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Act Naturally

"Act Naturally" is a song written by Johnny Russell, with a writing credit given to Voni Morrison and publishing rights transferred to Buck Owens. It was originally recorded by Buck Owens and the Buckaroos, whose version reached number one on the Billboard Country Singles chart in 1963, his first chart-topper. In 2002, Shelly Fabian of About.com ranked the song number 169 on her list of the Top 500 Country Music Songs.

The song tells the tale of someone who has been jilted and, because of that, can play a film part of someone sad and lonely without knowing anything about acting. It has been recorded by many other artists, including Loretta Lynn, Dwight Yoakam, Kidsongs (Debbie Lytton), and Mrs. Miller. The best-known other version is by the Beatles in 1965. Featuring Ringo Starr taking the lead vocal, it became a featured performance number of his in concert, both with the Beatles and later with His All-Starr Band. Owens and Starr went on to record a duet version in 1989. The song was also covered by Betty Willis in 1978, and by Riders in the Sky in 2000 for the album Woody's Roundup: A Rootin' Tootin' Collection of Woody's Favorite Songs.

Origin
Russell, originally from Mississippi, was based in Fresno, California, in the early 1960s. One night, some of his friends from Oklahoma planned to do a recording session in Los Angeles and asked him to join them. In order to do so, Russell had to break a date with his then-girlfriend. "When she asked me why I was going to L.A., I answered 'They are going to put me in the movies and make a big star out of me.' We both laughed."

Thus inspired, Russell quickly came up with a concept for a love song based around his comment. He wrote it that day, and tried to teach it to the singer he was helping in Los Angeles, but he was unable to learn it. Russell then wanted to record it himself, but his then-producer turned it down, claiming that songs about the movies were not hit material.

A full two years passed before anyone recorded "Act Naturally". "No matter how hard I tried, I couldn't get anyone interested in it," Russell said.

Buck Owens and the Buckaroos version
By 1963, Russell was writing with a woman named Voni Morrison, who also worked with a Bakersfield, California-based singer named Buck Owens. After Russell played "Act Naturally" for Morrison, she thought it would be a natural for Owens, and she told Russell that she could get him to record it. Because no one had yet recorded it, and Russell had an agreement with Morrison to share songwriting credits, he gave her partial credit, though her only role in the song was submitting it to Owens.

Owens did not like "Act Naturally" at first. But Buckaroo band leader Don Rich heard Russell's demo version and liked it, and eventually, the song grew on Owens. One night, Russell got a phone call from Owens asking if he could record the song, and he said yes. "I later found out that he had already recorded the song that day and just wanted the publishing rights," Russell said. "I was more than pleased to give him the rights in order to get the song recorded."

Owens recorded "Act Naturally" at the Capitol Studios in Hollywood on February 12, 1963, and the song was released on March 11 as a non-album single. It entered the Billboard country charts on April 13, 1963. On June 15, it spent the first of four non-consecutive weeks at number one. In all, it spent 28 weeks on the country charts. The song helped to make him a superstar; before the 1960s were over, Owens had placed 19 singles atop the Billboard country charts. The song also helped establish Russell as a songwriter, and in the 1970s he was modestly successful as a singer as well.

The Beatles version
The Beatles recorded the song in 1965 for the United Kingdom version of their album Help!, with drummer Ringo Starr on vocals – his fifth with the band. It was released as the B-side of "Yesterday" in the United States. Stephen Thomas Erlewine of Allmusic called it "an ideal showcase for Ringo's amiable vocals."

Recording
Recorded on June 17, 1965, in 13 takes. The first 12 were evidently used to work out the arrangement; the master was take 13, the only one with vocals. It was mixed the following day. The Beatles almost recorded a song by their engineer Norman Smith, but realized that Starr did not yet have a vocal on Help! They originally recorded the song "If You've Got Trouble" earlier in 1965 as Starr's intended song for the album, but were dissatisfied with the results and recorded "Act Naturally" to replace it. It was the last cover they recorded until the Get Back/Let It Be sessions in 1969.

Releases
Because Capitol Records' version of the Help! album in the United States included only the songs that appeared in the film Help!, plus incidental music from the film, the label held back "Yesterday" and "Act Naturally" and issued them as a non-LP single. As the B-side of the U.S. single, "Act Naturally" peaked at number 47 in October 1965. The two songs made their first US album appearance on Yesterday and Today, released in the U.S. on June 20, 1966.

When the single was reissued on Apple Records in 1971, "Act Naturally" had the "full apple" side and "Yesterday" ended up on the "sliced apple" side. That is because "Act Naturally" was the intended A-side and has always been listed as such in Capitol's files.

Performances
The Beatles performed the song during an appearance on The Ed Sullivan Show which was taped on August 14, 1965, and broadcast on September 12, 1965. It was also performed at the Beatles' famous Shea Stadium concert on August 15, 1965, and played at some concerts throughout The Beatles' 1965 US tour (alternating with Starr's other song, "I Wanna Be Your Man").

The song is closely identified with Starr and he has performed it on every tour iteration, and virtually every show, of Ringo Starr & His All-Starr Band, beginning in 1989.

Personnel
According to author John C. Winn:

 * Ringo Starr – lead vocal, drums, sticks
 * Paul McCartney – harmony vocal, bass
 * George Harrison – double-tracked lead guitar, acoustic guitar

Buck Owens and Ringo Starr duet version
Twenty-four years after the Beatles released their famous cover version of "Act Naturally", Owens and Ringo Starr teamed up for a duet remake. The session was produced by Jerry Crutchfield and Jim Shaw. A music video was filmed for the song depicting the duo playing bumbling versions of themselves acting as cowboys on a western movie set. The video was directed by George Bloom, and produced by Ken Brown. Released on Capitol Records (B-44409), on July 29, 1989, the duet peaked at number 27 and spent 11 weeks on the Billboard country chart in the summer of 1989. It was Owens' last top 40 single on the chart. The B-side was Owens playing Harlan Howard's "The Key's in the Mailbox".

The song also marked Starr's only showing on the country singles chart. It was not the first time a member of the Beatles had appeared on the country charts: Paul McCartney had done so with Wings in 1974–75 with "Sally G".

The recording was nominated for the 1989 Country Music Association Vocal Event of the Year and a 1990 Grammy for Best Country Vocal Collaboration, but lost both times to "There's a Tear in My Beer," recorded by Hank Williams Sr. and Hank Williams Jr.

title: Act Naturally


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It's Only Love (disambiguation)

"It's Only Love" is a 1965 song by The Beatles, covered by Gary U.S. Bonds and others

It's Only Love may also refer to:

Film and television

 * It's Only Love (film), a 1947 Austrian film directed by Emmerich Hanus
 * "It's Only Love", an episode of Working Girl

Albums

 * It's Only Love (Rita Coolidge album) or the title song, 1975
 * It's Only Love (Simply Red album) or the title song, a cover of the Barry White song (see below), 2000
 * It's Only Love, or the title song (see below), by Tommy James and the Shondells, 1966

Songs

 * "It's Only Love" (B. J. Thomas song), 1969
 * "It's Only Love" (Bryan Adams song), 1985
 * "It's Only Love" (Cheap Trick song), 1986
 * "It's Only Love" (Donna Summer song), 2008
 * "It's Only Love" (Jeannie Seely song), 1966
 * "It's Only Love" (Matt Cardle song), 2012
 * "It's Only Love" (Tommy James and the Shondells song), 1966
 * "It's Only Love" (ZZ Top song), 1976
 * "It's Only Love"/"Sorry Baby", by Masaharu Fukuyama, 1994
 * "It's Only Love Doing Its Thing", by Barry White, 1978; covered by Simply Red as "It's Only Love"
 * "It's Only Love", by Def Leppard from Euphoria, 1999
 * "It's Only Love", by Ejecta from Dominae, 2013
 * "It's Only Love", by Joe Cocker from Respect Yourself, 2002
 * "It's Only Love", by Sheryl Crow from C'mon, C'mon, 2002
 * "It's Only Love", by Stevie Nicks from Trouble in Shangri-La, 2001

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

title: It's Only Love (disambiguation)


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You Like Me Too Much

"You Like Me Too Much" is a song by the English rock band the Beatles. It was written by George Harrison, the group's lead guitarist, and released in August 1965 on the Help! album, except in North America, where it appeared on Beatles VI. The band recorded the track on 17 February that year at EMI Studios in London.

Musical characteristics
The song is in the key of G major and in 4/4 time. There is an introduction using piano and electric piano, with Paul McCartney and George Martin playing two different piano parts on separate ends of the same Steinway grand piano. The Steinway appears only in the song's intro and was overdubbed separately, as were McCartney's bass and Harrison's vocal overdubs.

The electric piano is a Hohner Pianet, played by John Lennon. The sound of the instrument's tremolo being switched off after the introduction can be heard.

The quick transition from G chord to a flat-III (B♭) is unusual, especially as its F-natural note is melodically sustained against the following D-major chord (with its concomitant F♯) creating what musicologist Alan Pollack terms "the most bluesy moment of the entire song". The verse opens with three repetitions of a simple four-note motif ("Though you've gone away this morning, you'll be back again tonight") during which the chords mirror the lyrics in shifting from ii (Am chord) on "gone away" to IV (C chord) on "back again" to the tonic (G chord) on "tonight".

Cover versions
The band Glycerine covered "You Like Me Too Much" on the album Harrisongs Volume 2 – A Tribute to George Harrison.

Personnel
According to Ian MacDonald, except where noted:

The Beatles
 * George Harrison – double-tracked vocal, lead guitar, tambourine
 * John Lennon – acoustic rhythm guitar, electric piano
 * Paul McCartney – backing vocal, bass, piano
 * Ringo Starr – drums

Additional musician
 * George Martin – piano

title: You Like Me Too Much


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Talk:The Shadow

Influences
Why isn't Darkwing Duck listed as being influenced by The Shadow? They practically wear the same outfit. — Preceding unsigned comment added by 66.162.165.242 (talk) 12:58, 31 August 2009

External links modified
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External links modified (February 2018)
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The Shadow 1940
Roger Moore ( II ) the Shadow 1940 =IMDB Harry Vincent =Roger Moore 1900-1999 USA

Sir Roger Moore( I ) 1927 - 2017 UK. Volvo P1800 The Saint Jaguar E-type (talk) 18:57, 8 July 2019 (UTC)

Originated in Pulps or in Radio?
The intro says The Shadow originated in pulps but then says he first appeared as a host on radio. So which is it? Jccalhoun (talk) 02:08, 28 August 2022 (UTC)

Belmont Books a new beginning
In the second paragraph, I corrected the word "novels" (which implies a length over 40,000 words) to "novelettes" (which are frequently defined as being 7,500 to 17,500 words). This distinction is relevant, because all of the other Shadow stories are over 40,000 words. The way I verified this was to find the stories online and do a word count. Does this count as "original research"? Anybody can go to the sources and do what I did. So the final question is did I handle the references correctly? (I added the URLs to the files) Mojosam (talk) 00:22, 3 September 2022 (UTC)

title: Talk:The Shadow


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William H. Danforth

William H. Danforth (September 10, 1870 – December 24, 1955) was an American businessman known for founding Ralston Purina in St. Louis, Missouri in 1894. He was a co-founder of the American Youth Foundation (AYF) and the author of the book, I Dare You!.

