text:
Therefore sign
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∴
Therefore sign
Punctuation
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In logical argument and mathematical proof, the therefore sign (∴) is generally used before a logical consequence, such as the conclusion of a syllogism. The symbol consists of three dots placed in an upright triangle and is read therefore. It is encoded at U+2234 ∴ therefore (HTML ∴ · ∴). For common use in Microsoft Office hold the ALT key and type "8756". While it is not generally used in formal writing, it is used in mathematics and shorthand. It is complementary to U+2235 ∵ because (HTML ∵).
Contents
[hide]
1 History
2 Example of use
3 Related signs
4 See also
5 References
History[edit]
According to Cajori, A History of Mathematical Notations, Johann Rahn used both the therefore and because signs to mean "therefore"; in the German edition of Teutsche Algebra (1659) the therefore sign was prevalent with the modern meaning, but in the 1668 English edition Rahn used the because sign more often to mean "therefore".[1] Other authors in the eighteenth century also used three dots in a triangle shape to signify "therefore," but as with Rahn, there wasn't much in the way of consistency as to how the triangle was oriented; because with its current meaning appears to have originated in the nineteenth century. In this century, the three-dot notation for therefore became very rare in continental Europe, but it remains popular in the British Isles.[2]
Example of use[edit]
Used in a syllogism:
All gods are immortal.
Zeus is a god.
∴ Zeus is immortal.
x + 1 = 6
∴ x = 5
Related signs[edit]
A diploma from the Masonic Grande Loge de France showing the symbol as a substitute for the dot of abbreviation.
The inverted form ∵, known as the because sign, is sometimes used as a shorthand form of "because". This is Unicode character U+2235.
The therefore sign is sometimes used as a substitute for an asterism ⁂.
In meteorology, the therefore sign is used to indicate moderate rain on a station model; the asterism indicates moderate snow.
To denote logical implication or entailment, various signs are used in mathematical logic: →, ⇒, ⊃, ⊢, ⊨. These symbols are then part of a mathematical formula, and are not considered to be punctuation. In contrast, the therefore sign is traditionally used as a punctuation mark, and does not form part of a logical formula.[3]
The graphically identical sign ∴ serves as a Japanese map symbol on the maps of the Geographical Survey Institute of Japan, indicating a tea plantation. On other maps the sign, often with thicker dots, is sometimes used to signal the presence of a national monument or ruins.
The character ஃ in the Tamil script represents the āytam, a special sound of the Tamil language.
In Masonic traditions the symbol is used for abbreviation, instead of the usual period. For example "R∴W∴ John Smith" is an abbreviation for "Right Worshipful John Smith" (the term Right Worshipful is an archaic title just as "Land Lord" is and indicates that Brother Smith is a Grand Lodge officer).[4]
In Norwegian and Danish, a similar symbol is used as an explanatory symbol (forklaringstegnet). It can be typeset using the open o followed by a colon, thus: ɔ:. It is used for the meaning "namely", "id est", "scilicet" or similar[5].
See also[edit]
Q.E.D.
Mathematical jargon
References[edit]
Jump up ^ "Cajori, vol. 1, p. 211". Archive.org. Retrieved 2013-10-05.
Jump up ^ Florian Cajori (2011) [1929]. A History of Mathematical Notations: Two Volumes in One. Cosimo, Inc. pp. 282–283. ISBN 978-1-61640-571-7.
Jump up ^ [1] Archived October 14, 2008, at the Wayback Machine.
Jump up ^ Encyclopedia of Freemasonry Part 1 and Its Kindred Sciences Comprising the ..., Albert Gallatin Mackey, page 2, reprint in 2002, Kessinger Publishing, ISBN 0-7661-2650-1.
Jump up ^ http://www.typografi.org/forklaringstegn/forklaringstegn.html
[hide]
v
t
e
Common logical symbols
∧ or &
and
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or
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not
→
implies
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implies,
superset
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existential
quantification
⊤
tautology
⊥
false,
contradiction
⊢
entails,
proves
⊨
entails,
therefore
∴
therefore
∵
because
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text:
Watchman (law enforcement)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Watchmen (disambiguation).
Watchman
A Night Watchman. By Thomas Dekker from The Belman of London (1608).
Description
Competencies
public safety, fire watch, crime prevention, crime detection, criminal apprehension, recovery of stolen goods
Fields of
employment
Law enforcement
Related jobs
thief-taker, security guard, police officer, fire lookout
Watchmen were organized groups of men, usually authorized by a state, government, city, or society, to deter criminal activity and provide law enforcement as well as traditionally perform the services of public safety, fire watch, crime prevention, crime detection, recovery of stolen goods. Watchmen have existed since earliest recorded times in various guises throughout the world and were generally succeeded by the emergence of formally organized professional policing.
Contents
[hide]
1 Early origins
2 Watchmen in England
2.1 The Problem of the Night
2.2 Formation of Watchmen
2.3 Duties
2.4 Reputation
2.5 Watch houses
2.6 Policing the Night Streets
3 Watchmen in the United States of America
4 Watchmen and modern police
5 See also
6 References
7 Further reading
8 Bibliography
9 External links
Early origins[edit]
An early reference to a watch can be found in the Bible where the Prophet Ezekiel states that it was the duty of the watch to blow the horn and sound the alarm. (Ezekiel 33:1-6)
The existence of watchmen has also been found[specify] in the Ottoman, Greek and Egyptian Empires.[citation needed]
The Roman Empire turned the role of a watchman into a profession by creating two organizations:
the Praetorian Guard thus establishing a rank and file system with a Captain of the Guard.
Vigiles, literally the watch.
Watchmen in England[edit]
The Problem of the Night[edit]
The streets in London were dark and had a shortage of and poor quality artificial light.[1] It had been recognized for centuries that the coming of darkness to the unlit streets of a town brought a heightened threat of danger, and that the night provided cover to the disorderly and immoral, and to those bent on robbery or burglary or who in other ways threatened physical harm to people in the streets and in their houses.[2]
The anxieties that darkness gave rise to had been met by the formation of a night watch in the 13th century, and by the rules about who could use the streets after dark. These rules had for long been underpinned in London and other towns by the curfew, the time (announced by the ringing of a bell) at which the gates closed and the streets were cleared. Only people with good reason to be abroad could then travel through the City.[1] Anyone outside at night without reason or permission was suspicious and potentially criminal.[3]
Allowances were usually made for people who had some social status on their side. Lord Fielding clearly expected to pass through London's streets untroubled at 1 am one night in 1641, and he quickly became piqued when his coach was stopped by the watch, shouting huffily that it was a 'disgrace' to stop someone of such high standing as he, and telling the constable in charge of the watch that he would box him on the ears if he did not let his coach carry on back to his house. 'It is impossible' to 'distinguish a lord from another man by the outside of a coach', the constable said later in his defence, 'especially at unreasonable times'.[4]
Formation of Watchmen[edit]
The Ordinance of 1233 required the appointment of watchmen.[5][6] The Assize of Arms of 1252, which required the appointment of constables to summon men to arms, quell breaches of the peace, and to deliver offenders to the sheriff, is cited as one of the earliest creations of an English police force, as was the Statute of Winchester of 1285.[7][8][9] In 1252 a royal writ established a Watch and Ward with royal officers appointed as Shire Reeves:
By order of the King of England the Winchester Act Mandating The Watch. Part Four and the King commandth that from henceforth all Watches be made as it hath been used in past times that was to wit from the day of Ascension unto the day of St. Michael[10] in every city by six men at every gate in every borough by twelve men in every town by six or four according to the number of inhabitants of the town. They shall keep the Watch all night from sun setting unto sun rising. And if any stranger do pass them by them he shall be arrested until morning and if no suspicion be found he shall go quit.
Later in 1279 King Edward I formed a special guard of 20 sergeants at arms who carried decorated battle maces as a badge of official office. By 1415 a watch was appointed to the Parliament of England and in 1485 King Henry VII established a household watch that became known as the Beefeaters.
