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Lennon–McCartney
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John Lennon (left) and Paul McCartney in 1964
Lennon–McCartney was the songwriting partnership between English musicians John Lennon (9 October 1940 – 8 December 1980) and Paul McCartney (born 18 June 1942) of the Beatles. It is one of the best known and most successful musical collaborations in history, with the Beatles selling over 600 million records, tapes and CDs as of 2004.[1] Between 1962 and 1969, the partnership published approximately 180 jointly credited songs, of which the vast majority were recorded by the Beatles, forming the bulk of their catalogue.
Unlike many songwriting partnerships that comprise separate lyricist and composer,[2] both Lennon and McCartney wrote words and music. Sometimes, especially early on, they would collaborate extensively when writing songs, working "eyeball to eyeball" as Lennon put it.[3] Later, it became more common for one of the two credited authors to write all or most of a song with limited input from the other. By an agreement made before the Beatles became famous, Lennon and McCartney were credited equally with songs that either one of them wrote while their partnership lasted.
Lennon–McCartney compositions have been the subject of numerous cover versions. According to Guinness World Records, "Yesterday" has been recorded by more artists than any other song.[4] The Sunday Times called Lennon and McCartney the greatest composers since Ludwig van Beethoven.[5]
Contents
[hide]
1 Meeting
2 Writing chemistry
3 Credit variations and disputes
3.1 Joint credit
3.2 Lennon–McCartney vs McCartney–Lennon
3.3 Lennon–McCartney and others
4 Legacy
4.1 Cultural impact
4.2 Beatles catalog
5 Non-Beatles songs
6 Unreleased songs
7 See also
8 Notes and references
9 External links
Meeting[edit]
McCartney and Lennon, 1964
The pair met on 6 July 1957, at a local church fête, where Lennon was playing with his skiffle group, the Quarrymen. McCartney, brought along by a mutual friend, Ivan Vaughan, impressed Lennon with his ability on the guitar and his version of Eddie Cochran's '20 Flight Rock'. Soon after, Lennon asked McCartney if he would join the Quarrymen. McCartney accepted.[6][7] The duo's first musical idols were the Everly Brothers, Little Richard, Chuck Berry, Elvis Presley, Buddy Holly and Smokey Robinson and the Miracles and they learned many of their songs and imitated their sound.[8] Their first compositions were written at McCartney's home (20 Forthlin Road), at Lennon's aunt Mimi's house (251 Menlove Avenue) or at the Liverpool Institute.[9] They often invited friends—including George Harrison, Nigel Walley, Barbara Baker, and Lennon's art school colleagues—to listen to performances of their new songs.[10]
Writing chemistry[edit]
Lennon said the main intention of the Beatles' music was to communicate, and that, to this effect, he and McCartney had a shared purpose. Author David Rowley points out that at least half of all Lennon–McCartney lyrics have the words "you" and/or "your" in the first line.[11] In Lennon's 1980 Playboy interview, he said of the partnership,
[Paul] provided a lightness, an optimism, while I would always go for the sadness, the discords, the bluesy notes. There was a period when I thought I didn't write melodies, that Paul wrote those and I just wrote straight, shouting rock 'n' roll. But, of course, when I think of some of my own songs—"In My Life", or some of the early stuff, "This Boy"—I was writing melody with the best of them.[12]
Historian Todd Compton has noted that there is some truth to Lennon's statement regarding McCartney's optimism. However, it does not tell the whole story, as some of McCartney's most characteristic songs are tragic, or express themes of isolation, such as "Yesterday", "She's Leaving Home", "Eleanor Rigby" or "For No One".[13]
Although Lennon and McCartney often wrote independently—and many Beatles songs are primarily the work of one or the other—it was rare that a song would be completed without some input from both writers. In many instances, one writer would sketch an idea or a song fragment and take it to the other to finish or improve; in some cases, two incomplete songs or song ideas that each had worked on individually would be combined into a complete song. Often one of the pair would add a middle eight or bridge section to the other's verse and chorus.[14] George Martin attributed the high quality of their songwriting to the friendly rivalry between the two.[15] This approach of the Lennon–McCartney songwriting team—with elements of competitiveness and mutual inspiration as well as straightforward collaboration and creative merging of musical ideas—is often cited[by whom?] as a key reason for the Beatles' innovation and popular success.[citation needed]
As time went on, the songs increasingly became the work of one writer or the other, often with the partner offering up only a few words or an alternative chord. "A Day in the Life" is a notable and well-known example of a later Beatles song that includes substantial contributions by both Lennon and McCartney, where a separate song fragment by McCartney ("Woke up, fell out of bed, dragged a comb across my head ...") was used to flesh out the middle of Lennon's composition ("I read the news today, oh boy ..."). "Hey Jude" is another example of a later McCartney song that had input from Lennon: while auditioning the song for Lennon, when McCartney came to the lyric "the movement you need is on your shoulder", McCartney assured Lennon that he would change the line—which McCartney felt was nonsensical—as soon as he could come up with a better lyric. Lennon advised McCartney to leave that line alone, saying it was one of the strongest in the song.[16]
Credit variations and disputes[edit]
Joint credit[edit]
When McCartney and Lennon met as teenagers and began writing songs together, they agreed that all songs written by them (whether individually or jointly) should be credited to both of them.[17] The precise date of the agreement is unknown; however, Lennon spoke in 1980 of an informal agreement between him and McCartney made "when we were fifteen or sixteen".[18] Two songs written (primarily by Lennon) in 1957, "Hello Little Girl" and "One After 909", were credited to the partnership when published in the following decade.[19] The earliest Beatles recording credited to Lennon–McCartney to be officially released is "You'll Be Mine", recorded at home in 1960 and included on Anthology 1 35 years later.[20]
Some other compositions from the band's early years are not credited to the partnership. "In Spite of All the Danger", a 1958 composition that the band (then The Quarrymen) paid to record to disc, is attributed to McCartney and George Harrison. "Cayenne", recorded at the same time as "You'll Be Mine", is a solo McCartney composition. "Cry for a Shadow", recorded during the Beatles' sessions with Tony Sheridan in June 1961, was written by Lennon and Harrison.
By 1962, the joint credit agreement was in effect. From the time of the Beatles' first A&R audition in January that year, until Lennon's announcement in September 1969 that he was leaving the band, virtually all songs by McCartney or Lennon were published with joint credit. The only exceptions were a handful of the McCartney compositions released by other artists (viz. "Woman" by Peter and Gordon in 1966, "Cat Call" by Chris Barber in 1967, and "Penina" by Carlos Mendes in 1969).
