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Got to Get You into My Life
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"Got to Get You into My Life"
Song by the Beatles
from the album Revolver
Published
Northern Songs
Released
5 August 1966
Recorded
EMI Studios
7 April and 17 June 1966
Genre
Rhythm and blues,[1] rock,[2] jazz fusion
Length
2:27 (stereo version)
2:35 (mono version)
Label
Parlophone PMC 7009 (mono), PCS 7009 (stereo)
Songwriter(s)
Lennon–McCartney
Producer(s)
George Martin
Audio sample
file
help
"Got to Get You into My Life"
Single by the Beatles
from the album Rock 'n' Roll Music
B-side
"Helter Skelter"
Released
31 May 1976
Format
7"
Label
Capitol 4274
Songwriter(s)
Lennon–McCartney
The Beatles US singles chronology
"The Long and Winding Road" / "For You Blue"
(1970) "Got to Get You into My Life"
(1976) "Ob-La-Di, Ob-La-Da"
(1976)
"The Long and Winding Road" / "For You Blue"
(1970) "Got to Get You into My Life"
(1976) "Ob-La-Di, Ob-La-Da"
(1976)
"Got to Get You into My Life" is a song by the Beatles, first released in 1966 on the album Revolver. It was written by Paul McCartney, though officially credited to Lennon–McCartney.[3][4] The song is a homage to the Motown Sound, with colourful brass instrumentation,[5] and lyrics that suggest a psychedelic experience.[2] "It's actually an ode to pot," McCartney explained. A cover version by Cliff Bennett and the Rebel Rousers peaked at number six in 1966 in the UK.[6] The song was issued in the United States as a single from the Rock 'n' Roll Music compilation album in 1976, six years after the Beatles disbanded. It reached number seven on the Billboard Hot 100 chart,[7] the Beatles' last top ten US hit until their 1995 release "Free as a Bird".
Contents
[hide]
1 Composition and recording
2 Reception
3 Charts
3.1 Weekly charts
3.2 Year-end charts
4 Certifications
5 Personnel
6 Earth, Wind & Fire version
6.1 Reception
6.2 Chart performance
7 Cover versions
8 Notes
9 References
10 External links
Composition and recording[edit]
Though officially credited to Lennon–McCartney, McCartney was primarily responsible for the writing of the song,[3][4] to which he also contributed lead vocals.[8] It was recorded at Abbey Road Studios between 7 April and 17 June 1966 and evolved considerably between the first takes and the final version released on album.[9] The song seems to have been hard to arrange until the soul-style horns, strongly reminiscent of the Stax' Memphis soul and Motown sound, were introduced. The brass was close-miked in the bells of the instruments then put through a limiter.[10] The percussion instrument most predominant is the overdubbed tambourine.
The song starts with a blaring brass fanfare, McCartney's vocals entering at 0:07. The chorus of the song appears at 1:04, with the song's title sung. The song then switches between a verse and the refrain. A short electric guitar solo that is reminiscent of the riff from "Paperback Writer" appears at 1:53 and at 2:10 the horn fanfare re-enters. The song closes with fading vocals of McCartney, much akin to the soul records of the time. The mono and stereo mixes of the recording feature different ad libs in the fade-out - the presence of a second vocal track is also more subtle for most of the mono version. Backing vocals were recorded early but later eliminated.
In Barry Miles' 1997 book Paul McCartney: Many Years from Now, McCartney disclosed that the song was about marijuana.[3] "'Got to Get You into My Life' was one I wrote when I had first been introduced to pot ... So [it's] really a song about that, it's not to a person."[3] Many lyrics from the song suggest this: "I took a ride, I didn't know what I would find there / Another road where maybe I could see some other kind of mind there.",'"What can I do? What can I be? When I'm with you, I want to stay there / If I am true, I will never leave and if I do, I'll know the way there." "It's actually an ode to pot," McCartney explained, "like someone else might write an ode to chocolate or a good claret."[11]
Reception[edit]
Thomas Ward of AllMusic said, "McCartney's always been a great vocalist, and this is perhaps the best example of his singing on Revolver. One of the overlooked gems on the album."[12] When asked about the song in his 1980 Playboy interview, John Lennon said, "Paul's again. I think that was one of his best songs, too."[4] The song can be heard in the end credits of the 2015 film Minions.
