal work. In it he used to write the first draft of verses and chapters of books. On a page in the "W" section, as he composed them, Paterson penned the original words of "Waltzing Matilda". He did not include the date, the title or punctuation. In three places he made changes by crossing out the first words he wrote and replacing them. This notebook is now at the National Library of Australia, and it has been digitized. A transcript of the original words reads

Oh there once was a swagman camped in the billabong Under the shade of a Coolibah tree And he sang as he looked at the old billy boiling Who'll come a-waltzing Matilda with me

 * Who'll come a waltzing Matilda my darling
 * Who'll come a waltzing Matilda with me
 * Waltzing Matilda and leading a water bag
 * Who'll come a waltzing Matilda with me

Down came a jumbuck to drink at the water hole Up jumped the swagman and grabbed him in glee And he sang as he put him away in the tucker bag You'll come a waltzing Matilda with me

 * You'll come a waltzing Matilda my darling
 * You'll come a waltzing Matilda with me
 * Waltzing Matilda and leading a water bag
 * You'll come a waltzing Matilda with me

Down came the squatter a riding on his thorough-bred Down came Policemen one, two, & three Whose is the jumbuck you've got in the tucker-bag You'll come a waltzing Matilda with we

 * You'll come a waltzing Matilda my darling
 * You'll come a waltzing Matilda with we
 * Waltzing Matilda and leading a water bag
 * You'll come a waltzing Matilda with we

But the swagman, he up and he jumped in the waterhole Drowning himself by the Coolibah tree And his ghost can be heard as it sings in the billabong, Who'll come a waltzing Matilda with me.'

Initially, the fourth line of verse 1 was, 'Who'll come a rovin' Australia with me’. Paterson later changed it to, 'Who'll come a waltzing Matilda with me'.

The first line of the first chorus began as, 'Who'll come a ''rovin’. Paterson crossed out rovin ''and changed the line to, 'Who'll come a waltzing Matilda my darling.

In line 3 of the first chorus he wrote, 'Waltzing Matilda and leading a tucker bag'. Paterson crossed out tucker and wrote, 'Waltzing Matilda and leading a water bag'.

Banjo added a little bit of humour. In verse 3, the squatter and the three policemen address the hapless swagman, 'Whose is the jumbuck you've got in the tucker bag? You'll come a waltzing Matilda with we.' The ungrammatical (in standard Australian English), comical and poetically unusual "we" was intended and was repeated in the third chorus. "We" as the object is common in some English dialects such as Geordie but incorrect in standard Australian English. The bad English would have elicited a good giggle from those who heard it. Christina's manuscript of 'Waltzing Matilda' also has the ungrammatical "we" in the last line of verse 3. As the song changed, it was quickly forgotten.

The following version, considered to be the 'original', was published by Paterson himself in Saltbush Bill, J.P., and Other Verses in 1917, and appears as follows: Oh! there once was a swagman camped in the Billabong, Under the shade of a Coolabah tree; And he sang as he looked at his old billy boiling, 'Who'll come a-waltzing Matilda with me.'

 * Who'll come a-waltzing Matilda, my darling,
 * Who'll come a-waltzing Matilda with me?
 * Waltzing Matilda and leading a water-bag—
 * Who'll come a-waltzing Matilda with me?

Down came a jumbuck to drink at the water-hole, Up jumped the swagman and grabbed him in glee; And he sang as he put him away in his tucker-bag, 'You'll come a-waltzing Matilda with me!'

Down came the Squatter a-riding his thorough-bred; Down came Policemen — one, two, and three. 'Whose is the jumbuck you've got in the tucker-bag? You'll come a-waltzing Matilda with we.' [sic]

But the swagman, he up and he jumped in the water-hole, Drowning himself by the Coolabah tree; And his ghost may be heard as it sings in the Billabong, 'Who'll come a-waltzing Matilda with me?'

There is also the Queensland version of "Waltzing Matilda" that is popular with folk singers. Verses 1 to 4 retain almost the exact words of the original Banjo Paterson text. The chorus is the same as the first verse of the original and is repeated unchanged after each verse. The words are set to a pretty, lilting melody with the musical form ABAB. It has no resemblance to the Macpherson/Paterson tune with the musical form AABA. It is not known who composed the tune or when it was composed. Oh there once was a swagman camped in a billabong, Under the shade of the coolibah tree; And he sang as he looked at his old billy boiling, 'Who'll come a waltzing Matilda with me?'

Chorus: Who'll come a-waltzing Matilda my darling? Who'll come a-waltzing Matilda with me? Waltzing Matilda and leading a water bag, Who'll come a-waltzing Matilda with me?

Down came a jumbuck to drink at the water hole, Up jumped the swagman and grabbed him with glee; And he sang as he stowed him away in his tucker-bag, 'You'll come a-waltzing Matilda with me.'

(Chorus)

Down came the squatter a-riding his thoroughbred; Down came policemen - one two and three. 'Whose is the jumbuck you've got in your tucker bag? You'll come a-waltzing Matilda with me.'

(Chorus)

But the swagman he up and he jumped in the water-hole, Drowning himself by the coolibah tree; And his ghost may be heard as it sings in the billabong, 'Who'll come a-waltzing Matilda with me?'

(Chorus)

Status
In May 1988 the Australasian Performing Right Association (APRA) chief executive, John Sturman, presented five platinum awards, "which recognised writers who had created enduring works which have become a major part of the Australian culture", at the annual APRA Awards ceremony as part of their celebrations for the Australian Bicentenary. One of the platinum awards was for Paterson and Cowan's version of "Waltzing Matilda".

