When You Say Nothing at All
1988 single by Keith Whitley
"When You Say Nothing at All" is a country song written by Paul Overstreet and Don Schlitz. It was a hit song for four different performers: Keith Whitley, who took it to the top of the "Billboard" Hot Country Singles chart on December 24, 1988; Alison Krauss & Union Station, whose version was their first solo top-10 country hit in 1995; Irish singer Frances Black, whose 1996 version became her third Irish top-10 single and brought the song to the attention of Irish pop singer Ronan Keating, whose 1999 version was his first solo single and a number-one hit in the United Kingdom, Ireland, and New Zealand.
Origin.
Songwriters Paul Overstreet and Don Schlitz came up with "When You Say Nothing at All" at the end of an otherwise unproductive day. Strumming a guitar, trying to write their next song, they were coming up empty. "As we tried to find another way to say nothing, we came up with the song", Overstreet later told author Ace Collins. They thought the song was OK, but nothing special. When Keith Whitley heard it, he loved it, and was not going to let it get away. Earlier, he had recorded another Overstreet-Schlitz composition that became a No. 1 hit for another artist - Randy Travis' "On the Other Hand." Whitley did not plan to let "When You Say Nothing at All" meet the same fate.
Keith Whitley.
RCA released "When You Say Nothing at All" as the follow-up single to the title song of Whitley's "Don't Close Your Eyes" album. The former song already had hit No. 1 on the "Billboard" Hot Country Singles chart, his first chart-topper after three prior singles made the top 10. "When You Say Nothing at All" entered the Hot Country Singles chart on September 17, 1988, at No. 61, and gradually rose to the top, where it stayed for two weeks at the end of the year. It was the second of five consecutive chart-topping singles for Whitley, who did not live to see the last two, as he died on May 9, 1989, of alcohol poisoning. "Keith did a great job singin' that song," co-composer Schlitz told author Tom Roland. "He truly sang it from the heart." In 2004, Whitley's original was ranked 12th among CMT's "100 Greatest Love Songs". It was sung by Sara Evans on the show. As of February 2015, the song has sold 599,000 digital copies in the US after it became available for download.
Charts.
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Alison Krauss & Union Station version.
In 1994, bluegrass music group Alison Krauss & Union Station covered the song for a tribute album to Whitley titled '. After this cover began to receive unsolicited airplay, BNA Records, the label that had released the album, issued it to radio in January 1995. That version, also featured on Krauss' compilation ', peaked at No. 3 on the "Billboard" Hot Country Singles & Tracks chart, and a commercial single reached No. 2 on the same magazine's Hot Country Singles Sales chart. The B-side of the single was Keith Whitley's "Charlotte's in North Carolina", which was another previously unreleased track featured on the Tribute album.
Its success, as well as that of the album, caught Krauss by surprise. "It's a freak thing," she told a "Los Angeles Times" reporter in March 1995. "It's kinda ticklin' us all. We haven't had anything really chart before. At all. Isn't it funny though? We don't know what's goin' on...The office said, 'Hey, it's charting,' and we're like, 'Huh?'"
Mike Cromwell, then the production director at WMIL-FM in Milwaukee, Wisconsin, concocted a duet merging elements of the Alison Krauss & Union Station version with Whitley's original hit version. The "duet" garnered national attention, and it spread from at least Philadelphia to Albuquerque. This "duet" was however never officially serviced to radio and has never been available commercially.
The Alison Krauss & Union Station recording won the 1995 CMA award for "Single of the Year". It has sold 468,000 digital downloads as of May 2017.
Charts.
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Frances Black version.
"When You Say Nothing At All" is the opening track on Frances Black's third solo album, "The Smile on Your Face" (1996), the title of the album being a lyric from this song. Released in August 1996 as the album's first single, this single became her third to reach the Irish top 10, peaking at number eight during an 11-week run in the top 30.
Personnel.
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Ronan Keating version.
"When You Say Nothing at All" was released as the debut solo single by Irish singer-songwriter Ronan Keating. The song was recorded for the soundtrack to the film "Notting Hill" and also appeared on Keating's debut solo album, "Ronan". This cover was released on July 26, 1999, in the United Kingdom. It peaked at number one in the UK, Ireland, and New Zealand. The single is certified double platinum in the UK and platinum in Australia, Denmark, and Sweden.
