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Kenneth J. Alford

Frederick Joseph Ricketts (21 February 1881 – 15 May 1945) was an English composer of marches for band. Under the pen name Kenneth J. Alford, he composed marches which are considered to be great examples of the art. He was a Bandmaster in the British Army, and Royal Marines Director of Music. Conductor Sir Vivian Dunn called Ricketts "The British March King". Ricketts' frequent use of the saxophone contributed to its permanent inclusion in military bands. His best known work is the "Colonel Bogey March".

Early life and education
Ricketts was born on 21 February 1881, the 4th child of Robert and Louisa (née Alford) Ricketts in the Thameside hamlet of Ratcliff, within the parish of Shadwell in London's East End. Born within the sound of Bow Bells (the Church of St. Mary-le-Bow in Cheapside), Ricketts had Cockney birthright. His London ancestry can be traced back to the early 18th century: his father was a coal merchant in Ratcliff on the north side of the Thames near Limehouse. On 9 December 1884, a 5th child, Randolph Robjent, was born to the Ricketts family, who, like his elder brother, was to become well known in military musical circles, under the pseudonym Leo Stanley. Ricketts' father died when he was seven and his mother when he was fourteen.

His early musical training had been on playing the piano and organ and working as a church chorister in the parish church of St. Paul's, which still stands today. As a boy living in London's East End he would often hear street musicians and bands, including German bands and early Salvation Army bands. Fascinated by the sound of instruments, the orphaned Ricketts determined that the best course for his future would be to join an army band.

Enlistment
Ricketts joined the Royal Irish Regiment in 1895. He was enlisted as a Band Boy. It is generally believed that he lied about his age in order to be accepted, giving 5 March 1880 as the date of his birth. In 1895, Ricketts' true age would have been 14, certainly from 21 February. After the 1876 investigation into the status of Boy Soldiers, the Army's regulations had become more clearly defined. Boys were enlisted from the age of fourteen as musicians, drummers, tailors, shoemakers, artificers, or clerks. It would hardly seem necessary for Ricketts to have added a year to his age but throughout his military service, the adopted date was listed as his birth date. Well-liked, ambitious, and a good student with natural ability, he was proficient enough on cornet within very few months and taken into the regimental band. The band went on postings with the regiment, first to Limerick in Ireland, then to India.

Ricketts used every spare moment to learn to play all the instruments in the band. He was very popular with the regular soldiers because of his piano-playing ability in the various messes, as he was promoted. His first composition at the age of 15 was "For Service Overseas", which has never been published. As he concluded seven years of man-service, in 1903, the Colonel Commanding the Royal Irish Regiment, and his bandmaster, Mr. J. Phillips, recommended Ricketts for entry into the Student Bandmaster Course at the Royal Military School of Music, (Kneller Hall) in Twickenham, Middlesex. As it was then unusual for a 23-year-old musician to be nominated for Kneller Hall, it is believed that this is proof of his skill.

Royal Military School of Music
Ricketts' two-year course at Kneller Hall began in the summer of 1904. Studies there were rigorous: the first year consisted of a firm grounding in harmony, counterpoint, instrumentation, aural training, composition and arranging, carried out by a graduated senior student. Along with these studies, Student Bandmasters were required to learn the basics and pass playing tests on the five woodwind and five brass instruments normally found in the military band. Moreover, there were various band practices, public summer concerts, plus strict military discipline. The teachers in year two were highly qualified professors in each field, often from the Royal College of Music, or working professionals. This year culminated by sitting competitions in arranging, composition (concert band and brass band), conducting, and church service (conducting and composing organ preludes and psalms). All graduate Student Bandmasters then waited for their "tips" –- their appointments as Warrant Officer Class 1 Bandmasters to one of the line bands. Normally, those who placed highest in the examinations were the first to be appointed, but if there was a top line band which would lose its present bandmaster in several months' time or even a year, then the Director of Music might hold back the graduate who he felt should have that band. Ricketts excelled at Kneller Hall, but did not win the March Competition. The student who did was W.V. Richards with a March titled Namur, the name of a battle honour of the Royal Irish Regiment (Richards was from the Royal Irish Regiment), published in 1908.

Graduating in 1906, so highly was he regarded that Ricketts stayed on at Kneller Hall as chapel organist and assistant to the Director of Music, Lieutenant (later Lieutenant Colonel) Arthur Stretton, for two years. Though the post of School Bandmaster was not initiated until 1949, Ricketts may well have acted in a similar capacity during those two years. In 1929, Kneller Hall introduced an advanced certificate for already qualified bandmasters (though they had to sit another stringent set of exams to obtain it), but it was retroactively awarded to those who were deemed to have previously demonstrated achievement of the higher standard, or had been commissioned prior to 1929. Ricketts was one of those to receive the award, allowing him to use the letters "psm" (pass, school of music) after his name as a military qualification. (It was widely felt among British Bandmasters that the psm exam was also a screen by which those who did not fit the mould for becoming commissioned Directors of Music could be discretely failed on a subject, making them ineligible.)

Ricketts' younger brother, Randolph, attended the one-year pupil's course at Kneller Hall, for advanced training on his instrument, and entered the Student Bandmaster course in 1900. He graduated in 1913 and became bandmaster of the 2nd Battalion, Essex Regiment, where he served until 1925. In 1926, he moved to the Band of the Royal Corps of Signals, remaining with this group until his retirement in 1938. He composed marches and other band music under the pen name Leo R. Stanley.

Bandmaster
In 1908, Ricketts was finally given his own band. He was posted as Bandmaster to the Band of the 2nd Battalion of the Argyll and Sutherland Highlanders, joining them in the Orange River Colony (formerly the Orange Free State) in what is now the Republic of South Africa. The colonel asked him to write a new regimental march for the Argylls, and he responded with "The Thin Red Line", based on two bars of the regiment's bugle call. The title and term originated in a journalist's description (a "thin red streak tipped with a line of steel") of the appearance of the red-coated Argylls (under their alternate name of the 93rd Highland Regiment) as they stood before—and repelled- a vastly superior force of Russian cavalry at the Battle of Balaclava during the Crimean War. This march was not published for general use until 1925.

Ricketts had a desire to compose music. The problem was that it was frowned upon for commissioned officers and warrant officers class 1 to be engaged in commercial activities in the civilian world. The answer for Ricketts was to compose and publish under a pen name. The pseudonym Kenneth J. Alford was constructed from his eldest son's name (Kenneth), his own middle name (Joseph) and his mother's maiden name (Alford). The first march written under the new pen name was "Holyrood". In July 1911, the 2nd Battalion and Band of the Argylls were in Edinburgh, performing guard duties at the Palace of Holyroodhouse (the Edinburgh residence of the Monarch) during the coronation-year visit to the Scottish capital of King George V and Queen Mary. Moved to commemorate the occasion, Ricketts sketched the march on the back of an envelope during one of the interminable waits these duties entail. It was published in 1912 by Hawkes and Son of London, the first to bear the Alford sobriquet.

First World War
A few weeks before the start of World War I, the 2nd Battalion of the Argylls and the Band were stationed at Fort George in north-east Scotland, nine miles from Inverness. It was here that Ricketts composed his most famous march, "Colonel Bogey". While there are several speculations of how the march was begun, the most accepted is probably from a note written by Ricketts' widow to the publishers in 1958. "'While playing golf on the Fort George course, one of the members whistled the first two notes (B flat and G) instead of calling 'Fore!', and with impish spontaneity was answered by my husband with the next few notes. There was little sauntering—Moray Firth's stiff breezes encouraged a good crisp stride. These little scraps of whistling appeared to 'catch on' with the golfers, and from that beginning the Quick March was built up'. Was the original whistler the colonel? We'll probably never know for certain, but the title Colonel Bogey gives us a clue."

Shortly after hostilities began in August, the adult musicians of most line bands were pressed into service as stretcher bearers and medical orderlies. Ricketts and the Band Boys of the Argylls were posted to the 3rd Battalion (Reserve) in Edinburgh for the duration. During the war Ricketts wrote several marches dedicated to the fighting forces: "The Great Little Army" (1916), "On The Quarter Deck", "The Middy", and "The Voice of the Guns" (1917), and "The Vanished Army" (1919) which was subtitled "They Never Die". By the end of the war the Band Boys had matured into a group considered by many to be the finest regimental band in the British Army. Ricketts was given the unusual honour of being Mentioned in Despatches for Commendable Service.

The 1920s were perhaps the high point for the 2nd Battalion Band. Under Ricketts, they had become a popular fixture in London parks, seaside holiday resorts and everywhere else they performed. In 1925 the Band undertook a six-month tour to New Zealand, where it was the resident band for the New Zealand and South Seas Exhibition. It was there that Ricketts wrote "Dunedin" (published 1928), and returning to the United Kingdom aboard the New Zealand Shipping Company's S.S. Remuera via the Panama Canal, Ricketts was moved to compose the march "Old Panama" (published 1929). Such was his popularity with the public that when in 1927 Bandmaster Ricketts handed the baton over to his successor, Charles Smart Beat, 15,000 people turned up to wish him well. (Charles Beat was the father of Lieutenant Colonel Duncan Beat, Director of Music of the Scots Guards Band, 1974–1982, and later Director of Music at Kneller Hall, 1982–1988.)

From Army to Navy
In 1921, Ricketts' mentor at Kneller Hall, Lieutenant Colonel Arthur Stretton, announced his retirement from the army and as Director of Music at KH. Since Ricketts had sufficient years of service that he could have retired, he was also free to accept any musical appointments, either civilian or military, that were offered. Both Colonel Stretton and senior army officials, impressed by Ricketts' service record and compositions, felt that he was the best candidate to succeed Stretton, and he was invited to apply for the position. For reasons best known to himself, Ricketts declined.

A possibly contributing factor has emerged: it would seem that Ricketts had held a desire for some time to conduct a band in the Royal Marines, though he held this in confidence. Consequently, in the same year, 1921, when the Royal Marines announced a vacancy for bandmastership of the Band of the Plymouth Division, Ricketts applied, turning down the Kneller Hall application. He was interviewed, and later informed that he was the successful candidateut there but there was a complication: the sitting bandmaster of the RM Plymouth Division Band, P.S.G. O'Donnell, had applied to become the director of the Grenadier Guards' Band, vacant because of retirement. O'Donnell had the support of the Prince of Wales, for whom he had acted as band director on two royal tours. Assuming O'Donnell's appointment to the Grenadiers was a mere formality, the Marines had advertised the presumed upcoming vacancy for the Plymouth Division Band, for which Ricketts was approved.