Early life and education
Danforth was raised in Charleston, Missouri. He graduated from Washington University in St. Louis.

Career
Ralston's checkerboard logo evolved from a personal development concept Danforth put forth in his book I Dare You! (1931), in which he used a checkerboard to explain it. Danforth proposed that four key components in life need to be in balance. In the illustration, "Physical" was on the left, "Mental" on top, "Social" on right and "Religious" on the bottom. To be healthy, you needed the four squares to stay in balance and one area was not to develop at expense of the other. The concept became intertwined with the company in 1921 when it began selling feed that was pressed in cubes called "checkers." The Christian Science Monitor named I Dare You! as one of the top 10 self-help books of all time.

Through the Danforth Foundation, he subsidized the construction of 24 Danforth Chapels on college campuses around the United States, and one in Japan. Berea College, which Danforth attended, has one of them. It is part of the Draper Building. The outer wall contains stones from Danforth's personal collection, obtained from various locations of historic importance.

Personal life
Danforth's son was Donald Danforth, a former chief executive of the company. His grandsons include former U.S. Senator John Danforth and former Washington University chancellor William "Bill" H. Danforth.

title: William H. Danforth


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Tell Me What You See

"Tell Me What You See" is a song by the English rock band the Beatles that first appeared in 1965 on their album Help! in the United Kingdom and on Beatles VI in the United States. The song is credited to Lennon–McCartney but mainly written by Paul McCartney. Regarding the song's authorship, McCartney said, "I seem to remember it as mine. I would claim it as a 60–40 but it might have been totally me." John Lennon said, in his interviews with Playboy (1980) and Hit Parader (1972), that "Tell Me What You See" was written completely by McCartney.

Background and composition
Although "Tell Me What You See" is credited to the Lennon–McCartney songwriting partnership, both John Lennon and Paul McCartney identified it as being primarily written by McCartney. McCartney said in the 1997 biography Many Years from Now: "I seem to remember it as mine. I would claim it as a 60–40 but it might have been totally me." Asked about the song in 1980, Lennon simply said, "That's Paul." McCartney recalled little of its writing, later describing it as a filler track: "Not one of the better songs but they did a job, they were very handy for albums or B-sides. You need those kind of sides."

"Tell Me What You See" has been described as a folk rock song, foreshadowing the direction of the Beatles' next album, Rubber Soul. It is in the key of G major and is in common time. The song's second verse draws from a religious motto hung in Lennon's childhood home with his aunt Mimi Smith. Lennon himself would parody the lines in the story "Silly Norman" from his 1965 book A Spaniard in the Works:

Author Kenneth Womack also suggests that the line "trying to get to you" was in reference to Elvis Presley's 1956 song "Tryin' to Get to You", which had also inspired McCartney's early composition "In Spite of All the Danger".

Recording
The Beatles recorded "Tell Me What You See" on 18 February 1965, during the sessions for the soundtrack of their second feature film, Help! It was the last song recorded in the day, after Lennon's "You've Got to Hide Your Love Away" and the unsatisfactory attempt of "If You've Got Trouble". The session was held in EMI's Studio Two with George Martin producing and Norman Smith and Ken Scott engineering. The band achieved a satisfactory basic track in four takes, featuring McCartney playing his Höfner 500/1 bass, Lennon playing rhythm guitar on his Rickenbacker 325, Ringo Starr on drums, and George Harrison playing a güiro.

The band then added several overdubs to take four. McCartney and Lennon added vocals – McCartney on lead and Lennon on harmony, with McCartney then doubling his part. Starr added claves and maracas, Lennon added tambourine, and McCartney added an electric piano part to the break, played on a Hohner Pianet. Martin, Smith, and Scott mixed the track for mono on 20 February and Smith and Malcolm Davies mixed it for stereo on 23 February.

Other versions
George Martin recorded an instrumental version of "Tell Me What You See" for his 1965 easy listening album, George Martin and His Orchestra Play Help!

The American Christian rock band Jacob's Trouble covered the song for their 1989 debut album Door into Summer.

Personnel
According to Kenneth Womack, except where otherwise indicated:

 * Paul McCartney – lead vocal, bass, electric piano
 * John Lennon – harmony vocal, rhythm guitar, tambourine
 * George Harrison – güiro
 * Ringo Starr – drums, claves, maracas

title: Tell Me What You See


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Adventures in Wonderland (1992 TV series)

Adventures in Wonderland is a 1992–95 American live-action/puppet musical television series based on the novels Alice's Adventures in Wonderland (1865) and Through the Looking-Glass (1871) by Lewis Carroll as well as the 1951 animated film. In the series, Alice (played by Elisabeth Harnois), is portrayed as a girl who can come and go from Wonderland simply by walking through her mirror (a reference to Through the Looking-Glass).

Production
The series originally ran from March 23, 1992 to 1995 (with reruns continuing until at least 1998 ) on The Disney Channel and on stations across the country. Adventures in Wonderland was originally taped at Disney-MGM Studios at the Walt Disney World Resort in Bay Lake, Florida, with two sound stages used exclusively for the show, for its first 40 episodes. Afterward, shooting was moved to Los Angeles, California.

The Cheshire Cat and Dormouse puppets were created by Chiodo Bros. Inc.

Plot
Each episode begins with Alice facing different problems and consulting with her cat Dinah. In order to find the answer she needs to get through a situation, she goes through her mirror that takes her to Wonderland where she partakes in strange adventures with its inhabitants that revolve around the situation that she is dealing with at home. Every episode features singing and dancing.

Main

 * Alice (portrayed by Elisabeth Harnois) is the show's protagonist. Alice is an average preteen, often facing problems in school, with her younger brother Brian, older sister Kathy, friends Kim and Jennifer, or some other issue. She often confides in her cat Dinah about her day. Alice has a special gift in that she is able to pass into Wonderland by walking through her mirror. Whenever she arrives, she helps her friends solve their problems, which, in turn, offers a solution to hers back in her world.
 * The Red Queen (portrayed by Armelia McQueen) is the ruler of Wonderland. The Red Queen, or Queen of Hearts, is Wonderland's sole monarch (she is a combination of The Queen of Hearts from Carroll's original book and the Red Queen from Through the Looking-Glass). She is strict but fair, often citing her mother and grandmother's example in her ruling, but is occasionally a source for trouble, usually due to her selfish attitude. As queen, she expects to get whatever she wants right away, and often pouts when things go wrong – often to the point where she says "Oh, harumph!" She usually ends up eating crow by the end of the episode, but sometimes, she offers solutions to problems other Wonderland residents face. Deep down, she cares greatly for her subjects (especially the White Rabbit), throwing them parties and celebrating their accomplishments. Unlike other adaptations of both the Queen of Hearts, and Red Queen, she is more of a protagonist instead of an antagonist.
 * The White Rabbit (portrayed by Patrick Richwood) is the queen's chief lackey. The White Rabbit is the Queen's personal chef, servant, butler, event planner, shopping assistant, and every other job that she can think of at the time. He wears inline skates to get around, and occasionally loses control-with humorous results. He is also exceptionally timid, unable to stand up to the Queen when he is being treated unjustly. Rabbit is good friends with the other citizens of Wonderland, and he is often a notable accomplice in their schemes, given his proximity to Her Majesty. Though he occasionally complains, the White Rabbit is actually the Queen's closest confidant, and he often sympathizes with her.
 * The Mad Hatter (portrayed by John Robert Hoffman) lives in a house shaped like a hat and is usually seen at his perpetually set tea table. He tends to be rather careless with his dishes and cups. The Mad Hatter is Wonderland's chief inventor, often devising crazy machines and potions to get himself and the gang out of trouble. However, the devices tend to get them into further trouble. He also has an affinity for disguises, such as fake beards and nose/eyeglasses. His catchphrase is "How true that is."
 * The March Hare (portrayed by Reece Holland) can be intelligent at times, and he often assists his best friend the Mad Hatter in inventing and scheming. The Hare tends to lack common sense and is easily duped by others. The March Hare also usually serves the role of conscience among his friends; when a poor choice of judgment is reached, he is usually the one who questions the decision the most.
 * Tweedle Dum and Tweedle Dee (portrayed by Robert Barry Fleming and Harry Waters Jr.) are a pair of rapping fraternal twins. The Tweedles wear bright, colorful clothing. As brothers, they share a strong sibling rivalry, often competing with each other about nearly everything. They are the most athletic residents of Wonderland, often playing sports and organizing games. Their brotherly love usually triumphs over problems, and they usually offer Alice some sensible advice on any problems she may have.
 * The Caterpillar (performed by Wesley Mann) is a large caterpillar and Wonderland's wisest resident. When the Caterpillar speaks, he draws out his vowels in a long, deep voice. As a bug, he has three pairs of hands, which he often uses in tandem to complete tasks. The Caterpillar has a book of wondrous stories, similar to fables in their animal characters and simple morals. The characters often visit the Caterpillar in his mushroom glen to seek advice, which comes in the form of a story. Occasionally, he leaves his patch to visit other Wonderland areas. The Caterpillar's stories were animated by Will Vinton Productions.
 * The Cheshire Cat (performed by Richard Kuhlman) is a purple-striped cat. He has the power to disappear and reappear at will. The Cat loves to play all manner of practical jokes on the Wonderlanders, but even he occasionally performs some act of kindness.
 * The Dormouse (performed by John Lovelady) is a tiny rodent. The Dormouse lives in a teapot on the Hatter's tea table. Despite his small size, he apparently has all the necessities of life inside his home, including a kitchen sink and a painting gallery.

Supporting

 * The Duchess (portrayed by Teri Garr) is the Red Queen's chief rival (a combination of the Duchess from Carroll's original book and the White Queen from Through the Looking-Glass) and, in a strange way, good friend. The Duchess and the Queen constantly quest to upstage each other, often trading insults along the way. Often refers to the Queen as "Twinkle Toes". Apparently, their rivalry began when they were still quite young. All of the Wonderlanders assume that the Queen and Duchess dislike each other, but deep down, the two admit that they have a special, if rocky, relationship.
 * The Walrus (portrayed by Ken Page) is a newcomer to Wonderland. When the Walrus first moved to Wonderland, he was the victim of prejudice, but soon gained friendships with all of the other citizens. The Walrus is quite smart-although he does have one rather strange oddity, in that his best friend Pinniped (credited as himself) is completely invisible. Though the Walrus seems different, he is accepted as just another member of the Wonderland gang.
 * Although not really a living breathing character, Crystalvision (Crystal for short) is often seen around Wonderland in various places. Crystal's role in Wonderland is something like that of a television showing clips and prerecorded images for all the citizens of Wonderland to see. In some episodes, it was shown having a real personality by making joke via showing words on its screen and by the characters acknowledging it as a person.