Official use
The song has never been the officially recognised national anthem in Australia. Unofficially, however, it is often used in similar circumstances. The song was one of four included in a national plebiscite to choose Australia's national song held on 21 May 1977 by the Fraser Government to determine which song was preferred as Australia's national anthem. "Waltzing Matilda" received 28% of the vote compared with 43% for "Advance Australia Fair", 19% for "God Save the Queen" and 10% for "Song of Australia".

Australian passports issued from 2003 have had the lyrics of "Waltzing Matilda" hidden microscopically in the background pattern of most of the pages for visas and arrival/departure stamps.

Sports
"Waltzing Matilda" was used at the 1974 FIFA World Cup and at the Montreal Olympic Games in 1976 and, as a response to the New Zealand All Blacks haka, it has gained popularity as a sporting anthem for the Australia national rugby union team. It is also performed, along with "Advance Australia Fair", at the annual AFL Grand Final.

Matilda the Kangaroo was the mascot at the 1982 Commonwealth Games held in Brisbane, Queensland. Matilda was a cartoon kangaroo, who appeared as a 13 m high mechanical kangaroo at the opening ceremony, accompanied by Rolf Harris singing "Waltzing Matilda".

The Australian women's national soccer team is nicknamed the Matildas after this song.

Jessica Mauboy and Stan Walker recorded a version of "Waltzing Matilda" to promote the 2012 Summer Olympics in Australia. It was released as a single on 3 August 2012.

Military units
It is used as the quick march of the 1st Battalion, Royal Australian Regiment and as the official song of the US 1st Marine Division, commemorating the time the unit spent in Australia during the Second World War. Part of the tune is used in the British Royal Tank Regiment's slow march, because an early British tank model was called "Matilda".

Annual Day
6 April has been observed as Waltzing Matilda Day annually in Australia since 2012.

Covers and derivative works
In 1995, it was reported that at least 500 artists in Australia and overseas had released recordings of "Waltzing Matilda", and according to Peter Burgis of the National Film and Sound Archive, it is "one of the most recorded songs in the world". Artists and bands who have covered the song range from rock stars to children's performers such as Burl Ives; to choirs, including the Mormon Tabernacle Choir. Jimmie Rodgers had a US#41 pop hit with the song in 1959.

On 14 April 1981, on Space Shuttle Columbia's first mission, country singer Slim Dusty's rendition was broadcast to Earth. A remastered version of this rendition was later certified Gold by the Australian Recording Industry Association (ARIA).

Films
Versions of the song have been used as the title of, or been prominently featured in, a number of films and television programs.

Waltzing Matilda is a 1933 Australian film directed by and starring Pat Hanna. It features a young Coral Browne.

The first few words of the song provided the title of Once a Jolly Swagman, a 1949 British film starring Dirk Bogarde, but the film has no connection to Australia or to the story told in the song.

An animated short was made in 1958 for Australian television.

Ernest Gold used the song and variations of it extensively in the 1959 film On the Beach.

The 2017 short film Waltzing Tilda features various versions of the song, including one sung by the main character.

The song is featured in the 2019 film Deadwood: The Movie despite the film being set in 1889, six years before the song was written.

TV series
The theme song of the 1980 Australian television series Secret Valley is sung to a faster version of the tune of "Waltzing Matilda".

Video games
It is the theme song for Australia in the video game Civilization VI.

The song is the basis for the side quest "The Empty Billabong" in Borderlands: The Pre-Sequel, which was developed by 2K Australia. The player is instructed to search for a man known only as "the Jolly Swagman" at his camp under a coolibah tree where they find his tuckerbag and an audiolog where the Jolly Swagman recounts events identical to the song.

Stage
On the occasion of Queensland's 150-year celebrations in 2009, Opera Queensland produced the revue Waltzing Our Matilda, staged at the Conservatorium Theatre and subsequently touring twelve regional centres in Queensland. The show was created by Jason and Leisa Barry-Smith and Narelle French. The story line used the fictional process of Banjo Paterson writing the poem when he visited Queensland in 1895 to present episodes of four famous Australians: bass-baritone Peter Dawson (1882–1961), soprano Dame Nellie Melba (1861–1931), Bundaberg-born tenor Donald Smith (1922–1998), and soprano Gladys Moncrieff, also from Bundaberg. The performers were Jason Barry-Smith as Banjo Paterson, Guy Booth as Dawson, David Kidd as Smith, Emily Burke as Melba, Zoe Traylor as Moncrieff, and Donna Balson (piano, voice). The production toured subsequently again in several years. British guitarist Brian May performed an acoustic version of the song solo during Queen + Adam Lambert's tour of Australia in 2014.

Derivative musical works

 * During the 1950s, a parody of the original entitled "Once a Learned Doctor" gained some currency in Australian university circles. It featured lyrics rewritten with reference to the split in the Australian Labor Party in the period 1954 to 1957.
 * In 1961, Australian songwriter Jack O'Hagan provided new lyrics to the traditional tune, titled "God Bless Australia" (see that article for its lyrics), which he hoped would become the Australian national anthem.
 * Eric Bogle's 1971 song "And the Band Played Waltzing Matilda" relates the story of a former swagman whose comrades got killed in the Gallipoli campaign and who himself lost his legs. The end of the song includes a fragment of "Waltzing Matilda".
 * Rambling Syd Rumpo (played by Kenneth Williams) in the late 1960s BBC radio programme Round the Horne did a parody of "Waltzing Matilda" beginning "Once long ago in the shade of a goolie bush..."
 * The Family Car Songbook (1983) presents a "translation" of the song into an "American" version, using the same tune.
 * Tom Waits' 1976 song "Tom Traubert's Blues" incorporates elements of "Waltzing Matilda".
 * Australian composer Harry Sdraulig's "Fantasia on Waltzing Matilda" (2020) was composed for Yo-Yo Ma and Kathryn Stott.
 * Australian violinist Ray Chen's album The Golden Age, nominated for an ARIA Music Award, concludes with an arrangement for string quartet by fellow "Made in Berlin" quartet member Stephan Koncz.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Waltzing Matilda