Then an objection was raised by a senior army bandmaster, quoting a piece of military legislation which stated that a member of the Senior Service (Royal Navy and Royal Marines) could not be commissioned into the Army. The objection was upheld, O'Donnell was blocked from the Grenadier Guards, and Ricketts' appointment was cancelled. The Kneller Hall vacancy had been filled by Captain Hector Adkins, so Ricketts remained with the Argyll and Sutherland Highlanders for another six years. To make the conductors of the Royal Marines Bands more satisfied in their positions, in June 1921 King George V decreed that all Royal Marine conductors would be commissioned as directors of music. This was a further incentive for Ricketts to bide his time.

But this 1921 incident reveals much about the character of Ricketts. If he had accepted the army's invitation to apply for Kneller Hall, he would have been assured of an immediate commission in the rank of lieutenant, and eventual promotions upward to lieutenant colonel. Such was his dedication to staying with a band that he was willing to forgo the position and prestige that would have come with the appointment to Kneller Hall, instead preferring to accept a position with the Royal Marines as a bandmaster in the rank of Warrant Officer Class 1, exactly the same rank he had held through his 19 years with the Argyll and Sutherland Highlanders. It would appear that for Ricketts service with a band meant more than promotion or position.

In 1927, a Royal Marine vacancy occurred, and Ricketts again applied, was approved, and commissioned a lieutenant in the Royal Marines Band Service on 4 July 1927. He was posted to the Royal Marine Depot, Deal. When the headquarters of the Band Service was transferred to Deal in 1930, Ricketts was posted to the Band of the Plymouth Division, Royal Marines, the principal band of the Royal Marines. Under Ricketts' direction, this band became world-famous, traveling to Paris and Canada. Before and during World War II they made a series of 78 RPM recordings of Alford marches, which EMI reissued on an LP in 1970, and now available on CD. It was titled "The British March King - Alford conducts Alford".

From 1935 to 1939, Ricketts conducted the Plymouth Band on a one-hour biweekly BBC Radio programme, and the band was in constant demand to visit military camps and war production factories throughout the Second World War. The workload at that time put a temporary hiatus to his composing, but he resumed in 1941 with "By Land and Sea" and "Army of the Nile", and in 1942 with "Eagle Squadron" dedicated to the Americans who were flying with the Royal Air Force. It was to be his final march.

Ricketts was promoted to Brevet Major on 31 December 1938 (an acting rank without the pay grade), and confirmed as a full Major on 4 July 1942.

Personal life
While on staff at the Royal Military School of Music, Kneller Hall (1906–1908), Ricketts married Annie Louisa Holmes at the Parish Church of All Saints, Tooting Graveney, south London, on 5 September 1907. Annie (Nan) Holmes came from a musical background, her brother being a partner in the London music publishing house of Walsh, Holmes and Company. Ricketts met his bride-to-be over the counter of the firm's shop in Charing Cross Road while buying sheet music. Nan was his greatest fan, often stopping what she was doing (including sleeping) to play an idea on the piano for him or give an opinion on two options for a musical theme. They had six children, Kenneth (born March 1909), Leo (April 1911), Sheila (May 1913), Paula (October 1916), Gordon (October 1918), and José (October 1922).

Death
From 1907 until 1930 Ricketts had never spent more than two years in one place, and this made his 14-year stay in Plymouth all the more pleasant. He became well known and well liked as leader of the Band of the Royal Marines. Ricketts retired from the Royal Marines on 1 June 1944 because of ill health and died at his home in Reigate, Surrey, on 15 May 1945, after an operation for cancer. He had given almost 50 years of distinguished service to the Crown.

Legacy
Alford's marches have been favourably compared to those of John Philip Sousa, both having a thorough grounding in classical music. Although he is best known for his marches, he wrote many other pieces –- hymns, fantasias, humoresques, xylophone solos, and duets. He often combined well-known tunes with new compositions or juxtaposed one with another. His championing of the saxophone played its part in getting the instrument accepted in military bands, and he is also credited with the first arrangements for bagpipes with military band. Like Sousa, he had a remarkable memory and tended to conduct without scores. He had the ear of 'top brass' and could use it to protect the band, something which was much appreciated.

A memorial book was presented by a colleague to the Regimental Museum of the Argyll and Sutherland Highlanders called "A Collection of the Works of F.J. Ricketts". The Royal Marines Commando Training Centre at Lympstone, Devon, is named "Ricketts Hall", and the centenary of his birth in 1981 was marked by a series of concerts at the Albert Hall and in Plymouth—the latter triggering a three-column article in the Daily Telegraph.

Ricketts was not honoured by the British Establishment, either by being admitted to the Order of the British Empire or the Royal Victorian Order, the personal order of the Monarch, yet he alone established British military music, causing it to be recognized throughout the world.

List of marches

 * The Thin Red Line (1908) – named after his regiment's nickname, acquired in the Crimean War, when "the thin red streak tipped with a line of steel" of the 93rd (Sutherland Highlanders) Regiment of Foot held back the Russian advance. Not published and available to the public until 1925.
 * Holyrood (1912) – named after the Palace of Holyroodhouse in Edinburgh, commemorating the coronation year visit of King George V and Queen Mary. This march is now the quick march of the RAF Regiment.
 * The Vedette (1912) – A vedette is a mounted sentry placed in advance of the outposts, a term probably familiar to Ricketts from his time in India but unfamiliar today.
 * Colonel Bogey (1914) – Whistled notes on a golf course, possibly by the colonel, developed into his most famous march.
 * The Great Little Army (1916) – commemorating the World War I British soldiers who bore the brunt of everything that was thrown at them, called by the enemy "The Contemptible Little Army". Recording courtesy of the John Horn High School Wind Symphony.
 * On the Quarter Deck (1917)
 * The Middy (1917) – Both this and the previous march were written to commemorate the naval Battle of Jutland in 1916.
 * The Voice of the Guns (1917) – meant initially to honour British artillery in World War I (hence the name), later it became widely adopted by the British army as a whole. Not to be confused with the poem of the same name by Gilbert Frankau (1916). Featured prominently in the film Lawrence of Arabia (1962).
 * The Vanished Army (1918) – dedicated to the memory of the first 100,000 soldiers who perished in World War I. Subtitled "They Never Die".
 * The Mad Major (1921) – Major Graham Seton Hutchinson was the Mad Major, whose war exploits had won him the Military Cross and a DSO.
 * Cavalry of the Clouds (1923) - A salute to the fledgling Royal Air Force.
 * Dunedin (1928) – named for the Dunedin Exhibition of 1925/26 in New Zealand.
 * Old Panama (1929) – Ricketts returned from Dunedin by way of the Panama Canal
 * HM Jollies (1929) – "HM Jollies" is a nickname for the Royal Marines. The march contains snippets of "The Sailor's Hornpipe", "A Life on the Ocean Wave", and "Rule Britannia".
 * The Standard of St George (1930) – Inspired by watching Trooping the Colour at Horse Guards Parade. This march was actually featured in the concert programs of the Band of the Royal Marines Depot, Deal, before it was published. The writing of this march is unique in that it does not start with an introduction; the strong first section bursts forth with a telling fanfare figure, below which is a tremendous bass foundation of sustained power for the whole of 32 bars.
 * By Land and Sea (1941) – This march was modeled on Alford's entry into a competition in 1934 for an official slow march for the Royal Marines. The title is the anglicized version of the Royal Marines motto "Per Mare Per Terram" and was written for the Plymouth Division, R.M. which includes a portion of the regimental quick march "A Life on the Ocean Wave" and the Royal Marines Bugle Calls. By Land and Sea is a magnificent example of the art of military ceremonial music.
 * Army of the Nile (1941) – dedicated to General Wavell for halting the advance of the Axis Powers in Egypt Recording courtesy John Horn High School Wind Symphony
 * Eagle Squadron (1942) – The Eagle Squadron was composed of American pilots in the RAF before America joined in the war. It then transferred to the USAAF. The march quotes The Star-Spangled Banner, Dixie, and The Royal Air Force March Past.

Other published works

 * Valse Riviera (1912)
 * Thoughts – waltz (1917)
 * A Musical Switch – humoresque (1921)
 * The Two Imps – xylophone duet (1923)
 * The Lightning Switch – fantasy (1924)
 * Mac and Mac – xylophone duet (1928)
 * Wedded Whimsies – humorous fantasy for piano solo (1932)
 * The Smithy – pastoral fantasy 1933
 * The Two Dons – xylophone duet (1933)
 * Colonel Bogey on Parade – march fantasy (1939)
 * The Hunt – rhapsody (1940)
 * Lillibullero (1942) – A march attributed to Henry Purcell, though he probably "borrowed" it. Lillibullero is the official Regimental March of the Royal Electrical and Mechanical Engineers (REME). This Corps was established during the Second World War and so the BBC's official wartime use of Lillibullero may well have played a part in its selection by REME. It was also the unofficial marching song of the wartime Royal Marine Commandos. Ricketts' arrangement was used as a signature tune of the BBC radio program about the Commandos, Into Battle.
 * A Life on the Ocean Wave (1944) – In 1882, the Deputy Adjutant General Royal Marines requested that the Bandmaster of each Royal Marine Division (Portsmouth, Plymouth, Chatham) submit an arrangement for a new regimental march for the corps, if possible based on a naval song. Jacob Kappey, the Bandmaster of the Chatham Division, submitted an arrangement of "A Life on the Ocean Wave", a ballad by Henry Russell, with an eight bar trio from "The Sea" by Sigismund Neukomm. It was authorised for use as the regimental quick march of the Corps of Royal Marines in 1882. It was re-arranged by Major Ricketts in 1944.

Unpublished works
Classical and Operatic Arrangements
 * Mephistofeles (Boito)
 * A Midsummer Night's Dream (Mendelssohn)
 * Capriccio Italien (Tschaikovsky)
 * Carmen (Bizet)
 * Madam Butterfly (Puccini)
 * Samson and Delilah (Saint-Saëns)
 * Orpheus in the Underworld (Offenbach)
 * 4th Movement, Symphony in E Minor 'From the New World' (Dvorak)
 * Rigoletto (Verdi)
 * Faust (Gounod)
 * Trumpet Voluntary and Air (Clarke)
 * Festival March from Tannhauser (Wagner)
 * Tales of Hoffmann (Offenbach)
 * Il Trovatore (Verdi)
 * Ride of the Valkyries (Wagner)
 * Lohengrin (Wagner)
 * Symphony Pathetique, 2 Movements (Tschaikovsky)
 * Hungarian Rhapsody No. 2 (Liszt)
 * Minuet in G (Schubert)
 * Aida (Verdi)
 * Lucia di Lammermoor (Donizetti)
 * Largo (Handel)

Miscellaneous Works
 * August Bank Holiday 1914 (Alford)
 * Bill the Bosun from the 'Drowsy Dustman Suite' (F. White arr. Alford))
 * For Service Overseas – March (Ricketts)
 * Ancient Scottish Melodies (traditional arr. Alford)
 * Negro Melodies (traditional arr. Alford)
 * Nursery Rhymes and Carols (traditional arr. Alford)
 * Old English Airs (traditional arr. Alford)
 * Ceremonial March on Purcell's Works (Purcell arr. Alford)
 * Londonderry Air – Saxophone Quartet (traditional arr. Alford)
 * Old English Air – Saxophone Quartet (traditional arr. Alford)
 * Air on the G String – Saxophone Quartet (J.S. Bach arr. Alford)
 * Bonnie Wee Thing – Cornet Solo (Alford)
 * Walt Disney's Silly Symphony (various composers arr. Alford)
 * Fantasia for Dunedin, New Zealand (Alford)

General references

 * The 93rd Sutherland Highlanders 1799 - 1927, Brigadier A E J Cavendish, CMG
 * http://www.theargylls.co.uk/bandmasters.php
 * http://military-bands.co.uk/argyll.html
 * Trendell, John, Colonel Bogey to the Fore, a biography of Kenneth J. Alford (1991)

title: Kenneth J. Alford


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Jesus (disambiguation)

Jesus (c. 4 BC – AD 30 or 33) was a Jewish preacher and religious leader who most Christians believe to be the incarnation of God and Muslims believe was a prophet.