Charts[edit]
Weekly charts[edit]
Chart (1976)
Peak
position
Australia (KMR)[13] 93
Canada RPM Top Singles[14] 1
Canada RPM Adult Contemporary[15] 3
US Billboard Hot 100[16] 7
US Billboard Adult Contemporary[17] 9
US Cash Box Top 100[18] 3
Year-end charts[edit]
Chart (1976)
Rank
Canada RPM Top Singles[19] 28
US Billboard Hot 100[20] 77
US Cash Box[21] 89
Certifications[edit]
Region
Certification
Certified units/Sales
United States (RIAA)[22]
Gold 500,000^
*sales figures based on certification alone
^shipments figures based on certification alone
Personnel[edit]
Paul McCartney – double-tracked lead vocal, bass
John Lennon – rhythm guitar, organ
George Harrison – lead guitar
Ringo Starr – drums, tambourine
Eddie Thornton – trumpet
Ian Hamer – trumpet
Les Condon – trumpet
Alan Branscombe – tenor saxophone
Peter Coe – tenor saxophone
Personnel per Ian MacDonald; MacDonald was unsure if Lennon played the rhythm guitar part.[8]
Earth, Wind & Fire version[edit]
"Got to Get You into My Life"
Single by Earth, Wind & Fire
from the album The Best of Earth, Wind & Fire, Vol. 1
B-side
"I'll Write a Song for You"
Released
14 July 1978
Format
7", 12"
Recorded
1977
Genre
Rhythm and blues
Length
4:03
Label
Columbia
Songwriter(s)
Lennon–McCartney
Earth, Wind & Fire singles chronology
"Magic Mind"
(1978) "Got to Get You into My Life"
(1978) "September"
(1978)
"Magic Mind"
(1978) "Got to Get You into My Life"
(1978) "September"
(1978)
Earth, Wind & Fire covered the song for the 1978 Sgt. Pepper's Lonely Hearts Club Band soundtrack. They released it as a single and included it on their album The Best of Earth, Wind & Fire, Vol. 1. Their version reached number 1 on the Soul singles chart and number nine on the Hot 100 singles chart.[23] In the autumn of 1978 it reached number 33 in the BBC Top 75 singles chart recorded on CBS records CBS 6553.
The song won a Grammy Award for Best Instrumental Arrangement Accompanying Vocalist(s) and also garnered a Grammy nomination for Best Pop Performance by a Duo or Group with Vocals.[24]
Reception[edit]
"Got to Get You into My Life" sold over one million copies, enough for the RIAA to certify it gold.
Chart performance[edit]
Chart (1978)
Peak
position
US Billboard Hot 100[23] 9
US Billboard Hot Soul Singles[23] 1
Preceded by
"Holding On (When Love Is Gone)" by L.T.D. Billboard Hot Soul Singles number-one single
23 September 1978 Succeeded by
"One Nation Under a Groove (Part 1)" by Funkadelic
Cover versions[edit]
The Baby Dolls (Hollywood Records 1111) US 7" single in 1966[25]
Cliff Bennett and the Rebel Rousers in 1966
Johnny Hallyday with a French version "Je veux te graver dans ma vie" (1966).
Chris Clark (Motown Records) on August 1967
Canadian rock band Stitch in Tyme covered this song in 1967 (released as a single on Yorkville Records and Arc Records).
Diana Ross & The Supremes recorded it in 1968 but it wasn't released until 2004 on the Diana Ross & The Supremes and The Temptations - Joined Together: The Complete Studio Duets collection[26]
Ella Fitzgerald on August 1969
The Four Tops on the album Soul Spin (1969)
Tom Jones has the song on many of his compilation albums
Chicago performed this song live on tour in the 1970s as an encore with Peter Cetera on vocals.
Lou Rawls in 1971
Blood, Sweat & Tears on the album New City (1975)
Thelma Houston with Pressure Cooker on I've Got the Music in Me (1975)[27]
Earth, Wind & Fire in 1978 (see above)
Daniel Johnston in 1990
Joe Pesci on the album Vegas Goodfellas (1999) [28]
Parody band Beatallica covered the song in 2007 on their album "Masterful Mystery Tour". It was amalgamated with the Metallica song "Trapped Under Ice" to create "Got to Get You Trapped Under Ice".
Australian rock band Koritni covered the song on their debut album Lady Luck, released in 2007.
Syesha Mercado of American Idol on March 12, 2008
Matthew Sweet and Susanna Hoffs from the soundtrack of the movie Imagine That (2009)
Ali Campbell covered the song on his 2010 album Great British Songs
Groove for Thought on the album Inspired (2012)
Blaine Anderson (Darren Criss) and Kurt Hummel (Chris Colfer) performed this song in Glee's fifth-season premiere episode "Love Love Love" in 2013.
Matt Corby of Australian Idol
Courtney Murphy of Australian Idol
Phillip Phillips, Joshua Ledet and Jessica Sanchez of American Idol
Perry Farrell of Jane's Addiction performed the song on The Art of McCartney
Notes[edit]
Jump up ^ Brackett, Nathan; Hoard, Christian (2 November 2004). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. p. 53. ISBN 0-7432-0169-8.
^ Jump up to: a b Kenneth Womack, Todd F. Davis (2006). Reading the Beatles: Cultural Studies, Literary Criticism, And the Fab Four. SUNY Press. p. 119. ISBN 0-7914-6716-3.
^ Jump up to: a b c d Miles 1997, p. 190.
^ Jump up to: a b c Sheff 2000, p. 181.
Jump up ^ DeRogatis, Jim (2003). Turn on Your Mind: Four Decades of Great Psychedelic Rock. Hal Leonard Corporation. p. 45. ISBN 0-634-05548-8.
Jump up ^ Winn, John C. (2009). That Magic Feeling: The Beatles' Recorded Legacy, Volume Two, 1966-1970. Potter/TenSpeed/Harmony. p. 38.
Jump up ^ Wallgren 1982, p. 106.
^ Jump up to: a b MacDonald 2005, p. 193.