In February 2003, Keating re-recorded the song as a duet with Mexican singer Paulina Rubio in Spanglish, which was released in Spain, Mexico, and Latin America (excluding Brazil) to promote Keating's second studio album, "Destination". In Brazil, Ronan chose the Brazilian singer Deborah Blando to re-record the song in English and English-Portuguese for the "10 Years Of Hits" album exclusive for that country. A music video was recorded for this version with Blando.
Critical reception.
"Daily Record" wrote that Keating "sounds like Marti Pellow on this drippy ballad." The Spanish website "Jenesaispop" described the Spanglish version as one of the most "squeaky" bilingual collaboration, while Victor González of "GQ Spain" praised the collaboration as "great" in an article of "unusual collaborations".
Track listings.
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Credits and personnel.
Credits are taken from the UK CD1 liner notes.
Studios
Personnel
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Charts.
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References.
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Nothing (Janet Jackson song)
"Nothing" is a song recorded by American singer-songwriter Janet Jackson. It was released on March 23, 2010 by A&M Records and So So Def Recordings as a soundtrack single from the film "Why Did I Get Married Too?", which starred Jackson. The song was later included on Jackson's compilation album "". It was written by Jackson, Johntá Austin, Bryan-Michael Cox and Jermaine Dupri and produced by Jackson, Cox, and Dupri. Initially titled "Trust in Me", the song was written about the different character's personas and emotions in the film.
"Nothing" received mostly positive reviews from music critics, who praised it as "classic pop", and noted that it was possibly influenced by her brother Michael Jackson's recent death. Despite the fact that it was not officially released to radio formats for airplay, the song managed to achieve moderate rotation on adult contemporary and jazz formats. A music video for the song was directed by Tim Palen and premiered in April 2010. Jackson performed "Nothing" on the ninth season finale of "American Idol" and on the Essence Music Festival, which Jackson headlined.
Background.
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"Nothing" is about the characters in the movie; I tried to write at least one verse for each couple. I think the fans can relate because, if you look at the characters, there is something in one - or, as in my case, many of them, that you can relate to...In that way, music and movies are very similar; you relate to the story when you experience them, and that is what makes it powerful."
— Janet Jackson on the concept of "Nothing"
"Nothing" was composed by Janet Jackson, Johntá Austin, Bryan-Michael Cox and Jermaine Dupri and produced by Jackson, Cox, and Dupri. It was released on March 30, 2010 as the theme for "Why Did I Get Married Too?", which starred Jackson. It was released as a stand-alone single in addition to appearing on the "Why Did I Get Married Too?" soundtrack, and was later included on Jackson's "" compilation. "Nothing" was strongly considered for a nomination for "Best Original Song" at the 83rd Academy Awards, but ultimately was not nominated.
On February 11, 2010 Jackson revealed the song's title on her official Twitter account. Janet's official site announced "Janet composed 'Nothing' as an emotional ballad that reflects and supports the powerful themes of the film..[&] evokes the emotional turmoil the "Why Did I Get Married Too?" characters experience throughout the film." Initially titled "Trust in Me", Jackson spoke to "The LA Times" about the song, stating "Even though it sounds like a sad song, it's hopeful. When you really listen to it, it's really hopeful." When asked why she felt the song resonated with so many fans, Janet replied that she felt the song helped people relate to the characters in the movie.
Music supervisor Joel C. High, who recruited artists to appear on the film's soundtrack, commented "we were lucky to have Janet involved, especially at a time where she was going through a lot. We were basically finished with the picture when she told Tyler she wanted to write something. It's a strong love song [...] and is our big end title finish." Co-producer Jermaine Dupri also spoke about the song, revealing "We had to do this record in like three days to get it into this movie – it was a last minute thing that her and Tyler [Perry] talked about." Dupri also added "You haven't heard Janet sound like this in a long time and I think the song is perfect for the movie. It's a really good record."
Promotion.
To promote the song and film, Janet held a contest on her official website titled "Janet's Everything for Nothing Experience", which allowed the winner to receive a personally autographed copy of her "Number Ones" compilation, with the grand-prize winner receiving an autographed "Why Did I Get Married Too?" poster. Expressing gratitude to her fans, Jackson tweeted "Thank u for all the love on 'Nothing.' I hope u will enjoy Why Did I Get Married Too this week!"
Critical reception.
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"Janet Jackson, by virtue of coming from the same DNA pool as Michael, and by virtue of having grown up singing with him, likely finds it very natural to sing in a manner that sounds very similar to that of her late brother’s effeminate voice. And frankly, she’s one of the few people in the world who has a right to sound that much like Michael. She’s at this point the de facto representative of the Jackson clan, and the closest thing we have remaining in terms of his legacy."