text:
Talk:License

Wiki Education Foundation-supported course assignment
This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page. Student editor(s): Bdadesky001.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 02:33, 17 January 2022 (UTC)

raw content from public domain sources
''All forms of licenses should be seperated, and not combined, as they have notting to do with topic, but rather as sub-categories, or child for that matter. ---Barry Dick '' ''Raw content that needs work before inclusion in the main article. A linkage list would also be good at the end of the main article linking the various types of "licenses". I will update the article if and when I have time. Please use the following to help write the article.'' ---maveric149 12:43, 25 February 2002

Webster's Revised Unabridged Dictionary (1913) [web1913] [entry on license removed due to copyvio]LeeVJ (talk) 00:41, 7 July 2008 (UTC)

Psychological licencing.
By the way, you don't need a licence to be a psychologist in a lot of places. Luke

THIS HAS NOTHING TO DO WITH MY POST RE ART PROJECTS ????????////////////// —Preceding unsigned comment added by Gabzw (talk • contribs) 17:51, 26 December 2007
 * Uh? Bazonka (talk) 21:29, 21 August 2009 (UTC)

Manutacturing licence
Can somebody add something about manufacturing deals where companies produce another's product for a royalty (i.e., under licence)? Trekphiler (talk) 12:58, 12 February 2008 (UTC)

license vs permit
Could somebody add a section on the difference between a license and a permit? There's a legal distinction, but I'm not an expert. —Preceding unsigned comment added by BillMcGonigle (talk • contribs) 21:17, 16 October 2008 (UTC)

Could someone please add a section about farming licences? So many commodities require a licence to market. Where did the original marketing licences come from? I see in ancient Roman times, licences were required to market and transport some goods even to designated warehouses. Also, in the Royal Proclamation of 1763 which includes a wide colonial area, there is a clause about licence requirements for trade. Do marketing licences belong to the farmer or to the state? Hanksm —Preceding unsigned comment added by Hanksm (talk • contribs) 13:33, 19 June 2009 (UTC)

removal of sections
I have removed some sections as they appear to be commercial sites and the links don't actually point directly to relevant pages. they were to business.gov and permitmeLeeVJ (talk) 00:38, 7 July 2008 (UTC)

Exclusive and nonexclusive license
The redirect Nonexclusive license, which redirects here, is currently being discussed at Redirects for discussion/Log/2008 July 6, with deletion possible, though unlikely. Regardless of the outcome of the discussion, I think a section should be added to this article about the exclusive character of some licenses (such as franchisees of store chains being granted the exclusivity of the chain's name within a certain geographical area). --Blanchardb- Me • MyEars • MyMouth -timed 23:38, 7 July 2008 (UTC)
 * I came here to find out what a "Non-exclusive license" is. The term appears nowhere in the article and so I still don't know. Sort it out, somebody. 81.131.49.174 (talk) 15:13, 26 April 2013 (UTC)

Journalist license
Does anyone have any information regarding the licensing of journalists? Many countries require this...perhaps we could add a section? Thanks --71.111.230.71 (talk) 14:06, 18 April 2009

Relicensing
This should be handled too. Now it's only implicated by the licenses. It's a complex topic and deserves a thorough discussion on the legal and ethical considerations. 85.76.91.90 (talk) 18:31, 22 March 2010 (UTC)

Requested move

 * The following discussion is an archived discussion of the proposal. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

No consensus to move. Vegaswikian (talk) 01:30, 9 April 2010 (UTC) License → Licence — As the article itself says, "In almost all forms of English the noun is usually spelled Licence". f3llah1n (talk)  14:38, 2 April 2010 (UTC)

 * Oppose Nomination is based on a dubious claim within the article that is not sourced nor is it even clear in its meaning. How many forms of English are being considered, and of them how many are simple derivatives of British English? It's not even original research, it's just conjecture. There are a number of WP guidelines that recommend against changing article titles for the sake of regional spelling preferences. Ham Pastrami (talk) 13:32, 4 April 2010 (UTC)
 * Oppose based upon WP:ENGVAR. --Labattblueboy (talk) 21:04, 4 April 2010 (UTC)
 * Oppose The article was originally created in American English (well, after the gibberish had been replaced), so that's where it stays.  There is no reason why licence/license should be considered specifically relevant to any national form of English.  Skinsmoke (talk) 23:58, 6 April 2010 (UTC)
 * Oppose The number of "forms" of English that use each spelling is not a correct criterion in any case, since you may simply redefine "form" to get any result you choose. This should stay at the existing location. — Gavia immer (talk) 21:54, 8 April 2010 (UTC)
 * The above discussion is preserved as an archive of the proposal. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

 * I believe this should be moved, although not for the reason proposed above. English should take precedence over variants like American spelling, when dealing with basic definitions such as the word 'licence' as a noun. A note should be made to assert that 'license' is the verb form, and that 'license' is also how both the verb and noun are spelled in the USA.--98.122.20.56 (talk) 16:32, 6 October 2015 (UTC)

Limits of licensing
What can be licensed and what can't ? I assume I cannot license hammers and ask for a fee from anybody manufacturing them. — Preceding unsigned comment added by 99.255.239.40 (talk) 00:33, 16 November 2011 (UTC)