Jump up ^ Lewisohn 1988, pp. 72-83.
Jump up ^ Morin 1998.
Jump up ^ "50 - 'Got to Get You Into My Life'". 100 Greatest Beatles Song. Rolling Stone. Retrieved 20 June 2012.
Jump up ^ Ward 2009.
Jump up ^ Kent, David (2005). Australian Chart Book (1940–1969). Turramurra: Australian Chart Book. ISBN 0-646-44439-5.
Jump up ^ Canada RPM Top Singles, August 14, 1976
Jump up ^ Canada RPM MOR Playlist, August 14, 1976
Jump up ^ "The Beatles – Chart history" Billboard Hot 100 for The Beatles. Retrieved 16 May 2016.
Jump up ^ Whitburn, Joel (1993). Top Adult Contemporary: 1961–1993. Record Research. p. 25.
Jump up ^ Hoffmann, Frank (1983). The Cash Box Singles Charts, 1950-1981. Metuchen, NJ & London: The Scarecrow Press, Inc. pp. 32–34.
Jump up ^ "Top Singles – Volume 26, No. 14 & 15, January 08 1977". RPM. Library and Archives Canada. Retrieved December 15, 2016.
Jump up ^ Musicoutfitters.com
Jump up ^ http://tropicalglen.com/Archives/70s_files/1976YESP.html
Jump up ^ "American single certifications – The Beatles – Got to Get You into My Life". Recording Industry Association of America. Retrieved 16 May 2016. If necessary, click Advanced, then click Format, then select Single, then click SEARCH
^ Jump up to: a b c Allmusic 2009.
Jump up ^ The Official Earth, Wind & Fire Website 2009.
Jump up ^ "The Baby Dolls - Got To Get You Into My Life". Discogs. Retrieved 28 April 2016.
Jump up ^ "Diana Ross & The Supremes* And The Temptations - Joined Together: The Complete Studio Duets". Discogs. Retrieved 28 April 2016.
Jump up ^ "Thelma Houston & Pressure Cooker - I've Got The Music In Me". Discogs. Retrieved 28 April 2016.
Jump up ^ William Ruhlmann. "Vegas Goodfellas". AllMusic. Retrieved 28 April 2016.
References[edit]
"Got to Get You into My Life". Allmusic. 2009. Retrieved 20 November 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.
Miles, Barry (1997). Paul McCartney: Many Years From Now. New York: Henry Holt and Company. ISBN 0-8050-5249-6.
Morin, Cari (1998). The Evolution of Beatles' Recording Technology.
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.
Wallgren, Mark (1982). The Beatles on Record. New York: Simon & Schuster. ISBN 0-671-45682-2.
Ward, Thomas (2009). "Review of "Got to Get You into My Life"". Allmusic. Retrieved 20 November 2009.
"Earth, Wind & Fire - Awards". The Official Earth, Wind & Fire Website. 2009. Archived from the original on 7 March 2009. Retrieved 20 November 2009.
Pollack, Alan W (29 August 1999). "Notes on "Got to Get You into My Life"".
External links[edit]
Wikiquote has quotations related to: Revolver (Beatles album)
Alan W. Pollack's Notes on "Got to Get You into My Life"
Lyrics of this song at MetroLyrics
[show]
v
t
e
Revolver
Songs
Side one
"Taxman"
"Eleanor Rigby"
"I'm Only Sleeping"
"Love You To"
"Here, There and Everywhere"
"Yellow Submarine"
"She Said She Said"
Side two
"Good Day Sunshine"
"And Your Bird Can Sing"
"For No One"
"Doctor Robert"
"I Want to Tell You"
"Got to Get You into My Life"
"Tomorrow Never Knows"
Non-album single
"Paperback Writer"
"Rain"
Related articles
Yesterday and Today
More popular than Jesus
The Beatles' 1966 tour of Germany, Japan and the Philippines
The Beatles' 1966 US tour
The Beatles discography
Please Please Me
With the Beatles
A Hard Day's Night
Beatles for Sale
Help!