After the partnership had ended, Lennon and McCartney each gave multiple accounts of their individual contribution to each jointly credited song, and sometimes claimed full authorship. Often their memories of collaboration differed, but often their early and late interviews are in conflict.[21] The following five cases are prominent examples of differences between their recollections:
"Help!" (1965) was often claimed by Lennon in his late interviews. However, Paul McCartney claims to have helped on the "countermelody", estimating the song as "70–30" to Lennon.[22][23][24] During an interview with Playboy in 1984, McCartney stated that "John and I wrote it at his house in Weybridge for the film".[24] John in fact described the song as co-written in 1965 interviews.[25]
Although Lennon said that McCartney helped only with "the middle eight" (a short section) of "In My Life",[26] McCartney has said that he wrote the entire melody, taking inspiration from Smokey Robinson songs.[27]
McCartney said that he wrote "Eleanor Rigby"(1966) on a piano in Jane Asher's music room in Wimpole Street,[28] and later played it to Donovan before it was finished—a claim which Donovan confirmed.[29] Lennon said, in 1972, that he wrote 70 percent of the "Eleanor Rigby" lyrics,[30] but Pete Shotton, Lennon's childhood friend, remembered Lennon's contribution as being "absolutely nil".[31] In 1985, McCartney said that Lennon had contributed "about half a line" to the song, but elsewhere (including a 1966 interview) he describes finishing the song with more substantial collaboration with Lennon.[32] George Harrison also contributed to this song. According to journalist Hunter Davies, the last verse was finished with all the Beatles giving suggestions in the studio.[33]
Whilst Lennon said that McCartney's contribution to "Ticket to Ride" was limited to "the way Ringo played the drums",[34] McCartney said "we sat down and wrote it together ... give him 60 percent of it."[35]
The song "And Your Bird Can Sing" is supposedly primarily by John Lennon, but Paul McCartney claims to have helped on the lyric, estimating the song as "80–20" to Lennon.[36]
Lennon–McCartney vs McCartney–Lennon[edit]
In October 1962, the Beatles released their first single in the UK, "Love Me Do", credited to "Lennon–McCartney". However, on their next three releases the following year (viz. the single "Please Please Me", the Please Please Me LP, and the single "From Me to You"), the credit was given as "McCartney–Lennon".[37] With the "She Loves You" single, released in August 1963, the credit reverted to "Lennon–McCartney", and all subsequent official Beatles singles and albums list "Lennon–McCartney" (UK) or "J. Lennon/P. McCartney" (US) as the author of songs written by the two.
In 1976 McCartney's band Wings released their live album Wings over America with songwriting credits for five Beatles songs reversed to place McCartney's name first. Neither Lennon nor Yoko Ono publicly "voiced a word of disapproval about it".[38] Many years after Lennon's death however, in the late 1990s, McCartney and Ono became involved in a dispute over the credit order.[39] McCartney's 2002 live album, Back in the U.S., also used the credit "Paul McCartney and John Lennon" for all of the Beatles songs.[40] When Ono objected to McCartney's request for the reversed credit to be used for the 1965 song "Yesterday", McCartney said that he and Lennon had agreed in the past that the credits could be reversed, if either of them wanted to, on any future releases. In 2003, he relented, saying, "I'm happy with the way it is and always has been. Lennon and McCartney is still the rock 'n' roll trademark I'm proud to be a part of—in the order it has always been."[39] An in-depth analysis of the legal issues was the subject of a 66-page article in the Pepperdine Law Review in 2006.[41]
Lennon–McCartney and others[edit]
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A number of songs written primarily by the duo and recorded by the Beatles were credited as follows:
"What Goes On" (1965): Lennon–McCartney–Starkey[42]
"Flying" (1967): Harrison–Lennon–McCartney–Starkey[43]
"Dig It" (1969): Harrison–Lennon–McCartney–Starkey[44]
"Maggie Mae" (1969): Arrangement by Lennon–McCartney–Harrison–Starkey
"Free as a Bird" (1995): Original composition by John Lennon; Beatles version credited to John Lennon, Paul McCartney, George Harrison and Ringo Starr
"Christmas Time (Is Here Again)" (1995 edit of 1967 fan club version): Harrison–Lennon–McCartney–Starkey[45]
The German-language versions of "I Want to Hold Your Hand" and "She Loves You" were also credited to additional songwriters for assisting with the translation. "Komm, Gib Mir Deine Hand" was credited to Lennon–McCartney–Nicolas–Hellmer and "Sie Liebt Dich" was credited to Lennon–McCartney–Nicolas–Montague.
Legacy[edit]
Cultural impact[edit]
See also: Cultural impact of the Beatles
Lennon–McCartney, along with the Rolling Stones' songwriting partnership between Mick Jagger and Keith Richards, as well as other British Invasion songwriters, inspired changes to the music industry because they were bands that wrote and performed their own music. This trend threatened the professional songwriters that dominated the American music industry. Ellie Greenwich, a Brill Building songwriter, said, “When the Beatles and the entire British Invasion came in, we were all ready to say, ‘Look, it’s been nice, there’s no more room for us… It’s now the self-contained group- males, certain type of material. What do we do?"[46]
Beatles catalog[edit]
The Lennon–McCartney songwriting partnership makes up the majority of the Beatles' catalogue. The first two UK studio albums included 12 cover tunes and 15 Lennon–McCartney songs,[47][48] with one track ("Don't Bother Me") credited to George Harrison.[48] Their third UK album, A Hard Day's Night (1964), is the only original Beatles album made up entirely of Lennon–McCartney compositions.[49] The next album released, Beatles for Sale (1964), included six covers and eight Lennon–McCartney originals.[50] The subsequent release, Help! (1965), had two covers and two Harrison compositions along with ten Lennon–McCartney tracks and was the last Beatles album to feature a cover until Let It Be, which featured an arrangement of the traditional Liverpool folk song "Maggie Mae". All other songs released on studio albums by the band after Help! were original compositions, with George Harrison contributing between one and four songs on each record, Ringo Starr writing two songs ("Don't Pass Me By" and "Octopus's Garden") and being given joint credit with Lennon and McCartney for a third ("What Goes On"), and a fourth and fifth joint credit on "Flying" and "Dig It" (both songs credited to all four Beatles), and the rest of the catalogue coming from Lennon and McCartney.
Lennon and McCartney gave songs to Starr to sing, and to Harrison before he started writing his own material. As for the songs they kept for themselves, each partner mostly sang his own composition, often with the other providing harmonies, or they shared lead vocal. If each contributed a fragment to make a whole song, he might sing his portion (see "I've Got a Feeling" and "A Day in the Life"). "Every Little Thing" is a rare example of a Lennon–McCartney composition written by one member of the partnership (McCartney) and sung by the other (Lennon).[51]
Non-Beatles songs[edit]
Several songs credited to Lennon–McCartney were originally released by artists other than the Beatles, especially those managed by Brian Epstein. Recording a Lennon–McCartney song helped launch new artists' careers. Many of the recordings below were included on the 1979 compilation album The Songs Lennon and McCartney Gave Away.[52] Beatles versions of some of these were recorded; some were not released until after their split, on compilations such as Live at the BBC (1994) and The Beatles Anthology (1995–96).
Year
Artist
Song
Peak Chart
Position
Notes
1963 The Rolling Stones "I Wanna Be Your Man" UK #12 Beatles version released later in 1963 on With the Beatles
1963 Billy J. Kramer with The Dakotas "I'll Be on My Way" (B-side) Beatles version released on Live at the BBC
1963 Billy J. Kramer with The Dakotas "Bad to Me" UK #1 Beatles version released on iTunes download "The Beatles Bootleg Recordings 1963
1963 Billy J. Kramer with The Dakotas "I Call Your Name" (B-side) Beatles version released on The Beatles' Second Album (US) and the Long Tall Sally EP (UK) in 1964
1963 Billy J. Kramer with The Dakotas "I'll Keep You Satisfied" UK #4
1964 Billy J. Kramer with The Dakotas "From a Window" UK #10
1963 Tommy Quickly "Tip of My Tongue" –
1963 The Fourmost "Hello Little Girl" UK #9 Beatles version released on Anthology 1
1963 The Fourmost "I'm in Love" UK #17 Beatles version released on iTunes download "The Beatles Bootleg Recordings 1963
1963 Cilla Black "Love of the Loved" UK #35 Beatles version released on I Saw Her Standing There
1964 Cilla Black "It's for You" UK #7
1968 Cilla Black "Step Inside Love" UK #8 Beatles version released on Anthology 3
1964 The Strangers with Mike Shannon "One and One Is Two" – The song was rejected by Billy J. Kramer. The Strangers with Mike Shannon were South African.[53]
1964 Peter & Gordon "A World Without Love" UK #1
1964 Peter & Gordon "Nobody I Know" UK #10
1964 Peter & Gordon "I Don't Want to See You Again" –
1964 The Applejacks "Like Dreamers Do" UK #20 Beatles version released on Anthology 1
1965 P.J. Proby "That Means a Lot" UK #30 Beatles version released on Anthology 2
1968 Black Dyke Mills Band "Thingumybob" – Developed from an early version known as "Etcetera", demoed by Paul McCartney during a session for "Mother Nature's Son" on 20 August 1968.[54]
1969 Mary Hopkin "Goodbye" UK #2
1969 Plastic Ono Band "Give Peace a Chance" UK #2 Although composed alone by Lennon, McCartney was credited as co-composer on the single appearance and on Lennon's compilation albums Shaved Fish and The John Lennon Collection. The credit was revised in the 1990s to cite only Lennon.