Home media
Buena Vista Home Video released three volumes of certain episodes on VHS in 1993.

Streaming
The series was made available for streaming on Disney+ on April 30, 2021.

Awards
Daytime Emmy Awards
 * 1992 – Outstanding Hairstyling – Richard Sabre and Tish Simpson (won)
 * 1994 – Outstanding Makeup – Ron Wild and Karen Stephens (won)
 * 1994 – Outstanding Writing in a Children's Series – Daryl Busby and Tom J. Astle (won) (tied with Sesame Street)
 * 1995 – Outstanding Costume Design – Lois DeArmond (won)
 * 1996 – Outstanding Makeup – Karen Stephens and Ron Wild (won)
 * 1996 – Outstanding Directing in a Children's Series – Shelley Jensen, David Grossman and Gary Halvorson (won)


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I've Just Seen a Face

"I've Just Seen a Face" is a song by the English rock band the Beatles. It was released in August 1965 on their album Help!, except in North America, where it appeared as the opening track on the December 1965 release Rubber Soul. Written and sung by Paul McCartney, the song is credited to the Lennon–McCartney partnership. The song is a cheerful love ballad, its lyrics discussing a love at first sight while conveying an adrenaline rush the singer experiences that makes him both enthusiastic and inarticulate.

The song began as an uptempo country and western-style piano piece, originally titled "Auntie Gin's Theme". McCartney then added lyrics that may have been inspired by his relationship with actress Jane Asher. The Beatles completed the track on 14 June 1965 at EMI Studios in London on the same day they recorded "I'm Down" and "Yesterday". The recording fuses country and western with several other musical genres, including folk rock, folk, pop rock and bluegrass. With no bass guitar, it features three acoustic guitars, a brushed snare and maracas.

Several reviewers have described "I've Just Seen a Face" in favourable terms, highlighting its rhyming lyricism and McCartney's vocal delivery, and described it as an overlooked song. Its replacement of "Drive My Car" on the North American version of Rubber Soul advanced the album's identity as a folk rock work, although some commentators view this change as masking the band's late-1965 creative developments. It was among the first Beatles songs McCartney played live with his group Wings, and versions from their 1975–76 world tour appear on the 1976 live album Wings over America and in the 1980 concert film Rockshow. The song has been covered by several bluegrass bands, including the Charles River Valley Boys, the Dillards and the New Grass Revival with Leon Russell. George Martin, Holly Cole and Brandi Carlile are among the other artists who have covered it.

Background and inspiration

Although the song is credited to the Lennon–McCartney songwriting partnership, John Lennon and Paul McCartney each identified "I've Just Seen a Face" as having been written entirely by McCartney. McCartney recalled writing it in the basement music room at 57 Wimpole Street in central London. The house was the family home of his girlfriend, actress Jane Asher, where McCartney lodged from November 1963. Working on a piano, he composed the melody first, beginning it as an uptempo country and western-inflected piece. After he played it on the piano at a family gathering, his aunt Gin enjoyed the tune, prompting him to give it the working title "Auntie Gin's Theme". He added fast-paced lyrics which may have been inspired by his relationship with Asher, turning the song into a cheerful love ballad.

McCartney completed "I've Just Seen a Face" too late for inclusion in the Beatles' second feature film, Help!, most of the songs for which were recorded in February 1965. He presented it to the band in mid-June, soon after returning from holidaying in Portugal with Asher. During the holiday, he also wrote the lyrics to his ballad "Yesterday". Author Ian MacDonald comments that, since writing "Can't Buy Me Love" in early 1964, McCartney had fallen behind Lennon in output, Lennon being the primary writer of the Beatles' next four singles. Most of the sessions for the band's Help! album had also focused on Lennon compositions. In MacDonald's view, given McCartney's absorption in his relationship with Asher and the contrasting depth and originality of Lennon's writing since 1964, McCartney was motivated by the need to apply a renewed focus in his writing on Help!, to regain his equal status in the songwriting partnership.

Music
"I've Just Seen a Face" is in the key of A major and is in 2/2 (cut time). The song begins with a ten measure intro. Split into three phrases, the intro uses triplets that are slower than the rest of the song to create a sense of acceleration, reinforced by a shortened third phrase which quickens the first verse's arrival. McCartney used the effect of slow triplets again later that year in "We Can Work It Out". The song's first chord is F-sharp minor, slightly away from the home key, and is similar to "Help!" in leaving its harmonic grounding ambiguous until the end of the intro. Following the intro, the song speeds up in tempo to what music scholar Terence J. O'Grady calls "an undanceable speed".

The song uses four chords total; the twelve-measure verses use the common pop chord progression I–vi–IV–V, while the eight-measure refrains use the blues progression V–IV–I. The latter progression simulates descent (suggested by the lyrics: "[V] falling, yes I am [IV] falling, and she keeps [I] calling..."), and the inclusion of a melodic minor third on the first syllable of "calling" gives the refrain section a blues sound. Structurally, the song includes three different verses, an instrumental break and a reprise of the first verse. After the second verse, each section is separated from the other by a chorus. Like other Beatles songs, a triple repeat of the chorus signals the end of the song, though Pollack writes "[t]he repeat here of an entire eight bar chorus is rather unprecedented." The outro finishes by repeating a phrase from the end of the intro to provide a feeling of symmetry.

Genre
The composition fuses several different styles and is difficult to categorise. Musicologist Alan W. Pollack describes the song on the whole as folk rock, as does MacDonald, though Pollack characterises parts of the song differently, describing the first two verses as "pure pop-rock", the changes between verse and refrain in the second half as "folksy" and the triplet refrain in the outro as like an "R&B rave-up". Musicologist Walter Everett describes it as both folk and a "bluegrass-tinged ballad", suggesting it anticipates the "simple folk style" of McCartney's 1968 composition "Mother Nature's Son". O'Grady similarly highlights the song's folk-styled guitar contribution with underlying hints of bluegrass, comparing it to another of McCartney's 1965 compositions, "I'm Looking Through You". He writes that both songs "[demonstrate] a split personality" through joining pop-rock with either folk or country-western.

Author Chris Ingham writes "I've Just Seen a Face" indicates the Beatles' continued interest in country music, and music critic Richie Unterberger describes the "almost pure country" song as a continuation on the band's country-influenced work from the previous year, such as their album Beatles for Sale and the song "I'll Cry Instead" from A Hard Day's Night. At the same time, Unterberger counts the song as one of several Help! tracks that display the influence of folk rock on the Beatles. By contrast, O'Grady writes that the song's country-influenced vocals are sung over an instrumental accompaniment "devoid of any specific rock and roll gesture", and concludes it is the Beatles' "first authentically country-western (as opposed to country-rock or rockabilly) song".

Lyrics
Written in a conversational style, the lyrics of "I've Just Seen a Face" describe a love at first sight. Sung without pauses for breath or punctuation, the song conveys an adrenaline rush the singer experiences that makes him both enthusiastic and inarticulate. Author Jonathan Gould groups "I've Just Seen a Face" with several of McCartney's 1965 compositions that deal with face-to-face encounters, including "Tell Me What You See", "You Won't See Me", "We Can Work It Out" and "I'm Looking Through You". Musicologist Naphtali Wagner instead categorises it with later McCartney compositions that "explore ambiguous, elusive and altered states of consciousness", such as "Got to Get You into My Life" from Revolver (1966) and "Fixing a Hole" from Sgt. Pepper's Lonely Hearts Club Band (1967).

The lyrics are constructed using an irregular rhyme scheme, using both run-on verses and alliterations. McCartney later described them as insistent in quality, "dragging you forward... pulling you to the next line". Rhyming every two beats, the lyrics use a series of cascading rhymes ("I have never known/The like of this/I've been alone/And I have missed"). Appoggiaturas are used throughout for rhymes to line-up, such as "face" and "place" in the song's intro. The ends of stanzas are wordless, using vocal cadences like "lie-die-die-dat-'n'-die" that echo the descent of the song's instrumental intro (scale degrees –––––).

Recording
Having completed the filming of Help! on 11 May 1965, the Beatles recorded "I've Just Seen a Face" during the first of three sessions dedicated to filling out the album with songs not in the film. The session took place in EMI's Studio Two (now part of Abbey Road Studios) on 14 June, George Martin producing with assistance from balance engineer Norman Smith. During the same afternoon session, the band recorded McCartney's new rock and roll song "I'm Down" before breaking for dinner and returning to begin work on "Yesterday". The three songs of divergent styles reflected the range of McCartney's compositional abilities; author and musician John Kruth calls it "McCartney's famous marathon session".

Taped on four-track recording equipment, the song consists of two backing tracks. On the first, George Harrison plays Lennon's Framus Hootenanny acoustic twelve-string guitar, McCartney his Epiphone Texan nylon-string guitar and Ringo Starr a snare drum with brushes. The second includes a lead vocal from McCartney and Lennon playing rhythm guitar with his Gibson J-160E acoustic.

Overdubbing and mixing
The band taped the basic track in six takes, overdubbing new parts onto take six. McCartney played a higher section in the intro with his Epiphone Texan and added a descant vocal, providing a contrapuntal backing during the refrains in a nasally country and western tone, similar to his backing vocal on another Help! track, "Act Naturally". Adding texture normally achieved with a tambourine, Starr overdubbed maracas on the choruses, while Harrison added a twelve-string acoustic guitar solo.

Employing a technique used extensively during the Help! sessions, another guitar plays simultaneously during the guitar solo to provide a contrasting sound. Gould writes that, in shifting from cut time to common time during the solo, Harrison's playing is reminiscent of both jazz guitarist Django Reinhardt and the French jazz organisation Le Hot Club. Pollack characterises the solo as a countrified', rhythmically flat rendering", and O'Grady writes it "approximates Bluegrass style in rhythmic regularity". "I've Just Seen a Face" features no bass guitar part. Music critic Tim Riley suggests the instrument's absence, together with the guitar solo being played on the low-end of the guitar, keeps the song rooted in the country genre.

On 18 June, Martin and Smith mixed several songs on Help! for mono and stereo, including "I've Just Seen a Face". The two mixes of the song are nearly identical to one another. As was typical for their pre-Rubber Soul work, the Beatles participated minimally in the album's mixing process. In 1987, for Help! first CD release, Martin remixed the song for stereo, adding a small amount of echo.

Release
EMI's Parlophone label released the Help! LP on 6 August 1965. "I've Just Seen a Face" appeared on side two along with six other tracks not in the film, sequenced between "Tell Me What You See" and "Yesterday". McCartney was pleased with the finished recording and it became one of his favourite Beatles songs.