After 1660 it seems that large numbers of men had avoided night-time service by paying for a substitute well before 1660. Substitution had become so common by the late 17th century that the night watch was virtually by then a fully paid force.[11]
In October 1663 was promulgated an act of Common Council, known as 'Robinson's Act' from the name of the sitting lord mayor, that confirmed the duty of all householders in the City to take their turn at watching in order 'to keep the peace and apprehend night-walkers, malefactors and suspected persons'. For the most part the Common Council Act of 1663 reiterated the rules and obligations that had long existed. The number of watchmen required for each ward, it declared, was to be the number 'established by custom' – in fact, by an act of 1621. Even though it had been true before the civil war that the watch had already become a body of paid men, supported by what were in effect the fines collected from those with an obligation to serve, the Common Council did not acknowledge this in the confirming Act of 1663.[12]
The act of 1663 confirmed that watch on its old foundations, and left its effective management to the ward authorities. The important matter to be arranged in the wards was who was going to serve and on what basis. How the money was to be collected to support a force of paid constables, and by whom, were crucial issues. The 1663 act left it to the ward beadle or a constable and it seems to have been increasingly the case that rather than individuals paying directly for a substitute, when their turn came to serve, the eligible householders were asked to contribute to a watch fund that supported hired man.[13]
From the mid-1690s the City authorities made several attempts to replace Robinson's Act and establish the watch on a new footing. Though they did not say it directly, the overwhelming requirement was to get quotas adjusted to reflect the reality that the watch consisted of hired men rather than citizens doing their civic duty—the assumption upon which the 1663 act, and all previous acts, had been based.[14]
The implications and consequences of changes in the watch were worked out in practice and in legislation in two stages between the Restoration and the middle decades of the 18th century. The first involved the gradual recognition that a paid (and full-time) watch needed to be differently constituted from one made up of unpaid citizens, a point accepted in practice in legislation passed by the Common Council in 1705, though it was not articulated in as direct a way.[15]
The fact that the 1705 act called for watchmen to be strong and able-bodied men seems further confirmation that the watch was now expected to be made up of hired hands rather than every male house holder serving in turn. The act of 1705 laid out the new quotas of watchmen and the disposition of watch-stands agreed to each ward. To discourage the corruption that had been blamed for earlier under-manning, it forbade constables to collect and disturbs the money paid in for hired watchmen: that was now supposed to be the responsibility of the deputy and common councilmen of the ward.[16]
The second stage was the recognition that watchmen could not be sustained without a major shift in the way local services were financed. This led to the City's acquisition of taxing power by means of an act of parliament in 1737 which changed the obligation to serve in person into an obligation to pay to support a force of salaried man.[15] Under the new act, the ward authorities also continued to hire their own watchmen and to make whatever local rules seemed appropriate—establishing, for example, the places in their wards where the watchmen would stand and the beats they would patrol. But the implementation of the new Watch Act did have the effect of imposing some uniformity on the watch over the whole City, making in the process some modest incursions into the local autonomy of the wards. One of the leading elements in the regime that emerged from the implementation of the new act was an agreement that every watchman would be paid the same amount and that the wages should be raised to thirteen pounds a year.[17]
From 1485 to the 1820s, in the absence of a police force, it was the parish-based watchmen who were responsible for keeping order in London's streets.[1]
Duties[edit]
Night watchmen patrolled the streets between 9 or 10 pm until sunrise, and were expected to examine all suspicious characters.[18] Such controls continued to be exercised in the late 17th century. Guarding the streets to prevent crime, to watch out for fires, and – despite the absence of a formal curfew – to ensure that suspicious and unauthorized people did not prowl around under cover of darkness was still the duty of night watch and the constables who were supposed to command them.[19]
The principal task of the watch in 1660 and for long after continued to be the control of the streets at night imposing a form of moral or social curfew that aimed to prevent those without legitimate reason to be abroad from wandering the streets at night. That task was becoming increasingly difficult in the 17th century because of the growth of the population and variety of ways in which the social and cultural life was being transformed. The shape of the urban day was being altered after the Restoration by the development of shops, taverns and coffee-houses, theatres, the opera and other places of entertainment. All these placed remained open in the evening and extended their hours of business and pleasure into the night.[20]
The watch was affected by this changing urban world since policing the night streets become more complicated when larger number of people were moving around. And what was frequently thought to be poor quality of the watchman—and in time, the lack of effective lighting—came commonly to be blamed when street crimes and night-time disorders seemed to be growing out of control.[20]
Traditionally, householders served in the office of constable by appointment or rotation. During their year of office they performed their duties part-time alongside their normal employment. Similarly, householders were expected to serve by rotation on the nightly watch. From the late seventeenth century, however, many householders avoided these obligations by hiring deputies to serve in their place. As this practice increased, some men were able to make a living out of acting as deputy constables or as paid night watchmen. In the case of the watch, this procedure was formalized in many parts of London by the passage of "Watch Acts", which replaced householders' duty of service by a tax levied specifically for the purpose of hiring full-time watchmen. Some voluntary prosecution societies also hired men to patrol their areas.[18]
Reputation[edit]
While the societies for the reformation of manners showed there was a good deal of support for the effective policing of morality, they also suggested that the existing mechanisms of crime control were regarded by some as ineffective.[21]
Constable Dogberry's men from Much Ado About Nothing by Shakespeare would 'rather sleep than talk' may be dismissed as merely a dramatic device or a caricature, but successful dramatists nevertheless work with characters who strike a chord with their audience. A hundred years later such complaints were still commonplace. Daniel Defoe wrote four pamphlets and a broadsheet on the issue of street crime in which, among other things, he roundly attacked the efficacy of the watch and called for measures to ensure it 'be compos'd of stout, able-body'd Men, and of those a sufficient Number'.[22]
Watchmen on roads leading to London had a reputation for clumsiness in the late 1580s. It was a temptation on cold winter nights to slip away early from watching stations to catch some sleep. Constables in charge sometimes let watches go home early. 'The late placing and early dischargering' of night-watches concerned Common Council in 1609 and again 3 decades later when someone sent out to spy on watches reported that they 'break up longe before they ought'. 'The greatest parte of constables' broke up watches 'earlie in the morninge' at exactly the time 'when most danger' was 'feared' in the long night, leaving the dark streets to thieves.[23]
We can imagine watchmen on chilly nights counting off the hours until sunrise. Alehouses offered some warmth, even after curfew bells told people to drink up. A group of watchmen sneaked into a 'vitlers' house one night in 1617 and stayed 'drinking and taking tobacco all night longe'.[24] Like other officers, watchmen could become the focus for trouble themselves, adding to the hullabaloo at night instead of ordering others to keep the noise down and go to bed. And as by day, there were more than a few crooked officers policing the streets at night, quite happy to turn a blind eye to trouble for a bribe. Watchman Edward Gardener was taken before the recorder with 'a common nightwalker' – Mary Taylor – in 1641 after he 'tooke 2s to lett' her 'escape' when he was escorting her to Bridewell late at night. Another watchman from over the river in Southwark took advantage of the tricky situation people suddenly found themselves in if they stumbled into the watch, 'demanding money [from them] for passing the watch'.[24]
Common complaint in the 1690s was that watchmen were inadequately armed. This was another aspect of the watch in the process of being transformed. The Common Council acts required watchmen to carry halberds essentially, a pike with an axe-blade attached—and some were still doing so in the late seventeenth century. But it seems clear that few did, because the halberd was no longer suitable for the work they were being called upon to do. It was more often observed that watchmen failed to carry them, and it is surely the case that the halberd was no longer a useful weapon for a watch that was supposed to be mobile. By the second quarter of the 18th century, watchmen were equipped with a staff, along with their lantern.[25]
Watch houses[edit]
A rare and unusually fine Georgian Watchman's Box of about 1810. Bath, UK
Another step in the right direction was building 'watch howses' as the country lurched towards revolution after 1640. A City committee was asked to look into the question 'what watchhouses are necessary' and where 'for the safety of this cittye' in 1642. Workmen began building watch houses in strategic spots soon after. They provided assembly-points for watchmen to gather to hear orders for the night ahead, somewhere to shelter from 'extremitye of wind and weather', and holding-placed for suspects until morning when justices examined the night's catch. There were watch houses next to Temple Bar (1648), 'neere the Granaryes' by Bridewell (1648), 'neere Moregate' (1648), and next to St Paul's south door (1649). They were not big; the one on St. Paul's side was 'a small house or shed'. This was a time of experimentation, and people (including those in authority) were learning how to make best use of these new structures in their midst.[26]
Policing the Night Streets[edit]
The watchmen patrolled the streets at night, calling out the hour, keeping a lookout for fires, checking that doors were locked and ensuring that drunks and other vagrants were delivered to the watch constable.[27] However, their low wages and the uncongenial nature of the job attracted a fairly low standard of person, and they acquired a possibly-exaggerated reputation for being old, ineffectual, feeble, drunk or asleep on the job.[28]
London had a system of night policing in place before 1660, although it was improved over the next century through better lighting, administrations, finances, and better and more regular salaries. But the essential elements of the night-watch were performing completely by the middle of the seventeenth century.[29]
During the 1820s, mounting crime levels and increasing political and industrial disorder prompted calls for reform, led by Sir Robert Peel, which culminated in the demise of the watchmen and their replacement by a uniformed metropolitan police force.[30][31]
Watchmen in the United States of America[edit]
The first form of societal protection in the United States was based on practices developed in England. The City of Boston was the first settlement in the 13 colonies to establish a night watch in 1631.[2] New York (then New Amsterdam) and Jamestown followed in 1658.