Note that several songs released during this period were credited solely to Paul McCartney:
Year
Artist
Song
Peak Chart
Position
Notes
1966 Peter & Gordon "Woman" UK #28; US #14 McCartney is credited as "Bernard Webb".
1966 The George Martin Orchestra The Family Way – McCartney composed most of the music for this soundtrack.
1967 The Chris Barber Band "Catcall" – Originally known as "Catswalk", performed from 1958 to 1962 and revisited during the Get Back sessions in January 1969.[55]
1969 Carlos Mendes "Penina" –
1969 Badfinger "Come and Get It" UK #4 The original demo was included on Anthology 3.
Unreleased songs[edit]
The following compositions are believed to have been written by Lennon and McCartney, but never officially released by The Beatles or any other artist. Many have appeared on Beatles bootlegs; a notable exception being "Carnival of Light".[56] The list of unreleased songs includes some of the earliest Lennon–McCartney joint works dating back to The Quarrymen, the group which evolved into the Beatles.[57] Several of these songs were revisited during the Get Back sessions of early 1969.[58]
Title
Year
Notes
"I Lost My Little Girl" 1956 First song written by McCartney. Performed by The Beatles (with Lennon on lead vocals) during the Get Back sessions.[59] A performance of this song can be heard on McCartney's 1991 album Unplugged (The Official Bootleg).
"Too Bad About Sorrows" 1957 One of the earliest Lennon–McCartney compositions. Briefly sung by Lennon during the Get Back sessions of 8 January 1969; sung by McCartney during Get Back sessions of 21 January 1969.[60][61][62]
"Just Fun" 1957 Played by The Quarrymen from 1957 to 1959; briefly sung (by Lennon) during the Get Back sessions of 8 January 1969.[60][61][63][64]
"Keep Looking That Way" 1957 Played by The Quarrymen.[60]
"Looking Glass" 1957 Instrumental. Mentioned in 1969 film outtakes; unknown if performed during Get Back sessions.[65]
"That's My Woman" 1957 Played by The Quarrymen.[60][66]
"Thinking of Linking" 1957 Played by The Quarrymen; briefly sung by Lennon during the Get Back sessions of 29 January 1969;[60][67][68] performed by McCartney, Harrison and Starr for The Beatles Anthology.
"Winston's Walk" 1957 Instrumental.[69][70]
"Years Roll Along" 1957 Played by The Quarrymen.[60][69]
"Because I Know You Love Me So" 1960 Country-influenced duets briefly sung by Lennon and McCartney during the Get Back sessions of 3 January 1969.[71][72]
"I'll Wait Till Tomorrow" 1960
"I've Been Thinking That You Love Me" 1960 Briefly performed during the Get Back sessions of 3 January 1969.[71][72]
"Won't You Please Say Goodbye" 1960 Briefly sung by Lennon during the Get Back sessions of 3 January 1969.[71][72]
"Some Days" 1960 Speculative titles based on taped works-in-progress.[69][73] "You'll Be Mine", also recorded at the time, was released on Anthology 1.
"You Must Write Everyday" 1960
"Well Darling" 1960
"Come on People" 1960
"I Don't Know" 1960
"I Fancy Me Chances" 1962 Performed live in 1962 and briefly during the Get Back sessions; the latter was released as "Fancy My Chances with You" on the bonus disc of Let It Be... Naked.[74][75]
"Pinwheel Twist" 1962 Performed live in 1962.[74]
"Carnival of Light" 1967 Recorded on 5 January 1967; nearly 14-minute-long experimental collage.[56][76]
"Shirley's Wild Accordion" 1967 Recorded on 12 October 1967; instrumental intended for Magical Mystery Tour film.[77]
"Commonwealth" 1969 Improvised studio jam satirising Enoch Powell's claim in a 1968 speech that immigration into the UK would cause a race war. Sung by McCartney during the Get Back sessions of 9 January 1969.[63][78][79]
"Song of Love" 1969 Sung by McCartney; performed during the Get Back sessions of 14 January 1969.[80]
"Watching Rainbows" 1969 Sung by Lennon; performed during the Get Back sessions of 14 January 1969.[80][81]
"Madman" 1969 Sung by Lennon; performed during the Get Back sessions of 14 and 21 January 1969.[80][82]
See also[edit]
Book: Lennon–McCartney
List of songs recorded by The Beatles
List of songwriter collaborations
The Beatles bootleg recordings
Notes and references[edit]
Jump up ^ Staff Writers, CNNMoney.com (9 September 2009). "Beatles' remastered box set, video game out". CNNMoney.com. Retrieved 1 December 2011.
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Jump up ^ Sheff 2000, p. 137.
Jump up ^ "Most Recorded Song". Guinness World Records. Archived from the original on 10 September 2006. Retrieved 12 May 2009.
Jump up ^ Gaar, Gillian G. (8 Feb 2011). "Best Overall: The Beatles, The Songwriting Team of Lennon and McCartney". Goldmine Magazine.
Jump up ^ Burlingame, Jeff. John Lennon "Imagine." Berkeley Heights: Enslow Publishers, 2011. Print.
Jump up ^ Conord, Bruce W. John Lennon. New York: Chelsea House Publishers, 1994. Print.
Jump up ^ Spitz 2005, pp. 131–32.
Jump up ^ Miles 1997, p. 34.
Jump up ^ Spitz 2005, p. 135.
Jump up ^ Rowley 2008, p. 3.
Jump up ^ Sheff 2000, p. 136. "In My Life" was the main song on which Lennon and McCartney disagreed, see below..
Jump up ^ Compton 2017, p. 382.
Jump up ^ Miles 1997, p. 107.
Jump up ^ Coleman, Ray (1992). Lennon. New York, New York: HarperCollins. p. 363-364. ISBN 0-06-098608-5.
Jump up ^ The Beatles Anthology documentary
Jump up ^ Garcia, Gilbert (27 January 2003). "The ballad of Paul and Yoko". salon.com. Archived from the original on 19 June 2009. Retrieved 13 December 2009.
Jump up ^ Sheff 2000, p. 214.
Jump up ^ MacDonald 2005, p. 53.
Jump up ^ Unterberger 2006, pp. 5–6.
Jump up ^ Compton 2017, pp. 5-8.
Jump up ^ MacDonald 2005, p. 153.
Jump up ^ Miles 1997, p. 199.
^ Jump up to: a b Goodman 1984, p. 2.
Jump up ^ Compton 2017, pp. 106.
Jump up ^ Miles 1997, p. 278.
Jump up ^ Miles 1997, p. 277.
Jump up ^ Miles 1997, p. 281.
Jump up ^ Miles 1997, p. 282.
Jump up ^ Miles 1997, p. 283.
Jump up ^ Miles 1997, p. 284.
Jump up ^ Compton 2017, pp. 146.
Jump up ^ Compton 2017, pp. 144, 146.
Jump up ^ Sheff 2000, p. 196.