In keeping with the company's policy of reconfiguring the Beatles' albums, Capitol Records removed "I've Just Seen a Face" and the other non-film songs from the North American version of Help!, replacing them with several orchestral pieces from the film's soundtrack. On the band's next album, Rubber Soul, Capitol again altered the track listing; in addition to omitting four songs they deemed "electric", the company selected "I've Just Seen a Face" and Lennon's "It's Only Love" as the opening tracks of side one and side two, respectively. Capitol's approach was motivated by the popularity of folk rock in the United States, with singles such as Sonny & Cher's "I Got You Babe", Barry McGuire's "Eve of Destruction", the Byrds' cover of Bob Dylan's "Mr. Tambourine Man", Simon & Garfunkel's "The Sound of Silence" and the Mamas & the Papas' "California Dreamin all representative of the style in 1965. "I've Just Seen a Face" thereby replaced the Memphis sound-inspired "Drive My Car" and was followed by the acoustic song "Norwegian Wood (This Bird Has Flown)".

Released on 6 December 1965, Capitol's version of Rubber Soul was dominated by acoustic-based songs. Many North American listeners therefore erroneously assumed that the Beatles had focused on folk music for an entire LP. Opening with "I've Just Seen a Face" gave Rubber Soul more conceptual unity, which reinforced perceptions of it as a folk or folk rock centred LP, at the cost of distorting the band's late-1965 creative developments and their original artistic intentions.

Retrospective assessment and legacy
Reviewing Help! for AllMusic, Stephen Thomas Erlewine describes "I've Just Seen a Face" as "an irresistible folk-rock gem" that is much better than two of McCartney's other contributions to the album, "The Night Before" and "Another Girl", a sentiment author Andrew Grant Jackson echoes. Journalist Alexis Petridis also disparages McCartney's other Help! contributions as filler – in particular, "Another Girl" and "Tell Me What You See" – but describes "I've Just Seen a Face" as the album's "one genuine overlooked gem". He sees it as "an English inversion of Help! much-noted Dylan influence", existing partway between the folk sound of Greenwich Village and that of skiffle.

Writing for Pitchfork, Tom Ewing pairs the song with "Yesterday", describing both as a "personal breakthrough for McCartney", with each achieving a "deceptive lightness that would become trademark and millstone for their writer". He recognises "I've Just Seen a Face" as "a folksy country song [that demonstrates] the gift for pastiche that would help give the rest of the Beatles' career such convincing variety". Music critic Allan Kozinn groups it with "Yesterday", "It's Only Love" and "Wait" as songs recorded near the end of the Help! sessions that were a stylistic break from the rest of the album, their "sophistication, spirit and complexity of texture" having more in common with Rubber Soul.

In 2010, Rolling Stone ranked "I've Just Seen a Face" at number 58 in a list of the Beatles' 100 greatest songs, and a 2014 readers' poll conducted by the magazine ranked it as the tenth best Beatles song from the pre-Rubber Soul era. McCartney biographer Peter Ames Carlin calls the song one of McCartney's most overlooked Beatles contributions, yet also one of his best, and Riley similarly counts it as McCartney's second best contribution to Help! after "Yesterday". Riley, Carlin and Everett each praise the song's lyricism, MacDonald commenting that its internal rhyming and fast-paced delivery "complements the music perfectly". In MacDonald's opinion the song elevates the second side of Help! with its "quickfire freshness" and he describes it as a "pop parallel" to several 1965 Swinging London films, such as The Knack... and How to Get It, Darling and Catch Us If You Can. Music critic Rob Sheffield describes the North American Rubber Soul sequencing of "I've Just Seen a Face" and "Norwegian Wood (This Bird Has Flown)" as a "magnificent one-two punch" which results in "the only case where the shamefully butchered U.S. LP might top the U.K. original". He judges the song the "most romantic [ever]", while managing to be "almost as funny as 'Drive My Car. Describing the song as "fetching, vintage McCartney" and a "warm, cheerful folk-rock treasure", journalist Mark Hertsgaard admires its "thigh-slapping beat, sing-along melody, and cheerful, isn't-love-great lyrics"; he deems it "the musical equivalent of an armful of freshly picked daisies".

Unterberger describes "I've Just Seen a Face" as "probably the most bluegrass-soaked rock song of the 1960s". John Kruth says its influence can be heard on "Go and Say Goodbye", the original opening track of Buffalo Springfield's 1966 debut album. Kruth argues that both songs helped acquaint rock fans with small doses of country music, setting up the turn from folk rock to country by the Byrds with their 1968 album Sweetheart of the Rodeo; in Kruth's opinion, the song's "deep wooden timbre" can be heard in the music of Crosby, Stills & Nash; James Taylor and Jackson Browne. Reflecting in 2006 on the Beatles' legacy and influence, journalist Greg Kot views the song's folk styling as exemplifying the Beatles' musical fluency and ability to master genres far removed from their rock music origins.

McCartney live versions

The song has remained a favourite of McCartney's in his post-Beatles career and is one of the few Beatles songs he played with his later band, Wings. An acoustic rendition of "I've Just Seen a Face" was among the five Beatles songs McCartney played during the 1975–76 Wings Over the World tour, being the first time he included Beatles songs in his live setlist. Beatles author Robert Rodriguez calls the pick unexpected, and McCartney explained contemporaneously that he picked the songs "at random... I didn't want to get too precious about it". Journalist Nicholas Schaffner writes that their inclusion "electrified audiences", and Rodriguez similarly describes the Beatles section of the setlist as the "emotional highlight for most attendees". McCartney reflected at the time, "They're great tunes... So I just decided in the end, this isn't such a big deal, I'll do them." In a retrospective assessment, Riley lauds McCartney for performing the song during the tour as though he were "sitting around on a porch harmonizing to a good old rural favorite". Live versions of the song from the tour were later included on the 1976 triple live album Wings over America and in the 1980 concert film Rockshow.

McCartney performed "I've Just Seen a Face" in a 25 January 1991 set, played on acoustic and filmed by MTV for their series Unplugged. The performance was later included on his 1991 album Unplugged (The Official Bootleg). He has played the song live on several other occasions, including it in the setlist of his 2004 Summer Tour and 2011–12 On the Run tour, and it was included on the 2005 DVD Paul McCartney in Red Square. In 2015, during the Saturday Night Live 40th Anniversary Special, he and musician Paul Simon played an impromptu duet of the song.

Charles River Valley Boys
The Cambridge, Massachusetts-based Charles River Valley Boys (CRVB) recorded a cover of "I've Just Seen a Face" for their 1966 album, Beatle Country, a collection of Lennon–McCartney compositions played as bluegrass and sung in a high lonesome style. James Field of the group later recalled hearing the song on the radio in the lead up to the US release of Rubber Soul and thinking "it instantly felt like bluegrass". In particular, the I–vi–IV–V progression and the chorus beginning on the dominant had "a drive perfectly suited for a straight-ahead bluegrass trio". He added: "The tempo (for us) is about 115 bpm, and if you listen to many bluegrass standards, a lot of them are in that range. Why? Because it's perfect for the banjo. You get a nice, bouncy roll, and you can make it ring." Banjoist Bob Siggins stated: "I think the instantaneous 'feel' of the song was the tipoff for me... additionally, the lyrics could easily be (and in fact became) bluegrass lyrics." With their usual setlist made up of old and new bluegrass and country songs, the band added an arrangement of "I've Just Seen a Face" to their set, along with the country-inflected Beatles song "What Goes On".

Produced by Paul A. Rothchild and co-produced by Peter K. Siegel, recording for Beatle Country took place in September 1966 at Columbia's studio in Nashville, Tennessee. The CRVB's cover of "I've Just Seen a Face" changes the composition in several ways, including transposing it from the key of A to G. Structurally, the CRVB add extra instrumental breaks for banjo, mandolin and fiddle – a typical feature of bluegrass music, where each musician is allowed the chance to solo – as well as repeating the chorus an extra time, which musicologist Laura Turner writes serves to emphasise the "quintessential bluegrass technique" of close three-part harmonies. She describes the biggest differences between versions as their different textures and timbres, in particular the "incessant, 'walking' upright bass line that provides energetic drive, sparking mandolin tremolo, rolling banjo figures, and intricate, often double-stopped fiddle motifs that permeate the texture."

Elektra released Beatle Country in November 1966. "I've Just Seen a Face" was the LP's opening track, and Field later characterised the song as the foundation piece of the entire album. A contemporary review in Cash Box magazine counts the cover as one of the five best tracks on the album, and a retrospective assessment by John Paul of the online magazine Spectrum Culture describes it as "like a lost bluegrass standard". When the Boston Bluegrass Union awarded the CRVB the Heritage Award in 2013, "I've Just Seen a Face" was among the songs the band performed during the award ceremony at the city's annual Joe Val Bluegrass Festival.

Bluegrass groups

Besides the Charles River Valley Boys, numerous bluegrass groups have covered the song. Doggett writes the tempo and chord changes of "I've Just Seen a Face" "[cry] out for a banjo and mandolin", and Turner argues it has been "key in stimulating a relationship between bluegrass and the music of the Beatles". The progressive bluegrass band the Dillards recorded a cover of the song between the British release of Help! and the North American release of Rubber Soul; they had hoped to issue the song in the US before the Beatles, though the recording went unreleased. They later recorded a cover for their 1968 album Wheatstraw Suite. Joining elements of traditional mountain music and modern country music, their version includes high harmonies, a banjo and a pedal steel guitar. Unterberger calls it "a respectable version" which "completed [the Dillards'] move from bluegrass into folk-country-rock", while Turner describes it as "relaxed in tempo and wistful", writing that its use of a pedal steel guitar is "a clear salute to the flourishing folk-rock scene". Kruth suggests that the finished recording influenced bands like the Byrds, the Grateful Dead and the Eagles.

Sam Bush, mandolinist for the progressive bluegrass band New Grass Revival, recalled being uninterested in rock music before the mid-1960s, but found that "I've Just Seen a Face" allowed him to "relate to the Beatles for the first time", agreeing with a characterisation of it as "bluegrass without a banjo". New Grass Revival subsequently covered the song with musician Leon Russell for their 1981 live album, The Live Album, a version Turner calls "hard driving" and "erratic". Bush later covered the song as a solo artist for the 2013 Americana tribute album, Let Us in Americana: The Music of Paul McCartney. The group Bluegrass Association recorded the song for their 1974 album Strings Today... And Yesterday, basing their arrangement on the Charles River Valley Boys' version.