— "Beatweek Magazine" on Janet's vocals sounding similar to Michael Jackson's in "Nothing"
MTV qualified "Nothing" as having "waves of heartfelt emotion" and "mournful beauty". "Rolling Stone" described the track as "classic pop," adding that the lyrics reflect the tensions and turmoil between the film characters. Cristen Maher from AOL Music's "The Boombox" called the song "an uplifting ballad...about the ups and downs that occur when two people are in love. The overall message is that when it comes to love, nothing can stand in the way of making things right." Maher adds "Jackson — who is still coping with the loss of her brother Michael — drew inspiration from her grief for her theatrical performance...transferring her sorrow beautifully into a moving and deeply heartfelt ballad."
Idolator stated that the song "reminds us that, despite all the overproduction and sexed-up whispering on her last few singles, Janet can actually still deliver solid vocals—something that was hardly apparent on “We Are The World 25". "Entertainment Weekly" described the song as an "airy ballad, on which she cries out for more communication in a troubled relationship." Deborah Vankin of "The Los Angeles Times" called it "a touching, melodic ballad about truth, trust and relationships", adding that the song is "generating almost as much Oscar buzz as it feels riddled with grief [...] Even though Jackson says "Nothing" is not about her brother, whom she won't talk about much these days, the song's melancholy and emotional grit leads one to wonder. It's no stretch to think that Jackson, who's known for having a particularly strong work ethic and occasionally losing herself in creative projects during turbulent times, was channeling the fallout of her personal tragedy into her music."
Music video.
Jackson shot the music video for "Nothing" on March 24, 2010, with it being premiered the following week on AOL Music. The video was directed by Tim Palen, photographer and co-President of Theatrical Marketing at Lions Gate Entertainment, the company that released "Why Did I Get Married Too?". The video features several shots of Jackson in mirror-like projections accompanied by powerful and passionate clips from the film. Internationally, the video was released to music channels on July 19. A behind the scenes segment on the filming of the video was shown on TV Guide Network's "Hollywood 411". The "Nothing" music video was included in the "Special Features" segment of the "Why Did I Get Married Too?" Blu-ray and DVD.
AOL Music's "The Boombox" commented "the superstar’s newest video for ‘Nothing’ encompasses the message of the song, with a stark blackness acting as a backdrop to Jackson's emotional release." "Idolator" called the video "heavy on the singing, light on the Nasty", noting the stripped down approach of the clip was "hardly a tour de force".
Live performances.
Jackson made a surprise appearance on the ninth season finale of "American Idol" to perform a medley of "Nothing" and "Nasty" after joining the contestants to perform a rendition of her hit ballad "Again". MTV expressed that Jackson provided the audience with waves of heartfelt emotion as she sang "Nothing". Zap2it stated that the performance of "Nothing" was moving. Neon Limelight stated that Jackson "brought the crowd to its feet.
The song was also performed at the Essence Music Festival, which Jackson headlined, with the performance from the event broadcast on TV One. "Nothing" was later included on the setlist of Jackson's Number Ones, Up Close and Personal tour in 2011. The song was performed after a video interlude displaying scenes from Jackson's various acting roles, including "Poetic Justice", "Why Did I Get Married Too?", and "Good Times". "MuuMuse" commented on the tour's performance, saying "Perched on top of a stool, Jackson delivered a 1-2-3 punch of some of her biggest ballads–including 'Again,' 'Let's Wait Awhile,' and her latest offering, 'Nothing'–as the crowd lovingly swayed and sang along."
References.
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Stories and Texts for Nothing
Literary work
Stories and Texts for Nothing is a collection of stories by Samuel Beckett. It gathers three of Beckett's short stories ("The Expelled," "The Calmative," and "The End": all written in 1946) and the thirteen short prose pieces he named "Texts for Nothing" (1950–1952). All of these works are collected in the Grove Press edition of Beckett's complete short prose. They were originally written in French and published in 1955 by Les Éditions de Minuit as "Nouvelles et Textes pour rien", with a second edition illustrated edition published by the same publisher in 1958.
The Stories.
All three stories deal with the displacement or expulsion of old men who are forced to leave their modest lives in search of a new niche where they might fit.
"The Expelled".
Though the story deals with rejection and the forcible ejection of the narrator, it begins with the narrator's complaints regarding the difficulty of counting the stairs down which he had to go once he was expelled. The story follows the narrator as he tries to find a new place for himself, all the while presenting his bitterness and anger towards many things in the world. The resentment in the story is not directed at the injustices of being thrown out of what we assume is the narrator's home, but of the more general injustices of life, such as being born at all, for which the only consolation the narrator finds is in distractions like mathematics.