License: American English verb
Page License currently says "The verb licence [...]. The noun license (American English) or licence (British English, [...]".  As I understand it, this implies that the verb is always spelled Licence, independent of the form of English.    However, other websites indicate that in American English the verb is spelled License; see American and British English spelling differences, http://oxforddictionaries.com/definition/american_english/license, http://oxforddictionaries.com/definition/english/licence, http://www.grammar-monster.com/easily_confused/licence_license.htm, http://www.englishclub.com/writing/spelling_american-english.htm, http://www3.telus.net/linguisticsissues/BritishCanadianAmerican.htm, http://www.talktalk.co.uk/reference/dictionaries/english/data/d0082350.html.  — Preceding unsigned comment added by 140.230.5.169 (talk) 12:16, 14 August 2012 (UTC)

 * The first two sentences cover the difference. However, I'm not sure it totally matches my own (en-GB) understanding which is that you license a licence in the same way that you devise a device or advise on advice.  —Sladen (talk) 12:39, 14 August 2012 (UTC)

 * In British English, license is a verb; licence is a noun. Steepleman (t) 08:46, 22 September 2021 (UTC)

Other legal documents
What about a driver's license, a dog license, a marriage license, and so on? "License" in many, many contexts has nothing to do with "permission to use the material". --Dan Wylie-Sears 2 (talk) 17:55, 23 June 2014 (UTC)
 * A driving licence is permission to drive. A dog licence is permission to keep a dog. A marriage licence is permission to marry. Steepleman (t) 08:47, 22 September 2021 (UTC)

Exclusive and non-exclusive licensing
Seeing non-exclusive license redirects here, perhaps the concepts of exclusive and non-exclusive licenses could warrant a short paragraph. With best wishes. RobbieIanMorrison (talk) 08:57, 22 December 2017 (UTC)

Sub-licensing
The concept of "sub-licensing" could be usefully covered here. With best wishes. RobbieIanMorrison (talk) 10:58, 10 September 2018 (UTC)

title: Talk:License


text:
Molde

Molde is a town and municipality in Møre og Romsdal county, Norway. It is located in the traditional district of Romsdal. It is located on the Romsdal Peninsula, surrounding the Fannefjord and Moldefjord.

The administrative centre of the municipality is the city of Molde which is also the administrative centre of Møre og Romsdal county, the commercial hub of the Romsdal region, and the seat of the Diocese of Møre. Other main population centres in the municipality include the villages of Hjelset, Kleive, Nesjestranda, Midsund, Nord-Heggdal, Eidsvåg, Rausand, Boggestranda, Myklebostad, Eresfjord, and Eikesdalen.

Molde has a maritime, temperate climate, with cool-to-warm summers, and relatively mild winters. The city is nicknamed The City of Roses.

Molde was originally the name of a farm by a natural harbour, which grew into a timber trading port in the late 16th century. Formal trading rights were introduced before 1604, and the town was incorporated through a royal charter in 1742. Molde was established as a municipality on 1 January 1838 (see formannskapsdistrikt law).

The town continued to grow throughout the 18th and 19th centuries, becoming a centre for Norwegian textile and garment industry, as well as the administrative centre for the region, and a major tourist destination. After World War II, Molde experienced accelerated growth, merging with Bolsøy Municipality and parts of Veøy Municipality on 1 January 1964, and has become a centre for not only administrative and public services, but also academic resources and industrial output.

The 1503 km2 municipality is the 56th largest by area out of the 356 municipalities in Norway. Molde is the 31st most populous municipality in Norway with a population of 32,446. The municipality's population density is 22.6 PD/km2 and its population has increased by 4.9% over the previous 10-year period.

History
The city's current location dates from the late Medieval times but is preceded by an earlier Medieval township on Veøya, an island to the south of present-day Molde. The settlement at Veøya probably dates from the Migration Period, but is first mentioned in the sagas by Snorri Sturluson as the location of the Battle of Sekken in 1162, where king Håkon the Broad-shouldered was killed fighting the aristocrat Erling Skakke, during the Norwegian civil wars. However, settlement in the area can be traced much further back in time—evidence given by two rock slabs carved with petroglyphs found at Bjørset, west of the city center.

At the eve of the 15th century, the influence of Veøya waned, and the island was eventually deserted.

Originating from the two farms Reknes and Molde (later Moldegård), a minor port called Moldefjæra (Molde Landing) emerged around 1600, based on trade with timber and herring.

The town gained formal trading rights before 1604 under the supervision of Trondheim. After the Treaty of Copenhagen in 1660, Molde became the administrative center of Romsdal amt, and was incorporated as a city through a royal charter in 1742. Molde continued to grow throughout the 18th and 19th centuries, becoming a center for the Norwegian textile and garment industry. Tourism later became a major industry, and Molde saw notabilities such as the German emperor Wilhelm II of Germany and the Prince of Wales as regular summer visitors. Molde consisted of luxurious hotels surrounding an idyllic township with quaint, wooden houses, lush gardens, and parks, esplanades, and pavilions, earning it the nickname the Town of Roses. This was interrupted when one-third of the city was destroyed in a fire on 21 January 1916. However, Molde recovered and continued to grow in the economically difficult interbellum period.

A second fire, or series of fires, struck from the German air-raids in April and May 1940, which destroyed about two-thirds of the town. Molde was in effect the capital of Norway for a week after King Haakon, Crown Prince Olav, and members of the government and parliament arrived at Molde on April 23, after a dramatic flight from Oslo. They were put up at Glomstua, then at the western outskirts of the town, and experienced the bombing raids personally. The Norwegian gold reserve was also conveyed to Molde, and was hidden in a clothing factory.