Other artists
George Martin recorded an orchestral version of the song for his 1965 easy listening album, George Martin & His Orchestra Play Help!, credited under its original working title, "Auntie Gin's Theme". In a review of the album for AllMusic, Bruce Eder describes Martin's recordings as "tasteful but otherwise largely undistinguished". He credits the release of tracks under their working titles as one of the album's unique selling points, being "details that Beatles fanatics of the time simply devoured". The Grateful Dead performed the song in concert on 11 June 1969 in San Francisco, playing pseudonymously as Bobby Ace and the Cards from the Bottom of the Deck, and former Grateful Dead keyboardist Tom Constanten recorded a cover for his 1993 album Morning Dew. Hank Crawford, the alto saxophonist of Ray Charles, recorded a funk and reggae-inspired version of the song for his 1976 album Tico Rico.

Canadian jazz singer Holly Cole covered the song for her 1997 album Dark Dear Heart. Released with a noir-style music video, the version reached number seven on Canada's RPM Top Singles Chart in November 1997.

The 2007 jukebox musical romantic drama film Across the Universe features a cover of the song, later included on its associated soundtrack album. In the film, the lead character, Jude (Jim Sturgess), sings about Lucy (Evan Rachel Wood) at a bowling alley in what Kruth terms a "somewhat bizarre love-fantasy scene". Reviewing the soundtrack for AllMusic, Erlewine writes that Sturgess does "a credible job" on the song's "rockabilly revamp".

American singer Brandi Carlile occasionally sings the song during live shows. Though Kruth disparages Carlile's version as "[not] particularly different or innovative", a 2010 ranking by Paste magazine of the 50 best Beatles covers placed it at 46, writing that she transforms the song into a "sing-along hoe-down". Kruth designates "I'll Just Bleed Your Face" as the song's "most bizarre" cover, recorded by Beatallica – a mashup group of heavy metal band Metallica and the Beatles – for their 2009 album Masterful Mystery Tour.

Personnel
According to Walter Everett, except where noted:
 * Paul McCartney – lead and harmony vocals, nylon-string guitar
 * John Lennon – acoustic rhythm guitar
 * George Harrison – acoustic twelve-string guitar
 * Ringo Starr – drums (with brushes), maracas

title: I've Just Seen a Face


text:
User talk:Nundeeram

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Questions, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome!
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title: User talk:Nundeeram


text:
Victim Support

Victim Support is an independent charity in England and Wales that provides specialist practical and emotional support to victims and witnesses of crime.

Activities

 * Support for victims of crime: Trained volunteers and employees offer free, independent, confidential and personalised support to victims and witnesses of crime and traumatic incidents. In 2017, the charity had contact with over 800,000 victims of crime across England and Wales to offer information and support. The charity offers a range of support around safety, information provision, validation of their thoughts and feelings, developing coping strategies for daily life and connecting the services users with support networks as well. Examples of support specifics can be: supporting people to make their home secure after a burglary, understanding their rights and entitlements within the Victim's Code of Practice, support with the Criminal Justice System, applying for compensation, help with re-housing or accessing mental health and other specialised services through the NHS.
 * Supportline: A free 24/7 telephone helpline offering confidential support and advice to anyone affected by crime in England and Wales - 08 08 16 89 111.
 * Specialist services:
 * The national Homicide Service, helping families in England and Wales who've been bereaved by murder or manslaughter
 * Local services helping victims of any crime, including domestic or sexual violence, anti-social behaviour and hate crime
 * Local services for young victims of crime, including specialist support for children who have experienced domestic abuse, sexual assault and grooming
 * Restorative justice programmes
 * Research: Victim Support's research team look into the issues facing victims of crime and make recommendations, based on evidence, on how to tackle those problems to government. police, criminal justice and other organisations.
 * Fundraising: The charity is funded by public donations along with funding awards made by grant-making bodies and services commissioned by Police and Crime Commissioners.
 * Volunteering: Volunteers are trained to work directly with victims and witnesses of crime or to be a fundraiser.

History

 * Victims' services: The first Victim Support scheme was set up in Bristol in 1974. The charity's founders included staff from the National Association for the Care and Resettlement of Offenders (now NACRO), the police and probation services. By 1986, every county in England and Wales had at least one Victim Support scheme. Victim Support registered as a charitable company in 1987 and in 2008, all local services merged to create a single national federation in England and Wales.

 * Homicide Service: Since 1985, the charity has run the Homicide Service, supporting people bereaved by murder or manslaughter.

 * Witness Service: The charity set up the national Witness Service in 1989 and supported its development to cover both all Crown Court centres and all the magistrates' courts in England and Wales. The Witness Service was run by Victim Support until April 2015.

 * Supportline: In 1998, Victim Support's free national telephone helpline for victims and witnesses was established. Since the 2017 Westminster attack and the other terrorist attacks that year, the Supportline has been provided 24/7.

Officials

 * Chair: Andrew Tivey
 * Chief Executive Officer: Katie Kempen

Notable Former Officials

 * Former Chief Executive: Dame Helen Reeves DBE. Dame Helen served the charity for 26 years, retiring in 2005. Other notable figures who helped Victim Support become a major force for victims in the early years include: Kathy Hobdell MBE, Ron Chick MBE, Sue Tomson, Kay Coventry, Sarah Cawthra, Jane Cooper, Martin Wright and John Pointing.

Research reports

 * "Survivor's Justice", December 2017
 * "Responding to terror attacks", November 2017
 * "Victim of the System", April 2017
 * "Understanding Victims of Crime", April 2017
 * "VS Insight Report: An Easy Target? Risk factors affecting victimisation rates for violent crime and theft", April 2016
 * "Waiting for Justice: How victims of crime are waiting longer than ever for criminal trials", June 2015
 * "Suffering in silence: children and unreported crime", December 2014
 * "At risk, yet dismissed: the criminal victimisation of people with mental health problems" Report, October 2014
 * Summary
 * "Left in the dark – why victims of crime need to be kept informed", July 2011.
 * "Criminal neglect: no justice beyond criminal justice", 2002
 * Rights for Victims of Crime, 1995

title: Victim Support


text: User talk:81.79.87.233

title: User talk:81.79.87.233


text:
Halcyon-class minesweeper

The Halcyon class was a class of 21 oil-fired minesweepers (officially, "fleet minesweeping sloops") built for the British Royal Navy between 1933 and 1939. They were given traditional small ship names used historically by the Royal Navy and served during the Second World War.

Design
There were 21 ships in the Halcyon class, built in two groups; the first using reciprocating steam engines, with steam turbines in the latter. They were generally smaller versions of the Grimsby-class sloop escort sloops. Niger and Salamander of the reciprocating group used vertical triple expansion engines, instead of the vertical compound engines of their sisters. As a result of the increased power they had a half knot speed advantage, even though they used slightly shorter hulls. The turbine ships used the same shorter hulls as Niger and Salamander, but with lower power, speed dropped back to 16.5 kn. Gleaner, Franklin, Jason and Scott were completed as unarmed survey vessels, Sharpshooter and Seagull being converted to follow suit. They were all re-armed and deployed in their original role on the outbreak of war. Seagull had the first all-welded hull built for the Royal Navy.

Service history
Halcyons served in Home waters, at Dunkirk, on Arctic convoys and in the Mediterranean Sea. On 3 February 1940, HMS Sphinx (J69) (Cdr. J. R. N. Taylor, RN) was sweeping an area 15 mi north of Kinnaird Head when it was attacked by enemy aircraft. A bomb pierced the forecastle deck and exploded, destroying the fore part of the ship and killing the commanding officer and forty of his men. Sphinx remained afloat and was towed by Halcyon, but having taken in too much water, capsized and sank. The wreck washed ashore north of Lybster and was sold for scrap.

HMS Skipjack (J69) (Lt.Cdr. F. B. Proudfoot, RN) was attacked and sunk by a force of German dive bombers off De Panne, Belgium on 1 June 1940. On board Skipjack were between 250 and 300 soldiers rescued from Dunkirk's beaches during Operation Dynamo. Eyewitness William Stone said of Skipjack, "She just disappeared."

Halcyons were pressed into service as anti-submarine escorts, performing this task with decreasing frequency as ships specifically designed for this task, such as Flower-class corvettes, came off the slips. Halcyons accompanied most of the Arctic convoys, serving as minesweepers and anti-submarine escorts. Several spent extended periods based at Soviet naval bases in Northern Russia, such as Murmansk. Four Halcyons were lost during this period:
 * HMS Gossamer (J63) (Lt.Cdr. T. C. Crease), having escorted the first Arctic convoy, attacked a German U-boat while escorting Convoy PQ 11, and helped rescue the crew of the cruiser HMS Edinburgh (C16). On 26 June 1942, in Kola Inlet, Gossamer was dive-bombed and sunk.
 * On 5 July 1942, off the coast of Iceland, part of Convoy QP 13 wandered into a British minefield. HMS Niger (J73) (Cdr. A. J. Cubison, DSC and Bar), which was escorting the convoy, was lost.
 * On 29 September 1942, in the Greenland Sea, HMS Leda (J93) was torpedoed and sunk while escorting Convoy QP 14.
 * On 31 December 1943, during the Battle of the Barents Sea, HMS Bramble (J11) was attacked by the German heavy cruiser GERMAN CRUISER Admiral Hipper while escorting Convoy JW 51B. After sustaining serious damage, Bramble was destroyed by the German destroyer GERMAN DESTROYER Z16 Friedrich Eckoldt.

HMS Hebe (J24) and HMS Speedy (J17) served in the Mediterranean as part of the 14th/17th Minesweeper Flotilla based in Malta. The minesweepers saw action during the Malta Convoys, Operation Torch and Operation Corkscrew. Hebe was lost to a mine off Bari, Italy on 22 November 1943.

Friendly fire losses
As the Allied armies advanced following the invasion of Normandy, HMS Britomart (J22), HMS Hussar (J82), HMS Jason (J99) and HMS Salamander (J86) were assigned to the 1st Minesweeping Flotilla (1MF) clearing Axis minefields north of Normandy to open ports to supply the advance. On the afternoon of 27 August 1944, they were sweeping off Cap d'Antifer in preparation for the battleship HMS Warspite (03) and monitors HMS Erebus (I02) and HMS Roberts (F40) to engage Le Havre coastal artillery delaying the advance of Canadian troops.

The headquarters officer assigning the minesweeping project to 1MF neglected to inform the Flag Officer British Assault Area (Rear‑Admiral James Rivett‑Carnac), who was responsible for defending the invasion beaches from E-boats operating from Le Havre. 1MF was observed on a south-westerly leg of the minesweeping operation and assumed to be German ships proceeding to attack Allied shipping off the invasion beaches. The Admiral's staff requested No. 263 Squadron RAF and No. 266 Squadron RAF to attack the ships. The squadrons responded with 16 Typhoons armed with 20 mm cannon and High Explosive "60 lb" RP-3 unguided rockets. Royal Air Force pilots identified 1MF as probably friendly shipping but upon questioning their orders were told the Royal Navy had no ships in the area.