Jesus may also refer to:

Religious figures

 * Elymas Bar-Jesus, a Jew in the Acts of the Apostles, chapter 13, who opposed the missionary Paul on Cyprus
 * Jesus Barabbas (Matthew 27:16–17 margin), pardoned criminal
 * Jesus Justus (Colossians 4:11), Christian in Rome mentioned by Paul

Other people with the name

 * Jesus (name), as given name and surname, derived from the Latin name Iesus and the Greek Ἰησοῦς (Iesous).
 * Jesús Alou (1942–2023), Dominican baseball player
 * Jesus ben Ananias (died c. 73), Jewish nationalist mentioned by Josephus
 * Jesus Ben Sira, religious writer, author of the Book of Sirach
 * Jesus Christ Allin or GG Allin (1956–1993), American punk rock musician
 * Jesús González Díaz (born 1994), simply known as Jesús, Spanish footballer
 * Jesús Malverde (1870–1909), Mexican bandit-saint
 * Jesús Rodríguez (disambiguation)
 * Jesús Vidaña, formerly missing Mexican fisherman
 * Jesús Casas (born 1973), Spanish football coach and current manager of the Iraq national football team
 * Jesús Navas (born 1985), Spanish footballer
 * Gabriel Jesus (born 1997), Brazilian footballer
 * Jesús Medina (born 1997), Paraguayan footballer
 * Jesús Sagredo (born 1994), Bolivian footballer
 * Jesús Castillo (born 2001), Peruvian footballer
 * Jesús Owono (born 2001), Equatoguinean footballer
 * Jesús Mansogo (born 2001), Equatoguinean footballer

People with the nickname or stage name

 * Jesús (born 1977), stagename of American wrestler Aaron Aguilera
 * Chris "Jesus" Ferguson (born 1963), American poker player
 * Zola Jesus, stagename of American female singer songwriter Nicole Hummel
 * Joshua "Jesus" Kennedy, former Australian footballer
 * Kaleth O. Wright, 18th chief master sergeant of the Air Force and popularly known as "Enlisted Jesus"
 * Jesus Christ (Internet personality) (born 1980 or 1981), American actor and vlogger
 * Jesus (footballer), nickname of Angolan footballer Osvaldo Fernando Saturnino de Oliveira

Film and television

 * Jesus (1973 film), an Indian Malayalam film
 * Jesus (1979 film), also called The Jesus Film, co-directed by Peter Sykes, John Heyman, and John Krisch
 * Jesus (1999 film), an American made-for-television film
 * Jesús (2016 film), an internationally co-produced film
 * Jesus (South Park), a recurring character on the South Park television series
 * Jesus (TV series), a 2018 Brazilian telenovela
 * Paul "Jesus" Monroe, a character on the television show The Walking Dead

Music

 * Jesus (Blu album), 2011
 * "Jesus" (Blu song), 2011
 * "Jesus" (Gackt song), 2008
 * "Jesus" (Jeremy Faith song), 1971
 * "Jesus" (Queen song), 1973 work from the first Queen album, Queen
 * "Jesus", a song by Luna Sea from the 1993 album Eden
 * "Jesus", a 1968 song by The Velvet Underground from the album The Velvet Underground
 * "Jesus", a song by Brockhampton from Saturation II
 * "Jesus", a song by Jakobínarína from The First Crusade
 * "Jesus", a song by Spiderbait from The Unfinished Spanish Galleon of Finley Lake
 * "Jesus", a song by Cupcakke from Audacious

Video games

 * Jesus (video game)

Geography

 * Jesús (Ibiza), a village on the Island of Ibiza
 * Jesús, a village in Tortosa, Spain
 * Jesús, Paraguay, a town in Paraguay
 * Jesús, Peru, a town in Peru
 * Île Jésus, the main island of the city of Laval, north of Montreal
 * Jesús District, a district in the canton of Atenas in the province of Alajuela
 * Jesús (Metrovalencia), a metro station in Valencia, Spain

Other uses

 * Jesus College (disambiguation), multiple locations
 * Jesus H. Christ, a common interjection

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

title: Jesus (disambiguation)


text:
Edward William Lane

Edward William Lane (17 September 1801 – 10 August 1876) was a British orientalist, translator and lexicographer. He is known for his Manners and Customs of the Modern Egyptians and the Arabic-English Lexicon, as well as his translations of One Thousand and One Nights and Selections from the Kur-án.

During his lifetime, Lane also wrote a detailed account of Egypt and the country's ancient sites, but the book, titled Description of Egypt, was published posthumously. It was first published by the American University in Cairo Press in 2000 and has been republished several times since then.

Early years
Lane was born at Hereford, England, the third son of the Rev. Dr Theophilus Lane, and grand-nephew of Thomas Gainsborough on his mother's side. After his father's death in 1814, Lane was sent to grammar school at Bath and then Hereford, where he showed a talent for mathematics. He visited Cambridge, but did not enrol in any of its colleges.

Instead, Lane joined his brother Richard in London, studying engraving with him. At the same time Lane began his study of Arabic on his own. However, his health soon deteriorated. For the sake of his health and of a new career, he set sail to Egypt.

Travels in Egypt
Lane had a few reasons to travel to Egypt. He had been studying Arabic for a long period of time and there had been an explosion of egyptomania in England due to Belzoni's exhibition at the Egyptian Hall and the release of Vivant Denon's Travels in Upper and Lower Egypt during the campaigns of General Bonaparte in that country (1803). Lane's health was also deteriorating while living in London and he felt that he needed to migrate to a warmer climate during the harsh winter months. During the 1800s, those who spoke Arabic and were familiar with the Near East could easily apply for jobs serving the British government. Lane set sail for Egypt on 18 July 1825.

Lane arrived in Alexandria in September 1825, and soon left for Cairo. He remained in Egypt for two and a half years, mingling with the locals, dressed as a Turk (the ethnicity of the then-dominant Ottoman Empire), taking notes of his experiences and observations. In Old Cairo, he lived near Bab al-Hadid, and studied Arabic with Sheikh Muhammad 'Ayyad al-Tantawi (1810–1861), who was later invited to teach at Saint Petersburg, Russia.

In Egypt, Lane visited coffee shops and the houses of locals, attended a mosque, and familiarized himself with Islam. He also befriended other British travelers in Egypt at that time, including John Gardner Wilkinson, who had been residing in Cairo. Lane also went on a trip down the Nile to Nubia, visiting numerous sites and taking observational notes. On this trip he visited Abydos, Dendera, Luxor, Kom Ombo, Philae, Abu Simbel and a number of other ancient sites. Lane left Egypt on 7 April 1828.

Description of Egypt
Lane's interest in ancient Egypt may have been first aroused by seeing a presentation by Giovanni Battista Belzoni. His original ambition was to publish an account of what had remained of Ancient Egypt. The London publisher John Murray showed early interest in publishing the project (known as Description of Egypt as an homage to the early 1800s publication, Description de l'Égypte ), but then backed out. This rejection was probably due to the fact that the book had detailed accounts of Egypt, numerous illustrations, and texts in Arabic, Ancient Egyptian (hieroglyphics) and Ancient Greek which would significantly raise the cost of printing. Large publications were also going out of fashion and Lane was not himself an established author. Due to financial shortcomings, Lane could not publish the book himself, so it remained unpublished until 2000.

In Description of Egypt, Lane provided descriptions and histories of locations within Egypt that he had visited. He was a devout urban geographer, best illustrated by the fact that he devoted five chapters of the book writing about everything in Cairo: the way the city looks when you approach it, a detailed account of Old Cairo, monuments in the city, the nature around it, etc. He also wrote about rural areas.

Lane also discussed the landscape and geography of Egypt, including its deserts, the Nile and how it was formed, Egyptian agriculture, and the climate. An entire chapter of the book was devoted to a political history of Egypt, with specific attention to the history of Muhammad Ali of Egypt.

Lane's Description of Egypt focuses mainly on Ancient Egypt. Though Lane was not credited as such during his lifetime, his text follows the form of Egyptology. The book included a supplement titled On the Ancient Egyptians in which Lane discusses the origin and physical characteristics of Egyptians, the origin of their civilization, hieroglyphics, Ancient Egyptian religion and law, Egyptian priesthood, Egyptian royalty, the caste system, general manners and customs, sacred architecture and sculpture, agriculture, and commerce. In a letter he wrote to his friend Harriet Martineau, Lane stated that he felt the need to put a lot of effort into staying away from Ancient Egypt; he added that in the previous eight years he could not read a book on the subject as it fascinated him so much that it drew his attention away from his work.

Lane spent 32 days at the Giza pyramid complex, drawing, making sketches, and taking notes for his work. At the complex Lane noted that he saw labourers pulling down some of the stone from the Great Sphinx of Giza to use it for modern buildings. He stayed at the Valley of the Kings for 15 days, sleeping in the tomb of Ramses X, and left detailed accounts of each tomb, concluding that there may be further hidden tombs within the Valley.

160 illustrations accompanied Lane's accounts.

Manners and Customs of the Modern Egyptians
Since Lane had trouble publishing his Description of Egypt, at the suggestion of John Murray he expanded a chapter of the original project into a separate book. The result was his Manners and Customs of the Modern Egyptians (1836), published by the Society for the Diffusion of Useful Knowledge. The work was partly modelled on Alexander Russell's The Natural History of Aleppo (1756). Lane visited Egypt again in 1833 in order to collect materials to expand and revise the work, after the Society had accepted the publication. The book became a bestseller (still in print), and Lane earned his reputation in the field of Orientalism.