Rubber Soul
Revolver
Sgt. Pepper's Lonely Hearts Club Band
Magical Mystery Tour
The Beatles (White Album)
Yellow Submarine
Abbey Road
Let It Be
Past Masters
[show]
v
t
e
The Beatles singles discography
UK and US
(all labels)
1963
"Please Please Me" / "Ask Me Why"
"From Me to You" / "Thank You Girl"
"She Loves You" / "I'll Get You"
1964
"Can't Buy Me Love" / "You Can't Do That"
"I Feel Fine" / "She's a Woman"
1965
"Ticket to Ride" / "Yes It Is"
"Help!" / "I'm Down"
"We Can Work It Out" / "Day Tripper"
1966
"Paperback Writer" / "Rain"
"Yellow Submarine" / "Eleanor Rigby"
1967
"Penny Lane" / "Strawberry Fields Forever"
"All You Need Is Love" / "Baby, You're a Rich Man"
"Hello, Goodbye" / "I Am the Walrus"
1968
"Lady Madonna" / "The Inner Light"
"Hey Jude" / "Revolution"
1969
"Get Back" / "Don't Let Me Down"
"The Ballad of John and Yoko" / "Old Brown Shoe"
"Something" / "Come Together"
1970
"Let It Be" / "You Know My Name (Look Up the Number)"
1978
"Sgt. Pepper's Lonely Hearts Club Band/With a Little Help from My Friends" / "A Day in the Life"
1982
"The Beatles Movie Medley" / "I'm Happy Just to Dance with You"
1995
"Free as a Bird" / "Christmas Time (Is Here Again)"
1996
"Real Love" / "Baby's in Black"
UK only
(Parlophone,
Apple)
1962
"My Bonnie" / "The Saints"
"Love Me Do" / "P.S. I Love You"
1963
"I Want to Hold Your Hand" / "This Boy"
1964
"Ain't She Sweet" / "If You Love Me, Baby"
"A Hard Day's Night" / "Things We Said Today"
1976
"Yesterday" / "I Should Have Known Better"
"Back in the U.S.S.R." / "Twist and Shout"
US only
(Vee-Jay,
Swan,
Tollie,
Capitol,
Apple)
1963
"I Want to Hold Your Hand" / "I Saw Her Standing There"
1964
"Twist and Shout" / "There's a Place"
"Do You Want to Know a Secret" / "Thank You Girl"
"Love Me Do" / "P.S. I Love You"
"Sie liebt dich" / "I'll Get You"
"I'll Cry Instead" / "I'm Happy Just to Dance with You"
"And I Love Her" / "If I Fell"
"A Hard Day's Night" / "I Should Have Known Better"
"Matchbox" / "Slow Down"
1965
"Eight Days a Week" / "I Don't Want to Spoil the Party"
"Yesterday" / "Act Naturally"
1966
"Nowhere Man" / "What Goes On"
1970
"The Long and Winding Road" / "For You Blue"
1976
"Got to Get You into My Life" / "Helter Skelter"
"Ob-La-Di, Ob-La-Da" / "Julia"
Other
countries
(Odeon,
Parlophone,
Apple)
1963
"All My Loving" / "This Boy" (Canada)
1964
"Komm, gib mir deine Hand / Sie liebt dich" (Germany)
1966
"Norwegian Wood (This Bird Has Flown)" / "Nowhere Man" (Australia)
1968
"Ob-La-Di, Ob-La-Da" / "While My Guitar Gently Weeps" (Europe, Japan, Australia)
"Ob-La-Di, Ob-La-Da" / "I Will" (Philippines)
"Back in the U.S.S.R." / "Don't Pass Me By" (Sweden)
1969
"You're Going to Lose That Girl" / "Tell Me What You See" (Japan)
1970
"Oh! Darling" / "Here Comes the Sun" (Japan)
1972
"All Together Now" / "Hey Bulldog" (Europe)
1978
"Sgt. Pepper's Lonely Hearts Club Band/With a Little Help from My Friends" / "Within You Without You" (Germany)
[show]
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e
Earth, Wind & Fire
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Verdine White
Ralph Johnson
B. David Whitworth
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John Paris
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Morris O'Connor
Serg Dimitrijevic
Maurice White
Michael Beale
Leslie Drayton
Wade Flemons
Yackov Ben Israel
Sherry Scott
Carl Carwell
Alexander Thomas
Chester Washington
Don Whitehead
Roland Bautista
Jessica Cleaves
Larry Dunn
Ronnie Laws
Johnny Graham
Al McKay
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Don Myrick
Studio albums
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Faces
Raise!
Powerlight
Electric Universe
Touch the World
Heritage
Millennium
In the Name of Love
The Promise
Illumination
Now, Then & Forever
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Compilations
and live albums
Another Time
Gratitude
The Best of Earth, Wind & Fire, Vol. 1
The Collection
The Best of Earth, Wind & Fire, Vol. 2
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"Devotion"
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"Reasons"
"Sing a Song"
"Can't Hide Love"
"Getaway"
"Saturday Nite"
"Serpentine Fire"
"Fantasy"
"Got to Get You into My Life"
"September"
"Boogie Wonderland"
"After the Love Has Gone"
"In the Stone"
"Let Me Talk"
"And Love Goes On"
"Let's Groove"
"Wanna Be with You"
"I've Had Enough"
"Fall in Love with Me"
"System of Survival"
"Thinking of You"
"Sunday Morning"
"All in the Way"
"Pure Gold"
Other albums
Sweet Sweetback's Baadasssss Song
Videos
Earth, Wind & Fire: In Concert
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Chicago & Earth, Wind & Fire – Live at the Greek Theatre
Related articles
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Rosalind (As You Like It)
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Rosalind
As You Like It character
Rosalind by Robert Walker Macbeth
Created by
William Shakespeare
Information
Family
Orlando (husband)
Duke Senior (father)
Celia (cousin)
Role
Protagonist
Rosalind is the heroine and protagonist of the play As You Like It (1600) by William Shakespeare.
She is the beautiful daughter of the exiled Duke Senior and niece to his usurping brother Duke Frederick. Her father is banished from the kingdom which breaks her heart. She then meets Orlando, one of her father's friends' son and falls in love with him. After angering her uncle, she leaves his court for exile in the Forest of Arden. Disguised as a shepherd named Ganymede, Rosalind lives with her sweet and devoted cousin, Celia (who is disguised as Ganymede's sister, Aliena), and Duke Frederick's fool Touchstone. Eventually, Rosalind is reunited with her father and married to her faithful lover, Orlando.