"Texts for Nothing".
None of the thirteen "Texts for Nothing" were given titles; they present a variety of voices thrust into the unknown. According to S. E. Gontarski: "What one is left with after the "Texts for Nothing" is 'nothing,' incorporeal consciousness perhaps, into which Beckett plunged afresh in English in the early 1950s to produce a tale rich in imagery but short on external coherence." Thus these texts, when compared to the three earlier stories, as well as "First Love", may be interpreted as representing a movement in Beckett's writing from modernism to postmodernism. Unlike the earlier stories, these pieces are no longer completed stories but shards - "aperçus of a continuous unfolding narrative, glimpses at a never to be complete being (Narrative)." This idea is voiced in text 4, where the narrator admits stories are not required any more:
There's my life, why not, it is one, if you like, if you must, I don't say no, this evening. There has to be one, it seems, once there is speech, no need of a story, a story is not compulsory, just a life, that's the mistake I made, one of the mistakes, to have wanted a story for myself, whereas life alone is enough.
Notes.
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Whatever You Say, Say Nothing
Whatever You Say, Say Nothing is the fourth studio album by Scottish rock band Deacon Blue, released in March 1993 by Columbia Records. It was the group's final original album before their initial dissolution in mid-1994.
Wishing to pursue a new musical direction, Deacon Blue recorded the album with the dance production team of Steve Osborne and Paul Oakenfold, hoping that the team's different background would provide a creative challenge. Oakenfold agreed to the project in hopes of changing the band's sound to something edgier, but recording sessions were fraught with disagreement and Oakenfold, who believed the group were uninterested in his ideas, lost interest in the project. Breaking with the band's earlier, more soulful and folky work, "Whatever You Say" is a visceral, guitar-driven alternative rock record with dance textures and driving rhythms. Lead singer Ricky Ross pens lyrics with more universal themes than on earlier records.
Promoted by the lead single and UK Top 20 hit "Your Town", "Whatever You Say, Say Nothing" reached number four in the UK Albums Chart, but was less successful than the band's earlier albums, and failed to chart in the United States. The album received an unenthusiastic response from music critics and the group's new direction baffled some of their fans. Some critics have described the album as a late entry into the dance-rock and baggy movements of the early 1990s. In support of the album, Deacon Blue toured Europe in 1993, with an elaborate stage set featuring scaffolding and corrugated sheets. The record was re-released in 2012 by Edsel Records as a two CD and DVD set.
Background.
Deacon Blue's third album, "Fellow Hoodlums" (1991), sold half as many copies as its predecessor, "When the World Knows Your Name" (1989), and was critically panned, though it did receive a Platinum certification in the United Kingdom. Believing that they had firmly "established their sound" by the release of "Fellow Hoodlums", lead singer Ricky Ross comments that the band wished to pursue a drastic change in direction for the follow-up album, "Whatever You Say, Say Nothing". Craig Winn of "M8" believed the band's "need to attract a new audience" was comparable to Wet Wet Wet, who – having been criticised for attracting a teenage audience – released the "mature" album "High on the Happy Side" (1992) and became fashionable, but writes that Deacon Blue "had the opposite problem" of having a mature audience and wanting younger fans.
On impetus for the band's new stylistic change, Ross commented that after the band achieved their original aim of recording an album and appearing on "Top of the Pops", he realised that he is "actually quite ambitious and [wanted] to take it somewhere [he] hadn't imagined possible". He also credited "boredom factor" as a reason, commenting that, as a songwriter, he originally joined the band because it would be "interesting", adding: "I'm pushing it having done three albums and trying to do four. So you may as well push your luck the whole way and make a fourth album that is actually quite adventurous." Ross said that, rather than commercial motivations driving the band's desire for new fans, he was more interested in "us being a band and staying a band and having fun being in a band", as "it's about really sparking and really pushing yourself hard because you just get lazy."
Deacon Blue chose dance producers Steve Osborne and Paul Oakenfold to produce the album. Bassist Ewen Vernal said that the production duo were recommended by A&R staff, and that the group chose them because their musical background was highly different to "anything we've ever done", believing that it had "got to the point where any new project we want to get into we try and approach with some kind of challenge in mind." According to Ross, the duo of Osborne and Oakenfold were one of several "oddball names", another being David Byrne, that the band piled with A&R workers, hoping to find "someone to visit the studio every two weeks and be a kind of upsetting factor in the whole thing". He said the decision to hire Oakenfold came down to his vague knowledge of him as a DJ, but was only familiar with his work on an INXS song. Ross has denied that the production team's work with U2 influenced the band's decision.