Lane left detailed accounts of everyday life in Egypt in the 19th century, which would prove useful to later researchers. Arthur John Arberry visited Egypt a century after Lane and said that it was like visiting another planet - none of the things Lane had written about were present.

Lane was conscious that his research was handicapped by the fact that gender segregation prevented him from getting a close-up view of Egyptian women - an aspect of Egyptian life that was of particular interest to his readers. He was forced to rely on information passed on by Egyptian men, as he explains:"Many husbands of the middle classes, and some of the higher orders, freely talk of the affairs of the ḥareem with one who professes to agree with them in their general moral sentiments, if they have not to converse through the medium of an interpreter." However, in order to gain further information, he would later send for his sister, Sophia Lane Poole, so that she could gain access to women-only areas such as hareems and bathhouses and report on what she found. The result was The Englishwoman in Egypt: Letters from Cairo, written during a residence there in 1842, 3 & 4, with E.W. Lane Esq., Author of "The Modern Egyptians" By His Sister. (Poole's own name does not appear within the publication.) The Englishwoman in Egypt contains large sections of Lane's own unpublished work, altered so that it appears to be from Poole's perspective (for example "my brother" being substituted for "I"). However, it also relates Poole's own experiences in visiting the hareems that were closed to male visitors.

The One Thousand and One Nights
Lane's next major project was a translation of the One Thousand and One Nights. His version first saw light as a monthly serial from 1838 to 1840, and was published in three volumes in 1840. A revised edition was released in 1859. The encyclopedic annotations from the first edition were published posthumously and separately in 1883 by his great-nephew Stanley Lane-Poole, as Arabian Society in the Middle Ages. Lane's version is bowdlerized, and illustrated by William Harvey.

Opinions vary on the quality of Lane's translation. Stanley Lane-Poole commented that "Lane's version is markedly superior to any other that has appeared in English, if superiority is allowed to be measured by accuracy and an honest and unambitious desire to reproduce the authentic spirit as well as the letter of the original." Nights researcher and author Robert Irwin writes that Lane's "style tends towards the grandiose and mock-biblical... Word order is frequently and pointlessly inverted. Where the style is not pompously high-flown, it is often painfully and uninspiringly literal... It is also peppered with Latinisms."

Lane himself saw the Nights as an edifying work, as he had expressed earlier in a note in his preface to the Manners and Customs, "There is one work, however, which represents most admirable pictures of the manners and customs of the Arabs, and particularly of those of the Egyptians; it is 'The Thousand and One Nights; or, Arabian Nights' Entertainments:' if the English reader had possessed a close translation of it with sufficient illustrative notes, I might almost have spared myself the labour of the present undertaking."

Dictionary and other works
From 1842 onwards, Lane devoted himself to the monumental Arabic-English Lexicon, although he found time to contribute several articles to the journal of Deutsche Morgenländische Gesellschaft. He went to Egypt in 1842 with his wife, two children, and his sister Sophia Lane Poole who was working on her book The Englishwoman in Egypt. On this occasion Lane stayed in Egypt for 7 years, working six days a week on his Lexicon. A local scholar, Ibrahim al-Disqui, helped him with this work. Al-Disqui assisted in locating manuscripts and proofreading these manuscripts for Lane. The two became close during this period and continued to stay friends after they finished the Lexicon.

Lane's Selections from the Qur'an appeared in 1843. It was neither a critical nor a commercial success. Moreover, it was misprint-ridden as Lane was for the third time in Egypt with his family collecting materials for the Arabic-English Lexicon when it was being printed.

Lane was unable to complete his dictionary. He had arrived at the letter Qāf, the 21st letter of the Arabic alphabet, but in 1876 he died at Worthing, Sussex. Lane's great-nephew Stanley Lane-Poole finished the work based on his incomplete notes and published it in the twenty years following his death.

In 1854, an anonymous work entitled The Genesis of the Earth and of Man was published, edited by Lane's nephew Reginald Stuart Poole. The work is attributed by some to Lane.

The part concerning Cairo's early history and topography in Description of Egypt, based on Al-Maqrizi's work and Lane's own observations, was revised by Reginald Stuart Poole in 1847 and published in 1896 as Cairo Fifty Years Ago.

Criticism
Lane has been criticized for his particularly unsympathetic description of Egypt's Coptic Christian minority, drawn in part from the words of an Egyptian man who presented himself to Lane as a Copt, although other scholars have reported that the interlocutor was, in fact, a Muslim. In his writings, he describes Copts as "of a sullen temper, extremely avaricious, and abominable dissemblers; cringing or domineering according to circumstances. Scholars such as S.H. Leeder have described "a great deal of the morbid prejudice against the Copts" as being inspired by the writings of Lane.

Personal life
Lane was from a notable Orientalist family. His sister, Sophia Lane Poole, was an Oriental scholar, as was his nephew Reginald Stuart Poole. His brother, Richard James Lane, was a notable Victorian-era engraver and lithographer known for his portraits. In 1840, Lane married Nafeesah, a Greek-Egyptian woman who had originally been either presented to him or purchased by him as a slave when she was around eight years old, and whom he had undertaken to educate. In 1867, after the death of his sister's son Edward Stanley Poole, she and Lane raised his three orphaned children, a daughter and two sons, Stanley Lane-Poole (also an orientalist and archaeologist) and Reginald Lane Poole (a historian and archivist).

Lane died on 10 August 1876 and was buried at West Norwood Cemetery. His manuscripts and drawings are in the archive of the Griffith Institute, University of Oxford.

Biographies

 * Ahmed, Leila (1978). Edward W Lane. London: Longman.
 * Lane-Poole, Stanley (1877). Life of Edward William Lane. London: Williams and Norgate.
 * Thompson, Jason (2010). Edward William Lane: The Life of the Pioneering Egyptologist and Orientalist, 1801-1876. Cairo: American University in Cairo Press.

title: Edward William Lane


text:
John Langhorne (poet)

John Langhorne (March 1735 - 1 April 1779) was an English clergyman, poet, translator, editor and author. He was born in March 1735 in Winton, a village in the former Westmorland, now the Eden District of Cumbria:
 * In Eden's vale where early fancy wrought
 * Her wild embroidery on the ground of thought.

He died on 1 April 1779, in Blagdon, Somerset.

Life
John Langhorne's father was also a clergyman and died when his son was four. His mother made sure he had a school education, first in Winton village and then in Appleby, but there were not sufficient funds to send him to university. From the age of 18, he supported himself by teaching at various places in Yorkshire and finally was appointed tutor to the nine sons of Robert Cracroft at Hackthorn Hall in Lincolnshire. Having taken deacon's orders, he left in 1761 and, after a curate's appointment in Dagenham, became curate and lecturer at St. John's, Clerkenwell in 1764, and was appointed assistant preacher at Lincoln's Inn at the end of the following year.

Langhorne now began to put his literary talents to use, particularly as a reviewer for the Monthly Review, where his sarcastic style earned him many enemies. He was more generous in the case of William Collins, whose poetry at that period was largely disregarded. Langhorne brought out a first edition of his collected poems in 1765, subsequent re-editions of which eventually helped establish Collins' reputation. Then in 1766 Langhorne brought out his own Poetical Works and that same year became rector of Blagdon. Now at last he was in a position to marry Ann Cracroft, with whom he had been corresponding since his employment at Hackthorn Hall, but she died giving birth to a son - John Theodosius Langhorne - on 4 May 1768. Following his wife's death, Langhorne left Blagdon to stay for a while with his elder brother William at Folkestone. There they made their joint translation of Plutarch's Lives (published in 1770) with such success that it was frequently reprinted. In 1772, Langhorne was married for the second time to Isabella Thomson, the daughter of a Westmorland magistrate, but she too was to die on the birth of her first child (a daughter, Isabella Maria Constantia) in 1776. But in other ways, his fortunes were rising. He was made a justice of the peace and at the suggestion of a fellow magistrate began work on his most substantial poem, The Country Justice, published in three parts between 1774-7. Then in 1777 he was installed as a prebendary of Wells Cathedral but died at the age of 45 two years later.

Writing
John Langhorne wrote with great diligence and produced a large number of works in both prose and verse which were much read at the time but very quickly went out of fashion again. His poetry was summed up by a later writer as characterised by "a delicious sweetness, an harmonious flow of diction, tender and lovely sentiment, and a pathos, mild, delicate, graceful and elegant.". But even friendly writers had to admit that "his chief faults are redundant decoration and an affectation of false and unnecessary ornament". On account of this, his literary and political enemies made of him a new candidate for inclusion in Alexander Pope's satire The Dunciad. In Charles Churchill's "The Candidate", Langhorne is characterised as "simple in his lay" and a sleeping partner "with Dullness on her throne". Hugh Kelly's "Thespis" condemns his "recreant name/ to drive with Flecknoe down the sink of fame". His heavy drinking was also frequently mentioned.

Two of Langhorne's works in particular were singled out later for praise. The "Fables of Flora" (1771) have the novel approach of using interactions between plants to deliver moral lessons, although there are rare precedents in Aesop's Fables, of which the best-known example is "The Oak and the Reed". Langhorne's floral debates, however, are related at greater length with overwrought and often ludicrous imagery:
 * Where prostrate vales, and blushing meads,
 * And bending mountains own his sway,
 * While Persia's lord his empire leads
 * And bids the trembling world obey,
 * While blood bedews the straining bow,
 * And conquest rends the scatter'd air.

Turning to The Country Justice, Robert Chambers accounts it to be "the only poem of Langhorne's which has a cast of originality…He seems to have anticipated George Crabbe in painting the rural life of England in true colours." William Wordsworth also praised the poem enthusiastically for the way it "brought the Muse into the company of common life".

Wordsworth might well be impressed, since that agenda was his own. Another critic, however, sees Langhorne as anticipating something of Wordsworth's nature mysticism too, as it is foreshadowed in his "Lines written a few miles above Tintern Abbey". In the same spirit, Langhorne's "Inscription on the door of a study" exhorts the reader to go out of doors instead and seek what can be learned "in yonder grove":
 * If Religion claims thy care,
 * Religion, fled from books, is there.
 * For first from Nature's works we drew
 * Our knowledge and our virtue too.

It is in performances like these that we find the value of the transitional poets of the second half of the 18th century as they abandon Augustan models for their own resources.

title: John Langhorne (poet)


text:
Talk:Ray Tomlinson

His Personal Life
Now that Ray has sadly passed away, the world will be interested in his personal & professional life in somewhat more depth. The existing WIKI-BIO is a bit short on salient details which would enrich this modern day hero's online profile. After all, he was a major figure, having significantly transformed humanity.

Untitled
The part about the first message ever seems to contradict what is said under "Origins of e-mail" in the E-mail article. Fabrício Kury

As Tomlinson wrote, he added code from SNDMSG to CPYNET. The article stated the reverse so I have changed it.