However, German intelligence was well aware of this, and on April 25 the Luftwaffe initiated a series of air-raids. For a week the air-raid siren on the chimney of the dairy building announced the repeated attacks. April 29 turned out to be the worst day in the history of Molde, as the city was transformed into a sea of flames by incendiary bombs. Until then the church had escaped undamaged, but in the final sortie a firebomb became stuck high up in the tower, and the wooden church was obliterated by fire.

After World War II, Molde experienced tremendous growth. As the modernization of the Norwegian society accelerated in the post-reconstruction years, Molde became a center for not only administrative and public services, but also academic resources and industrial output. After the consolidation of the town itself and its adjacent communities in 1964, Molde became a modern city, encompassing most branches of employment, from farming and fisheries to industrial production, banking, higher education, tourism, commerce, health care, and civil administration.

Municipality
The town of Molde was established as an urban municipality on 1 January 1838 (see formannskapsdistrikt law). It was surrounded by the rural municipality of Bolsøy. On 1 July 1915, a part of Bolsøy (population: 183) was transferred to the city of Molde. On 1 January 1952, another part of Bolsøy (population: 1,913) was transferred to Molde.

During the 1960s, there were many municipal mergers across Norway due to the work of the Schei Committee. On 1 January 1964, the Molde (town) (population: 8,289) merged with the Sekken, Veøya, and Nesjestranda parts of municipality of Veøy (population: 756), all of the municipality of Bolsøy (population: 7,996), and the Mordal area of Nord-Aukra municipality (population: 77) to form the present day municipality of Molde.

On 1 January 2020, the neighbouring municipalities of Midsund and Nesset merged with Molde to form a much larger municipality called Molde.

Name
The municipality (originally the town and parish) is named after the old Molde farmstead (Moldar) since this was where the town was built. The name's origin is somewhat uncertain. It could be the plural form is which means "fertile soil" or "earth". The other possibility is that it comes from the word which means "skull" or "mold" (referring to the rounded peaks in Moldemarka). Pronunciation varies between the standard Molde and the rural Molle. A person from Molde will refer to themself as a Moldenser.

Coat of arms
The coat of arms was granted on 29 June 1742. The informal blazon is "a water spouting whale, which drives a barrel in front of itself" (en vannsprutende hvalfisk, som driver en tønne for seg). The arms have a blue field (background) and the charge is a whale and barrel floating on the ocean waves. It also has a mural crown above the escutcheon since the municipality includes a town. The exact design of the coat of arms is not formally depicted in law, so it has varied some over the centuries. The arms symbolize a whale chasing herring into a barrel, based on an old myth that the whales (guided by God) chased the schools of herring into the fjords at certain times. It also portrays the city's founding industries of herring fisheries and timber exports. Molde was never a whaling port, but the unusually bountiful fisheries in the early 1740s alleviated the city's suffering during a major famine. The sighting of whales, usually pods of orca, was commonly held to be the start of the spring herring fisheries. The municipal flag is a white flag with the coat of arms in the centre.

Moldesangen (The Song of Molde) is the semi-official anthem. It was written by Palle Godtfred Olaus Dørum (1818–1886) and composed by Karl Groos (1789–1861), supposedly in 1818, and is the same tune used the anthem of the German federal state Mecklenburg-Vorpommern (Moldesangen)

Geography
Molde municipality includes part of the Romsdal peninsula as well as many islands including the islands of Otrøya and Midøya. To the southeast, Molde municipality stretches about 75 km inland. The town of Molde consists of a 10 km long and 1 to 2 km wide strip of urban land running east–west along the north shore of the Moldefjord, an arm of the Romsdalsfjord, on the Romsdal peninsula. The city is sheltered by Bolsøya and the Molde archipelago, a chain of low-lying islands and islets, to the south, and the wood-clad hills of Moldemarka to the north. The city centre is located just west of the river Moldeelva, which runs into the city from the north, originating in the Moldevatnet lake, through the valley Moldedalen. Despite the river being minor and seasonal, it supported several sawmills in the 16th and 17th centuries. This gave rise to the original town itself through a combination of a good harbour, proximity to the sea routes, vast timber resources, and a river capable of supporting mills. In 1909, the river housed the first hydro electric power plant capable of providing sufficient electricity for the city, and the upper reaches of the river still provide drinking water for most of the city.

Its panoramic view of some 222 partly snow-clad peaks, usually referred to as the Molde panorama, is one of Molde's main attractions, and has drawn tourists to the city since the 19th century. Molde is nicknamed the Town of Roses, a name which originated during Molde's era as a tourist destination of international fame in the late 19th century.

Neighbouring municipalities are Aukra, Gjemnes, and Hustadvika (to the north); Ålesund (to the southwest); Vestnes and Rauma (to the south); and Tingvoll and Sunndal (to the east).

Points of interest
Salmon, sea trout and sea char are found in the rivers throughout the area, especially the Rauma, Driva, and Eira, already legendary among the British gentry in the mid-19th century. Trout is abundant in most lakes. Cod, pollock, saithe, mackerel and other species of saltwater fish are commonly caught in the Romsdalsfjord, both from land and from boat. Skiing is a common activity among the inhabitants of Molde in the winter, on groomed tracks, in resorts or by own trail. There are several rock climbing, ice climbing, bouldering, glacier and basejumping areas in the immediate vicinity of Molde.

The Atlantic road was voted the Norwegian Construction of the Century in 2005. It is built on bridges and landfills across small islands and skerries, and spans from the small communities of Vikan and Vevang to Averøy, an island with several historic landmarks, such as the Bremsnes cave with Mesolithic findings from the Fosna culture, the mediaeval Kvernes stave church, and Langøysund, now a remote fishing community, but once a bustling port along the main coastal route. Langøysund was the site of the compromise between King Magnus I and the farmers along the coast in 1040. The compromise is regarded as Norway's Magna Carta, and is commemorated though the Pilespisser (Arrowheads) monument.