Rosalind is one of Shakespeare's most recognized heroines. Admired for her intelligence, quick wit, and beauty, Rosalind is a vital character in "As You Like It." Most commonly seen next to her beloved cousin Celia, Rosalind is also a faithful friend, leader, and schemer. She stays true to her family and friends throughout the entire story, no matter how dangerous the consequences. Rosalind dominates the stage. Her true decision-making skills can be seen in the last scene of Act V (5) where she has to present herself as Rosalind to her father and to Orlando, but at the same time change Phebe's opinion to marry Silvius. She is the main character of the play who extracts the clarity of important traits in other characters.
Art and stage depictions[edit]
Rosalind has been played by various notable actresses including Elizabeth Bergner in a 1936 film opposite Laurence Olivier as Orlando,[1] Vanessa Redgrave rose to fame playing the part in 1960 with the Royal Shakespeare Company, Helena Bonham Carter in the 2000 BBC Radio 4 version, Helen Mirren in the 1978 BBC version of the play directed by Basil Coleman,[2] and Bryce Dallas Howard in the 2006 production directed by Kenneth Branagh.
American actress Patti LuPone played the role at the Guthrie Theatre in Minneapolis, after her award-winning portrayal of Eva Peron in the original Broadway run of Evita. This caused much speculation because LuPone was leaving the Broadway stage and moving to "regional" work.
Adrian Lester won a Time Out Award for his performance as Rosalind in Cheek by Jowl's 1991 production of As You Like It. A male actor in the role (as would have been the norm in Shakespeare's time) underlines the confusion of gender roles within the play: at one point, a male actor is playing a woman who is pretending to be a man acting the part of a woman.
Source of the Name[edit]
Rosalynde is the heroine of Lodge's Euphues' Golden Legacy. 'Faire Rosalind' had, however, at this time, acquired a fresh poetic fame as the object of Spenser's attachment, celebrated in his Shephearde's Calendar, 1579, and Colin Clouts Come Home Againe, 1595. 'Of all the sweet feminine names compounded from Rosa, that of Rosa-linda seems to be the most elegant, and therefore most befitting that particular character of ideal beauty which the dramatist here assigns to his imaginary princess.
Ganymede, the name she assumes in her disguise as a forest youth, is that of 'Jove's own page' (I, iii, 127), the most beautiful of all mortals, son of Tros and Callirrhoe, chosen by Jupiter to be his cup-bearer, and to dwell among the gods as his chosen servant.
References[edit]
Jump up ^ Elizabeth Bergner
Jump up ^ As You Like It (1978) at the Internet Movie Database, https://www.imdb.com/title/tt0077180/
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"All the world's a stage"
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Goodbye, Farewell and Amen
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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. (August 2017) (Learn how and when to remove this template message)
"Goodbye, Farewell and Amen"
M*A*S*H episode
Hawkeye smiles as he sees B.J.'s "note"
Episode no.
Season 11
Episode 16 (251st overall)
Directed by
Alan Alda
Written by
Alan Alda
Burt Metcalfe
John Rappaport
Dan Wilcox
Thad Mumford
Elias Davis
David Pollock
Karen Hall
Production code
9B04
Original air date
February 28, 1983 (1983-02-28)
Guest appearance(s)
Allan Arbus as Sidney Freedman
Episode chronology
← Previous
"As Time Goes By" Next →
—
M*A*S*H (season 11)
List of M*A*S*H episodes
Goodbye, Farewell and Amen is a television film that served as the 251st and final episode of the American television series M*A*S*H. Closing out the series' 11th season, the 2 hour episode first aired on CBS February 28, 1983, and retelecast on September 19, 1983, fittingly ending the series' original run altogether. (CBS reran it one last time September 16, 1984.) It was written by a large number of collaborators, including series star Alan Alda, who also directed.
The episode's plot chronicles the final days of the Korean War at the 4077th MASH, and features several storylines intended to show the war's effects on the individual personnel of the unit, and to bring closure to the series. After the ceasefire goes into effect, the members of the 4077th throw a closing party before taking down the camp for the last time. After tear-filled goodbyes, the main characters go their separate ways, leading to the final scene of the series.
Contents
[hide]
1 Plot
2 Cultural reaction and impact
2.1 Reaction and aftermath
3 See also
4 Footnotes
5 External links
Plot[edit]
This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (December 2009) (Learn how and when to remove this template message)
As peace negotiations continue during the Korean War, Hawkeye Pierce is being treated by Dr. Sidney Freedman at a mental hospital for a nervous breakdown.[1] Sidney is trying to get Hawkeye to release repressed memories of an outing most of the 4077th staff attended at a beach near Incheon which appears to have led to the breakdown. At the beginning of the episode, Hawkeye remembers the trip home as having a party-like atmosphere with him calling for a bottle of whiskey to be passed to a person who "can't wait" to drink it. Sidney's questioning gets Hawkeye to remember that the person in question was actually a soldier who needed the bottle. Then he remembers that the bottle did not contain whiskey, but plasma, and the soldier was severely wounded. Hawkeye was actually yelling impatiently that "this guy can't wait".