In a well-executed attack out of the sun at 13:30, the Typhoons sank Britomart (Lt. Cdr. Nash, MBE, RNR) and Hussar (Lt.Cdr. A. J. Galvin, DSC, RNR); and Salamander was damaged so far beyond economical repair she was written off. Eighty-six British sailors were killed and 124 more were injured. 1MF identified the Typhoons as friendly and poor visibility into the sun prevented early recognition of the impending "friendly fire". Jason established radio contact to terminate the attack.

Reciprocating group

 * Ordered 1932
 * HMS Halcyon (J42), built by John Brown & Company, Clydebank, sold for scrapping 1950
 * HMS Skipjack (J38), built by John Brown, bombed and sunk off Dunkirk on 1 June 1940
 * Ordered 1933
 * HMS Harrier (J71), built by John I. Thornycroft & Company, Woolston, sold for scrapping 1950
 * HMS Hussar (J82), built by Thornycroft, sunk in error by RAF aircraft off Cap d'Antifer on 27 August 1944
 * Ordered 1934
 * HMS Speedwell (J87), built by William Hamilton and Company, Port Glasgow, sold out of service 1946, wrecked and scrapped 1954
 * Ordered 1935
 * HMS Niger (J73), built by J. Samuel White & Company, Cowes, mined off Iceland on 4 June 1942
 * HMS Salamander (J86), built by White, damaged in RAF rocket attack off Cap d'Antifer on 27 August 1944 and written off as constructive total loss, sold for scrapping 1946

Turbine group

 * Ordered 1936
 * HMS Franklin (J84), built by Ailsa Shipbuilding Company, Troon, sold for scrapping 1956
 * HMS Gleaner (J83), built by William Gray & Company, Hartlepool, sold for scrapping 1950
 * HMS Gossamer (J63), built by William Hamilton and Company, bombed and sunk in Kola Inlet on 24 June 1942
 * HMS Hazard (J02), built by William Gray, sold for scrapping 1949
 * HMS Hebe (J24), built by HM Dockyard, Devonport, mined and sunk off Bari, 22 November 1943
 * HMS Jason (J99), built by Ailsa, sold out of service 1946, sold for scrapping 1950
 * HMS Leda (J93), built by HM Dockyard Devonport, torpedoed and sunk by U-435 in Greenland Sea on 20 September 1942
 * HMS Seagull (85), built by HM Dockyard Devonport, sold for scrapping 1956
 * HMS Sharpshooter (J68), built by HM Dockyard Devonport, renamed Shackleton 1953 and converted to survey vessel, sold for scrapping 1965.
 * Ordered 1937
 * HMS Bramble (J11), built by HM Dockyard Devonport, sunk by gunfire from German warships in Barents Sea, 31 December 1942
 * HMS Britomart (J22), built by HM Dockyard Devonport, sunk in error by RAF aircraft off Cap d'Antifer, 27 August 1944
 * HMS Scott (J79), built by Caledon Shipbuilding & Engineering Company, Dundee, sold for scrapping 1965
 * HMS Speedy (J17), built by William Hamilton and Company, sold out of service 1946, sold for scrapping 1957
 * HMS Sphinx (J69), built by William Hamilton and Company, bombed by German aircraft off Kinnaird Head on 3 February 1940, later sank under tow and wreck washed ashore off Lybster, salvaged and scrapped 1950

title: Halcyon-class minesweeper


text:
Talk:Wren 460

Spoilers and Ailerons
Correction from "spoilers in lieu of ailerons". The company promotional film clearly shows that the outboard flaps of the Wren 460 also acted as ailerons. The spoilers only assisted. Rsduhamel 18:27, 17 July 2005 (UTC)

Empty Weight
Presumably a typo, the empty weight is given as greater that the gross weight. The current Robinson offering, which looks the same as the subject aircraft, has the empty weight of 1980lb.Rupert Butler (talk) 19:17, 31 August 2015 (UTC)
 * Good stop. Pounds and Kilograms got mixed.Nigel Ish (talk) 20:13, 31 August 2015 (UTC)

External links modified (January 2018)
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Wren 460 picture
Would it be possible to change the picture of the Wren 460 to something that depicted the aircraft better? It seems like there would possibly be a better photo... Gorkypickeral (talk) 03:11, 13 October 2018 (UTC)

 * Unfortunately, it's the only image on Wikimedia Commons, which can only host non-copyrighted images. So until a better copyright-free photo comes along were stuck with it, which is better than no image at all. - BilCat (talk) 04:39, 13 October 2018 (UTC)

Sorry, I didn't know it was the only copyright-free photo of this aircraft. Just trying to make Wikipedia better. Gorkypickeral (talk) 21:46, 14 October 2018 (UTC)

 * Don't worry, perhaps someone will see your comments who has one. - BilCat (talk) 03:35, 15 October 2018 (UTC )

Yes, hopefully someone will. Gorkypickeral (talk) 04:04, 15 October 2018 (UTC)
 * It took five years, but I finally found one (two, actually) and photographed it. - ZLEA  T \ C 04:18, 25 August 2023 (UTC)

title: Talk:Wren 460


text:
Talk:Armchair treasure hunt

Comments
it is not correct that the golden hare was never found. 2 years after publication it was found by a man who used information provided by kit williams' ex-girlfriend. please someone whose mother tongue is english change this.

visit this site for details: http://www.bunnyears.net/kitwilliams/faq.html

title: Talk:Armchair treasure hunt


text:
Wikipedia:Articles for deletion/Relate

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was delete. CDC  (talk)  21:17, 27 July 2005 (UTC)

Relate
Delete a statement of the obvious that is either said explicitly elsewhere or is implicit in writing an article. Appeared to exist because there was/is Template:Relate which has now been voted for deletion over at TfD. -Splash 18:29, 17 July 2005 (UTC)
 * Delete - dunno able the template but definitely shouldn't be in Wikipedia: space CDC   (talk)  18:34, 17 July 2005 (UTC)
 * Delete as per CDC. JamesBurns 09:18, 18 July 2005 (UTC)
 * Delete. CfD deleted the unpopulated category, then TfD deleted the unused template, and now it's time for VfD to delete the confused page. --Dmcdevit·t 07:46, July 19, 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.

title: Wikipedia:Articles for deletion/Relate


text:
Victor Cherkashin

Victor Ivanovich Cherkashin (Ви́ктор Ива́нович Черка́шин) (born 22 February 1932) is a former Soviet foreign counter-intelligence officer of the PGU KGB SSSR. He was the case officer for both Aldrich Ames, a CIA counter-intelligence officer, and Robert Hanssen, an FBI agent.

Career
Cherkashin joined the KGB in 1952 and retired in 1991. He was the case officer for both Aldrich Ames, a CIA counter-intelligence officer, and Robert Hanssen, an FBI agent, when they spied for the Soviet Union. Cherkashin served for many years in the KGB's First Chief Directorate, the department dedicated to foreign counter-intelligence. His career included tours in Lebanon, India, Australia, West Germany and Washington, DC.

Cherkashin was awarded the Order of Lenin in August 1986 for recruiting Aldrich Ames.

In 2004 he presented the book Spy Handler at the Spy Museum in Washington, DC.

Personal life
Cherkashin was the son of a NKVD officer. He received a diploma of a railway engineer from the Moscow State Institute of Railway Engineering.

Cherkashin married KGB cipher clerk Elena, with whom he has two children; Alyosha and Alyona. After his retirement from the KGB he established his own private security company in Moscow, where he now lives with Elena.

Victor and his wife Elena made an appearance on Anthony Bourdain: No Reservations on the Travel channel. He discussed a little about life as a spy and handler but also showed him helping Anthony pick wild mushrooms and then having his wife cook them and share stories while snacking. The show took place at his dacha, country house in a community with other retired KGB officers.

title: Victor Cherkashin


text:
No Reply (song)

"No Reply" is a song by the English rock band the Beatles from their 1964 album Beatles for Sale. In North America, it was issued on Capitol Records' variant on the British release, Beatles '65. The song was written mainly by John Lennon and credited to Lennon–McCartney. Lennon originally gave the song to another artist managed by Brian Epstein, Tommy Quickly, in June 1964, but Quickly decided not to use it. The Beatles recorded the track in London soon after returning from their first full tour of the United States. The lyrics typify Lennon's more introspective and mature songwriting on the Beatles for Sale album.

Background
John Lennon began writing "No Reply" in May 1964 while in Tahiti, where he was on holiday with his Beatles bandmate George Harrison and their respective partners, Cynthia Lennon and Pattie Boyd. Once back in London, Lennon finished writing the song with some assistance from Paul McCartney. On 3 June, after the Beatles had completed the recording for their album A Hard Day's Night, they taped a demo of the track at EMI Studios. In the description by author John Winn, the performance was lighthearted, with Lennon and McCartney joking as they sang. Ringo Starr had been hospitalised earlier that day and was therefore absent from the recording. Winn writes that the line-up on the demo was most likely Lennon on guitar, McCartney playing drums in place of Starr, and Harrison on bass.

The demo was then passed on to Tommy Quickly, a singer who was signed to NEMS, the agency owned by Beatles manager Brian Epstein. By late September, Lennon and McCartney were stuck for new material for the Beatles' new album, and since Quickly had not issued a recording of the song, the Beatles decided to reclaim "No Reply" and record it themselves. According to the liner notes for Beatles for Sale, the song was a candidate for the band's next single before it was supplanted by "I Feel Fine".

The song was not officially released as a single in the UK, but in several other countries it did get a release. In the Netherlands, it reached number one as a double A-side with "Rock 'n' roll music".

Lyrics
"No Reply" is about a young man who is unable to contact his apparently unfaithful girlfriend, although he knows she is home. In a 1980 interview, Lennon recalled that the lyrics were inspired by "Silhouettes", a 1957 song first recorded and released by doo-wop group the Rays. Lennon added: "I had that image of walking down the street and seeing her silhouetted in the window and not answering the phone …"

According to Lennon in a 1972 interview, the Beatles' music publisher, Dick James, was quite pleased with "No Reply": "I remember Dick James coming up to me after we did this one and saying, 'You're getting better now – that was a complete story.' Apparently, before that, he thought my songs wandered off."

Music
The song is in the key of C major. The song form is standard AABA (verse-verse-bridge-verse), without a chorus as such, but including the refrain "No reply". The main instrumentation on the Beatles recording comprises acoustic guitars (played by Lennon and Harrison on their Gibson J-160Es), bass guitar and drums. In addition to handclaps by all four members of the group, the overdubs included a piano part by their producer, George Martin, and electric guitar played by Harrison. The rhythm over the song's verses is partly bossa nova. The bridge, or middle sixteen, reverts to a standard rock rhythm.

Lennon had intended to sing the higher harmony part, as this was the original melody. However, his voice had deteriorated due to excessive use, forcing McCartney to sing the part, and relegating Lennon to the lower harmony line.