Trollkirka (English: lit. Troll Church) is a marble grotto leading up to an underground waterfall. The grotto is situated 30 minutes outside Molde, followed by a 1-hour hike up a steep trail. Trollveggen is Europe's tallest vertical, overhanging mountain face, with several very difficult climbing routes. Trollstigen is the most visited tourist road in Norway. The road twists and turns its way up an almost vertical mountainside through 11 hairpin bends to an altitude of 858 m. Mardalsfossen is the highest waterfall in Northern Europe and the fourth highest waterfall in the world, cascading 297 metres down into the valley. The total height of the waterfall is 655 m.

Bud is a fishing village on the very tip of the Romsdal peninsula. It gained importance during the Middle Ages as a trading post, and hosted the last free Privy Council of Norway in 1533, a desperate attempt to save the country's independence and stave off the Protestant Reformation, led by Olav Engelbrektsson, archbishop of Nidaros (today Trondheim). The massive Ergan coastal defences, a restored German coastal fort from World War II, and a part of the Atlantic Wall, is situated in Bud. The fishing communities of Ona, Bjørnsund and Håholmen are located on remote islands off the coast, only accessible by boat or ferry.

Moldemarka
Moldemarka, the hilly woodland area north of the city, is public land. The area has an extensive network of paths, walking trails and skiing tracks. Forest roads enter the area from several directions. Bulletin boards and maps provide information regarding local plants and wildlife, as well as signposts along the trails. Marked trails lead to a number of peaks, sites and fishing lakes and rivers. A national fishing licence is required to fish in the lakes and streams.

Varden, 407 m above sea level is a viewpoint directly above Molde, with a good view of the city, the fjord with the Molde archipelago and the Molde panorama.

Climate
Molde has a temperate oceanic climate (Cfb) also known as marine west coast climate. Molde holds the national high for the month of October, with 25.6 C recorded on 11 October 2005. Due to its geographic location, Molde experiences frequent snowfalls in winter, but this snow is usually wet as the winters tend to be mild. The record high 31 C was recorded in July 2018. The record low -17 C was recorded in both January and February 2010.

A natural phenomenon occurring in Molde and the adjacent district, are frequent winter days with temperatures above 10 C, sometimes even above 14 C. This is due to the foehn wind from south and south-east. The sheltered location of the city, facing south with hills to the north, mountains to the east and mountainous islands to the west, contributes to Molde's climate and rich plant life, especially among species naturally growing on far lower latitudes, like chestnut, oak, tilia (lime or linden), beech, yew, and others.

Government
Molde Municipality is responsible for primary education (through 10th grade), outpatient health services, senior citizen services, welfare and other social services, zoning, economic development, and municipal roads and utilities. The municipality is governed by a municipal council of directly elected representatives. The mayor is indirectly elected by a vote of the municipal council. The municipality is under the jurisdiction of the Møre og Romsdal District Court and the Frostating Court of Appeal.

Municipal council
The municipal council (Kommunestyre) of Molde is made up of 49 representatives who are elected to four-year terms. The tables below show the current and historical composition of the council by political party.

Mayors
The mayors (ordfører) of Molde:

 * 1837–1838: C.B. Brinchmann
 * 1839–1839: J.S. Sommerschield
 * 1840–1840: C.B. Brinchmann
 * 1841–1841: Bastian Width
 * 1842–1842: Edvard Kraft
 * 1843–1844: K.A. Bjørseth
 * 1845–1845: Claus S. Jervell
 * 1846–1846: K.A. Bjørseth
 * 1847–1847: Johan Olivarius Horn
 * 1848–1848: Claus S. Jervell
 * 1849–1850: Johan Olivarius Horn
 * 1851–1853: Isach Georg Dass
 * 1854–1854: Christen Smith
 * 1855–1855: Johan Olivarius Horn
 * 1856–1856: Claus S. Jervell
 * 1857–1857: Johan Olivarius Horn
 * 1858–1858: Gunder Paulsen
 * 1859–1859: Andreas Lind
 * 1860–1860: Gunder Paulsen
 * 1861–1861: Andreas Lind
 * 1862–1862: Henrik L. Sommerschield
 * 1863–1864: Thorvald Johannes Owren
 * 1865–1865: Isach Georg Dass
 * 1866–1866: Ludvig Arnoldus Leth
 * 1867–1867: Gunder Paulsen
 * 1868–1869: Ludvig Arnoldus Leth
 * 1870–1870: Fredrik Christian Sand
 * 1871–1874: K.F. Feilberg
 * 1875–1876: Ferdinand Nicolai Roll
 * 1877–1877: Henrik L. Sommerschield
 * 1878–1878: Johan B. Ræstad
 * 1879–1883: Tobias Annæus Owren
 * 1884–1886: Ludvig Arnoldus Leth
 * 1887–1888: Ferdinand Nicolai Roll
 * 1888–1890: J.L.W. Dietrichson
 * 1891–1891: Ludvig Arnoldus Leth
 * 1892–1892: J.L.W. Dietrichson
 * 1893–1893: O. Berg
 * 1894–1895: J.L.W. Dietrichson
 * 1896–1899: Albert Dessen
 * 1900–1902: Lars Nøsen
 * 1903–1904: Birger Stuevold-Hansen
 * 1905–1907: Ulrich Møller
 * 1908–1910: Nils Christian Egede Hertzberg
 * 1911–1913: Lars Jacobsen
 * 1914–1916: Nils Christian Egede Hertzberg
 * 1917–1922: Anton Holm
 * 1923–1925: Kristian Nøsen
 * 1926–1927: Nils B. Elvsaas (V)
 * 1928–1930: Hans Jakob Sparre Schneider
 * 1931–1934: Ole Sivertsen Nås (V)
 * 1935–1937: Oscar Hanssen (H)
 * 1938–1940: Ole Sivertsen Nås (V)
 * 1941–1945: Hans Jakob Sparre Schneider (NS)
 * 1945–1945: Ole Sivertsen Nås (V)
 * 1946–1946: Nils B. Elvsaas (V)
 * 1947–1947: O. Aasgård (Ap)
 * 1948–1950: Nils B. Elvsaas (V)
 * 1951–1955: Asgaut Bore (V)
 * 1956–1959: Kåre Stokkeland (Ap)
 * 1960–1961: Petter Pettersson (H)
 * 1962–1965: Johan Skipnes (KrF)
 * 1966–1969: Petter Pettersson (H)
 * 1970–1971: Olav Askvik (V)
 * 1972–1973: Johan Skipnes (KrF)
 * 1972–1973: Petter Pettersson (H)
 * 1974–1977: Wilhelm Wilkens (Sp)
 * 1978–1979: Asmund Fredly (KrF)
 * 1980–1981: Bernt Vilnes (H)
 * 1982–1983: Asmund Fredly (KrF)
 * 1984–1985: Rolf Myhre (KrF)
 * 1986–1989: Ragnar Heggdal (H)
 * 1990–1993: Rolf Myhre (KrF)
 * 1994–1998: Einar Øveraas (H)
 * 1998–2003: Rolf Myhre (KrF)
 * 2003–2011: Jan Petter Hammerø (H)
 * 2011–2023: Torgeir Dahl (H)
 * 2023-present: Trygve Grydeland (H)