Watchmen and modern police[edit]
With the unification of laws and centralization of state power (e.g. the Municipal Police Act of 1844 in New York City, United States), such formations became increasingly incorporated into state-run police force (see metropolitan police and municipal police).
Watchmen still exist under Florida statutes and are recognised / given special dispensation in law.[32][33]
See also[edit]
City watch
Constable
Dogberry
Security Officer
Nightwalker Statute
Watch committee
References[edit]
^ Jump up to: a b Beattie, J. M. (2001). Policing and Punishment in London 1660–1750. Oxford University Press. p. 169. ISBN 0-19-820867-7.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Britain: Oxford University Press. p. 169. ISBN 0-19-820867-7.
Jump up ^ Griffiths, Paul (2010). Lost Londons Change, Crime, and Control in the Capital City, 1550–1660. Cambridge University Press. p. 333. ISBN 978-0-521-17411-4.
Jump up ^ Griffiths, Paul (2010). Lost Londons Change, Crime and Control in the Capital City, 1550–1660. Cambridge University Press. p. 335. ISBN 978-0-521-17411-4.
Jump up ^ Pollock, Frederick; Maitland, Frederic William (1898). The History of English Law Before the Time of Edward I. 1 (2 ed.). p. 565. ISBN 978-1-58477-718-2.
Jump up ^ Rich, Robert M. (1977). Essays on the Theory and Practice of Criminal Justice. p. 50. ISBN 978-0-8191-0235-5. The origin of the exception goes back in English history to the Ordinance of 1233 which instituted night-watchmen, and directed them 'to arrest those who enter vills at night and go about armed.' Later the Ordinance of 1252 mentions 'disturbers of our peace.'
Jump up ^ Clarkson, Charles Tempest; Richardson, J. Hall (1889). Police!. pp. 1–2. OCLC 60726408.
Jump up ^ Delbrück, Hans (1990). Renfroe, Walter J., Jr, ed. Medieval Warfare. History of the Art of War. 3. p. 177. ISBN 0-8032-6585-9.
Jump up ^ Critchley, Thomas Alan (1978). A History of Police in England and Wales. The Statute of Winchester was the only general public measure of any consequence enacted to regulate the policing of the country between the Norman Conquest and the Metropolitan Police Act, 1829…
Jump up ^ That is, from the Thursday 39 days after Easter Sunday to the 29th of September.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London 1660'1750. Great Britain: Oxford University Press. p. 172. ISBN 0-19-820867-7.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Britain: Oxford University Press. p. 175. ISBN 0-19-820867-7.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Britain: Oxford University Press. p. 177. ISBN 0-19-820867-7.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Brirain: Oxford University Press. p. 182. ISBN 0-19-820867-7.
^ Jump up to: a b Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Britain: Oxford University Press. p. 173. ISBN 0-19-820867-7.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Britain: Oxford University Press. p. 186. ISBN 0-19-820867-7.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Britain: Oxford University Press. p. 196. ISBN 0-19-820867-7.
^ Jump up to: a b "Constables and the Night Watch". oldbaileyonline.org.
Jump up ^ Beattie, J.M. (2001). Polocing and Punishment in London 1660-1750. Great Britain: Oxford University Press. p. 170. ISBN 0198208677.
^ Jump up to: a b Beattie, J.M. (2001). Policing and Punishment in London in 1660-1750. Great Britain: Oxford University Press. p. 172. ISBN 0198208677.
Jump up ^ Rawlings, Philip (2002). Policing A Short History. USA: Willan Publishing. p. 64. ISBN 1-903240-26-3.
Jump up ^ Rawlings, Philip (2002). Policing A Short History. USA: Willan Publishing. p. 65. ISBN 1-903240-26-3.
Jump up ^ Griffiths, Paul (2010). Lost Londons Change, Crime, and Control in the Capital City, 1550–1660. New York: Cambridge University Press. pp. 354–355. ISBN 978-0-521-17411-4.
^ Jump up to: a b Griffiths, Paul (2010). Lost Londons Change, Crime, and Control in the Capital City, 1550–1660. New York: Cambridge University Press. p. 355. ISBN 978-0-521-17411-4.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Britain: Oxford University Press. p. 181. ISBN 0-19-820867-7.
Jump up ^ Griffiths, Paul (2010). Lost Londons Change, Crime, and Control in the Capital City, 1550–1660. New York: Cambridge University Press. p. 359. ISBN 978-0-521-17411-4.
Jump up ^ A. Roger Ekirch, At Day’s Close: A History of Nighttime, London: Weidenfeld and Nicolson, 2001
Jump up ^ Philip McCouat, "Watchmen, goldfinders and the plague bearers of the night", Journal of Art in Society, http://www.artinsociety.com/watchmen-goldfinders-and-the-plague-bearers-of-the-night.html
Jump up ^ Griffiths, Paul (2010). Lost Londons Change, Crime, and Control in the Capital City, 1550-1660. New York: Cambridge University Press. p. 359. ISBN 9780521174114.
Jump up ^ Philip Rawlings, Policing: A Short History, Willan Publishing, 2002
Jump up ^ McCouat, op. cit.
Jump up ^ "Statutes & Constitution :View Statutes : Online Sunshine". Leg.state.fl.us. Retrieved 2015-03-27.
Jump up ^ "Statutes & Constitution :View Statutes : Online Sunshine". Leg.state.fl.us. Retrieved 2015-03-27.
^ This can be verified by England's Old Bailey court records.
Further reading[edit]
David Barrie, Police in the Age of Improvement: Police Development and the Civic Tradition in Scotland, 1775-1865, Willan Publishing, 2008, ISBN 1-84392-266-5. Chapter "Watching and Warding", Google Print, p.34-41
Second Thoughts are Best
Augusta Triumphans
Bibliography[edit]
Beattie, J. M. (2001). Policing and Punishment in London 1660-1750. Oxford University Press. ISBN 0-19-820867-7
Ekirch A. R. (2001). At Day’s Close: A History of Nighttime, London: Weidenfeld and Nicolson.
Clarkson, Charles Tempest; Richardson, J. Hall (1889). Police!. OCLC 60726408
"Constables and the Night Watch". .oldbaileyonline,retrieved 22 November 2015, http://www.oldbaileyonline.org/static/Policing.jsp
Critchley, Thomas Alan (1978). A History of Police in England and Wales.
Griffiths, Paul (2010). Lost Londons Change, Crime, and Control in the Capital City, 1550-1660. Cambridge University Press. ISBN 9780521174114.
Delbrück, Hans (1990). Renfroe, Walter J., Jr, ed. Medieval Warfare. History of the Art of War 3. ISBN 0-8032-6585-9.