Oakenfold and Osborne had recently completed their work on the Happy Mondays' "Pills 'n' Thrills and Bellyaches" (1990) when Sony approached them to produce the Deacon Blue album. As Oakenfold later explained, he considered them to be "an out-and-out pop band, real cheese in some respects", and was uninterested in taking on the project, but was persuaded by the group's A&R man, who ensured him that the band "really want to change, to come up with a more interesting sound." As Deacon Blue were a Platinum-selling pop band, the producer decided it could be "a great thing to do, because it's not the obvious thing to do. We could completely change their sound. People would be able to see our production qualities, because we'd taken a pop band made them more edgy."
Recording.
Deacon Blue recorded "Whatever You Say, Say Nothing" in three English studios: London's AIR Studios, and Oxfordshire's The Manor Studio and Outside Studios. A fourth studio, Eden Studios in London, was used to mix the record. Paul Corkett recorded the album with assistance from Adrian Bushby, Danton Supple, Gorby and Steve Orchard. Vernal said the record was difficult to record, due to the band entering "territory which we'd never been in before'."
Music author Richard Norris writes that although recording with Oakenfold and Osborne was intended to "invigorate the band's creativity with a fresh new approach", the sessions were not wholly successful in this regard. Oakenfold said that Deacon Blue initially agreed to his ideas about moving their sound in an edgier direction, but that once he and Osborne entered the studio, the band changed their mind, having just released their best-selling single. The producer said that after completing the first track, which was "great", he told them "we now need to go more edgy...they're all getting nervous, and I'm saying trust me, this is where we're going now."
Oakenfold credits co-vocalist Lorraine McIntosh – Ross' partner – for driving the band's resistance to his ideas: "it was one of those cliches where she had his ear, and what she wanted was what went on." According to Ross and McIntosh in an interview with "The Observer", Oakenfold and Osborne "took their carte blanche control of song selection to extreme tyrannical proportions", on occasion driving McIntosh to tears. The band's guitarist Graeme Kelling believed that, despite hiring the producers to break up the band's familiar way of working, "we were trying to force ourselves in to another jacket – a terrible-looking spangly one – and didn't realise that what we had was actually quite special."
Oakenfold lost interest by the end of the sessions as the album "was becoming more and more pop. Obviously it had all our sounds in terms of production, so the mix was a lot harder than the band were used to, but it was nowhere near where I wanted it to be." He said: "In the end you just think, fuck it, they ain't listening." He later said that despite losing interest, Osborne remained engaged. Ross viewed Osborne, rather than Oakenfold, as the album's central influence, saying: "I think Steve's input was 75% and Paul's 25%. Steve’s a huge part of the deal. Paul's very good at coming in and going 'Yeah, I know' to things, and they work together as a team. I think the logic of why they worked together as a team defied some of the band at the time because of how little Paul's input was on anything."
Composition.
Musical style and themes.
For "Whatever You Say, Say Nothing", Ricky Ross stirred Deacon Blue's sound into a more rock-oriented direction than their previous folk-tinged work, with the "unlikely" team-up with Osborne and Oakenfold contributing to the "major sonic departure" and giving it a dance edge. Considered an alternative rock record, the music is guitar-driven, something which pleased Kelling, who believed it marked a departure from the keyboard-oriented material on their earlier albums; he stated that Ross "wrote that album on guitar, and the songs were a lot more direct." The sound is broader and more visceral, and is further characterised by its driving rhythms, dense textures, and percussive dance flavour, achieved with the producers. The rhythms have been described as techno-esque and repetitive, while the use of "acoustic guitar, strings and a variety of percussion" leads to what reviewer Virginia Trioli describes as the album's distinctive British rock sound. Music critic Barbara Jaegar believes the group "boosted its rhythm quotient" for a more immediate feel, departing from the ethereal, soulful pop sound of its predecessors.