Reception
In his book, Revolution in the Head, Ian MacDonald comments that the "double-tracked vocals generate a stunning power" in the song's "climactic middle sixteen", which is among the most exciting 30 seconds in the Beatles' catalogue. He describes the track as "an enticingly downbeat opener" for Beatles for Sale. McDonald adds that the group considered repeating the section, but "wisely" decided that "less-is-more".

In 2006, Mojo placed "No Reply" at number 63 on its list of "The 101 Greatest Beatles Songs". In his commentary on the track, Chris Hillman, a founding member of the American folk-rock band the Byrds, admired the imagery of the lyrics and the "funky, out of left-field" rhythms played by Lennon and Harrison. He added: "There is no rock blueprint for this … This is the stuff which got us all over here to put down the mandolins and banjos and plug in and pay attention to rock again."

Cover versions
Parody band Beatallica recorded a mashup of "No Reply" and Metallica's "No Remorse" entitled "No Remorseful Reply", on their 2001 EP A Garage Dayz Nite.

Personnel
According to Ian MacDonald:

The Beatles
 * John Lennon – double-tracked lead vocal, acoustic guitar, handclaps
 * Paul McCartney – harmony vocal, bass guitar, handclaps
 * George Harrison – acoustic guitar, electric guitar, handclaps
 * Ringo Starr – drums, handclaps

Additional personnel
 * George Martin – producer, piano
 * Norman Smith – engineer

title: No Reply (song)


text:
Johann Caspar Füssli

Johann Caspar Füssli (3 January 1706 – 6 May 1782) was a Swiss portrait painter and art historian.

Biography
Füssli was born in Zürich to Hans Rudolf Füssli, who was also a painter, and Elisabeth Schärer. He studied painting in Vienna between 1724 and 1731, and then became a portraitist in the courts of southern Germany. In 1736, he returned to Zürich, where he painted members of the government and figures of the Enlightenment era such as Johann Jakob Bodmer and Friedrich Gottlieb Klopstock. He also wrote and illustrated two dictionaries of Swiss painters and became well known as an art historian.

He married Elisabeth Waser, and they had 18 children. Four of them later became known as painters: Johann Heinrich ("Henry Fuseli", 1741–1825), Johann Kaspar (1743–1786), Elisabeth (1744–1780), and Anna (1749–1772). Johann Caspar Füssli died in Zürich in 1782.

Publications

 * Geschichte und Abbildung der besten Mahler in der Schweitz ("History and Illustration of the Best Painters in Switzerland"), 1754–1757.
 * Geschichte der besten Künstler in der Schweitz ("History of the Best Artists in Switzerland"), 1769–1779.

title: Johann Caspar Füssli


text:
Talk:Rubric (disambiguation)

Talk
There is no point to mention the Prayer Book rubrics separately. There is already a link to the use of rubrics in liturgy. Carolynparrishfan 00:11, 27 January 2006 (UTC)

There is no clear linkage between any dictionary definition and the common usage of "rubric" as an academic tool for grading. Why not call "grading tools" by their correct name: Grading tools. Grading Matrix should sound "buzzword" enough for the industry.Hsteacher 13:22, 29 November 2006 (UTC)

rearrangement of articles
I think that:
 * a) the typography & ecclesiatical articles should be merged.
 * b) "typography" is not really the right term, and the combined/merged article in a) should have the plain Rubric title, with a link to the disam page here.

Johnbod (talk) 18:09, 8 February 2008 (UTC)
 * See Talk:Rubric (typography) for the rest of this discussion. Anthony Appleyard (talk) 12:31, 22 February 2008 (UTC)

title: Talk:Rubric (disambiguation)


text:
Three Peaks Yacht Race

The Three Peaks Yacht Race is held each year in June in the United Kingdom since 1977. It is based on an idea of Bill Tilman, who had advocated a Three Peaks Challenge route without using motorised transport. His doctor, Rob Haworth, with colleague Merfyn Jones developed the idea into a race.

Yachts with five crews, comprising sailors and runners, sail from Barmouth on the West Wales coast to Caernarfon in the Menai Strait, where the runners disembark and run to the top of Snowdon and back. They then sail across Liverpool Bay to Whitehaven on the coast of north-west England, where the runners cycle to Ennerdale and run over to Wasdale and up Scafell Pike and back. Finally they sail round the Mulls of Galloway and Kintyre up Loch Linnhe to Fort William in Scotland where the runners scale Ben Nevis and return to the yacht.

The first yacht to complete the race wins the trophy. Achieving a good enough start to gain the help of the Menai Strait tidal current after the Snowdon run can save several hours.

In 2005, ten teams completed the race with times ranging from three days eighteen hours to five days eight hours.

title: Three Peaks Yacht Race


text: Category:Pub chains

title: Category:Pub chains


text:
File:Tissot-hide-seek-detail.jpg

Detail from Hide and Seek by James Tissot, c. 1877.

Original in the National Gallery of Art, Washington.

Image from the Web Museum http://www.ibiblio.org/wm/paint/auth/tissot/

title: File:Tissot-hide-seek-detail.jpg


text:
Baby's in Black

"Baby's in Black" is a song by the English rock band the Beatles, co-written by John Lennon and Paul McCartney. It appears on the United Kingdom album Beatles for Sale and on the United States album Beatles '65, both released in 1964.

Composition
"Baby's in Black" has a time signature. and a moderate tempo. An AllMusic critic described the song as "a love lament for a grieving girl that was perhaps more morose than any previous Beatles' song." Musicologist Alan W. Pollack notes that the song is relatively complex in format, with a refrain, bridge, and a guitar solo. He describes the song as having "mishmash" of stylistic elements—among them, "bluesy" chords and country music-inspired vocals.

Recording
"Baby's in Black" was recorded on 11 August 1964, and was the first song recorded for Beatles for Sale. Lennon and McCartney sang their vocal parts simultaneously through the same microphone. This was done at their own insistence in order to achieve a closer feel to the performance. McCartney was subsequently contacted by their music publisher in 1964 inquiring as to which melody line was the main tune (i.e., Paul's higher or John's lower melody). McCartney later said that he told the publisher they were both the main melody.

Live performances
The Beatles performed "Baby's in Black" live during their appearances from late 1964 until 1966 on their final tour. McCartney said they introduced the song by saying, "'And now for something different.'... We used to put that in there, and think, 'Well, they won't know quite what to make of this, but it's cool.'" In 1996, a live version of "Baby's in Black" was released as a B-side to "Real Love", the second single from their Anthology project. 20 years later, it was included as a bonus track in 2016 expanded live album Live at the Hollywood Bowl.

Covers

 * Canadian rock band Big Sugar recorded a cover of "Baby's in Black" during the sessions of their 1998 album, Heated. Though the cover did not make it onto the album, the cover was featured on the 25th anniversary deluxe edition of the band's 1996 album Hemi-Vision, which was released in 2020.
 * American jazz pianist Brad Mehldau recorded a version in September 2020 at Philharmonie de Paris for his live solo album, Your Mother Should Know: Brad Mehldau Plays The Beatles.

Personnel

 * John Lennon – vocal, acoustic rhythm guitar
 * Paul McCartney – vocal, bass guitar
 * George Harrison – lead guitar
 * Ringo Starr – drums, tambourine

Personnel per Ian MacDonald

title: Baby's in Black


text:
Talk:The Stony Brook Statesman

Well, what we seem to have here is the history of Statesman according to David Razler. It is full of errors of fact from the very first sentence, and deserves nothing less than a complete & factual rewrite with the collaboration of involved editors & staffers from the past 50 or so years.

Welcome to the brave new world of "information" where anyone can type anything they damn well please and have it "published" as the truth. Oh, that first sentence with the wrong facts: Sucolian began in February, 1958. You can look it up - but not here. Billstoller 22:49, 27 October 2007 (UTC)

Bill Stoller, Statesman '71

Where does the circulation figure of 12,000 come from? A recent copy of The Statesman that I have gives there estimated readership at 30,000, but a newspaper's own reports of readership aren't necessarily accurate. Also, I edited the part about the paper being independent of the student government, as a recent USG budget indicates that The Statesman did recieve funds from the student gov't. -Mairi

The 12,000 figure was mine. That number is, to my understanding, how many copies are printed, which is the strict definition of circulation. Some newspapers and magazines claim a higher "readership" figure, based on the number of people they believe pass along a single copy. Hence, readership can be higher than circulation, at least in theory.

I guess we disagree about independence. To me, the Statesman is independent because such a small percentage (less than 10 percent, last I checked) of its revenue comes from the student government. The rest is from advertising. In other words, if the student government took away the paper's funding, it would continue to publish. To me, that means it's independent. -- djoachim

David Joachim (editor in chief of the Statesman, 1990-1992)

 * It's funny you should say that, considering Statesman has stated they may not publish after a budget cut has been made the funding they receive from the USG: http://pcli.org/2010/04/stony-brook-statesman-has-funding-slashed/ 71.247.43.111 (talk) 04:56, 29 April 2010 (UTC)

I have fixed the information about when Stateman printed thrice weekly. In 1984, when I was Managing Editor, I was responsible for the Monday and Wednesday issues, with Elizabeth Wasserman, the editor-in-chief, being responsible for the other one. I was in 1985 that we started experiencing the financial problems that led to the paper being printing only twice a week.

Barry Wenig '85

Who suggested merging this article with the Stony Brook University article? A college newspaper is a distinct entity from the university where it is housed.

Thank you.
To whoever cleaned this entry up. Its more accurate, in brief, as of today than its been previously. Maybe it can stay that way. Billstoller (talk) 19:28, 16 December 2007 (UTC)

title: Talk:The Stony Brook Statesman


text:
I'll Follow the Sun

"I'll Follow the Sun" is a song by the English rock band the Beatles. It is a ballad written and sung by Paul McCartney and credited to Lennon–McCartney. It was released in 1964 on the Beatles for Sale album in the United Kingdom and on Beatles '65 in the United States. The band played the song on the BBC radio programme Top Gear, and the track was released on On Air – Live at the BBC Volume 2 in 2013.

The song was released as a mono extended play 45 in 1964 on Parlophone/EMI (and in 1995 as a B-side to "Baby It's You"). In Sweden, it reached number one on the Tio i Topp chart in July and also peaked at number four on Sweden's Kvällstoppen Chart.

Composition
When asked about the lyrics, McCartney commented: "I wrote that in my front parlour in Forthlin Road. I was about 16. 'I'll Follow the Sun' was one of those very early ones. I seem to remember writing it just after I'd had the flu and I had that cigarette. I remember standing in the parlour, with my guitar, looking out through the lace curtains of the window, and writing that one."

Recording
McCartney explained, "The next [single] had to always be different. We didn't want to fall into the Supremes trap where they all sounded similar, so we were always keen on having varied instrumentation. Ringo couldn't keep changing his drum kit, but he could change his snare, tap a cardboard box or slap his knees."