Through repeated counseling sessions, Hawkeye recalls that they picked up some refugees and wounded soldiers farther up the road as an enemy patrol was coming. The bus had to hide off the road and the occupants were forced to remain quiet. Hawkeye refuses to tell Sidney anything further, but then lashes out at two of his fellow patients for getting into a loud argument. Hawkeye says they were screaming like chickens and jokes about chickens taking the bus. Using that as a clue, Sidney digs deeper and Hawkeye remembers a refugee woman who boarded the bus carrying a chicken that would not stop clucking.
Sidney begins to piece together what led to Hawkeye's breakdown. Hawkeye insists that he is perfectly fine, but Freedman reminds him that after returning to the 4077th, Hawkeye had accused an anesthesiologist of trying to smother a patient and then drove a Jeep through a wall in the officers' club and ordered a double bourbon. After more questioning, Hawkeye remembers telling the refugee to make the chicken be quiet, but when it suddenly stopped making noise, Hawkeye realized that the woman had killed the chicken to silence it. Hawkeye then breaks down sobbing as he remembers that the refugee woman was not carrying a chicken, but her infant child and had smothered her baby to death to silence it as Hawkeye had insisted. Hawkeye is initially angry at Sidney for making him remember, but Sidney tells him, "You had to get it out in the open. Now we're halfway home." Hawkeye initially believes he will be sent home to Maine, but after more sessions, Sidney informs him he must go back to the 4077th and promises to check in on him.
Back at the 4077th, the camp is helping to shelter some of the North Korean and Chinese troops surrendering in the final days of the war. Charles Winchester, who is suffering from diarrhea, possibly dysentery, encounters a group of Chinese soldiers on a motorcycle when he is forced to relieve himself in a local creek after the camp's latrine is destroyed by a runaway tank. The soldiers surrender to him and reveal themselves to be musicians. Winchester brings the soldiers back to camp along with the motorcycle, which B.J. Hunnicutt decides to take for himself and paint yellow. As Winchester is trying to listen to music (Mozart, Clarinet Quintet in A, K. 581), the Chinese musicians annoy him with their own playing. When Winchester tells them to stop, they recognize the name Mozart and one of the musicians begins playing the same piece to which Winchester was listening. An impressed Winchester decides to teach them how to play it properly, eventually forming a bond with the Chinese POWs.
Winchester is also distressed over the future of his career after the end of the war. He tells Margaret Houlihan that he has applied to be chief of thoracic surgery at Mercy Hospital in Boston, which he regards as "the finest in New England", but has been notified by a friend that another, less surgically qualified, but more politically connected surgeon might get the position, instead. Margaret decides to assist Winchester in his application, as a friend of her father's is the chief of staff at Mercy Hospital. Winchester receives a letter days later that tells him the good news. However, he is told by Klinger that Margaret assisted him, and angry that he did not get it through his own efforts, storms off, and is curt and rude to Houlihan.
Klinger has fallen in love with Soon-Lee Han, a local Korean refugee at the camp. Soon-Lee has been searching for her parents, who have gone missing, and has been told they are in Chorwon nearby. Chorwon, however, is the site of ongoing fighting and Klinger does not want Soon-Lee going there. Eventually, he finds out that she has left and chases after her, hoping that she will come back. After she initially refuses, he declares his feelings for her and takes her back to camp.
B.J. Hunnicutt has received discharge papers and is excited about going home to finally see his daughter, Erin, whom he has not seen since she was born. Col. Potter is initially unhappy about being without two of his surgeons as Hawkeye has not yet left the mental hospital. However, the colonel agrees after B.J. tells him that he knows of a surgeon who will take his place.
Almost immediately thereafter, the camp is attacked with mortars. Several POWs, locked in a makeshift pen in the compound, are stuck in the line of fire and Father Mulcahy goes to let them out. A mortar explodes directly in front of him and knocks him out. B.J. examines Mulcahy and finds that he is suffering from tinnitus and could potentially lose his hearing. Mulcahy, knowing that deafness could result in him being discharged, demands B.J. keep it a secret from the camp, as he does not want to abandon the local orphans for whom he has been caring.
The mortar attacks continue and Potter, believing it is because of the abandoned tank that destroyed the latrine and remains in the compound, calls I Corps headquarters, demanding answers. He is told that the tank has to stay at the 4077th until the unit to which it belonged comes back and claims it. Klinger decides to help by draping a tent over the tank so the North Koreans will not see it, but it proves only to be a temporary fix, as the enemy knows the tank is still there and continues to attack.
As B.J. is leaving the camp by helicopter, Klinger opens that day's mail and informs Potter that B.J.'s discharge was rescinded. Potter decides to ignore this, telling Klinger to put any mail on his desk and that he will look at it later. Hawkeye returns shortly thereafter to find a new batch of wounded in the camp and that his roommate and best friend has gone home. Potter calls headquarters while operating and asks where the new surgeon is. The mortar attacks on the 4077th resume worse than before. As everyone is pinned down in the operating room (OR), Hawkeye decides to run out to move the tank. He turns it around, before hitting the OR tent, smashing through the newly built latrine, and finally running the tank into the camp garbage dump, deflecting the shelling away from the hospital. Potter is not amused by this and decides that Hawkeye needs to see Sidney again.