Philip McCouat, "Watchmen, goldfinders and the plague bearers of the night", Journal of Art in Society, retrieved 22 October 2015, http://www.artinsociety.com/watchmen-goldfinders-and-the-plague-bearers-of-the-night.html
Pollock, Frederick; Maitland, Frederic William (1898). The History of English Law Before the Time of Edward I. 1 (2 ed.). ISBN 978-1-58477-718-2.
Rawlings, Philip (2002). Policing A Short History. USA: Willan Publishing. ISBN 1903240263.
Rich, Robert M. (1977). Essays on the Theory and Practice of Criminal Justice. ISBN 978-0-8191-0235-5.
External links[edit]
The Proceedings of the Old Bailey, 1674-1913
Biblical Watchman News Reporters
Constables and the Night Watch
"Watchmen, goldfinders and the plague bearers of the night"
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Photograph (Ringo Starr song)
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"Photograph"
UK picture sleeve
Single by Ringo Starr
from the album Ringo
B-side
"Down and Out"
Released
24 September 1973
Format
7-inch single
Genre
Rock, pop
Length
4:00
Label
Apple
Songwriter(s)
Richard Starkey, George Harrison
Producer(s)
Richard Perry
Ringo Starr singles chronology
"Back Off Boogaloo"
(1972) "Photograph"
(1973) "You're Sixteen"
(1974)
"Back Off Boogaloo"
(1972) "Photograph"
(1973) "You're Sixteen"
(1974)
Ringo track listing
10 tracks [show]
Side one
"I'm the Greatest"
"Have You Seen My Baby"
"Photograph"
"Sunshine Life for Me (Sail Away Raymond)"
"You're Sixteen"
Side two
"Oh My My"
"Step Lightly"
"Six O'Clock"
"Devil Woman"
"You and Me (Babe)"
"Photograph" is a song by English musician Ringo Starr that was released as the lead single from his 1973 album Ringo. Starr co-wrote the song with George Harrison, his former bandmate from the Beatles. Although the two of them collaborated on other compositions, it is the only song officially credited to the pair. A signature tune for Starr as a solo artist, "Photograph" became an international hit, topping singles charts in the United States, Canada and Australia, and receiving gold disc certification for US sales of 1 million. Music critics have similarly received the song favourably; Stephen Thomas Erlewine of AllMusic considers it to be "among the very best post-Beatles songs by any of the Fab Four".[1]
The lyrics are a reflection on lost love, whereby a photograph is the only reminder of the protagonists' shared past. Starr and Harrison began writing the song in the South of France in 1971, during a period when Starr was focused on developing his acting career. They first recorded "Photograph" late the following year, along with the single's B-side, "Down and Out", during sessions for Harrison's Living in the Material World album (1973). The officially released version was recorded in Los Angeles with producer Richard Perry, and it incorporates aspects of Phil Spector's Wall of Sound through the presence of multiple drums and acoustic guitars, as well as an orchestra and a choir. Aside from Starr and Harrison, the musicians on the recording include Nicky Hopkins, Bobby Keys, Jim Keltner, and Spector's musical arranger, Jack Nitzsche. Starr made a promotional film for the single, shot at his and wife Maureen Starkey's home, Tittenhurst Park.
"Photograph" has appeared on Starr's compilation albums Blast from Your Past (1975) and Photograph: The Very Best of Ringo Starr (2007), and live versions have featured on releases recorded with his All-Starr Band and with the Roundheads. In November 2002, a year after Harrison's death, Starr sang "Photograph" at the Concert for George – a performance that was an emotional highpoint of the event. Engelbert Humperdinck, Camper Van Beethoven, Cilla Black and Adam Sandler are among the artists who have covered the song.
Contents
[hide]
1 Background and composition
2 Recording
2.1 "Down and Out"
3 Release
4 Reception
5 Re-releases and live versions
5.1 Performance at the Concert for George
5.2 Performance at the 2014 Grammy Awards
6 Cover versions and references
7 Personnel
8 Chart performance and sales certifications
8.1 Weekly charts
8.2 Year-end charts
8.3 Certifications
9 Notes
10 References
11 Sources
12 External links
Background and composition[edit]
Ex-Beatles Ringo Starr and George Harrison began writing "Photograph" on a luxury yacht in the South of France in May 1971.[2][3] Starr had hired a yacht, the Marala, for the duration of the Cannes Film Festival, after attending Mick Jagger's wedding in St Tropez with his wife, Maureen Starkey.[3] The Starkeys[nb 1] were then joined in France by Harrison and the latter's wife, Pattie Boyd, for the Monaco Grand Prix.[5] This period coincided with Starr's first success as a solo artist, with the Harrison-produced single "It Don't Come Easy",[6] although he would continue to focus on his career as a film actor,[7][8] beginning with a role in Blindman (1971).[9][nb 2]
Another guest on the Marala was Cilla Black, singer and a friend to the Beatles since the 1960s, who recalls Starr and Harrison playing "Photograph" during an evening get-together, with "everyone on board" contributing ideas for the lyrics.[2] As with Starr's two singles over 1971–72, "It Don't Come Easy" and "Back Off Boogaloo",[14] Harrison helped write the melody,[15][16] although "Photograph" would mark the first time that he was credited as a co-writer with Starr.[17] In her autobiography, Step Inside Love, Black says she had hoped to record the song for a single later in 1971, only to be told by Starr: "No, it's too bloody good for you. I'm having it myself."[18]
The lyric to "Photograph" is centred around lost love,[19][20] with the singer having only a single picture by which to remember his absent lover.[16] The eponymous photograph reminds him of their former happiness together, while also enforcing the reality that "you're not coming back any more".[21] Author Ian Inglis comments on the familiar subject matter in the conventions of pop songwriting, but identifies an "unusual" aspect in the lyrics' "absence of any hope that love might be rekindled".[21] Starr expresses resignation at what the future holds, in the lines "Now you're expecting me to live without you / But that's not something that I'm looking forward to".[21]
Musically, the song is in the key of E,[22] with what Inglis terms an "easy melody" that allows for Starr's limitations as a singer.[21] Harrison's "distinctive composing style" is particularly evident, according to authors Roy Carr and Tony Tyler,[23] and Starr would later say of Harrison's role in their collaborations over this period: "I only know three chords and he'd stick four more in, and they'd all think I was a genius."[24]
Recording[edit]
Starr continued to pursue his film career until the end of 1972,[25] while also participating in musical projects such as Harrison's Concert for Bangladesh.[26][nb 3] Late that year, Starr and Harrison recorded an early version of "Photograph" during the sessions for Harrison's Living in the Material World album (1973).[30] With Harrison producing,[10] this recording took place at either Apple Studio in central London, or Harrison's home studio, FPSHOT, in Oxfordshire.[31][32]
Starr re-recorded the song in March 1973,[33] while working at Sunset Sound Recorders in Los Angeles on Ringo, his first solo album in the rock[34] or contemporary pop style.[35][nb 4] He later described Ringo as an "accidental album", since it only came about because he was attending the Grammy Awards in Nashville, where The Concert for Bangladesh won the Grammy for Best Album of 1972.[38] Keen to find another activity to justify the flight to the US, Starr arranged to record with American producer Richard Perry during the visit.[39]
The recording engineer on "Photograph" was Bill Schnee,[11] and author Simon Leng suggests that Harrison helped "hew" the production.[40] Along with Starr (on drums) and Harrison (12-string acoustic guitar), the other musicians included Nicky Hopkins (piano), Klaus Voormann (bass) and Jim Keltner (drums),[41] all of whom had participated in the sessions for Material World.[42] In addition, Vini Poncia, Starr's new songwriting partner,[43] and session musician Jimmy Calvert played acoustic rhythm guitar on the Los Angeles recording.[44]