The reviewer John Harris contends that the album – through Oakenfold and Osborne's input – features a similar sound to Happy Mondays' "Pills 'n' Thrills and Bellyaches". According to critic William Ruhlmann, Ross adopts a "high, breathy singing voice with lots of echo", and writes lyrics with more universal themes in contrast to earlier songs inspired by the Glasgow neighbourhood he grew up in. Kelling's guitar work is raw and melodic, inspiring comparison to James Honeyman-Scott of the Pretenders. Elements of the group's earlier sound remain, such as the midtempo pacing and the continued interplay between the two vocalists, Ross and McIntosh. Ross denied that they "set out to make a dance record" but added that a club mix of "Your Town" was produced because, as the song ran at 125 bpm, Osborne had the idea to "dance-up a Deacon Blue record" and surprise the band's fans. Nicole Meighan of "The Scotsman" wrote of the "fierce undercurrent of frustration and ragged anger" that characterises parts of the album, considering it "an impression, perhaps, of a band at sea, fighting against the tide."
Songs.
The group's new direction is immediately apparent with the tense opening song, "Your Town", a galloping protest song with heavy guitars, keyboards, dance-like rhythms and breathy harmonies. Ross's unusually-altered vocals are distorted and muffled, inspiring comparison with industrial music, and Bono's vocals on U2's "The Fly" (1991). One reviewer commented that Ross' vocals are "compressed and equalized into an AM-radio buzz." His vocals are surrounded by the swirling guitars and the restrained, martial drums, while acoustic textures more typical of the band are placed low in the mix. Meighan describes the song as an "emotional juggernaut" through which drummer Dougie Vipond evokes Fleetwood Mac's "Big Love" (1987). The lyrics express anger at former Prime Minister Margaret Thatcher, who had been out of office since 1990, with lines like "When you're gone, they will curse you". Ross credits the venomous lyrics to the song being written in the leadup to the 1992 general election, saying: "We had had three Tory governments, and everyone was really sick, fed up with them, and it was that sort of political song." McIntosh has since described the song as one of her favourites by the group, praising its "unbelievable energy and power."
The sombre nature of "Your Town" continues with "Only Tender Love". "Peace & Jobs & Freedom" is a political song that features the highest prominence of McIntosh's vocals. Harris compares it to the "filthy-sounding" Happy Mondays song "Bob's Your Uncle" (1990). The driving, guitar-driven "Hang Your Head" features dance beats and "stainless steel guitar strings", while "Bethlehem's Gate" is one of several songs characterised by what Ruhlmann describes as "relentless, martial drumming and rhythmic instruments that played pulse patterns rather than complete chords". "Will We Be Lovers" is driven by a "semi-dance beat", and was compared by Harris to the Happy Mondays' "Judge Fudge" (1991), while "Fall So Freely Down" features some atypical guitar work atop its heavy beats. "Cut Lip" is a funky, Prince-esque song with a Motown-style piano lick, an example of the soul-styled beats that appear throughout the record. "Last Night I Dreamed of Henry Thomas" was singled out by reviewer Andy Gill as an anomaly for its "odd, miasmic arrangement and sounds lurking and looming out of the work". The final song, "All Over the World" is midtempo and anthemic.
Release and promotion.
As the lead single from "Whatever You Say, Say Nothing", "Your Town" was released in November 1992 and debuted at number 14 on the UK Singles Chart, becoming the highest new entry that week. The song stayed on the chart four eight weeks. In their review of "Our Town", "i-D" wrote that "Oakenfold did with U2 and does it again here..." Reviewing the United States single release in May 1993, "The Hard Report" compared the song to the Beloved and praised it as a "great tune" which "has adult appeal written all over it", adding that it could attract both "the flannel wearing college kids "and" your corporate commercial radio guys". Further singles charted in the UK: "Will We Be Lovers" reached number 31 in February 1993, "Only Tender Love" reached number 22 in April, and the "Hang Your Head" EP reached number 21 in July. The latter contained the title track, "Freedom Train", "Here on the Wind" and "Indigo Sky".
Deacon Blue's fourth album, "Whatever You Say, Say Nothing" was released in the United Kingdom on 1 March 1993 through Columbia Records. Similarly to U2's "Achtung Baby", the album is titled with an "ironic slogan", and coinciding with its release, Ross began wearing sunglasses and "rock star togs", in a manner that Harris compared with Bono. It reached number four on the UK Albums Chart, but was relatively unsuccessful compared to earlier records by the band. It only spent three weeks in the Top 20 and fell off the chart completely seven weeks later. It has been certified Gold by the British Phonographic Industry for 100,000 sales. The record also reached number 43 in the Netherlands, and number 91 in Germany. In the United States, the album was released on 23 June 1993, featuring alternate artwork. It was a major flop in the country and failed to chart.