That night, an incendiary bomb attack sparks a fire in the nearby forest and the 4077th is in its path, forcing the camp to evacuate and move operations ("bug out")/. Once the new camp is set up, Potter's replacement surgeon arrives. To his surprise, it is B.J., who tells Potter that he got about "a third of the way home" before word of his recall to the 4077th got to him in Guam. He apologizes to Hawkeye for not leaving him a note, as he was so rushed the day he left, but Hawkeye brushes it off.
Sidney arrives at the new camp site in the middle of a celebration, as the 4077th decides to throw a party in absentia for B.J.'s daughter, who is turning two. A two-year-old orphan girl is picked to take the place of Erin Hunnicutt and B.J. is touched. Hawkeye, however, is saddened and walks off. Sidney follows him, telling him that his tank stunt was the most sensible thing to do, that he should not be afraid of his job anymore, that he is overthinking things, and that his failures might make him a better doctor.
A POW exchange takes place later that day, which includes the five Chinese musicians. Winchester tries to keep them with him, but is turned away by a soldier. As the truck taking them leaves, the musicians bid farewell to Winchester by playing the Mozart piece correctly. Moments later, an announcement is relayed to the camp: a ceasefire has been agreed to and, at 10:00 that evening, the United States' involvement in the Korean War will come to an end. Almost on cue, a new batch of wounded arrives at the camp. Potter informs the doctors that this is to be the last set of wounded operated on at the new camp, as headquarters has ordered them back to their original site at Uijeongbu.
Once they return, a new batch of wounded arrives at the compound on top of the one they were working on and Winchester is dispatched to perform triage outside. He discovers that one of the deceased patients is one of the Chinese musicians. Winchester also learns that everyone else in the truck carrying the POWs was killed in an attack. Winchester, still in disbelief, returns to the Swamp and listens to his Mozart record, but after a few seconds, he pulls it out of the player and smashes it to bits in anger.
As he is finished operating, Hawkeye's next patient is a young girl who was apparently wounded in a round of shelling. With Sidney observing, Hawkeye hesitates in performing the operation. Although Potter offers to switch with him, Hawkeye decides to operate on the little girl himself. With Hawkeye now apparently back to normal, Sidney decides to depart the 4077th for the last time and Hawkeye thanks him for his treatment. As Sidney leaves, he echoes a statement he made to the doctors in one of his first visits years earlier: "Ladies and gentlemen, take my advice. Pull down your pants and slide on the ice." Once Sidney is out of the OR, the announcement of the ceasefire and the end of the shelling comes over the radio. The doctors pause in wonder at the new peace, then continue operating on the remaining wounded.
The camp spends its last night together at a party in the mess tent. Colonel Potter decides to have everyone talk about what they will be doing after the war. Potter is heading home to his wife Mildred in Hannibal, Missouri, where he will still practice medicine part-time. Hawkeye says that he originally wanted to work in a city hospital, but instead everything that has happened to him has changed his mind and that he plans to open a practice in his hometown of Crabapple Cove, Maine. B.J. jokes that he has run off with somebody at the airport bar in Guam, but is really headed back to San Francisco to be reunited with his family. Winchester tells the camp of his new position at Mercy Hospital, but because of the deaths of the Chinese musicians he helped teach, the music that he loved and sought out as a refuge is to remain a reminder of the horrors of war. Margaret was offered two positions abroad through her father's influence, but has decided to refuse them and take a job in America working in a hospital. Mulcahy has decided to begin working with the deaf and hard-of-hearing, having been inspired by his accident. Klinger surprises everyone by announcing that, after years of trying to receive a section-eight discharge and go home, he is staying in Korea to marry Soon-Lee, who will not leave the country until she finds her parents.
The next morning, Father Mulcahy presides over Klinger and Soon-Lee's wedding with Potter as the best man and Margaret as the matron of honor. After the wedding, the camp starts to be disassembled and various members remove their hometown signs from the camp signpost. Father Mulcahy leaves for the 8063rd, with B.J. continuing to protect the secret of Mulcahy's hearing loss until the time he leaves. Winchester and Margaret are to leave in the same jeep, but Winchester cannot get on because it is overloaded with Margaret's belongings. Margaret, still upset at Winchester for his ingratitude, decides to disembark, but Winchester tells her to stay and orders Sgt. Rizzo to find him another ride. Winchester makes peace with Margaret and allows her to keep one of his treasured poetry books. She then says goodbye to B.J., Potter, and Hawkeye, who gives her a long, passionate kiss.
After Margaret leaves, the Swamp is struck down as its occupants sarcastically mock its demise. Winchester leaves in a garbage truck, the last vehicle Rizzo has, but not before telling Potter that he hopes to guide his charges in the way Potter guided him and the rest of the camp. He then bids farewell to his tentmates, telling Hawkeye and B.J. that they showed him "what going home is all about". Winchester then boards the garbage truck, commenting, "what better way to leave a garbage dump", and leaves.