Overdubs on the basic tracks recorded for Ringo took place from April to July 1973.[39] On "Photograph", the additional instrumentation included a saxophone solo by Bobby Keys[45] and percussion played by one of Harrison's Apple Records signings, brothers Lon and Derrek Van Eaton.[46] Harrison added harmony and backing vocals,[11] supporting Starr's lead vocal part.[47]
Musical arranger Jack Nitzsche helped give the recording a sound typical of Phil Spector's hit productions from the 1960s; photo by Brian Ashley White
Jack Nitzsche, Phil Spector's musical arranger for much of the 1960s,[48][49] provided the song's string and choral arrangements, which were overdubbed at Burbank Studios on 29 June.[10] Aside from Nitzsche's contributions, the recording incorporates aspects of Spector's Wall of Sound production[50] through the use of multiple rhythm guitars and drums, and prominent percussion such as castanets.[51] Leng draws parallels between the "resonant arrangement" on "Photograph" and the production that Harrison adopted for Ravi Shankar's song "I Am Missing You",[52] an April 1973 recording that also featured Starr.[53]
"Down and Out"[edit]
With "Photograph" selected as the album's lead single, Starr chose "Down and Out", a song written by him alone, for the B-side.[19] Starr recorded the song in England, backed by Harrison, pianist Gary Wright and Voormann.[54] The Harrison-produced session most likely took place in 1972, according to authors Chip Madinger and Mark Easter, during the same period as Starr and Harrison's first attempt at recording "Photograph".[55][nb 5]
A twelve-bar blues with what Starr biographer Alan Clayson describes as "perfunctory" lyrics, the recording features solos from Harrison, on slide guitar,[19] and Wright.[55] Perry subsequently added a horn section, resulting in him being credited as co-producer on the track.[54] Carr and Tyler dismiss "Down and Out" with the description: "a very mundane throwaway tune only saved from extinction by the professional arrangement and by Harrison's distinctive slide-guitar solo".[23]
Release[edit]
Apple Records released "Photograph", backed by "Down and Out", on 24 September 1973 in America, and on 19 October in Britain.[59][nb 6] Starr made a promotional film for "Photograph", in which he mimed to the song while walking through the grounds of Tittenhurst Park,[61] the Berkshire estate that he had recently purchased from former bandmate John Lennon.[62] To circumvent the BBC's ban on lip-synching, Starr placed his hand over his mouth for part of the song,[10] thereby making it impossible to tell whether he was singing or merely miming.[61][nb 7] The single's picture sleeve consisted of a photo by Barry Feinstein that showed Starr's head poking through a large star made of silver foil.[63] The same image, which author Bruce Spizer terms "the Ringo starfish", appeared on the single's face labels and on those of the Ringo album.[63]
The album's release followed in November 1973,[64] with "Photograph" appearing as the third track, preceding another Harrison contribution, "Sunshine Life for Me (Sail Away Raymond)".[65] Opposite the printed lyrics for "Photograph" inside the album booklet, a lithograph by Voormann depicted a framed picture on a shelf or desktop, in which Starr looks dejectedly at a framed picture of a woman.[66] In his personal life at this point, the album's arrival coincided with the failure of Starr's marriage, partly as a result of Harrison and Maureen conducting an affair.[67] While the friendship between the two former bandmates soon recovered,[68] Starr and Harrison would not officially write another song together after "Photograph".[69]
Noting the context in which Starr's song of "beautiful sadness" was released in the United States, Clayson describes "Photograph" as having been a popular request on radio playlists "for a nation still awaiting the return of many of its sons from Vietnam, following the January cease-fire".[19] Rodriguez comments on the precipitous timing of the single, which "capitaliz[ed] on the year's nostalgia craze",[24] while news of Starr recording with each of his former bandmates during the Ringo sessions provided further impetus.[16] In late November, the single topped America's Billboard Hot 100 for one week,[70] Starr's first number 1 hit on that chart as a solo artist[71] and Harrison's third there as a composer since the Beatles' break-up in 1970.[72][73] "Photograph" was also number 1 in Canada and Australia, while in Britain it peaked at number 8.[74] In Rodriguez's words, the single "did a good job of setting the table" for Ringo,[24] which also enjoyed considerable commercial success.[16][39] On 28 December 1973, "Photograph" was certified gold by the Recording Industry Association of America,[75] signifying US sales of 1 million[76] – Starr's second such award, after "It Don't Come Easy".[77]
Reception[edit]
On release, Ben Gerson of Rolling Stone highlighted "Photograph" as one of the album's "three most wonderful songs", along with the Lennon-composed "I'm the Greatest" and the Harrison–Mal Evans collaboration "You and Me (Babe)".[78] Gerson noted how the song's intro provided an effective "pull on the listener" and wrote that, while the lyrics had a sorrowful quality, "the effect is warming".[78] Billboard's album reviewer praised Perry's "stunning production" on "the best Ringo album ever", adding: "We all know already that 'Photograph' has got to be a No. 1 single this month, right?"[79]
Although less impressed with Ringo, Alan Betrock wrote in Phonograph Record: "It's also clear when you reach 'Photograph' that Side One is the undisputed champ of the album. Jack Nitzsche has thrown in a lot of his past influences here, including the Famous School of Phil Spector castanets, lesson No. 2."[80] Betrock concluded of the song: "'Photograph' is one of those rare pop records that grows stronger with each play, and will be covered and revived for years to come (I'll lay you 50-1 it appears on the next Andy Williams album)."[80]
Stephen Thomas Erlewine of AllMusic considers "Photograph" a "gorgeous collaboration" between Starr and Harrison, a track that "ranks ... among the very best post-Beatles songs by any of the Fab Four".[1] Robert Rodriguez describes it as "an elegantly produced ballad" and Starr's "signature tune as a solo artist".[81] Rodriguez continues: "The ersatz Wall of Sound somehow managed not to swamp the lead vocal and Harrison harmony, while embodying the best qualities of the Beatles' singles: hummable and familiar, yet fresh and enduring."[82] In his 1977 book The Beatles Forever, Nicholas Schaffner wrote of how the song's "grand, sweeping arrangement" was reminiscent of Harrison's "own recent cosmic productions".[16] Author Elliot Huntley similarly acknowledges the extent of Harrison's influence on this and other tracks on Ringo while rueing that "Photograph" marks the only formal co-composition by the two ex-Beatles.[83] Huntley describes the song as the album's "stand-out track" and "by a country mile, the commercial high-point" for Starr as a songwriter.[20] Former Mojo editor Mat Snow recognises it as "perhaps the single best song of [Starr's] career" and the "emotional heart" of the album.[84]
Re-releases and live versions[edit]
The song provided the title to Starr's 2007 career-spanning compilation Photograph: The Very Best of Ringo Starr,[1] having earlier appeared on Blast from Your Past (1975), a greatest-hits collection covering his years on Apple Records.[85] For the 1991 CD reissue of Ringo, the album was expanded through the inclusion of three bonus tracks,[86] the last of which was the long-unavailable "Down and Out".[87] In 2009, "Photograph" was featured in the Judd Apatow-directed film Funny People[88] and appeared on the accompanying soundtrack album.[89]
Starr performing with his All-Starr Band in 2011
Following his return to touring in July 1989[90] – the first tour for Starr since the Beatles quit performing live in 1966[91] – he has played "Photograph" regularly with the various incarnations of his All-Starr Band. Eschewing his drum kit for the role of lead singer,[92] Starr often closed his shows with the song (before returning for an encore) during tours he made between 1989 and 2000.[93] A live version appeared on the album and video Ringo Starr and His All-Starr Band (1990);[94] recorded at the Greek Theatre, Los Angeles, on 3 September 1989,[95] it features the original All-Starr line-up of Starr, Billy Preston, Jim Keltner, Rick Danko, Levon Helm, Dr. John, Joe Walsh, Nils Lofgren and Clarence Clemons.[96]