Deacon Blue followed the album with a 1993 European tour. For the shows, Ross dressed in silvery lurex and wraparound sunglasses, drawing comparison to Bono, and used a megaphone and inspection lamp, similar to Tom Waits. The stage set was "cheapjack", featuring scaffolding and several silver-painted corrugated sheets. The set design was compared by some to U2's eccentric Zoo TV Tour, but according to Ross, the actual inspiration was Tom Waits' Big Time tour. "Liverpool Echo"'s Penny Kiley, reviewing the two April shows in Liverpool's Royal Court Theatre, noted that while the album had been criticised for its "stadium rock direction", the group eschewed large-size venues for theatre gigs, evidencing the band's "commitment to reaching local audiences that fits their grass-roots style of song". This, she contends, was in contrast to the ambitious and highly visual nature of the shows, which heavily used lanterns, spotlights, torches and candles. The group cancelled their planned autumn 1993 tour, instead postponing it for spring 1994. Ross recalled that by the start of 1994, it had become clear that the tour "would be our last outing together", ahead of their split later in the year.
Critical reception.
"Whatever You Say, Say Nothing" received unenthusiastic reviews from music critics, and the group's new direction baffled many of their fans. In his "NME" review, John Harris criticised the album for exuding "the wish to play the reinvention game "à la" U2, and suddenly become fashionable", believing that the band's A&R staff told them to "get trendy" in face of their failure to reach stadium-selling status. He added that "among all the cod-baggy wooliness", the band had "lost the knack of writing silly-but-hummable pop songs". "Cross Rhythms" critic Rupert Loydell noted how the band joined many other bands in "the reinvention game", adopting "the U2-esque semi-collage method of dance music, grandiose songs and sonic interruption/layering." He considered the approach to work effectively on songs like "Your Town" but believed the songs are otherwise "lost", feeling that Ross was "trying too hard to be hip" and not allowing his lyrics and melodies to "speak for themselves", resulting in a generally unmemorable album.
Andy Gill of "The Independent" described the album as "a belated jump onto a baggy bandwagon" that fell out of fashion with the Happy Mondays' "Yes Please!" (1992), but noted that while Oakenfold and Osborne were hired to "jolly up" Deacon Blue's sound, they "seem baffled by Deacon Blue's mundanity, and seem to settle for an approximation of concert acoustics on many songs." In his review, "The Daily Herald"'s Rick Anderson described "Whatever You Say, Say Nothing" as "just plain better than average" and praised "Your Town", but believed the album failed to keep its momentum, with the following songs "shadows of the opening track". "Sunday Republican" critic Kevin O'Hara wrote that Deacon Blue "comes out hitting hard", with some songs profiling Ross' best ever singing. While he considered the album's second half weaker, overall he lauded the band's broadening style.
"The Sunday Record"'s Barbara Jaegar believed the


David Wenham
Australian actor
David Wenham is an Australian actor who has appeared in film, television and theatre. He is known for his roles as Faramir in "The Lord of the Rings" film trilogy, Friar Carl in "Van Helsing" and ', Dilios in "300" and its sequel ', Al Parker in "Top of the Lake", Lieutenant John Scarfield in "", and Hank Snow in "Elvis". He is known in his native Australia for his role as Diver Dan in "SeaChange" and Price Galese in "Les Norton".
Early life.
Wenham has five older sisters; Helen, Anne, Carmel, Kathryn, and Maree; and one older brother, Peter. He was raised in the Roman Catholic faith and attended Christian Brothers' High School, Lewisham, Sydney.
Career.
Wenham started his career as an actor after graduating from Theatre Nepean at the University of Western Sydney with a Bachelor of Arts (Performing Arts) in 1987. Wenham's television credits include several telefilms, such as his AFI award-winning role in 1997's "Simone de Beauvoir's Babies"; and his role as the outwardly laid back but deeply enigmatic diver Dan Della Bosca in the 1998 and 1999 seasons of the ABC television series "SeaChange". His role as "Diver Dan" has made the actor something of a sex symbol, although he dislikes thinking of himself as such, and he has been voted Australia's "sexiest man alive". A portrait of Wenham by artist Adam Cullen won the Archibald Prize in 2000.
Australian films Wenham has starred in include "The Boys" (1998) based on the play of the same name premiered at Griffin Theatre Company and in turn based on the murder of Anita Cobby; ' (1999), based on the life of Father Damien; "The Bank" (2001); "Gettin' Square" (2003); "Stiff" (2004); "The Brush-Off" (2004) and "Three Dollars" (2005). Wenham has periodically appeared in Hollywood films; he is known for playing Faramir, son of Denethor II, in New Line Cinema's ' and "".