Shiva Ayyadurai
An individual by the name of Shiva Ayyadurai has been attempting to inject himself into the news of Ray Tomlinson's death by claiming he is the rightful inventor of "email" and that Tomlinson is being undeservedly credited for it. He did technically create a program called "EMAIL" about 10 years or so after Tomlinson's email invention. I'm putting this out there because I just reverted a change to this article that included an irrelevant link to Ayyadurai's wikipedia article (no commentary or context, just a link was provided). At this point I will just let the community decide what relevance, if any, he has to this article and if he should be continued to be allowed to try to inject himself in this manner. Dmdx86 (talk) 16:18, 7 March 2016 (UTC)

History of Concept
Let us not forget J. C. R. Licklider. He created the concept in the early 1960s, according to my book. And it took great technicians to make it work, which is an old story. RIP — Preceding unsigned comment added by PointyHairedEE (talk • contribs) 17:33, 7 March 2016 (UTC)

The @ sign perhaps wasn't his most important innovation
The following personal recollection obviously isn't proper documentable information for Wikipedia, but I feel it must be recorded somewhere -- i.e. this talk page -- lest it be lost.

Summers 1964-6 I was a local high school student who used the RLE PDP-1 timesharing system (2-fl, bldg 26, MIT) and thereafter undergraduate, staff, lecturer, and staff of the Media Lab. i used the PDP-1 during this period, and was at its retirement ceremony (perhaps 1977?). I'm unsure of the dates, but during the early years of this period (pre ARPANet) Ray, apparently a grad student, was also a frequent user of this machine. He wasn't an especially outgoing person -- at least not to an insignificant high-school or undergraduate student -- even though we spent long periods in the same room I don't remember any substantive conversation with him beyond what was necessary when sharing the same time-sharing machine. I certainly can't claim him as a friend or associate. The user community watched Ray develop something which today is far more important than (@non-local-host) email. He wrote a program called "maze". The PDP-1 was a 5-msec-cycle-time machine with a 512x512 point-plotting display. 50usec per point. Many groundbreaking graphics development were performed on this hardware -- including the original spacewar. Ray's maze displayed a realistic maze, such as was commonly user in rodent maze-learning experiments, with a inside view. Two 360 degree pots on the machine controlled speed and direction (or more difficultly, rotational speed, the first derivative of direction). The task for the human was to learn and solve a maze, a task for which us large-brained mammals seem much less evolved than rodents. The limited hardware meant that each edge segment of the maze could be displayed using only a few points. Yet the real-time, 2D-projection perspective display worked as one navigated the maze. It occurs to me that maze was (one of) the earliest 3d 1st-person navigation simulations,the earliest of which I am aware. If so,it was the progenitor of such software, including modern VR applications. Perhaps that was more important than the @ sign?

Wolfamade (talk) Steve Haflich, shaflich@gmail.com

Subject/headline The @ sign perhaps wasn't his most important innovation Subject preview: (→The @ sign perhaps wasn't his most important innovation: new section) — Preceding unsigned comment added by Wolfamade (talk • contribs) 23:59, 8 March 2016 (UTC)

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title: Talk:Ray Tomlinson


text:
Thomas Dick Lauder

Sir Thomas Dick Lauder of Fountainhall, 7th Baronet, FRSE FSA (Scot) LLD (13 August 1784 – 29 May 1848) was a Scottish author. He served as Secretary to the Board of Manufactures (1839–), on the Herring Fisheries Board, at the Royal Institution for the Encouragement of the Fine Arts, and as Deputy Lieutenant of both counties of Moray and Haddington.

He was the only son of Sir Andrew Dick-Lauder, 6th Baronet, whom he succeeded in 1820.

Early life
Lauder was born in Edinburgh on13 August 1784, the son of Elizabeth (née Brown) and Sir Andrew Lauder, 6th Baronet of Fountainhall. He was baptised 8 days later at Pencaitland, near the family's East Lothian seat, Fountainhall. In early life he entered the army – 79th (The Queen's Own Cameron Highlanders) Regiment of Foot, and although possessing Fountainhall he afterwards took up his residence at his wife's home, 'Relugas' in Morayshire, where he remained till 1832 (selling it in 1836), when he removed to the Grange House, in the Grange, Edinburgh until his death.

In 1839 Sir Thomas was appointed Secretary to the Board of Manufactures and Fisheries in Scotland, and also, immediately afterwards, Secretary to the Board of British White Herring Fishery.The duties of these Secretaryships he continued sedulously to discharge till interrupted by his last illness. He was for some time Secretary to the Royal Institution for the Encouragement of the Fine Arts, an office which he relinquished about two years before his death. He was a Fellow of the Royal Society of Edinburgh, where he presented his paper on Parallel Roads of Glen Roy on 2 March 1818.

Family
On 8 February 1808 he married, on the banks of the Findhorn at Edinkillie, Morayshire, Charlotte Anne (1785–1864), the only child and heiress of George Cumin of Relugas. They had eight daughters and two sons.

Politics
With his close friend Henry Thomas Cockburn, Lord Cockburn, Sir Thomas was an active Liberal, and took a keen interest in politics. In 1832 he presided over a huge meeting of some 30,000 people rallying in favour of the Reform Bill at St. Anne's Yards, the field immediately to the east of Holyroodhouse – said to be the largest ever political rally ever held in Scotland.

Works
Sir Thomas and his family were close friends of Sir Walter Scott. His first contribution to Blackwood's Magazine in 1817, entitled Simon Roy, Gardener at Dunphail, was ascribed by some at first to Sir Walter Scott. His paper (1818) on The Parallel Roads of Glenroy, printed in vol. ix. of the Transactions of the Royal Society of Edinburgh, first drew attention to the phenomenon in question.

In 1825 and 1827 he published two romances, Lochandhu and The Wolf of Badenoch. He became a frequent contributor to both Blackwood's Magazine and Tait's Magazine, and in 1830 he published An Account of the Great Floods in Morayshire in 1829 in the Province of Moray and adjoining Districts which he illustrated with engravings of his beloved but greatly damaged Highland retreat, Relugas house.

About this time he was befriended by (and in 1829 took pains to promote ) the Sobieski Stuart brothers, eventual publishers, in 1842, of the disputed Vestiarium Scoticum. Lauder agreed to transcribe the famous Cromarty MS which remained in the possession of his family until 1936, when it was presented to Queen Mary. It is now in the Royal Library at Windsor Castle. With it is a letter in which the donor states that the book was 'given' to Sir Thomas "by the Sobieski-Stuart brothers, Ian and Charles Edward". Sir Thomas and Sir Walter Scott corresponded on this MS at length. A full transcript of the Cromarty MS can be found in Stewart & Thompson's book, Scotland's Forged Tartans, which deals mainly with the Vestiarium and their opinions on it.

According to the authoritative Complete Baronetage, vol.14, page 360, note a (on the authority of the late E.R. Stodart, Lyon Clerk Depute [1863-86]) 'he claimed to be descended from the family of Lauder of Bass, but utterly failed to prove such descent. Thereupon he set up a monument to the Lauder family in the Greyfriars Churchyard, Edinburgh, stating thereon the pedigree as he wished it to be'.

Some subsequent works of Sir Thomas were Highland Rambles, with Long Tales to Shorten the Way (2 vols. 8 vo, 1837), Legendary Tales of the Highlands (3 vols. 12mo, 1841), Tour round the Coasts of Scotland (1842), and was asked by Queen Victoria to write the official history of her visit, entitled Memorial of the Royal Progress in Scotland (1843). Volume One of a Miscellany of Natural History, published in 1833, was also partly prepared by Lauder. An unfinished series of papers, written for Tait's Magazine shortly before his death, was published under the title Scottish Rivers, with a preface by John Brown, MD., in 1874.

Death

He died on Monday 29 May 1848, at Grange House, and was buried in a newly created family plot in the then new cemetery at Grange, Edinburgh. The plot lies exactly half way along the eastern path and forms the focal point of the high path over the central vaults. Its small scale however is not dominant in the view.

He was succeeded by his eldest son and heir, Sir John Dick-Lauder, 8th Baronet.

Lauder tartan
The Lauder tartan first appears, it would seem, about this time, in the Vestiarium Scoticum amongst the "bordour clanns". It can be found in The Tartans of the Clans and Septs of Scotland by W. & A.K.Johnston, Edinburgh, 1906.

title: Thomas Dick Lauder


text:
George Alfred Lawrence

George Alfred Lawrence (25 March 1827 – 23 September 1876) was a British novelist and barrister.

Biography
George Alfred Lawrence was born at Buxted, Sussex, the eldest child of Rev. Alfred Charnley Lawrence, Curate of Uxfield Chapel, Buxted, and Lady Emily Finch-Hatton (1797-1868), daughter of George Finch-Hatton and Lady Elizabeth Murray. She was also the sister of George William Finch-Hatton, 5th Earl of Nottingham and 10th Earl of Winchilsea. His father had been educated at Christ College, Cambridge, B.A. in 1813, and M.A. in 1818, and later became rector of Sandhurst, Kent from 1831-1857, he died in 1867.

George was educated at Rugby and at Balliol College, Oxford, and in 1851 married Mary Ann Georgiana Kirwan, daughter of Patrick Kirwan of Cregg Castle and Louisa Browne, whose siblings were Dominick Browne, 1st Baron Browne and Henrietta Browne, Viscountess Dillon. Her father Patrick Kirwan of Cregg was from the ancient Kirwan family and the nephew and heir of Richard Kirwan.

George and Mary had at least two sons:

 * 1) George Patrick Charles Lawrence (b.1859-1908) barrister at law married Hon. Hildegarde Davey, daughter of Baron Davey, had issue.
 * 2) Francis Richard Hatton Lawrence (b.1860)

He was called to the bar at the Inner Temple in 1852, but soon abandoned the law for literature. In 1857 he published anonymously a first novel, Guy Livingstone, "portraying a more violent picture of Rugby School than Thomas Hughes." This gained great popularity. He went on to write several more tales in what has been called the "muscular school" of novel-writing, introducing into English fiction a beau sabreur type of hero, great in sport and love and war. Sword and Gown (1859), for example, "is a bigamy story, climaxing in the Charge of the Light Brigade". The gentleman protagonist of ''Barren Honour. A Tale'' (1862) dies in a shipwreck. It has been called "a study of magnificently chivalrous self-destruction".

On the outbreak of the American Civil War Lawrence went to America with the intention of joining the Confederate Army. He was taken prisoner and only released on promising to return to England. He travelled much in later years and died, at 134 George Street, Edinburgh, on 23 Sept. 1876.