Starr also included the song in his performances on the television shows VH1 Storytellers, in May 1998,[97] and PBS's Soundstage, in August 2005.[98] Featuring backing from the Roundheads – a band led by his latter-day producer Mark Hudson – these recordings were issued on Starr's releases VH1 Storytellers (1998)[99] and Ringo Starr: Live at Soundstage (2007), respectively.[98] Further versions with his All-Starr Band have appeared on the albums King Biscuit Flower Hour Presents Ringo & His New All-Starr Band (2002),[97] Ringo Starr & His All Starr Band Live 2006 (2008)[100] and Live at the Greek Theatre 2008 (2010), the latter with Gary Wright among the revised line-up.[101] Starr re-recorded the song with the American band Vandaveer for his 2017 album Give More Love.[102]
Performance at the Concert for George[edit]
On 29 November 2002, Starr performed "Photograph" at the Concert for George,[103] held at London's Royal Albert Hall to mark the first anniversary of Harrison's death.[104] According to the Concert for George website: "Ringo Starr caught everyone with a tear in their eye with a rendition of 'Photograph', a composition he wrote with George, which seemed to sum up how everyone felt."[105]
Starr's appearance came towards the end of the concert, and Inglis writes that his arrival was "given an extra poignancy by his choice of song".[106] In his preamble to the audience, Starr stated, "I loved George, George loved me",[107] before mentioning that "Photograph" had taken on a new meaning with the passing of Harrison.[106] This performance – with a large band that included Jeff Lynne, Eric Clapton, Dhani Harrison, Preston, Keltner and saxophonist Jim Horn – was issued on the Concert for George album (2003)[108] and appears in David Leland's documentary film of the event.[109][110] In a July 2003 interview, Starr discussed his recently released tribute song to Harrison, "Never Without You", while acknowledging that he remained closest to Harrison out of all the former Beatles following the band's break-up.[111]
Performance at the 2014 Grammy Awards[edit]
Starr sang "Photograph" at the 56th Annual Grammy Awards,[112] during which he and Paul McCartney, as the two surviving ex-Beatles, were honoured with the Recording Academy's Lifetime Achievement Award.[113] The event took place at the Staples Center in Los Angeles on 26 January 2014.[114] Rolling Stone reported on Starr's performance of the song: "Backed by a massive full band, he bounced around the stage while old black-and-white photographs showed on a big screen behind him."[115] The accompanying images were taken from Starr's recently published book;[112] also titled Photograph, it consists of photos from his personal collection, dating back to the 1950s and '60s.[116]
Cover versions and references[edit]
Engelbert Humperdinck and the Ray Conniff Singers each released recordings of the song in 1974.[117] The following year, London-based recording engineer David Hentschel covered "Photograph", along with all the other tracks on Ringo,[118] for his album Sta*rtling Music.[119] The latter, an experimental work featuring Hentschel on ARP synthesizer,[120] was the first release on Starr's short-lived record label, Ring O' Records.[121]
A cover version of the song by American alt rock band Camper Van Beethoven appeared on their 1993 rarities compilation Camper Vantiquities.[122] Canadian band Sloan made mention of "Photograph" in their 1996 single "The Lines You Amend", the lyrics of which refer to a song "... about photographs / Sung by Ringo Starr / Especially in the chorus part / You always said, 'Now don't you start'."[123]
Cilla Black eventually recorded "Photograph", for her 2003 album Beginnings: Greatest Hits & New Songs – a version that "she jumps into head first at her most soulful", according to music critic Bruce Eder.[124] While Starr's original recording appeared on the soundtrack to Funny People, a cover by the film's leading actor, Adam Sandler, is available as an iTunes bonus track with the album.[125]
Personnel[edit]
Ringo Starr – vocals, drums
George Harrison – 12-string acoustic guitar, backing vocals
Bobby Keys – tenor saxophone
Nicky Hopkins – piano
Vini Poncia – acoustic guitar, backing vocals
Jimmy Calvert – acoustic guitar
Klaus Voormann – bass
Jim Keltner – drums
Lon Van Eaton – percussion
Derrek Van Eaton – percussion
Jack Nitzsche – orchestral and choral arrangements
Chart performance and sales certifications[edit]
Weekly charts[edit]
Chart (1973–74)
Peak
position
Australian Go-Set Top 40 Singles[126] 1
Australian Kent Music Report[127] 1
Belgian Ultratop Singles[128] 8
Canadian RPM 100 Singles[129] 1
Dutch MegaChart Singles[130] 4
Irish Singles Chart[131] 15
Japanese Oricon Singles Chart[132] 55
New Zealand NZ Listener Chart[133] 4
Norwegian VG-lista Singles[134] 6
Swiss Singles Chart[135] 6
UK Singles Chart[136] 8
US Billboard Easy Listening[137] 3
US Billboard Hot 100[137] 1
US Cash Box Top 100[138] 1
West German Media Control Singles[134] 5
Year-end charts[edit]
Chart (1973)
Rank
Canadian RPM Top Singles[139] 25
Chart (1974)
Rank
Australian Kent Music Report[citation needed] 24
US Cash Box Top 100[140] 61
Certifications[edit]
Region
Certification
Certified units/Sales
United States (RIAA)[141]
Gold 1,000,000^
^shipments figures based on certification alone
Notes[edit]
Jump up ^ Starr's real name is Richard Starkey.[4]
Jump up ^ Some sources claim that "Photograph" originated in Almeria, Spain, where Starr was filming Blindman,[10][11] yet his role in that film was only confirmed at the end of the Cannes Film Festival.[12] According to entries in Keith Badman's book The Beatles Diary Volume 2, Starr joined the production in Rome on 17 June before carrying out location filming in Almeria through July.[13]
Jump up ^ Starr and Harrison both contributed to 1972 albums by Bobby Keys, Harry Nilsson and Lon & Derrek Van Eaton,[27][28] in addition to participating in a session for a proposed Cilla Black single in August 1972.[29] Author Alan Clayson refers to Harrison and Starr as "the Tweedledum and Tweedledee of such occasions", due to their many sessions together during the early 1970s.[27]
Jump up ^ Starr's previous solo albums, Sentimental Journey and Beaucoups of Blues (both 1970), had been forays focusing on pre-rock era standards and country music, respectively.[36][37]
Jump up ^ Alternatively, the line-up of Starr, Harrison, Wright and Voormann was the same as that on "Back Off Boogaloo",[56] recorded at Apple[57] in September 1971.[58]
Jump up ^ The catalog numbers were Apple 1865 and Apple R 5992 in the US and the UK, respectively.[60]
Jump up ^ The BBC aired the clip once on the music show Top of the Pops, which was the only screening it received anywhere in the world.[61]
References[edit]
^ Jump up to: a b c Erlewine, Stephen Thomas. "Ringo Starr Photograph: The Very Best of Ringo Starr". AllMusic. Retrieved 3 February 2014.
^ Jump up to: a b Clayson, p. 216.
^ Jump up to: a b Badman, p. 35.
Jump up ^ Romanowski & George-Warren, p. 946.
Jump up ^ Clayson, pp. 216, 227.
Jump up ^ Woffinden, pp. 45, 47.
Jump up ^ Ingham, p. 139.
Jump up ^ Woffinden, p. 37.
Jump up ^ Rodriguez, p. 42.
^ Jump up to: a b c d Madinger & Easter, p. 503.
^ Jump up to: a b c Spizer, p. 306.
Jump up ^ Badman, p. 36.
Jump up ^ Badman, pp. 36–37.
Jump up ^ Spizer, pp. 293, 297, 303.
Jump up ^ Woffinden, p. 77.
^ Jump up to: a b c d e Schaffner, p. 161.
Jump up ^ Rodriguez, pp. 28, 32, 261.
Jump up ^ Clayson, pp. 216, 393.
^ Jump up to: a b c d Clayson, p. 244.
^ Jump up to: a b Huntley, p. 97.
^ Jump up to: a b c d Inglis, p. 55.
Jump up ^ "Photograph" (sheet music for Piano, Vocal & Guitar) (1973). London: Music Sales Limited.
^ Jump up to: a b Carr & Tyler, p. 107.
^ Jump up to: a b c Rodriguez, p. 261.
Jump up ^ Ingham, pp. 139–40.
Jump up ^ Clayson, pp. 220, 240.
^ Jump up to: a b Clayson, p. 240.
Jump up ^ Castleman & Podrazik, pp. 115, 116.
Jump up ^ Madinger & Easter, p. 440.
Jump up ^ Rodriguez, pp. 35, 261.
Jump up ^ Spizer, pp. 254, 306.
Jump up ^ Leng, pp. 124–25.
Jump up ^ Badman, pp. 91, 92.
Jump up ^ Spizer, pp. 305, 306.