Jump up ^ Miles 1997, p. 193.
Jump up ^ MacDonald 2005, p. 199.
Jump up ^ Lewisohn 1988, pp. 23, 32.
Jump up ^ "The Ballad of Paul and Yoko". 27 January 2003.
^ Jump up to: a b "McCartney makes up with Ono". BBC News. 1 June 2003.
Jump up ^ Lister, David (28 December 2002). "Let it be, Sir Paul (as someone or other once said)". The Independent. London.
Jump up ^ Landes, Ezra D. (2006). "I Am the Walrus – No. I Am!: Can Paul McCartney Transpose the Ubiquitous 'Lennon–McCartney' Songwriting Credit to Read 'McCartney/Lennon?" An Exploration of the Surviving Beatle's Attempt to Re-Write Music Lore, as it Pertains to the Bundle of Intellectual Property Rights". Pepperdine Law Review. 34: 185.
Jump up ^ Lewisohn 1988, p. 28.
Jump up ^ "Magical Mystery Tour - The Beatles | Songs, Reviews, Credits | AllMusic". AllMusic. Retrieved 2016-08-02.
Jump up ^ "Dig It - The Beatles | Song Info | AllMusic". AllMusic. Retrieved 2016-08-02.
Jump up ^ "Ultra Rare Trax, Vol. 5 - The Beatles | Songs, Reviews, Credits | AllMusic". AllMusic. Retrieved 2016-08-02.
Jump up ^ Inglis, Ian (2000). The Beatles, Popular Music and Society. New York: St. Martin's Press. p. 53. ISBN 0-312-22236-X.
Jump up ^ Erlewine, Stephen Thomas. "Overview of Please Please Me". Allmusic. Retrieved 14 December 2009.
^ Jump up to: a b Erlewine, Stephen Thomas. "Review of With the Beatles". Allmusic. Retrieved 14 December 2009.
Jump up ^ "Overview of A Hard Day's Night". Allmusic.
Jump up ^ "Overview of Beatles for Sale". Allmusic.
Jump up ^ MacDonald 2005, p. 128.
Jump up ^ Calkin, Graham. "The Songs Lennon and McCartney Gave Away". JPGR. Retrieved 14 December 2009.
Jump up ^ Winn 2008, p. 120.
Jump up ^ "The Beatles Bible".
Jump up ^ "Beatles Wiki".
^ Jump up to: a b Shea & Rodriguez 2002, p. 301.
Jump up ^ Everett 2001, p. 25.
Jump up ^ Everett 2001, p. 27.
Jump up ^ "Watch the Lost Beatles". NPR's Online Music Show. Retrieved 1 November 2006.
^ Jump up to: a b c d e f MacDonald 2007, p. 77.
^ Jump up to: a b Sulpy & Schweighardt 1999, p. 119.
Jump up ^ Unterberger 2006, p. 248.
^ Jump up to: a b Unterberger 2006, p. 242.
Jump up ^ Fricke, David (10 August 2016). "Paul McCartney Looks Back: The Rolling Stone Interview". Rolling Stone.
Jump up ^ Everett 2001, pp. 26–7.
Jump up ^ Everett 2001, p. 372.
Jump up ^ Sulpy & Schweighardt 1999, p. 297.
Jump up ^ Unterberger 2006, p. 260.
^ Jump up to: a b c Everett 2001, pp. 25–6.
Jump up ^ Unterberger 2006, p. 12.
^ Jump up to: a b c Sulpy & Schweighardt 1999, p. 37.
^ Jump up to: a b c Unterberger 2006, pp. 236–7.
Jump up ^ Wiener 1994, p. 424.
^ Jump up to: a b MacDonald 2007, p. 78.
Jump up ^ Unterberger 2006, p. 254.
Jump up ^ Unterberger 2006, p. 187.
Jump up ^ Unterberger 2006, p. 189.
Jump up ^ Sulpy & Schweighardt 1999, pp. 157–8.
Jump up ^ MacDonald 2007, p. 334.
^ Jump up to: a b c Unterberger 2006, p. 247.
Jump up ^ Sulpy & Schweighardt 1999, p. 201.
Jump up ^ Sulpy & Schweighardt 1999, pp. 201–2.
Bibliography
Compton, Todd (2017). Who Wrote the Beatle Songs? A History of Lennon-McCartney. San Jose: Pahreah Press. ISBN 978-0-9988997-0-1.
Everett, Walter (2001). The Beatles As Musicians: The Quarry Men through Rubber Soul. New York: Oxford University Press. ISBN 978-0-19-514105-4.
Goodman, Joan (1984). "Playboy Interview With Paul and Linda McCartney". Beatles Interview Database. Retrieved 6 December 2009.
Lewisohn, Mark (1988). The Beatles Recording Sessions. New York: Harmony Books. ISBN 0-517-57066-1.
MacDonald, Ian (2005). Revolution in the Head: The Beatles' Records and the Sixties (Second Revised ed.). London: Pimlico (Rand). ISBN 1-84413-828-3.
MacDonald, Ian (2007). Revolution in the Head: The Beatles' Records and the Sixties. Chicago: Chicago Review Press. ISBN 978-1-55652-733-3.
Miles, Barry (1997). Paul McCartney: Many Years From Now. New York: Henry Holt and Company. ISBN 0-8050-5249-6.
Rowley, David (2008). Help! 50 Songwriting, Recording and Career Tips used by the Beatles. Matador. ISBN 978-1-906221-37-9.
Shea, Stuart; Rodriguez, Robert (2002). Fab Four FAQ: Everything Left to Know About the Beatles ... and More!. New York: Hal Leonard Corporation. ISBN 978-1-4234-2138-2.
Sheff, David (2000). All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono. New York: St. Martin's Press. ISBN 0-312-25464-4.
Spitz, Bob (2005). The Beatles: The Biography. Boston: Little, Brown. ISBN 0-316-80352-9.
Sulpy, Doug; Schweighardt, Ray (1999). Get Back: The Unauthorized Chronicle of the Beatles' 'Let It Be' Disaster. New York: St. Martin's Griffin. ISBN 978-0-312-19981-4.
Unterberger, Richie (2006). Unreleased Beatles Music and Film. San Francisco: Backbeat Books. ISBN 978-0-87930-892-6.
Wiener, Allen J. (1994). The Beatles: The Ultimate Recording Guide. Holbrook, Mass.: Adams Media. ISBN 978-1-55850-414-1.
Winn, John C. (9 December 2008). Way Beyond Compare: The Beatles' Recorded Legacy, 1957–1965. Three Rivers Press. ISBN 978-0-307-45157-6.
External links[edit]
"Two of Us: Inside the Lennon/McCartney Connection", by Joshua Wolf Shenk, Slate.com
The Lennon-McCartney Songwriting Partnership
An Introduction to Compton's Who Wrote the Beatle Songs? A History of Lennon-McCartney, with a list of his ascriptions of all the songs written by the Beatles
Songs the Beatles Gave Away compiled by Joseph Brennan; includes Lennon–McCartney songs and others
A list of the songs John Lennon and Paul McCartney gave to other artists during the Beatle years originally posted on Usenet rec.music.beatles 9 November 1994.
Unreleased Beatles compositions showcased in Liverpool and Seattle, and on CD titled Off the Beatle Track (23 June 2009): http://www.prweb.com/releases/2009/06/prweb2550404.htm
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text:
Gee, Mom, I Want to Go Home
From Wikipedia, the free encyclopedia
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"Army Life"
Song by Lead Belly
Released
1944 (1944)
Genre
Novelty song
Length
1:48
Songwriter(s)
Traditional, Gitz Rice credited
"Gee, Mom, I Want to Go Home" (also known as "I Don't Want No More of Army Life") is a traditional, humorous song satirizing life in the Armed Forces. Each verse has two lines relating what recruits are told, followed by an exaggerated description of the fact. For example:
The biscuits in the Army
They say are mighty fine,
One rolled off the table
And killed a pal of mine.