Writings
Other works include:
 * Sword and Gown (1859)
 * Barren honour (1862)
 * Blanche Ellerslie's ending
 * Border and bastille (1863)
 * Sans merci; or, Kestrels and falcons (1866)
 * Brakespeare; or The fortunes of a free lance (1868)
 * Breaking a butterfly (1869)
 * Silverland
 * Maurice Dering
 * Anteros

title: George Alfred Lawrence


text:
Category:Aerosol propellants

See also: Aerosol spray

title: Category:Aerosol propellants


text:
Blue Skies

Blue Skies may refer to:

Film and television

 * Blue Skies (1929 film), an American drama film
 * Blue Skies (1946 film), a musical film starring Bing Crosby and Fred Astaire
 * Blue Skies (2002 film), a Canadian short drama film directed by Ann Marie Fleming
 * Blue Skies (1994 TV series), a sitcom starring Corey Parker and Matt Roth
 * Blue Skies (1988 TV series), an American drama series

Albums

 * Blue Skies (Decca album), a 1946 album by Bing Crosby and Fred Astaire
 * Blue Skies (Bing Crosby album) (1962), volume 10 of the Bing's Hollywood collection
 * Blue Skies (Frank Ifield album), 1964
 * Blue Skies (Stan Getz album), 1995
 * Blue Skies (Cassandra Wilson album), 1988
 * Blue Skies (Bryan Duncan album), 1996
 * Blue Skies (Diana DeGarmo album), 2004
 * Blue Skies (Virginians album), 2008
 * Blue Skies (Seth MacFarlane album), 2022
 * Blue Skies (Dehd album), 2022

Songs

 * "Blue Skies" (Irving Berlin song), 1926
 * "Blue Skies" (BT song), 1996
 * "Blue Skies" (Noah and the Whale song), 2009
 * "Blue Skies" (Jamiroquai song), 2010
 * "Blue Skies" (Lenka song), 2015
 * "Blue Skies", by A-ha from the album Hunting High and Low
 * "Blue Skies", by Blackpool Lights from the album This Town's Disaster
 * "Blue Skies", by Bobby Vinton from the album Blue on Blue
 * "Blue Skies", by Tom Waits from the album The Early Years Vol. 2

Other uses

 * Blue skies research
 * Blue Skies, a 2023 novel by T. C. Boyle

title: Blue Skies


text:
Talk:Operation Aerial

Untitled
Aerial or Ariel? - difference sources give different names - Mmartins
 * It's Aerial in the Admiralty War Diary and Ariel in the official campaign history (see links at the foot of the main article). Alansplodge (talk) 21:54, 7 January 2011 (UTC)
 * The section with Operation Cycle is unsatisfactory but I've decided to re-do that article and then put a better synopsis here.Keith-264 (talk) 18:41, 19 September 2015 (UTC)

Recent edits
thanks for your edits; which source did you use pls? Regards Keith-264 (talk) 17:32, 20 March 2018 (UTC)

For Keith-264
Thank you for your message, I am sorry I can't figure out how to reply directly. Aerial is the name on TNA files WO106/1615 and WO 197/105, it was often called Plan Aerial. I can find no primary sources with Ariel. It is difficult to confirm the number evacuated from the south of France during the period of Aerial, there were 27,538 from 'unknown ports'. I have listed the ships involved in Aerial, in my book Ebb and Flow. About half of those I listed for the south of France lifted just over 6,000; I don't have figures for the others. Poor official records for the time, W Somerset Maugham was on one of the ships and wrote about it in Strictly Personal. Roy V Martin. Droxford Navigator 20 March 2018 Droxford Navigator (talk) 18:03, 20 March 2018 (UTC)
 * Thanks very much for the reply, this is the place to discuss Aerial/Ariel; primary sources are difficult on Wiki, we risk original research if we rely solely on them. I will go through my sources to see if I can find justification in a secondary source instead. If you're an author you'll need to be careful about an imputation that you're advertising your works or yourself too. PS do you sail under the flag of Roy V. Martin? ;O) Regards Keith-264 (talk) 18:38, 20 March 2018 (UTC)
 * I've just tried look inside on Amazon but the pages on view don't have the material to cite, worst luck. Regards Keith-264 (talk) 18:43, 20 March 2018 (UTC)
 * I found the passage in Roskill, cited the 10,000 and removed the reference to the website for the moment. The evacuation is definitely called Aerial in the OH so perhaps the title should be re-spelled and Ariel given as an alternative name?Keith-264 (talk) 11:29, 21 March 2018 (UTC)

Reverted edits
The reverted edits you keep making to the Operation Aerial page are making the relevant sentences harder to read, and also adding poor grammar which I had just edited out. What is the reason for this? I don't want to get into an edit war, but you've created new issues which now need to be corrected. I suggest you research the relevant grammar, punctuation and style before making any more edits in order to avoid creating more work for other editors.

 * Comments by Cadar duplicated from my talk page.

 * Cadar, you have blundered around an article that has been stable for ages and (more often than not) made a mess of things. I suggest that if you want to achieve consensus the place to do it is here, not by competitively reverting. I'm willing to keep an open mind because I was at work and pressed for time. Keith-264 (talk) 17:56, 18 June 2019 (UTC)

 * I have not, as you put it, "blundered" around the article, nor in ANY WAY made a "mess". I'm a professional writer who deals with this sort of poor writing on a daily basis. I'm a member of Wikipedia's Typo Team. I improved the article's readability, and stated so on my edits. The fact that you didn't agree with them (for no good reason, I might add) is not, frankly, my problem. The only point you have in your favour is the stability of the article, but that still doesn't excuse the fact that some of those sentences were unreadable. I found myself getting lost in lists of phrases and clauses, not properly structured sentences. Many of the sentences had perfectly ludicrous quantities of commas in them, many incorrectly used. I corrected it. You changed it back. I cited OUP references and corrected them, and you changed them back again. I understand if you're out of your depth when it comes to the use of correct English, that's fine. But stop reversing edits which improve the article and adding new errors which then have to be fixed by editors who actually do know what they're doing. That's not helping anybody, least of all when they take a couple of hours out of their own time to sort problems out, only to find them being arbitrarily and incorrectly reversed, with extra problems created just as an added bonus. If you can't cope, rather leave the article alone. If you feel my edits were wrong, find arbitration in the form of editors who understand the correct use of English, or simply do your research, as I have done.

Cadar (talk) 09:27, 19 June 2019 (UTC)

 * I don't agree, You made a mess and have not attempted to conciliate your differences. I suggest that we go through the disputed edits one by one.Keith-264 (talk) 15:18, 19 June 2019 (UTC)

 * I honestly don't care whether you agree, and this entire fiasco means I now care even less about the state of the page. I realised what the problem is: this is your pet article, and you can't separate your ego from it. Therefore you won't accept other editor's changes to it, even if they improve it. At this point, I've reached the stage where I've made changes to improve it and tried to help you understand why I made them, but ended up in a ridiculous fight about it. All it needed was a bit of research, or a query to me to enquire about changes if you don't understand them. I'm really not interested in having to explain myself step-by-step to someone who isn't interested enough in their role as an editor to learn the rules of basic English grammar and punctuation for themselves, and I have no intention of trying to fix your errors yet again. There's no reason why I should waste time explaining things I already explained or are available on the internet for anyone who actually cares to find out for themselves. I've found out the information I needed from the page and did my duty as a member of the Typo Team to fix problems I found. I've wasted more than enough of my time on this already. For all I care the page can now simply be deleted, and good riddance.
 * Cadar (talk) 15:58, 19 June 2019 (UTC)
 * I'm disappointed that you don't want to discuss each item as a way to reach consensus, we might learn something from each other. I hope you change your mind. Keith-264 (talk) 17:51, 19 June 2019 (UTC)

title: Talk:Operation Aerial


text:
Spring Mill

Spring Mill may refer to:

 * Spring Mill (Batesville, Arkansas), an historic industrial property
 * Spring Mill State Park, Indiana
 * Spring Mill, Kentucky, a town
 * Spring Mill, New Jersey
 * Spring Mill, Pennsylvania, a community in Whitemarsh Township, Pennsylvania
 * Spring Mill (SEPTA station), a suburban commuter railroad station
 * Spring Mill Complex, Devault, Pennsylvania, a historic grist mill complex

title: Spring Mill


text:
Talk:Winterreise

Untitled
is repeated elsewhere--Scuiqui fox 16:48, 23 Oct 2004 (UTC)
 * Redirect it and merge it, then. There's no need to delete it. —No-One Jones (m) 17:20, 23 Oct 2004 (UTC)

Keys
I want to add the key of each song in the cycle. Since the publications are not always a reliable source (especially concerning the field of lieder), I tend to rely on the recording of Hans Jörg Mammel with Arthur Schoonderwoerd on fortepiano (Alpha 101). They mention in the liner notes that they'd researched it and present a recording of Winterreise using the original keys. Any objections? Cut2 (talk) 16:30, 11 February 2008 (UTC)
 * This would perhaps be most useful in table form with room for the transposed keys of different editions as well as the two autograph sources.  How about an new section =Editions and transpositions=? Sparafucil (talk) 10:16, 12 February 2008 (UTC)
 * I am afraid I didn't got it all: you want a table, OK. But what columns would you include? High-voice/Low-voice? My point was a bit different - There is the well-known version (in which, for example, the last song is in A minor), but this CD of Mammel/Schoonderwoerd claims that some of the keys were meant to be different (in their version, the last song is in B minor). On the one hand, the well-known version is OK, it's not a mistake, but maybe it is worth it to make a table which would show the few songs which were altered. About new section =Editions and transpositions=, this is a good place to include the High/Low-voice table. Maybe I'll start with the Original VS. Final Keys table, and you'll conclude with the Transposition table? Cut2 (talk) 14:51, 15 February 2008 (UTC)

There's a little more work needed: someone changed h to b (defensible, if a little ambiguous) and then b to b flat. If these had been done in reverse order there would be much less confusion! Sparafucil (talk) 21:22, 26 December 2008 (UTC)

Archaic spellings
What's more correct - "Wasserflut" or "Wasserfluth"? I've seen both, although Google is of the opinion that Wasserfluth isn't a word. --Chainedwind (talk) 03:44, 23 February 2008 (UTC)
 * Wasserflut is correct. Wasserfluth isn't German. You can download the complete Winterreise by Schubert (with the original German titles) for free at RowyNet: http://www.rowy.net/ —Preceding unsigned comment added by 82.170.61.66 (talk) 14:34, 26 June 2008 (UTC)
 * Both have been considered correct German at various times; I would favor Müller's own spellings. Sparafucil (talk) 21:22, 26 December 2008 (UTC)

Peacock language
I'd like to thank the editors who've worked on this article, it's generally very nice. But.

I've added tags to a few places in the article. I think that some of them are WP:PEACOCK language, or very nearly so. While I have no problem with the general sentiments expressed, I think some of the language needs to be cited, rewritten, or removed.