The next to leave is the colonel, who rides out of camp one last time on his beloved horse Sophie. Once he reaches the 8063rd, he boards a waiting jeep to head towards his flight home, and donates Sophie to the orphanage for the children. Before he goes, he tells B.J. and Hawkeye that he was glad that they all worked together and that he will miss the good laughs they all shared, appreciating them because Hawkeye and B.J. always managed to give him joy when he needed it the most. After Potter climbs onto Sophie, Hawkeye and B.J. offer Potter a salute in appreciation of him. The colonel rides off into the distance, leaving the two Swampmates as the last people at the camp.
A chopper then arrives at the helipad to take Hawkeye to his next stop. B.J. offers him a ride on the motorcycle he claimed from the Chinese musicians and takes him up the hill to the helipad. While there, Hawkeye and B.J. have one final conversation. Hawkeye says that he will never be able to "shake" B.J., and the two tell each other that things at home will remind them of each other. The two embrace and say they will miss each other, and Hawkeye boards the chopper.
Earlier, Hawkeye had been irritated with B.J. for his apparent inability to say "goodbye" as the two would probably never see each other again. Just before B.J. rides off for the last time, he says to Hawkeye that though he will try to find him once they get back to the states, he left Hawkeye a note just in case. The chopper takes off and as it gains altitude, Hawkeye sees that B.J. has arranged a large number of stones to read "GOODBYE" on the helipad. Upon seeing that, he smiles, knowing that B.J. was capable of saying goodbye after all, and the chopper flies away from what is left of the 4077th for the last time. The original theme song "Suicide is Painless" (from the 1970 film) is then played in its entirety.
Cultural reaction and impact[edit]
The anticipation before the airing of Goodbye, Farewell and Amen was almost unprecedented, especially for a regular television series (in contrast to awards shows, sporting events, or special events). Interest from advertisers prompted CBS, the network broadcasting M*A*S*H, to sell 30-second commercial blocks for $450,000 (over $1,000,000 in 2016 dollars) each—costlier than even for NBC's airing of the Super Bowl of that year.[2][3]
On the night the episode aired, large areas of California (particularly the San Francisco Bay Area) suffered power outages due to unusually stormy winter weather, which prevented many viewers from watching the series finale. Three weeks later, on March 21, KPIX, the CBS affiliate in San Francisco, reaired the episode.[citation needed]
Reaction and aftermath[edit]
The episode drew 105.97 million total viewers[4] and a total audience of 121.6 million,[5] more than both Super Bowl XVII and the Roots miniseries. The episode surpassed the single-episode ratings record that had been set by the Dallas episode that resolved the "Who Shot J.R.?" cliffhanger. From 1983 until 2010, Goodbye, Farewell and Amen remained the most watched television broadcast in American history,[2] passed only in total viewership (but not in ratings or share) in February 2010 by Super Bowl XLIV. It still stands as the most-watched finale of any television series.[4]
As M*A*S*H was one of the most successful shows in TV history, in order not to completely lose the franchise, CBS quickly created a new series, AfterMASH, that followed the postwar adventures of Colonel Potter, Max Klinger, and Father Mulcahy in a stateside hospital. Despite wide popularity in its premiere episodes, script problems and constant character changes led to a sharp decline in viewers, and the show was cancelled by CBS after only two seasons. Another would be spin-off, W*A*L*T*E*R, was a pilot made in 1984 that was never picked up. It starred Gary Burghoff, who reprised his M*A*S*H character.
Goodbye, Farewell and Amen was not initially included in the syndication package for M*A*S*H's final season. However, in 1992, the episode made its syndication premiere in time for its 10th anniversary. Local stations aired it as a part of a Movie of the Week.[citation needed]
When M*A*S*H was shown on FX and Hallmark Channel, they aired Goodbye, Farewell and Amen occasionally. Hallmark Channel showed it twice a year, February and August, before dropping M*A*S*H from its schedule. TV Land and MeTV have also shown the episode sporadically, including a Veterans Day broadcast on November 11, 2015. In Canada, the cable channel History Television shows the episode in its entirety annually on the Labor Day holiday.
In 2011, the TV Guide Network special TV's Most Unforgettable Finales ranked this finale as the best.[citation needed]
See also[edit]
M*A*S*H portal
List of most watched television broadcasts
Footnotes[edit]
Jump up ^ Classic Episode - Goodbye, Farewell and Amen. MASH4077.co.uk (Accessed November 12, 2006) Archived November 9, 2006, at the Wayback Machine.
^ Jump up to: a b Wittebols, James H. (2003). Watching M*A*S*H, Watching America. McFarland. pp. 161–166. ISBN 9780786417018. Retrieved May 15, 2009.
Jump up ^ Diffrient, David Scott (2008). M*A*S*H. Wayne State University Press. ISBN 0-8143-3347-8.
^ Jump up to: a b "Saints' win over Colts in Super Bowl XLIV is most-watched television program ever". USA Today. February 8, 2010.
Jump up ^ "M*A*S*H Did You Know?". MeTV. Retrieved June 21, 2015.
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