The original song was sung by Canadian soldiers during World War II. With original chorus
"Oh, I don't want no more of army life
Gee ma, I wanna go
back to Ontario
Gee ma, I wanna go ho_o_ome!"
The song occurs in several variations, the lyrics being adapted for the different branches of the Armed Forces, and it has been transformed into a camp song as well.[1]
Appearances in popular culture[edit]
The song appeared in the 1943 play Winged Victory by Moss Hart.[2]
Folk singer Lead Belly performed the song (as "Gee, But I Want to Go Home" or "Army Life" [3] ) on several 1940s recordings.
The song was released as a single, titled "I Don't Want No More of Army Life", in 1950 by Texas Jim Robertson [4]
The song was performed in the 1977 M*A*S*H episode "Movie Tonight" (season 5 episode 22), with lyrics adapted to the characters and situations in the show.[5] Hawkeye and B.J., Colonel Potter, Klinger, Hot Lips, Radar and four of the nurses all sing a verse each. Frank Burns tries to sing a rather hostile verse after everyone has finished the song, but is glared down.
Manny Singer (Ray Liotta) sings a verse to his despondent daughter shortly after the death of her mother at the beginning of the 1994 film Corrina, Corrina.
The song was quoted in the RiffTrax for the 2011 film Thor.
References[edit]
Jump up ^ American Children's Folklore by Simon J. Bronner, p. 110
Jump up ^ Winged Victory by Moss Hart p. 22
Jump up ^ Discogs - Easy Rider: Leadbelly Legacy Vol.4 vinyl-10"-LP 1953, Folkways (FA 2034) US; recorded January 1941-1946
Jump up ^ Billboard Nov. 4, 1950, p. 27
Jump up ^ M*A*S*H FAQ
Straight and Level: Growing Up in the 40s by Jack C. Botts
External links[edit]
M*A*S*H Version

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Flipper (mascot)
From Wikipedia, the free encyclopedia
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2012) (Learn how and when to remove this template message)
Intro[edit]
Flipper was a mascot for the Miami Dolphins from 1966 to 1968. She was situated in a fish tank in the open (east) end of the Orange Bowl, and was trained to jump in the tank when a touchdown or field goal was scored. [1][2]
History[edit]
From 1964-1967 NBC aired a popular series starring a dolphin named "Flipper," which was set in southeast Florida and the Bahamas.[3] [4]The Dolphins used in the show lived at the Seaquarium on Key Biscayne. There were four different dolphins who played Flipper named Susie, Kathy, Patty, and Squirt.[5]
In 1966, The Miami Dolphins became an expansion franchise in the American Football League. Given the location, team name, and popularity of the TV show, it was decided that the new team mascot would be named "Flipper", and they would use a live Dolphin from the show as the team mascot.[6]
Team owner Joe Robbie struck a deal with both the City of Miami and the Miami Seaquarium to have one of the Dolphins perform at home games.This required transporting the aquatic mammal to and from the game each Sunday. It was decided that Patty would be the Dolphin used because she was comfortable travelling while the others were not.[7]
Following the 1968 season, "Flipper" was no longer used as the team mascot. Owner Joe Robbie decided to cut ties with the mascot because both the City of Miami and the Seaquarium decided they would not continue to pay for tank repairs and transportation costs[8]
References[edit]
Jump up ^ http://www.miamidolphins.com/pdffiles/49-73.pdf
Jump up ^ "www.dolphinsinfo.com - All the information about the Dolphins". www.dolphinsinfo.com. Retrieved 2018-05-09.
Jump up ^ "Classic TV Shows - Flipper| FiftiesWeb". Fifities Web. Retrieved 2018-05-09.
Jump up ^ "History of Flipper Series - All About Dolphins". All About Dolphins. 2016-07-08. Retrieved 2018-05-09.
Jump up ^ "Rummaging Through The Attic: Game program featuring "Flipper"". Retrieved 2018-05-09.
Jump up ^ "Rummaging Through The Attic: Game program featuring "Flipper"". Retrieved 2018-05-09.
Jump up ^ "Rummaging Through The Attic: Game program featuring "Flipper"". Retrieved 2018-05-09.
Jump up ^ Kram, Mark. "THIS MAN FIRED FLIPPER". SI.com. Retrieved 2018-05-09.

This article about a sports, promotional, or other mascot is a stub. You can help Wikipedia by expanding it.
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This article related to sports in Florida is a stub. You can help Wikipedia by expanding it.
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Flipper_(mascot)&oldid=841261485"
Categories:
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text:
Anglo-German naval arms race
From Wikipedia, the free encyclopedia
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The size and power of battleships grew rapidly before, during, and after World War I: a result of competitive shipbuilding among a number of naval powers, including Britain and Germany, brought to an end by the Washington Naval Treaty and Treaty of Versailles
Events leading to World War I
Triple Alliance 1882
Franco-Russian Alliance 1894
Anglo-German naval arms race 1898–1912
Venezuela Naval Blockade 1902–1903
Entente Cordiale 1904
Russo-Japanese War 1904–1905
First Moroccan Crisis 1905–1906
Anglo-Russian Entente 1907
Bosnian crisis 1908–1909
Agadir Crisis 1911
Italo-Turkish War 1911–1912
Balkan Wars 1912–1913
Assassination of Franz Ferdinand 1914
July Crisis 1914
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The arms race between the United Kingdom and the German Empire that occurred from the last decade of the nineteenth century until the advent of World War I in 1914 was one of the intertwined causes of that conflict. While based in a bilateral relationship that had worsened over many decades, the arms race began with a plan by German Admiral Alfred von Tirpitz in 1897 to create a fleet in being to force Britain to make diplomatic concessions; Tirpitz did not expect the Imperial German Navy to defeat the Royal Navy.
With the support of Kaiser Wilhelm II, Tirpitz began passing a series of laws to construct an increasing number of a large surface warships. The construction of the HMS Dreadnought in 1906 prompted Tirpitz to further increase the rate of naval construction. While some British observers were uneasy at German naval expansion, alarm was not general until Germany's naval bill of 1908. The British public and political opposition demanded that the Liberal government meet the German challenge, resulting in the funding of additional dreadnoughts in 1910 and escalating the arms race.
Maintaining Europe's largest army and second-largest Navy took an enormous toll on Germany's finances. Theobald von Bethmann-Hollweg, German Chancellor from 1909, undertook a policy of détente with Britain to alleviate the fiscal strain and focus on the rivalry with France. Under Bethmann-Hollweg, and particularly from 1912 onwards, Germany abandoned the dreadnought arms race and focused on a commerce raiding naval strategy to be conducted with submarines.