Jump up ^ Doggett, p. 207.
Jump up ^ Schaffner, pp. 129, 140.
Jump up ^ Woffinden, pp. 36–37.
Jump up ^ Rodriguez, p. 139.
^ Jump up to: a b c Madinger & Easter, p. 501.
Jump up ^ Leng, p. 138.
Jump up ^ Castleman & Podrazik, pp. 211–12.
Jump up ^ Rodriguez, p. 260.
Jump up ^ Clayson, pp. 244–45.
Jump up ^ Spizer, pp. 306–07.
Jump up ^ Clayson, p. 241.
Jump up ^ Spizer, pp. 306, 344.
Jump up ^ Leng, p. 139.
Jump up ^ Williams, pp. 66–67.
Jump up ^ Brown, pp. 120–21, 122.
Jump up ^ Rodriguez, pp. 143, 261.
Jump up ^ Spizer, p. 307.
Jump up ^ Leng, pp. 138, 139.
Jump up ^ Lavezzoli, p. 195.
^ Jump up to: a b Spizer, p. 303.
^ Jump up to: a b Madinger & Easter, p. 507.
Jump up ^ Castleman & Podrazik, p. 209.
Jump up ^ Rodriguez, p. 32.
Jump up ^ Badman, p. 47.
Jump up ^ Castleman & Podrazik, p. 127.
Jump up ^ Harry, pp. 182, 183.
^ Jump up to: a b c Badman, p. 108.
Jump up ^ Doggett, pp. 204–05.
^ Jump up to: a b Spizer, p. 302.
Jump up ^ Badman, p. 111.
Jump up ^ Castelman & Podrazik, p. 128.
Jump up ^ Spizer, pp. 309, 311.
Jump up ^ Doggett, pp. 208–09.
Jump up ^ Clayson, p. 248.
Jump up ^ Rodriguez, p. 157.
Jump up ^ Castleman & Podrazik, p. 354.
Jump up ^ Rodriguez, pp. 35, 157.
Jump up ^ Leng, pp. 141–42.
Jump up ^ Huntley, p. 98.
Jump up ^ Badman, p. 113.
Jump up ^ "Gold & Platinum Database Search: 'Starr'". Recording Industry Association of America. Archived from the original on 5 September 2013. Retrieved 6 September 2013.
Jump up ^ Spizer, pp. 293, 303.
Jump up ^ Castleman & Podrazik, p. 332.
^ Jump up to: a b Gerson, Ben (20 December 1973). "Ringo Starr Ringo". Rolling Stone. Archived from the original on 1 October 2007. Retrieved 31 January 2014.
Jump up ^ Tiegel, Eliot (reviews ed.) (3 November 1973). "Top Album Picks: Pop". Billboard. p. 56. Retrieved 31 December 2014.
^ Jump up to: a b Betrock, Alan (December 1973). "Ringo Starr: Ringo". Phonograph Record. Available at Rock's Backpages (subscription required).
Jump up ^ Rodriguez, pp. 143, 157.
Jump up ^ Rodriguez, p. 143.
Jump up ^ Huntley, pp. 97, 98.
Jump up ^ Snow, p. 47.
Jump up ^ Schaffner, pp. 182, 209.
Jump up ^ Madinger & Easter, pp. 507, 645.
Jump up ^ Ruhlmann, William. "Ringo Starr Ringo". AllMusic. Retrieved 3 February 2014.
Jump up ^ "News 02 Jul 2009". Concord Music Group. 2 July 2009. Archived from the original on 30 October 2013. Retrieved 3 February 2014.
Jump up ^ Raper, Dan (26 August 2009). "Various Artists: Music from the Motion Picture Funny People". PopMatters. Retrieved 3 February 2014.
Jump up ^ Badman, p. 426.
Jump up ^ Sandall, Robert (January 1991). "Ringo Starr". Q. Available at Rock's Backpages (subscription required).
Jump up ^ Clayson, pp. 350, 353.
Jump up ^ Madinger & Easter, pp. 651–65.
Jump up ^ Madinger & Easter, pp. 532–33.
Jump up ^ Badman, p. 428.
Jump up ^ Clayson, pp. 348–49.
^ Jump up to: a b Harry, p. 186.
^ Jump up to: a b Erlewine, Stephen Thomas. "Ringo Starr Live at Soundstage". AllMusic. Retrieved 1 February 2014.
Jump up ^ Madinger & Easter, pp. 559–60.
Jump up ^ Album credits, Ringo Starr & His All Starr Band Live 2006 CD (2008). Koch Records. Producer: Ringo Starr.
Jump up ^ Erlewine, Stephen Thomas. "Ringo Starr & His All Starr Band Live at the Greek Theatre 2008". AllMusic. Retrieved 1 February 2014.
Jump up ^ Marinucci, Steve (7 July 2017). "Ringo Starr's New Album Has a Little Help From His Friends, Including Paul McCartney". Billboard. Retrieved 8 July 2017.
Jump up ^ Inglis, pp. 124, 126.
Jump up ^ Doggett, p. 332.
Jump up ^ "The Event". concertforgeorge.com. Retrieved 3 February 2014.
^ Jump up to: a b Inglis, p. 126.
Jump up ^ Leng, p. 310.
Jump up ^ Inglis, pp. 125, 155.
Jump up ^ Holden, Stephen (3 October 2003). "Film in Review: 'Concert for George'". The New York Times. Retrieved 1 February 2014.
Jump up ^ Ruhlmann, William. "Various Artists Concert for George (Video)". AllMusic. Retrieved 1 February 2014.
Jump up ^ Ruttenberg, Jay (24 July 2003). "R-I-N-G-O". Time Out New York. Retrieved 31 December 2014.
^ Jump up to: a b Rivadavia, Eduardo (26 January 2014). "Ringo Starr and His All-Star Band Perform at the Grammys". Ultimate Classic Rock. Retrieved 31 December 2014.
Jump up ^ James, Lauren (27 January 2014). "Beatles Mania Sweeps Grammys As Paul McCartney, Ringo Starr Reunite To Perform". Contactmusic. Retrieved 31 December 2014.
Jump up ^ Gibsone, Harriet (27 January 2014). "Grammys 2014: Sir Paul McCartney joined on stage by Ringo Starr". The Guardian. Retrieved 31 December 2014.
Jump up ^ Staff writer (26 January 2014). "Paul McCartney and Ringo Starr Share Grammy Stage for Rare Performance". rollingstone.com. Retrieved 31 December 2014.
Jump up ^ Crowder, Courtney (5 July 2013). "Review: 'Photograph' by Ringo Starr". Chicago Tribune. Retrieved 31 December 2014.
Jump up ^ "Cover versions of Photograph by Ringo Starr". secondhandsongs.com. Retrieved 1 February 2014.
Jump up ^ Clayson, p. 271.
Jump up ^ Woffinden, Bob (12 April 1975). "Ringo Starr: Everyone One of Us Has All We Need ...". NME. Available at Rock's Backpages (subscription required).
Jump up ^ Clayson, pp. 271–72.
Jump up ^ Woffinden, p. 78.
Jump up ^ Sullivan, Denise. "Camper Van Beethoven Camper Vantiquities". AllMusic. Retrieved 21 June 2013.
Jump up ^ Hoskyns, Barney (6 March 1997), "Sloan One Chord to Another", Rolling Stone, p. 72 .
Jump up ^ Eder, Bruce. "Cilla Black Beginnings". AllMusic. Retrieved 1 February 2014.
Jump up ^ "iTunes Preview: 'Funny People (Original Motion Picture Soundtrack) [Bonus Track Version]'". itunes.apple.com. Retrieved 3 February 2014.
Jump up ^ "Go-Set Australian charts – 16 February 1974". poparchives.com.au. Retrieved 24 March 2016.
Jump up ^ Kent, David (1993). Australian Chart 1970–1992. Australian Chart Book, St Ives, NSW. ISBN 0-646-11917-6.
Jump up ^ "Ringo Starr – Photograph". ultratop.be. Retrieved 21 January 2014.
Jump up ^ "RPM 100 Singles, 1 December 1973". Library and Archives Canada. Retrieved 17 January 2014.