Culture
Three of the four great Norwegian authors are connected to Molde. Bjørnstjerne Bjørnson spent his childhood years at Nesset outside Molde, and attended school in the city. Henrik Ibsen frequently spent his vacations at the mansion Moldegård visiting the family Møller; and Alexander Kielland resided in the city as the governor of Romsdals amt. Ibsen's play Rosmersholm is generally thought to be inspired by life at the mansion Moldegård, and The Lady from the Sea is also believed to be set in the city of Molde, although never actually mentioned. Other authors from or with ties to Molde include Edvard Hoem, Jo Nesbø, Knut Ødegård, and Nini Roll Anker, a friend of Sigrid Undset.

The Romsdal Museum, one of Norway's largest folk museums, was established in 1912. Buildings originating from all over the region have been moved here to form a typical cluster of farm buildings including "open hearth" houses, sheds, outhouses, smokehouses and a small chapel. The "town street" with Mali's Café shows typical Molde town houses from the pre-World War I period. The Museum of the Fisheries is an open-air museum located on the island of Hjertøya, 10 minutes from the centre of Molde. A small fishing village with authentic buildings, boats and fishing equipment, the museum shows local coastal culture from 1850 onwards.

The local newspaper is Romsdals Budstikke.

Churches
The Church of Norway has ten parishes (sokn) within the municipality of Molde. It is part of the Molde domprosti (arch-deanery) in the Diocese of Møre.

Festivals
The Moldejazz jazz festival is held in Molde every July. Moldejazz is one of the largest and oldest jazz festivals in Europe, and one of the most important. An estimated 40,000 tickets are sold for the more than a hundred events during the festival. Between 80,000 and 100,000 visitors visit the city during the one-week-long festival.

Every August, Molde and Nesset are hosts to the Bjørnson Festival, an international literature festival. Established by the poet Knut Ødegård in connection with the 250-year anniversary of Molde, the festival is named in honour of the Nobel Prize in Literature laureate Bjørnstjerne Bjørnson (1832–1910). It is the oldest and the most internationally acclaimed literature festival in Norway.

In addition to the two major events, a number of minor festivals are held annually. Byfest, the city's celebration of incorporation, is an arrangement by local artists, coinciding with the anniversary of the royal charter of 29 June 1742.

Education
Molde University College offers a wide range of academic opportunities, from nursing and health-related studies, to economics and administrative courses. The school is Norway's leading college in logistics, and well established as a centre for research and academic programmes in information technology, with degrees up to and including PhD.

Transportation
Hurtigruta calls on Molde every day, on its journey between Bergen and Kirkenes. The nearest railway station is Åndalsnes, the terminus for the Rauma Line.

The local airport is Molde Airport which has several daily flights to Oslo, Bergen, and Trondheim, as well as weekly flights to other domestic and international destinations.

The European route E39 and Norwegian County Road 64 both pass through the municipality. The city of Molde is connected to Fræna Municipality (to the north) by the Tussen Tunnel. The city is connected to the Røvika and Nesjestranda part of the municipality by the Fannefjord Tunnel and Bolsøy Bridge, significantly shortening the drive by avoiding driving all the way around the Fannefjorden. The proposed Langfjord Tunnel would connect Molde Municipality to Rauma Municipality via a tunnel under the Langfjorden.

Sports
Molde hosts a variety of sports teams, most notably the football team, Molde FK, which plays in the Eliteserien, the top division in the Norwegian football league system. Their home matches are played at Aker stadion, inaugurated in 1998, which holds a record attendance of 13,308. The team is five-time league champions (2011, 2012, 2014, 2019 and 2022), five-time Norwegian Cup winners (1994, 2005, 2013, 2014 and 2021-22), and has made numerous appearances in European tournaments, including the UEFA Champions League. The club was founded in 1911, during Molde's period of great British and Continental influx, and was first named "International", since it predominantly played teams made up from crews of foreign vessels visiting the city.

In addition to a number of international players, the city has also produced several ski jumpers, cross-country skiers and alpine skiers of international merit.