Contents
[hide]
1 Background
2 The German Fleet Acts (1898-1912)
2.1 HMS Dreadnought
2.2 Fourth bill (1908)
2.3 British reaction
2.4 Arms race ends (1912-1914)
3 See also
4 References
5 Sources
6 External links
Background[edit]
Further information: Alfred von Tirpitz
The United Kingdom had the largest navy in the world[1] The British defense policy was to ensure that the British navy was at least the size of the next two largest navies,"[2] as outlined in the two-power standard. Britain's economy was dependent on the ability to ship in raw materials from its overseas colonies and export out a finished product. By 1900, 58% of calories consumed by Britain's population came from overseas, meaning that an inability to guarantee free movement on the seas would result in food shortages and even famine in the United Kingdom. Even before the German naval challenge, British political and military leaders mused about catastrophic economic, social, and political consequences if the Royal Navy could not guarantee British freedom of action. Worry about Britain's ability to defend itself became the focus of the invasion literature genre, which began in 1871, remained popular to World War I, and was highly influential on public opinion.[3]
The North Sea
The first Chancellor of Germany Otto von Bismarck had skillfully guided Germany's foreign relations so it was not firmly attached to any other European power. After his departure in 1890, Germany's foreign policy drifted into deeper commitment with the Triple Alliance of Austria-Hungary and Italy. Friedrich von Holstein of the German Foreign Office convinced the new Chancellor, Leo von Caprivi, to not renew the Reinsurance Treaty with the Russian Empire in 1890. Bismarck had designed the Reinsurance Treaty to keep Russia from an alliance with France; the Russian search for allies who could finance their enormous debts resulted in the Franco-Russian Alliance several years later. Holstein had hoped that the lapsing of the Reinsurance Treaty would result in a closer relationship with Britain, which was competing with both Russia and France, which did not occur. From 1890 to 1897, Germany wavered between pro-British and pro-Russian policies, reflecting the incoherence of German leadership.[4]
In 1890, the United States naval historian Alfred Thayer Mahan published The Influence of Sea Power upon History, the single most important work in naval strategy. Mahan argued that sea power was the deciding factor that allowed strong nations to thrive and impose their will on weaker nations, and that the proper way to achieve naval supremacy was large-scale battle between fleets. At the time, the Imperial German Navy subscribed to the commerce raiding theory of navy strategy, but Mahan's arguments had enormous influence over subsequent German and British thinking. Translated into German, a copy of the book was placed in every German naval vessel. Kaiser Wilhelm II immediately subscribed to Mahan's ideas after reading his book in 1894 and sought Reichstag funding to implement them.[4]
German Admiral Alfred von Tirpitz was the primary architect of the strategy of creating a "fleet in being" to force concessions from the United Kingdom, beginning in 1897
The Reichstag funded four of the thirty-six cruisers that Wilhelm requested in 1895, and none at at all the following two years. Frustrated at being rebuffed, Wilhelm recalled Alfred von Tirpitz from his duties in the Far East to be the Secretary of State of the German Imperial Naval Office in 1897. Tirpitz was a follower of anti-British nationalist Heinrich von Treitschke as well as Alfred Thayer Mahan's ideas on the primacy of battle fleets. In 1894, he wrote a famous memorandum section titled, "The Natural Purpose of a Fleet is the Strategic Offensive," dismissing commerce raiding and coastal defense, and arguing that German must prepare for offensive sea battle to ensure its place in the world.[4] The German initiative was also sparked by the threat of the British Foreign Office in March 1897, after the British invasion of Transvaal that started the Boer War, of blockading the German coast and thereby crippling the German economy if Germany intervened in the conflict in Transvaal.[5] From 1905 onward, the British navy developed plans for such a blockade, which was a central part of British strategy.[6]
In his first meeting with Wilhelm in June 1897, Tirpitz stated his case that Germany must confront Britain to ensure its place as a European power. He also outlined a strategy that he would follow for many years: build a German navy strong enough that the effort to destroy it would open Britain to attack from Britain's French and Russian rivals, which is a form of Mahan's "fleet in being".[4] Tirpitz calculated that since the British navy was scattered to protect its possessions around the globe, "it comes to a battleship war between Heligoland and the Thames."[7] Both Tirpitz and Bernhard von Bülow, who was Secretary of State of Foreign Affairs from 1897 to 1900 and then Chancellor until 1909, calculated that once Germany possessed a navy that Britain could not destroy without imperiling itself, Britain would be forced to negotiate with Germany as an equal and perhaps even give up its "splendid isolation" to join the Triple Alliance.[4]
The German Fleet Acts (1898-1912)[edit]
Further information: German Naval Laws
In accord with Wilhelm II's enthusiasm for an expanded German navy and the strategic vision of Tirpitz, five Fleet Acts in 1898, 1900, 1906, 1908, and 1912 greatly expanded the German High Seas Fleet. The German aim was to build a fleet that would be two thirds the size of the British navy.[8]
The First Naval Act passed in March 1898 after an extensive lobbying and public relations campaign led by Wilhelm, Tirpitz, and Bülow. The act funded the building of eleven battleships in the next seven years.[4] Britain had little concern about the First Naval Act as Germany's navy would not be larger than the existing two largest navies, so would not trigger any new measures under the "two-navy standard."[citation needed] However, by November 1898 Tirpitz had begun work on a plan to double the fleet to include forty-five battleships and armored cruisers, which he presented to the Kaiser in September 1899. The timing was fortuitous as the eruption of the Second Boer War and British seizure of a German steamer off southern Africa enraged the German public against Britain; the Reichstag passed the Second Navy Law in June 1900.[4]
HMS Dreadnought[edit]
HMS Dreadnought was believed to have the fighting capability of two or three normal battleships.
The passage of the Second Naval Act in Germany increased worry among British policymakers. In 1902, First Lord of the Admiralty Selborne, Tirpitz's British counterpart, told his fellow Cabinet members that the German navy was being built with an eye for war with Britain. Selborne was succeeded as First Sea Lord in 1904 by Jacky Fisher, who massively reorganized the Royal Navy by bringing most of Britain's navy force close to the home isles. He also set up a committee to design a new super battleship, which especially in the wake of the May 1905 Battle of Tsushima seemed to be the future of naval warfare. The HMS Dreadnought was launched in February 1906, just 14 months after being approved.[9] Jane's Fighting Ships noted that the HMS Dreadnought was equivalent to two or three normal battleships.[3]
Jacky Fisher, First Sea Lord from 1904 to 1910, guided the design process for the dreadnought-style of battleship and reorganized the Royal Navy to protect the home isles.