Personnel
According to Walter Everett:

 * Paul McCartney – lead and harmony vocals, acoustic guitar
 * John Lennon – harmony vocal
 * George Harrison – electric rhythm guitar, guitar solo
 * Ringo Starr – percussion

Cover versions

 * In 1966, Chet Atkins released an instrumental cover on his album Chet Atkins Picks on the Beatles.
 * The song was covered by David Ball in 1995 for the Beatles tribute album Come Together: America Salutes the Beatles.
 * McCartney performed the song live during The 'US' Tour; likewise at the Paris Olympia on 22 October 2007, in Kyiv for the Independence Concert on 14 June 2008, in Quebec City at the free outdoor concert on 20 July 2008 (for the city's 400th anniversary celebration), at Tel Aviv, Israel, on 25 September 2008, and in New York City on 12 May 2015 (charity concert for the Robin Hood Benefit).
 * Glen Phillips (lead singer of Toad the Wet Sprocket) covered the song for the soundtrack of the 2009 Eddie Murphy film Imagine That.

title: I'll Follow the Sun


text:
High Tor (play)

High Tor is a 1936 play by Maxwell Anderson. It received the New York Drama Critics' Circle Award for Best Play of the 1936–37 season. Twenty years after the original production, Anderson adapted it into a television musical with Arthur Schwartz.

Play
The play is named for a summit overlooking the Tappan Zee portion of New York's Hudson River, near where Anderson lived in Rockland County. The story was inspired by the real life controversy over quarrying the palisades along the lower Hudson. The play also shares the plot element of a ghostly crew of Dutch sailors on the Hudson with Washington Irving's short story Rip Van Winkle.

Anderson began writing the play in May 1936. It was first presented onstage in Cleveland, Ohio, in December 1936, with Burgess Meredith (Anderson's neighbor in Rockland County) and Peggy Ashcroft in the lead roles. Thomas W. Ross was also in the production as Judge Skimmerhorn. The production moved to Broadway ten days later in January 1937, where it played 171 performances.

High Tor received the New York Drama Critics' Circle Award for the best American play of the 1936–1937 season. The award included this citation:
 * In its decision the circle celebrates the advent of the first distinguished fantasy by an American in many years. Imaginative and as comic as it is poetic in both spirit and expression, High Tor is a singular accomplishment, giving rare grace to this theatrical season in New York.

In 1942, Anderson helped organize and served as the chairman of the Rockland County Committee To Save High Tor, which helped raise money to purchase the property in 1943 for the creation of a public park.

Television adaptations
The play was broadcast as an episode of The Philco Television Playhouse on NBC, September 10, 1950, with Alfred Ryder and Felicia Monteleagre in the lead roles.

Musical

Anderson first considered a musical adaptation of High Tor for television in 1949. He and John Monks Jr. adapted the play as a made-for-television musical fantasy in 1955, with music by Arthur Schwartz and lyrics by Anderson. High Tor was filmed in November 1955 by Desilu Productions at the RKO-Pathé Studio, and broadcast March 10, 1956 on the CBS television network, as a 90-minute episode of the series Ford Star Jubilee. Bing Crosby, Julie Andrews, Nancy Olson, Hans Conreid, and Everett Sloane starred in the film, produced by Arthur Schwartz, and directed by James Neilson.

Bing Crosby had seen Julie Andrews in her Broadway debut in The Boy Friend, and invited her to appear in High Tor. It was Andrews' first work in a filmed production, and her American television debut. Because Crosby was uncomfortable with the exigencies of live television, he insisted that it be filmed instead. For this reason, High Tor is sometimes considered the first TV movie.

Maxwell Anderson had little interest in television, and considered his adaptation a "potboiling job". Julie Andrews later wrote that she thought her performance was "very stilted", and, "Alas, High Tor was not a memorable piece, and received only lukewarm reviews."

The song score of the show, with story narration by Bing Crosby, was released by Decca Records in 1956.

The young Stephen Sondheim also set a musical version, but the author refused permission, so the musical was never produced. Subsequent copyright extension acts mean the music will be illegal until 2042.

Plot of the musical version
Van Van Dorn (Crosby) owns a summit ("High Tor") overlooking the Hudson River in New York. Van Dorn is under pressure to sell his real estate, and, at the same time, is having doubts about his impending marriage to Judith (Olson). Judith leaves him because she feels that he should sell High Tor, as the profits would provide for their future. A freak rock slide traps Van Dorn and the real estate agents on High Tor; as Van searches for help, he meets the spirit of a Dutch girl by the name of Lisa (Andrews). Lisa and the spirits of Dutch sailors have inhabited High Tor for over 300 years since they were killed in a shipwreck. Lisa then falls in love with Van. Songs include "Once Upon a Long Ago", a duet for Crosby and Andrews, "Sad is the Life of a Sailor's Wife", a solo for Andrews, and "When You're in Love".

Song list

 * John Barleycorn
 * A Little Love, a Little While
 * Living One Day at a Time
 * Once Upon a Long Ago
 * Sad Is the Life of the Sailor's Wife
 * When You're in Love

See also High Tor (album)

Reception
The reviews were not good although the show did achieve a rating of 29.4 against the competition of a Jimmy Durante show (13.7). Daily Variety opined, inter alia: "Somewhere in the double translation - from stage to tv-pix terms and from dramatic to musical comedy form - much of what made ‘High Tor’ a Broadway success seems to have got lost. What emerges on the home screens in this film, said to have cost upwards of $500,000, is essentially, a listless exercise, with rather undistinguished musical and murky philosophising, leavened only by the stingiest pinches of comedy." Jack Gould writing in The New York Times said, "Bing Crosby badly miscast himself in undertaking a filmed musical version of Maxwell Anderson’s fantasy, “High Tor,” presented on Saturday evening over Channel 2. The motion picture, especially made for television use, was embarrassingly awkward and inept, a dismaying “quickie” unworthy of the Old Groaner’s time and talents.

Radio adaptation
High Tor was presented on Lux Summer Theatre June 1, 1953. The one-hour adaptation starred William Holden.

title: High Tor (play)


text:
Mr. Moonlight (song)

"Mr. Moonlight" is a song written by Roy Lee Johnson and recorded by Dr. Feelgood and the Interns in 1962. The song was covered by the Beatles on their 1964 albums Beatles for Sale (in the U.K.) and Beatles '65 (in the U.S.).

Dr. Feelgood and the Interns
The Atlanta group "Dr. Feelgood and the Interns" first recorded the song. Willie Perryman, an albino black blues pianist, led the group as Piano Red or Dr. Feelgood. Roy Lee Johnson, the Interns' guitarist and the song's composer, sang "Mr. Moonlight". It was released as the B-side of "Dr. Feelgood", a minor hit in the US for Okeh Records, achieving 66 in Billboard and 74 in Cashbox. The track, issued on EMI's Columbia, did not chart in Britain.

The Beatles' version
The Beatles covered the recording for their 1964 albums Beatles for Sale (UK) and Beatles '65 (US). The recording features Latin-style percussion, prominent vocal harmonies, and, unusually, an organ solo. John Lennon sings lead, with backing vocals from Paul McCartney and George Harrison.

Background
The Beatles covered the song in their live act for years before it appeared on record, adding it to their repertoire in mid-1962. They discovered the track on the B-side of "Dr. Feelgood" by Dr. Feelgood and the Interns. Neil Aspinall recalled, "Mr. Moonlight was great because there would be this moment of tension in the audience. The song would be announced and everybody knew John would have to start on that note—MISTER! Moonlight. There was no chord to precede it, he had to get it right from nothing." The track was often their opening number, which Beatles historian Mark Lewisohn writes, "commanded their crowd's attention before playing so much as a second."

Recording
The Beatles first recorded the song on Friday, August 14, 1964, during a session which included "I'm a Loser" and "Leave My Kitten Alone". Four takes were recorded with take four marked "best." This version of the song did not yet include Hammond organ and percussion instruments, with Lennon and Harrison's guitar work instead more prominent. On Sunday, October 18, during a day off from their 1964 UK Tour, the Beatles attempted a re-make of the track starting with take five. On take seven they added a distinct Hammond organ played by McCartney. Take eight was deemed best.

Recorded on a four-track recorder, track one features Ringo Starr's percussion and McCartney's bass; track two includes overdubs of Harrison on an African drum and McCartney on Hammond organ; track three is Lennon on vocal with McCartney and Harrison providing harmony; track four includes a Gretsch Country Gentleman guitar overdub. Producer George Martin and engineers Norman Smith and Ken Scott mixed the track for mono from takes four and eight on October 27. Martin, Smith and Mike Stone mixed the track for stereo on November 4.

Release
The Beatles released the track in the U.K. on Beatles for Sale on December 4, 1964, and in the U.S. on Beatles '65 on December 15, 1964. In the U.S. the track made it to #68 nationally.

A cover of the song is heard in a recording of the Beatles from December 1962 at the Star-Club in Hamburg, eventually released in 1977 as Live! at the Star-Club in Hamburg, Germany; 1962.

Takes 1, 2 and 4 are heard on Anthology 1 and in The Beatles Anthology television documentary.

Critical reception
In The Beatles as Musicians, musicologist Walter Everett describes the track as, "One of the Beatles' least popular tracks". Mark Lewisohn writes it is "most people's least favourite song on what was to become the Beatles for Sale LP." Lewisohn adds that in hindsight "Leave My Kitten Alone" may have made a better album track. Comparing the two, Everett writes, "The two covers attempted on August 14 represent one of Lennon's most inspired borrowings and one of his least. Unfortunately, the former, 'Leave My Kitten Alone,' was never released during the group's tenure..."

Everett writes the a capella opening is "promising" with Lennon's "dirty full-voice... but the tone quickly becomes inexpressively lugubrious." Musicologist and writer Ian MacDonald describes the track as "gross quasi-calypso". He compliments Lennon's "berserk delivery" which "blasts away much of the song's gaudy chintz, only for this to be reinstated in all its gold lamé ghastliness by McCartney's Hammond organ solo. He considers that the song may have been recorded as a joke, a possibility Tim Riley agrees with, writing, "By taking the whole thing so seriously, they actually make it hysterical".

Personnel
According to Ian MacDonald, except where noted:
 * John Lennon – vocal, rhythm guitar
 * Paul McCartney – harmony vocals, bass, Hammond organ
 * George Harrison – harmony vocals, lead guitar, African drum
 * Ringo Starr – conga

Other covers
Another emerging beat group, The Hollies, recorded and released their own performance of the song with Graham Nash on lead vocals prior to the Beatles' version.

In addition, the same song was also covered by the Merseybeats in 1963.

A Spanish cover was recorded by the Mexican vocal trio Los Apson Boys titled "Triste Luna".

title: Mr. Moonlight (song)