While I was there, I moved the paragraph on recordings into its own section. I'll also be redoing the citations (to use and ) fairly soon, unless someone objects. Magicpiano (talk) 02:30, 17 August 2008 (UTC)

Title
Should we put "The winter's journey " next to Winterrse; people get confused when searching up the english name. —Preceding unsigned comment added by Dragon276 (talk • contribs) 02:11, 10 October 2009 (UTC)

Schubert's word changes
Why did Schubert change Muller's words in the places listed? The change destroys the rhyme in Irrlicht and Wegweiser, and makes no sense in Erstarrung. Purplecarrot2 (talk) 23:24, 10 February 2011 (UTC)

Request
Yes, this page is far from perfect. The way to improve it is not just by deleting sentences which are sourced and referenced, thank you  almost - instinct 09:58, 22 April 2011 (UTC)
 * Hello! I was looking at the edit history and saw that someone had deleted the following sentence: "It has been claimed that it would be impossible to write this work without having experienced similar emotions in reality." I happened to agree with this person and figured that I would join the cause.  I do admit though that it is my fault for not being communicative.  I apologize for that.  Now to justify myself... I am not concerned that the passage isn't properly sourced and/or referenced.  What bothers me is the relevance of the sentence.  Just because someone somewhere claimed something doesn't make it important or pertinent to the topic.  I could easily find a written source of someone claiming that the moon was made of cheese, but I wouldn't add that to the Wikipedia entry of the moon.  The sentence in question tells us about the opinion of some random person and doesn't really help us to better understand Schubert or his song cycle.  Also, the sentence is essentially outdated romantic ideology.  We no longer refer to composers as 'Genius' or 'vehicles of God' in serious, academic discourse.  Similarly, we shouldn't picture Schubert in his room pouring out his emotions on sheets of paper.  Instead, we should be discussing the devices he used to create such a well crafted work. P.S. I'm sorry you don't like my name :) Ephoph (talk) 03:22, 23 April 2011 (UTC)

The "Winter"
I have just attended a concert at which "Winterreise" was given, accompanied by a commentary by a professor of the German language, who said with what seemed to be great confidence that at the time the original poems were written, "Winter" was in wide use as a metaphor for the restoration of the monarchical order in Germany (and elsewhere in Europe) after the defeat of Napoleon and the resulting work of the Congress of Vienna, and that this was known to Schubert -- the "Winter Journey" should therefore, he said, be viewed as a metaphor for the sad journey of Europe being plunged back into the old social order.

I had never heard this interpretation before but the professor seemed to think it was beyond doubt. Does anyone know of any support for this interpretation? Partnerfrance (talk) 00:00, 25 November 2015 (UTC)

Re-structuring the 'Recordings' section.
Dear fellow editors,

Would anyone mind if I re-structured the 'Recordings' section in chronological order? It comes across to me as a sea of words and dates, and I dare say it might be easier on the reader's eyes if it were re-arranged in a list format. In the sample below, all I've done is simply separate each recording (or groups of affiliated recordings) into a list entry.

Thank you for letting me know your considered views.

With kind regards;

Patrick. ツ Pdebee.(talk) 22:23, 8 January 2015 (UTC)

 * OK. Since nobody responded in any way (positive or negative) during the last four weeks, I decided to be bold and proceeded with applying my suggested (cosmetic) changes, which I consider an improvement. Of course, if anyone disagrees, then please feel free to revert. (Also included are FeanorStar7's recent improvements).
 * With kind regards; Patrick. ツ Pdebee.(talk) 12:09, 7 February 2015 (UTC)

- - - - - - - - - - - - - - - -

There are numerous recordings.
 * Before 1936 are the complete 1928 version of Hans Duhan with Ferdinand Foll and Lene Orthmann, the incomplete Richard Tauber version with Mischa Spoliansky, and, lastingly famous, the version of Gerhard Hüsch with Hanns Udo Müller (1933, for which an HMV limited edition subscription society was created).
 * There is a very powerful account by Peter Anders with Michael Raucheisen recorded in Berlin in 1945.
 * The Hans Hotter account with Gerald Moore (issued May 1955) is very celebrated.
 * Dietrich Fischer-Dieskau, among the most famous of exponents, is represented in seven versions spanning four decades:
 * three with Gerald Moore (1955 HMV, 1963 HMV, and 1972 DG),
 * and one each with Jörg Demus (1966, DG), Daniel Barenboim (1980, DG), Alfred Brendel (1986, Philips) and Murray Perahia (1992, Sony Classical).
 * Olaf Bär's 1989 recording with Geoffrey Parsons on EMI classics is well regarded.
 * Very low-pitched recordings are available by Kurt Moll with pianist Cord Garben (Orfeo, 1983) and by Josef Greindl with pianist Hertha Klust (Preiser 1957).
 * Some videotaped performances are also available, including mezzo-soprano Christa Ludwig with Charles Spencer (1994, Art Haus Musik), and several by Fischer-Dieskau.
 * These, and the discs of Peter Pears with Benjamin Britten (issued 1965), have all long been considered outstanding, although Norman Lebrecht placed the Pears/Britten coupling among "20 Recordings that Should Never Have Been Made" in his 2007 book The Life and Death of Classical Music.

Highly recommended versions from the modern era include those of:
 * tenor Ian Bostridge with Leif Ove Andsnes (2006, EMI Classics),
 * Thomas Quasthoff with Charles Spencer (1998, RCA),
 * Wolfgang Holzmair with Imogen Cooper (1996, Philips),
 * Christian Gerhaher with Gerold Huber (2001, RCA Sony BMG, reedited in 2008),
 * Mark Padmore with Paul Lewis (2009, Harmonia Mundi), and
 * Werner Güra with Christoph Berner playing a Rönisch fortepiano of 1872 (2010, Harmonia Mundi).

In 2000, Bostridge and pianist Julius Drake made a dramatic video recording of the entire cycle.

- - - - - - - - - - - - - - - - - - - -

Opinions in the "Recordings" section
There seem to be some uncited opinions in the "Recordings" section, e.g., " a very powerful account", "beautifully song rendition" etc. Barring some chance to cite these, I intend to remove them. Heimstern Läufer (talk) 15:17, 10 March 2017 (UTC)

title: Talk:Winterreise


text:
Spring Park

Spring Park can refer to several different places:

Places

 * Canada
 * Spring Park, Prince Edward Island

 * United States
 * Spring Park, Minnesota

 * United Kingdom
 * Spring Park, Croydon

title: Spring Park


text:
Talk:Puttin' On the Ritz

Covers
I think that it would be worthwhile to add a section commenting on the covers of this song by various artists throughout time, of which there have been many. Frank Sinatra and They Might Be Giants are two examples...there are more, i am certain.
 * The one that people alledge is by They Might Be Giants is, in fact, not. That version of the song is by Taco Ockerse, which the article already mentions. Tell your friends.
 * TMBG did a cover of Istanbul (Not Constantinople) which was originally based on the music in Puttin' on the Ritz.

Is it appropriate to include the "internet phenomena" of Puttin' on the Ritz being synced to the video of Japanese surrender on USS Missouri in the covers section? It is not a new performance of the song and should now qualify as a cover. Further I haven't been able to find any copies of this "internet phenomena" online.--Eladamry (talk) 19:57, 30 May 2008 (UTC)

There is a German language song named "Kokettier' nicht mit mir" which has music that sounds very much like Puttin' on the Ritz. I don't have any other information about this song at this time. A performance of this song can be heard at http://www.youtube.com/watch?v=9fCaoBN2jvU Titled Annett Louisan & Götz Alsmann - Kokettier' nicht mit mir. There are also other performances of this song on youtube. The comments on this clip say that this performance is from November 2008 on German TV.Wcomm (talk) 06:22, 19 November 2013 (UTC)

Falco
Falco also had big success with this song. He shold be named in the article!
 * As far as I can tell, Falco made no such recording. I believe that many people are incorrectly remembering Taco as Falco. If it's not mentioned on Falco's own Wiki page, it should not be on here.

 * Has anybody done a version and passed it off as done by Falco?  Dexter Nextnumber (talk) 02:22, 27 April 2010 (UTC)

Other
I rather disagree with User:ShaunMacPherson's edit with the comment "people do not know/ care?/remember who origionally did it, their experience with this song is from the more recent versions". My thoughts are that since this is an encyclopedia (or aspires to be one), it is aimed at informing those who wish to find out such things. Furthermore, I don't necessarily agree that everyone will necessarily encounter first/only the "more recent" (you mean the 1982 one?) versions; they may first hear the number on some film they see on television, which could date anywhere from the 1930s to the 1970s. I tend to prefer to have information in chronological order unless there is a pressing reason not to. Cheers, -- Infrogmation 16:50, 23 Oct 2004 (UTC)

 * My God, Wikipedia has advanced since then. The horrifying thing is that this user is still contributing to the site, and appears to have a position of authority; that disturbs me, it takes more than six years to live down that kind of edit. -Ashley Pomeroy (talk) 17:07, 26 June 2010 (UTC)
 * It hasn't advanced that much. Gareth E Kegg (talk) 18:32, 26 June 2010 (UTC)

I don't know how you would phrase this so that it wasn't POV, but the original lyrics to this song weren't about white people going to black jazz clubs, they were mocking black servants who dressed up in fancy clothes and acted like rich white people on their nights off. The lyric is full of racial epithets (ie "lulubelles") and the basic gist is that it's fun to go to Harlem and watch black people getting dressed up and spending all their money. It's blatantly racist.

Number of appearances at the top of the chart
I've heard time-and-again, especially on Casey Kasem's radio show, that Berlin had a hit in at least 5 decades with this song. If it can be verified, then that should be mentioned in the article. Jimcripps 03:06, 2 September 2006 (UTC)

Original lyrics
The assertion that the original lyrics referred to whites visiting African-American jazz clubs is incorrect. The original lyrics were actually quite racist, and underwent revision fairly early. In the first version of the song, mention is made, for example, that "every Lulu Belle" goes out Thursday evenings. Thursday evening, of course, was the traditional maids' night off:

Have you seen the well-to-do Up on Lenox Avenue, On that famous thoroughfare, With their noses in the air?

High hats and arrow collars, White spats and lots of dollars, Spending ev'ry dime, For a wonderful time!

If you're blue and you don't know Where to go to, why don't you go Where Harlem sits, Puttin' on the Ritz.

Spangled gowns upon the bevy Of high browns from down the levee, All misfits, Puttin' on the Ritz.

That's where each and ev'ry Lulu-Belle goes Ev'ry Thursday evening with her swell beaus Rubbing elbows

Come with me and we'll attend the Jubilee, and see them spend their Last two bits, Puttin' on the Ritz.