In the beginning of 1905, the German naval attache in Britain reported to Tirpitz that the British were planning a new class of battleship. That summer, Tirpitz consulted with his advisers; by autumn, he had decided that Germany would match the British naval building plan. Scholars highlight that Imperial German decision-making was so incoherent that Tirpitz could make this decision without consulting the Chancellor, foreign ministry, treasury, the naval strategic planning offices, or the two other naval offices: the Naval High Command and Naval Cabinet. He presented his new supplementary naval bill to the Reichstag, envisioning a 35% increase in spending over the Second Naval Act to build two dreadnoughts and one armored cruiser per year. The bill encountered fierce opposition from across the political spectrum because of the growing government budget balance and resistance by the Reichstag to raising taxes. Fortunately for the bill, the Algeciras Conference that concluded in April 1906 after the First Moroccan Crisis inflamed German nationalist sentiment against Britain and France and the third naval law passed easily in May 1906.[3]
Wilhelm and Tirpitz, among other German leaders, viewed British actions as working in concert with France and Russia to encircle Germany. Tirpitz believed that Britain knew that they had a mistake in building the expensive dreadnoughts and armored cruisers, and that Britain would realize their folly if Germany did not flinch in following them. German leaders had also become increasingly nervous about a 'Kopenhagen,' a British strike to disable their fleet like that conducted in the 1807 Battle of Copenhagen. In December 1904, during the heightened tensions of the Russo-Japanese War, rumors spread that Japan's ally Britain would attack and the German ambassador to Britain, who was in Berlin, had to reassure Wilhelm and other senior officials that Britain did not intend to start a war. As fears rose, so did nationalist sentiment, including right-wing criticism of the leftist Social Democratic Party, who resisted higher defense spending and encouraged peaceful foreign relations.[3]
In 1906, First Sea Lord Fisher declared that Germany was the "only probable enemy" and that the Royal Navy should keep a force twice as powerful as Germany's navy within a few hours of Germany's shores. Eyre Crowe of the British Foreign Office wrote a memorandum on 1 January 1907 to Foreign Secretary Edward Grey that would become famous. In it, Crowe urged stalwart resistance to what he viewed as Germany's attempts at hegemony in Europe. He argued that German actions might be the result of a confused strategy, but that the intent was irrelevant to British national security. [3]
Fourth bill (1908)[edit]
Bernhard von Bülow, German Chancellor from 1900 to 1909, initially supported Tirpitz's plan but grew increasingly skeptical of the strain upon German finances
In March 1908, Tirpitz got a fourth naval bill - the second supplementary bill - passed by the Reichstag. It increased the rate of new battleships from three to four per year for the next four years, before stabilizing at three per year. If implemented, Germany would have had 21 dreadnoughts in 1914. Tirpitz continued to assume that Britain would not be alarmed by the German naval buildup and assured Kaiser Wilhelm of the supplementary bill that "internationally and domestically it looks as small and harmless as possible."[3]
The heightened tensions around the Bosnian crisis led Chancellor Bülow, who responsible for finding the money to fund the military, to question the value of Tirpitz's strategy, which was costly and appeared to increase Germany's diplomatic isolation. Germany's national debt had doubled between 1900 and 1908 and 90% of federal government spending went to the military. Bülow was coming to the conclusion that Germany could not afford both the largest army and second-largest navy in Europe. Though the German ambassador in London, Paul Metternich, reported that the naval buildup was alienating Britain from Germany, Tirpitz stated that the conflict with Germany was based in economic rivalry, not competing navies. Tirpitz also argued that Germany had invested too much money into the naval program to halt it and that the domestic political coalition that that had been created to support the naval buildup would react unpredictably if the government left the arms race. An aide of the Kaiser's aide asked Bülow not to bring up reducing naval expenditures as it made Wilhelm "very unhappy."[3] Facing an ever-expanding budget deficit, but lacking the confidence of the Kaiser and unable to raise taxes in the face of Reichstag opposition, Bülow resigned in July 1909.[3]
British reaction[edit]
Up to Germany's 1908 naval bill, Britain in general had largely ignored the buildup, though some individuals in the military and government were already keenly aware of the potential threat. In December 1907, the Admiralty had in fact proposed reducing the rate of battleship construction to one dreadnought and one armored cruiser the following year, which was in line with the Liberal government's priorities to increase spending on social programs and reduce overall government spending, under the new leadership of Prime Minister H. H. Asquith in May 1908. However, in the summer following the 1908 bill, alarm among the public and in the government rose.[3]
King Edward VII and Kaiser Wilhelm II in Berlin, ca. 1908
In August 1908, King Edward VII visited his nephew Wilhelm in Kronberg. He had been provided with a paper outlining British concerns but decided not to raise the issue of naval spending, as it might spoil the congenial mood. Wilhelm cheerfully commented to Permanent Under-Secretary of State for Foreign Affairs Charles Hardinge that he thought relations between Germany and Britain were quite good. Hardinge politely disagreed, stating that British concern at the German naval buildup would likely result in the Liberal government asking Parliament to expand British naval shipbuilding, resulting in a naval rivalry that would greatly increase tensions between the two countries. Wilhelm sharply replied that there was no reason for British concern and, incorrectly, that the German naval bill did not threaten the relative strengths of the two navies. No resolution was reached, and Wilhelm left the Kronberg meeting believing that he had convinced the British of the justness of Germany's position.[3]
A series of incidents escalated British tension. In autumn 1908, the British naval attache in Berlin reported that Germany was building an extra battleship; in reality, ship builder Schichau-Werke had asked the government for an early contract to build a ship scheduled for 1909 to avoid laying off workers in Danzig (now: Gdańsk, Poland). Then on 28 October, The Daily Telegraph published what was described as an interview with the Kaiser. The Telegraph sent the piece to Wilhelm for approval, who in turn passed it to Chancellor Bülow, who passed it on to the Foreign Ministry for their review, which apparently did not take place. In the published piece, Wilhelm appeared, in the words of historian Margaret MacMillan, both "self-pitying and accusatory",[3] stating that the British "are mad, mad, mad as March hares" because they did not, as he opined, realize that Germany is their good friend and that the naval buildup was not directed against them, but Japan. The Daily Telegraph Affair was variously seen in Britain as evidence that Wilhelm was mentally unbalanced or that it was part of a sinister plan to sway British public opinion. However, the main effect was in Germany, where Germans were appalled that their leader would make such a public fool of himself, nationalists and conservatives were infuriated by Wilhelm's declarations of friendship with Britain, and leftists were convinced that the Reichstag needed more control over the Kaiser. Wilhelm and the throne were severely weakened, and the Kaiser fell into a dark depression. Wilhelm never forgave Bülow for allowing the publication, which was a contributing factor in the Chancellor's departure in July 1909.[3]
1909 cartoon in Puck shows five nations engaged in naval race
After the German bill, the Admiralty abandoned its plan for reduced construction and, in December 1908, proposed building at least six more dreadnoughts. Opposition in the Cabinet revolved around the cost, led by Chancellor of the Exchequer David Lloyd George and President of the Board of Trade Winston Churchill, who both saw the military expenditures as threats to the welfare reforms promised by the Liberal Party. Lloyd George warned Prime Minister Asquith that Liberal MPs would revolt at a proposal adding an estimated £38 million in naval expenditures to the budget. However, the Conservative opposition, the Navy League, and British arms industry advocated for the spending. In popular sentiment, they were joined by King Edward VII, who supported eight more dreadnoughts.[3] A Conservative MP coined the popular slogan 'We want eight and we won't wait!',[10]
In response to the broad support for increased naval strength, Asquith arranged a compromise in February 1909 to start four dreadnoughts in the next financial year, with an additional four more by spring 1910 if they were needed. With the Liberals in support, the government defeated a motion of no confidence brought by the Conservatives. Lloyd George included the additional dreadnoughts in his proposed "People's Budget" at the end of April 1909, which was rejected in November 1909 by the House of Lords, who were outraged by the measures to redistribute wealth. Asquith dissolved Parliament to hold an election in January 1910, forming a new government with the Irish Parliamentary Party. In the wake of the election, the House of Lords dropped its opposition to the People's Budget, including funding for the dreadnoughts, which passed in April 1910 and was a significant escalation of the arms race.[3]
Arms race ends (1912-1914)[edit]
In 1912, German Chancellor Theobald von Bethmann-Hollweg ended the naval arms race. His aim was to secure an understanding with the British to end the increasingly isolated position of Germany. Russian military expansion compelled the Germans to prioritise spending on their army and therefore less on the navy. The initiative led to the Haldane Mission in which Germany offered to accept British naval superiority in exchange for British neutrality in a war in which Germany could not be said to be the aggressor. The proposal was rejected, as Britain felt that it had nothing to gain by such a treaty since its naval superiority was insecure, but the British Foreign Secretary Sir Edward Grey favoured a more assertive policy against Germany.[11]
By 1913, there was intense internal debate in Britain about new ships because of the growing influence of Fisher's ideas and increasing financial constraints. It is now generally accepted by historians that in the first half of 1914, the Germans adopted a policy of building submarines instead of new dreadnoughts and destroyers, effectively abandoning the arms race, but since they kept the new policy secret, other powers would be delayed in following suit.[citation needed] By the start of the First World War, Britain had 49 battleships, compared with Germany's 29.[9]
The naval strength of the powers in 1914[12]
Country
Personnel
Large naval vessels
(dreadnoughts)
Tonnage
Russia 54,000 4 328,000
France 68,000 10 731,000
Britain 209,000 29 2,205,000
Total 331,000 43 3,264,000
Germany 79,000 17 1,019,000
Austria-Hungary 16,000 3* 249,000
Total 95,000 20 1,268,000
Grand total 426,000 63 4,532,000
*4th not commissioned yet.