Other sports include the accomplished team handball clubs (Molde Elite, SK Træff, SK Rival), athletics teams (IL Molde-Olymp), skiing clubs, basketball and volleyball teams.

Twin towns — sister cities
Molde has three sister cities. They are:
 * 🇸🇪 Borås, Sweden
 * 🇫🇮 Mikkeli, Finland
 * Vejle, Denmark

Public service & business

 * Nicholas Lawson (1790-1851) Vice governor of Galápagos for Ecuador, born on Sekken
 * Ole Anton Qvam (1834–1904) lawyer, politician and Prime Minister of Norway 1902/03
 * Dorothea Christensen (1847–1908) a domestic science proponent and politician
 * Jacob Tanner, (1865–1964) Norwegian American Lutheran educator and religious author
 * Johan Scharffenberg (1869–1965) a psychiatrist, politician, speaker and writer
 * Olav Kavli (1872–1958) a businessman who founded the Kavli company
 * Jens Arup Seip (1905–1992) medieval historian and interpreter of 1800's political history
 * Eystein Fjærli (1917–1987) lieutenant colonel, defence strategist, author and politician
 * Arne Solli (1938–2017) Norwegian Army general & Chief of Defence of Norway
 * Kjell Magne Bondevik (born 1947) politician, Prime Minister of Norway, 2001-2005
 * Bjørn T. Grydeland (born 1949) President of EFTASA & EU Ambassador
 * Torgeir Dahl (born 1953) politician and Mayor of Molde since 2011
 * Kjell Inge Røkke (born 1958) a Norwegian billionaire

The Arts

 * Karen Splid Møller (1800–1880) a Norwegian handwritten cookbook writer
 * Bjørnstjerne Bjørnson (1832–1910) writer of noble, magnificent and versatile poetry, won the 1903 Nobel Prize in Literature, brought up in Nesset
 * Maurycy Gottlieb (1856–1879) a Polish realist painter of the Romantic period, lived in Molde
 * Hanna Hoffmann (1858–1917), Danish sculptor and silversmith
 * Rasmus Rasmussen (1862–1932) a Norwegian actor, folk singer and theatre director
 * Nini Roll Anker (1873–1942) novelist and playwright about women within different social classes
 * Kurt Schwitters, (1887–1948) German artist using dadaism, constructivism and surrealism, had a hut on Hjertøya pre-WWII
 * Terje Fjærn (1942-2016) musician, orchestra leader and musical conductor
 * Knut Ødegård (born 1945) poet, also lives in Reykjavík, Iceland
 * Terje Venaas (born 1947) a Norwegian jazz musician (upright bass)
 * Edvard Hoem (born 1949) a Norwegian novelist, dramatist, lyricist and psalmist
 * Jo Nesbø (born 1960) a Norwegian writer, musician and economist; grew up in Molde
 * Arne Nøst (born 1962) a Norwegian graphic artist and theatre director
 * John Arne Sæterøy (born 1965) pen name Jason, cartoonist of silent animal characters
 * Ann-Helen Moen (born 1969) a Norwegian lyric soprano
 * Paal Nilssen-Love (born 1974) a Norwegian drummer and composer in jazz and free improvisation
 * Ane Brun (born 1976) a Norwegian songwriter, guitarist, and vocalist of Sami origin
 * Ola Kvernberg (born 1981) a jazz violinist
 * Daniel Herskedal (born 1982) a Norwegian jazz tuba player
 * Hayden Powell (born 1983) a jazz trumpeter and composer, grew up in Molde
 * Mari Kvien Brunvoll (born 1984) a Norwegian folk and jazz singer
 * Linnéa Myhre (born 1990) a Norwegian author and blogger
 * Tuva Halse (born 1999) a Norwegian violinist, keyboard player, vocalist and composer

Sport

 * Otto Berg (1906–1991) a long jumper, competed at the 1936 Summer Olympics
 * Arne Legernes (born 1931) a retired Norwegian footballer with 41 caps for Norway
 * Einar Halle (born 1943) a Norwegian former UEFA football referee and referee observer
 * Harry Hestad (born 1944) a former footballer and coach with 412 club caps and 31 for Norway
 * Jan Fuglset (born 1945) a former footballer with over 288 club caps and 20 for Norway
 * Ingolf Mork (1947–2012) ski jumper, winner of Four Hills Tournament 1971/72
 * Arild Monsen (born 1962) cross-country skier, World Champion 1985
 * Kjetil Rekdal (born 1968) a football manager and a former player with 484 club caps and 83 for Norway
 * Trond Strande (born 1970) a former footballer with 275 caps with Molde FK
 * Petter Rudi (born 1973) a retired footballer with 350 club caps and 46 for Norway
 * Mette Solli (born 1974) a Norwegian kickboxer, World Champion 2001, 2004, 2007
 * Andrine Flemmen (born 1974) a retired giant slalom alpine skier, won three World Cup races
 * Kurt Asle Arvesen (born 1975) a Norwegian former professional road bicycle racer
 * Daniel Berg Hestad (born 1975) a football manager and a former player with 557 club caps
 * John Arne Riise (born 1980) a former footballer with 546 club caps and 110 for Norway
 * Christian Gauseth (born 1984) a Norwegian footballer with over 320 club caps
 * Johan Remen Evensen (born 1985) ski jumper, former world record-holder in ski flying
 * Magnus Wolff Eikrem (born 1990) footballer with over 220 club caps and 17 for Norway
 * Ragnhild Mowinckel (born 1992) alpine skier, twice silver medallist at the 2018 Winter Olympics
 * Ada Hegerberg (born 1995) a footballer with over 220 club caps and 80 for Norway

title: Molde