 Lenox Avenue - A main thoroughfare in Harlem. High browns - A variation of the phrase "high yellow", referring to those of mixed racial background, usually with the inference that they are putting on airs beyond their social station. Lulu-Belle - A generic nickname for a black maid. Thursday evening - Typically, the maid's night off. Two bits - a quarter (25 cents)

 * Partly right, but somewhat off on your initial assertion. The lyrics indeed show the racist attitudes common in mainstream culture at the time. "Quite racist" depends on what standard you're using; taking these historic lyrics to today, certainly-- but they are not particularly racist for the era (in the 1920s mainstream pop music still had many examples of songs with such stereotyped descriptions as "shuffling darkies" and worse). "High brown" is/was a term for a light brown skinned African-American with no comment on "putting on airs". The song absolutely refers to the then current fashion of whites visiting the black clubs of Harlem. Note the line "Come with me, and we'll attend their jubilee"-- the speaker ("me") and the audience who the speaker is adressing ("we") are implied to be white, and the "they" are the Harlem blacks detailed in the song whose "jubilee" the whites attend for their own amusement. Listen to period recordings of the tune or see the early sound film use to confirm this nuance. -- Infrogmation 14:17, 22 October 2006 (UTC)
 * This is not the view taken by some specialist writers on this era. For example, John Mueller writing in Astaire Dancing - The Musical Films notes (p.267) "In the original version it told of the ritzy airs of Harlemites parading up and down Lenox Avenue. For the 1946 film, the strutters became well-to-do whites on Park Avenue. The patronizing, yet admiring satire of the song is shifted, then, and mellowed in the process. The change may have had to do with changing attitudes towards race and with Hollywood's dawning wariness about offending blacks." The article has been altered accordingly Dermot 19:16, 1 March 2007 (UTC)
 * Concur with Dermot on this. I've never run across "high brown" before, but I've seen "high-yaller" in print, where it was used by a black person to refer to another (light-skinned) black person who, in the speaker's opinion, was getting above his station.  I've also heard "yellow" used by a black person to refer to a light-skinned woman who wouldn't bother with him (I think "stuck-up yella b****" was the turn of phrase used).  The term's about as judgmentally neutral as "half-breed".  I suspect the term "high-brown" may have been invented by the songwriter for Negroes who act white, but aren't even light-skinned.
 * Kudos to Sussmanbern for doing the original research on this song. I've taken the liberty of reformatting the lyrics slightly, to better illustrate the meter and rhyme scheme (the latter varies from stanza to stanza, but most consistently it's "ABABCC"), which are part of what make this song such an enduring favorite. For more info on what makes it feel so odd, look up "syncopation", a musical structure popular in the 1920s; see also "Ragtime Cowboy Joe".  My apologies - I fully recognize that they may not have been formatted this way when originally printed.
 * Also corrected "bevee" to "bevy", meaning "a plethora".
 * And finally... I think every Wikipedia article about a song should include the lyrics. Multiple versions, if more than one widely-accepted version exists (the original version of "Why "Don't You Do Right", for instance, included one more stanza than the version used in the movie "Who Framed Roger Rabbit?"). And sheet music, copyright law permitting. That might help upgrade this article to more than a stub. CHR0MEdome (talk) 11:14, 2 April 2011 (UTC)

¶ I think the original (racist) lyrics had it "White spats and FIFTEEN dollars" (instead of "lots of dollars").Sussmanbern (talk) 23:08, 25 December 2012 (UTC) ¶ Correct - original lyric does have it "White spats and fifteen dollars" - also, previous line should read "High hats and colored collars" - finally, line 1, verse 4 should read (minor edit) "we'll attend their Jubilee" - (wonder if that's a reference to "Marching Through Georgia"?) Redpaul1 (talk) 19:52, 12 February 2014 (UTC)
 * Disagree btw, mildly, with the assertion that 'high-yellow' is necessarily judgemental, though I would certainly concede that it's very old-fashioned. I first came across the expression in Jamaica nearly 40 years ago, where it simply meant someone light-skinned, but not white. The example CHR0MEdome quotes doesn't really support the argument that it's judgemental: "stuck up black b***" for example couldn't be used as an illustration of how 'black' is a judgemental or racist term. Context, as ever, is king.
 * In that context(!), imagine how the 1929 lyrics would sound today if the original recording had been by Duke Ellington - that really would have given the lyrics a satirical quality: "All misfits - Puttin' On The Ritz"... Redpaul1 (talk) 19:52, 12 February 2014 (UTC)

In addition to the original 1930 picture and the 1946 Astaire movie, I believe there was a low-budget decidedly non-pc movie that featured this song (and, I thought, used it for its title -- but IMDB knows nothing of it). It was about a white vaudeville entertainer whose entire act seemed to be getting up in blackface and raggedly clothes and singing this song (the old lyrics about "where Harlem sits", and apparently it's the only song used in this flick) -- evidently his stage name was "Country Boy" Something. At some point in the movie he abandons his wife and infant daughter, and then about 15 years later, doing vaudevillian backwaters in the same shtick he encounters a 20-something girl - also white also in blackface - who doesn't recognize him but tells him that her dad was known as "Country Boy" whatever, so she has continued the family trade and does blackface vaudeville as "Country Girl" Something. I saw this on local TV many years ago - I think the station was giving all its Stepen Fetchet, Amos and Andy, and other old racist films one last showing before it had a big bonfire of them. Maybe this vague recollection is enough for someone to play detective. Sussmanbern 23:52, 20 April 2008 (UTC)

The song is used in an internet phenomenon, where, if synched to a clip collection of the surrender of Japan on the USS Missouri
Really?. Google doesn't show anything. Youtube has a total of one video and that is just some retard showing A SINGLE picture then dancing around in his room. Doesn't something need to be on the internet to be "an internet phenomenon"? —Preceding unsigned comment added by 76.185.6.18 (talk) 12:26, 12 September 2008 (UTC)

Rhythm
The vocal melody song has a clever, tricksy rhythm that seems to dance around the words. Is this notably unusual, or is it just a case of odd phrasing? The article doesn't talk much about the musical construction of the song. -Ashley Pomeroy (talk) 11:42, 1 October 2008 (UTC)
 * Good point. Musical analysis added. D7240 (talk) 19:07, 1 October 2008 (UTC)

Crackers
Didn't Ritz Crackers use this song in their advertising for a while back in the early days? I know they are of similar vintage - the crackers were first sold just 5 years after the song was written. I seem to recall seeing some old vintage ads where they played a (modified lyrics) version of this song advertising the crackers. Lurlock (talk) 04:18, 20 December 2008 (UTC)

Taco put an old man's song on the charts
I heard that Taco charting it made Irving Berlin (then still alive) the oldest person to ever chart so high... not sure that can be turned into an encyclopedic fact but there it is. —Preceding unsigned comment added by 68.175.101.2 (talk) 01:18, 14 December 2009 (UTC)

Jeeves and Wooster theme?
The Jeeves and Wooster page says that the show's theme was an original composition by Anne Dudley, and her web site suggests the same -- http://www.annedudley.co.uk/Default.aspx?page=29&node=42 - so I'm not sure what the source is for the claim that it's "Puttin' on the Ritz". trystero11 (talk) 23:04, 11 January 2010 (UTC)
 * I was thinking the same thing myself after seeing J&W listed in the entry. So I've decided to be BOLD and remove it. If someone can provide a source that the Jeeves & Wooster theme is a reworking of Puttin' on the Ritz it can go back in. ~ Brother William (talk) 01:15, 20 February 2010 (UTC)

¶ I don't know about their theme, but there was an episode where Wooster was trying to play it on the piano. http://www.youtube.com/watch?v=9VGItt9cCgc  - Sussmanbern (talk) 23:14, 25 December 2012 (UTC)

Banned in Nazi Germany?
Can anybody tell me if this song was banned in WWII by Nazi Germany? Dexter Nextnumber (talk) 02:26, 27 April 2010 (UTC)
 * If it wasn't banned, it was compulsory. Kid Bugs (talk) 01:56, 20 May 2011 (UTC)

prominence of Taco version
The current page features the Taco version very prominently. Obviously, this version is famous but so are many other versions. I think both the special section devoted to it and the graphic that shows us Taco's singles over time are not necessary; links to Taco would be perfect. If the Taco section stays, can it at least explain why this deserves its special mention ? Dirkjot (talk) 09:43, 20 February 2013 (UTC)
 * I removed the extended track list regarding the Taco recording that included songs with little or no connection. 76.102.1.129 (talk) 09:53, 30 April 2013 (UTC)

 * Agree with comment. The 2013 deletions were very appropriate. As it reads today, IMHO, there's still too much emphasis on the Taco version for an encyclopedia article. While the Taco cover is the one that's stuck in my mind, I had no idea who sang it, nor do I have much recollection of the prominence of Taco at the time, or now. This isn't unusual since I am by no means a musicologist. However, I think that makes me the target audience for encyclopedia articles - someone who wants to know more about a topic who is not an expert.

 * Following the link to the Taco article, it appears that he's pretty close to what is referred to as a one hit wonder and that this song was his one hit. It says it was the only one in the top 40 in the US, and while popularity in the US should not be the measure of what makes a topic important, there's no mention of his achieving more fame elsewhere. The upshot of all this is that other than for his making the song popular again, his is just one cover among many.

 * Recommend that all but first paragraph of the article be moved from the intro so that it's the main body of the article, that it be followed by a section on the covers of the song, and that Taco's cover be listed chronologically in that discussion. It's fine for there to be a separate section for his cover, but this isn't some obscure song that we only know of because of some late 20th Century singer. The song has an interesting history and that context should be the content of the article. Ileanadu (talk) 13:11, 5 September 2016 (UTC)

 * I agree that the Taco cover is overemphasized relative to its importance. Following Ileanadu's suggestion I moved some of the lede into the body of the article, though I'm not that satisfied with the section headings I came up with. AJD (talk) 17:27, 5 September 2016 (UTC)

The Super Duper Gary Cooper
This article doesn't mention the mention of Gary Cooper, and his article doesn't mention the song. Since he's mentioned fairly prominently in the chorus, it might make sense to at least make a note of it. —Gordon P. Hemsley→ ✉ 14:08, 5 May 2013 (UTC)

External links modified
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Young Frankenstein?
No mention whatsoever of the song's use in "Young Frankenstein"?!? — Preceding unsigned comment added by 162.2.133.105 (talk) 19:54, 1 February 2019 (UTC)

title: Talk:Puttin' On the Ritz


text: Category:Orientalists by nationality

title: Category:Orientalists by nationality


text:
Category:Orientalists

For Orientalist painters, see Category:Orientalist painters

title: Category:Orientalists


text:
Category:English academics

 * This category is about Academics from England.

title: Category:English academics