See also[edit]
Causes of World War I
Imperial German Navy
Germany–United Kingdom relations
International relations of the Great Powers (1814–1919)
South American dreadnought race
References[edit]
Jump up ^ "Royal Navy and the First World War". Spartacus.schoolnet.co.uk. Archived from the original on 1999-10-07. Retrieved 2014-01-20.
Jump up ^ "Archived copy". Archived from the original on January 27, 2010. Retrieved January 13, 2010.
^ Jump up to: a b c d e f g h i j k l m n MacMillan 2013, Ch. 5: Dreadnought.
^ Jump up to: a b c d e f g MacMillan 2013, Ch. 4: Weltpolitik.
Jump up ^ Clark 2012, pp. 148-149.
Jump up ^ Andriessen, 1999, De andere waarheid, page 304 e.v.
Jump up ^ Epkenhans, M. (2008). Tirpitz: Architect of the German High Seas Fleet. Kindle version. Washington, DC. pp. loc. 427–31, in MacMillan 2013, Ch. 4: Weltpolitik
Jump up ^ Andriessen, De andere waarheid, 1999, page 298
^ Jump up to: a b "The Cause of World War I"
Jump up ^ "Causes of WWI". Johndclare.net. 1912-12-08. Retrieved 2014-01-20.
Jump up ^ Clark 2012, pp. 318-319.
Jump up ^ Ferguson, Niall. The pity of war (1999) p. 85.
Sources[edit]
Brandenburg, Erich (1933) [in German: 1927]. From Bismarck to the World War: A History of German Foreign Policy 1870-1914. Translated by Elizabeth Adams, Annie. London: Oxford University Press. pp. 266–99 & 394–417.
Clark, Christopher M. (2012). The Sleepwalkers: How Europe Went to War in 1914. London: Allen Lane. ISBN 978-0061146657.
Dunley, Richard (April 2015). "Sir John Fisher and the Policy of Strategic Deterrence, 1904-1908". War in History. 22 (2): 155–173. doi:10.1177/0968344514521126.
Epkenhans, Michael (2008). Tirpitz: Architect of the German High Seas Fleet. Washington, DC: Potomac Books. ISBN 978-1574887327.
Grimes, Shawn T. (2012). Strategy and War Planning in the British Navy. Boydell & Brewer. ISBN 978-1843836988. JSTOR 10.7722/j.ctt3fgkwv.
Hobson, Rolf (1996). The German School of Naval Thought and the Origins of the Tirpitz Plan 1875-1900 (PDF). Forsvarsstudier no. 2/1996. Oslo: Norwegian Institute for Defence Studies.
Hobson, Rolf (2002). Imperialism at Sea: Naval Strategic Thought, the Ideology of Sea Power, and the Tirpitz Plan, 1875-1914. Brill Publishers. ISBN 978-0391041059.
Kelly, Patrick J. (October 2002). "Strategy, Tactics, and Turf Wars: Tirpitz and the Oberkommando der Marine, 1892-1895". Journal of Military History. 66 (4): 1033–1060. doi:10.2307/3093263. JSTOR 3093263.
Kelly, Patrick J. (2011). Tirpitz and the Imperial German Navy. Indiana University Press. ISBN 978-0253355935.
Kennedy, Paul M. (1980). The Rise of the Anglo-German Antagonism: 1860-1914. Boston: Allen & Unwin. ISBN 978-0049400603.
Kennedy, Paul M. (1989). The Rise and Fall of the Great Powers. Boston: Allen & Unwin. ISBN 978-0679720195.
Lambert, Nicholas A. (2001). Sir John Fisher's Naval Revolution. University of South Carolina Press. ISBN 978-1570034923.
MacMillan, Margaret (2013). The War That Ended Peace: The Road to 1914 (Kindle ed.). Penguin Books. ISBN 978-0812994704.
Marder, Arthur (1978). From the Dreadnought to Scapa Flow: Volume I: The Road to War 1904-1914 (August 2013 reprint ed.). Naval Institute Press. ISBN 978-1591142591.
Morgan-Owen, David (May 2015). "A Revolution in Naval Affairs? Technology, Strategy and British Naval Policy in the 'Fisher Era'". Journal of Strategic Studies. 38 (7): 944–965. doi:10.1080/01402390.2015.1005440.
Rüger, Jan (2007). The Great Naval Game: Britain and Germany in the Age of Empire. Studies in the Social and Cultural History of Modern Warfare (Book 26). Cambridge University Press. ISBN 978-0521875769.
Seligmann, Matthew (January 2010). "Intelligence information and the 1909 naval scare: the secret foundations of a public panic" (PDF). War in History. 17 (1): 37–59. doi:10.1177/0968344509348302.
Steinberg, Jonathan (March 1973). "Review: The Tirpitz Plan (Reviewed Work: Der Tirpitz-Plan. Genesis und Verfall einer innenpolitischen Krisenstrategie by Volker R. Berghahn)". The Historical Journal. 16 (1): 196–204. JSTOR 2637924.
Steinberg, Jonathan (1965). Yesterday's Deterrent: Tirpitz and the Birth of the German Battle Fleet. London: Macdonald. LCCN 66003814.
External links[edit]
Bönker, Dirk. "Naval Race between Germany and Great Britain, 1898-1912". 1914-1918-online. International Encyclopedia of the First World War.

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Jingle Jangle Jingle
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the 1942 song. For the "Ed, Edd n Eddy" episode, see Ed, Edd n Eddy's Jingle Jingle Jangle.
Not to be confused with Jingle Jangle (disambiguation) or Jangle pop.
"Jingle Jangle Jingle", also known as "I've Got Spurs That Jingle Jangle Jingle", is a song written by Joseph J. Lilley and Frank Loesser, and published in 1942.[1] It was featured in that year's film The Forest Rangers, in which it was sung by Dick Thomas.[2]
The most commercially successful recording was by Kay Kyser, whose version reached no. 1 in the Billboard charts in July 1942. Versions were recorded by many other musicians, including Tex Ritter, Gene Autry, Glenn Miller and The Merry Macs.[1]
Members of the Western Writers of America chose it as one of the Top 100 Western songs of all time.[3]
Kay Kyser's recording of the song is featured in the 2010 role-playing video game Fallout: New Vegas.[4]
The song was performed by Jon Walmsley and Lisa Harrison on The Waltons, Season 9, Episode 13, "The Gold Watch" (26 Feb. 1981).
See also[edit]
List of number-one singles of 1942 (U.S.)
References[edit]
^ Jump up to: a b ASCAP: Search title "Jingle Jangle Jingle" Archived 2013-03-06 at the Wayback Machine.
Jump up ^ Ourmedia: Dick Thomas - Jingle Jangle Jingle 1942
Jump up ^ Western Writers of America (2010). "The Top 100 Western Songs". American Cowboy. Archived from the original on 10 August 2014.
Jump up ^ Obsidian Entertainment (2010-10-19). Fallout: New Vegas. Bethesda Softworks.
Preceded by
"Sleepy Lagoon" by Harry James and His Orchestra The Billboard National Best Selling Retail Records number-one single
(Kay Kyser and His Orchestra version)
July 18 – September 5, 1942 (eight weeks) Succeeded by
"(I've Got a Gal In) Kalamazoo"
by Glenn Miller and His Orchestra with vocal refrain by Tex Beneke, Marion Hutton and the Modernaires
This 1940s song-related article is a stub. You can help Wikipedia by expanding it.
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1942 songs
Number-one singles in the United States
Songs written by Frank Loesser
Max Bygraves songs
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