Jump up ^ "Ringo Starr – Photograph". dutchcharts.nl. Retrieved 21 January 2014.
Jump up ^ "Search by Artist > Ringo Starr", irishcharts.ie (retrieved 23 March 2016).
Jump up ^ "Ringo Starr Chart Trajectories on the Oricon Singles (1968–2005)". Archived from the original on 24 September 2012. Retrieved 2 February 2014.
Jump up ^ "NZ Listener chart statistics for Ringo Starr (search by artist)". Flavour of New Zealand. Retrieved 24 March 2016.
^ Jump up to: a b "Ringo Starr – Photograph". norwegiancharts.com. Retrieved 21 January 2014.
Jump up ^ "Ringo Starr – Photograph". hitparade.ch. Retrieved 21 January 2014.
Jump up ^ "Ringo Starr". Official Charts Company. Retrieved 21 January 2014.
^ Jump up to: a b "Ringo Starr: Awards". AllMusic. Retrieved 23 March 2016.
Jump up ^ "CASH BOX Top 100 Singles – Week ending NOVEMBER 24, 1973". Cash Box magazine. Archived from the original on 20 January 2008. Retrieved 1 June 2017.
Jump up ^ "RPM's Top 100 of 1973". Library and Archives Canada. Retrieved 16 June 2016.
Jump up ^ "The Cash Box Year-End Charts: 1974". Cashbox Archives. Retrieved 14 January 2017.
Jump up ^ "American single certifications – Ringo Starr – Photograph". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Single, then click SEARCH
Sources[edit]
Badman, Keith (2001). The Beatles Diary Volume 2: After the Break-Up 1970–2001. London: Omnibus Press. ISBN 978-0-7119-8307-6.
Brown, Mick (2008). Tearing Down the Wall of Sound: The Rise and Fall of Phil Spector. New York, NY: Vintage. ISBN 978-1-4000-7661-1.
Carr, Roy; Tyler, Tony (1978). The Beatles: An Illustrated Record. London: Trewin Copplestone Publishing. ISBN 0-450-04170-0.
Castleman, Harry; Podrazik, Walter J. (1976). All Together Now: The First Complete Beatles Discography 1961–1975. New York, NY: Ballantine Books. ISBN 0-345-25680-8.
Clayson, Alan (2003). Ringo Starr. London: Sanctuary. ISBN 1-86074-488-5.
Doggett, Peter (2011). You Never Give Me Your Money: The Beatles After the Breakup. New York, NY: It Books. ISBN 978-0-06-177418-8.
Harry, Bill (2004). The Ringo Starr Encyclopedia. London: Virgin Books. ISBN 978-0-7535-0843-5.
Huntley, Elliot J. (2006). Mystical One: George Harrison – After the Break-up of the Beatles. Toronto, ON: Guernica Editions. ISBN 978-1-55071-197-4.
Ingham, Chris (2006). The Rough Guide to the Beatles (2nd edn). London: Rough Guides/Penguin. ISBN 978-1-84836-525-4.
Inglis, Ian (2010). The Words and Music of George Harrison. Santa Barbara, CA: Praeger. ISBN 978-0-313-37532-3.
Lavezzoli, Peter (2006). The Dawn of Indian Music in the West. New York, NY: Continuum. ISBN 0-8264-2819-3.
Leng, Simon (2006). While My Guitar Gently Weeps: The Music of George Harrison. Milwaukee, WI: Hal Leonard. ISBN 978-1-4234-0609-9.
Madinger, Chip; Easter, Mark (2000). Eight Arms to Hold You: The Solo Beatles Compendium. Chesterfield, MO: 44.1 Productions. ISBN 0-615-11724-4.
Rodriguez, Robert (2010). Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980. Milwaukee, WI: Backbeat Books. ISBN 978-1-4165-9093-4.
Romanowski, Patricia; George-Warren, Holly (eds) (1995). The New Rolling Stone Encyclopedia of Rock & Roll. New York, NY: Fireside/Rolling Stone Press. ISBN 0-684-81044-1. CS1 maint: Extra text: authors list (link)
Schaffner, Nicholas (1978). The Beatles Forever. New York, NY: McGraw-Hill. ISBN 0-07-055087-5.
Snow, Mat (2013). The Beatles Solo: The Illustrated Chronicles of John, Paul, George, and Ringo After The Beatles (Volume 4: Ringo). New York, NY: Race Point Publishing. ISBN 978-1-937994-26-6.
Spizer, Bruce (2005). The Beatles Solo on Apple Records. New Orleans, LA: 498 Productions. ISBN 0-9662649-5-9.
Williams, Richard (2003). Phil Spector: Out of His Head. London: Omnibus Press. ISBN 978-0-7119-9864-3.
Woffinden, Bob (1981). The Beatles Apart. London: Proteus. ISBN 0-906071-89-5.
External links[edit]
Lyrics of this song at MetroLyrics
Promotional video for the song
Preceded by
"Keep on Truckin' (Part 1)" by Eddie Kendricks Billboard Hot 100 number-one single
24 November 1973 (one week) Succeeded by
"Top of the World" by the Carpenters
Preceded by
"Could You Ever Love Me Again" by Gary and Dave Canadian RPM 100 number-one single
24 November 1973 (two weeks) Succeeded by
"Top of the World" by the Carpenters
[hide]
v
t
e
Ringo Starr
Studio albums
Sentimental Journey
Beaucoups of Blues
Ringo
Goodnight Vienna
Ringo's Rotogravure
Ringo the 4th
Bad Boy
Stop and Smell the Roses
Old Wave
Time Takes Time
Vertical Man
I Wanna Be Santa Claus
Ringo Rama
Choose Love
Liverpool 8
Y Not
Ringo 2012
Postcards from Paradise
Give More Love
Live albums
Ringo Starr and His All-Starr Band
Ringo Starr and His All Starr Band Volume 2: Live from Montreux
4-Starr Collection
Ringo Starr and His Third All-Starr Band-Volume 1
VH1 Storytellers
King Biscuit Flower Hour Presents Ringo & His New All-Starr Band
Extended Versions
Tour 2003
Ringo Starr and Friends
Ringo Starr: Live at Soundstage
Ringo Starr & His All Starr Band Live 2006
Live at the Greek Theatre 2008
Compilations
Blast from Your Past
Starr Struck: Best of Ringo Starr, Vol. 2
The Anthology... So Far
Photograph: The Very Best of Ringo Starr
Icon
Singles
"Beaucoups of Blues"
"It Don't Come Easy" / "Early 1970"
"Back Off Boogaloo"
"Photograph"
"You're Sixteen"
"Oh My My"
"Only You (And You Alone)"
"No No Song" / "Snookeroo"
"(It's All Down to) Goodnight Vienna"
"Oh My My" / "No No Song"
"A Dose of Rock 'n' Roll"
"Hey! Baby"
"Wings"
"Lipstick Traces (On a Cigarette)"
"In My Car"
"I Keep Forgettin'"
"Act Naturally"
"Weight of the World"
"Never Without You"
"Liverpool 8"
"Walk with You"
Books
Postcards From the Boys
Octopus's Garden
Photograph
Related
Articles
Discography
Song list
Filmography
The Concert for Bangladesh
Ring O' Records
Scouse the Mouse
Ringo's Yellow Submarine
Ringo (1978 film)
The Hollywood Vampires
Bands
Rory Storm and the Hurricanes
The Beatles
Ringo Starr & His All-Starr Band
People/Artists
Maureen Starkey (first wife)
Zak Starkey (son)
Barbara Bach (second wife)
Francesca Gregorini (stepdaughter)
George Harrison
Mark Hudson
Harry Nilsson
Vini Poncia
Book
Category
Retrieved from "https://en.wikipedia.org/w/index.php?title=Photograph_(Ringo_Starr_song)&oldid=819239402"
Categories:
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value: Photograph (canción de Ringo Starr) – Spanish

value: Photograph (chanson de Ringo Starr) – French

value: 想い出のフォトグラフ – Japanese

value: Photograph (песня Ринго Старра) – Russian

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