He was seen in "Van Helsing" playing Hugh Jackman's sidekick, Friar Carl. His character, Dilios, narrated and appeared in the 2007 film "300". He reprises his role of Dilios in both the 2014 sequel, ' and the video game, ' for Sony PlayStation Portable, which contains a substantial amount of new dialogue. Minor roles of Wenham's in overseas films include in "The Crocodile Hunter" as a park ranger, and briefly in "Moulin Rouge!" as Audrey. Wenham stars in the music video for Alex Lloyd's single "Brand New Day". In 2008's "Australia", he reunited with Hugh Jackman playing antagonist Neil Fletcher.
In 2009, he appeared in "Public Enemies" as one of John Dillinger's men. He also returned to the stage, this time as the lead actor, Jerry Springer, in the British musical "". During its 6-day run at the Sydney Opera House he played in sold-out performances alongside ARIA award-winning singer Kate Miller-Heidke.
In 2010, he played the character 'Len' in the Australian drama film "Oranges and Sunshine". Also in 2010, Wenham starred as the disgraced Melbourne lawyer Andrew Fraser in the Australian television series "Killing Time". This ten-part series shows Fraser's fall from grace as he defends many Melbourne criminals during the 1980s and 1990s. It was shown on TV1 in late 2011.
Wenham plays New Zealand detective Al Parker alongside Elisabeth Moss in the 2013 BBC series "Top of the Lake".
In 2013, Wenham returned to the stage to play the lead role of John Proctor, in the Melbourne Theatre Company's mid-year production of Arthur Miller's "The Crucible".
In 2014, Wenham starred as Patrick Jones in "Paper Planes", released on 15 January 2015. That same year, Wenham voiced the role Jacko a frilled-neck lizard, in "Blinky Bill the Movie". In 2016, Wenham played the role of John, the adoptive father of Saroo Brierley in "Lion".
Wenham played the role of the villain Harold Meachum in the Netflix original television series "Iron Fist", which premiered in March 2017.
In 2018, Wenham plays the voice of Johnny Town-Mouse in "Peter Rabbit", a role he reprised in the 2021 sequel "".
In 2020, it was announced that Wenham was cast as Jasper Queller in the upcoming Netflix thriller series "Pieces of Her", which is adapted from the Karin Slaughter novel of the same name.
In 2022, Wenham returned to work with director Baz Luhrmann again to play the role of country singer Hank Snow in the biographical film "Elvis".
In November 2022, Wenham played Scrooge in a production of A Christmas Carol, his performance was praised as showing Scrooge as traumatised.
He was appointed a Member of the Order of Australia in the 2023 Australia Day Honours.
Personal life.
Wenham met actress and yoga teacher Kate Agnew at a play at Belvoir St Theatre in Sydney, Australia in 1994. They began a relationship that year. They have two daughters. As of 2020, they live together in a $2.75 million-dollar house in Brisbane, Australia.
On 20 September 2006, Wenham read a poem called "The Crocodiles are Crying" by Rupert McCall at the memorial service for Steve Irwin.
Wenham is a Sydney Swans supporter.

Faramir
Fictional character in The Lord of the Rings
Faramir is a fictional character in J. R. R. Tolkien's "The Lord of the Rings". He is introduced as the younger brother of Boromir of the Fellowship of the Ring and second son of Denethor, the Steward of Gondor.
Faramir enters the narrative in "The Two Towers", where, upon meeting Frodo Baggins, he is presented with a temptation to take possession of the One Ring. In "The Return of the King", he leads the forces of Gondor in the War of the Ring, coming near to death, succeeds his father as Steward, and wins the love of Éowyn, lady of the royal house of Rohan.
Tolkien wrote that of all his characters, Faramir was the most like him: Tolkien had fought in the First World War and had similarly had a vision of darkness. Scholars have likened Faramir's courage to that in the Old English poem "The Battle of Maldon", and his hunting green-clad in Ithilien to the English folk hero and outlaw Robin Hood. The Tolkien scholar Jane Chance sees Faramir as central to a complex web of Germanic allegiance-relationships.
Faramir has been the subject of illustrations by Tolkien artists including John Howe, Ted Nasmith and Anke Eißmann. He was voiced by Andrew Seear in the BBC's 1981 radio adaptation. He was played by David Wenham in Peter Jackson's film trilogy.
Narrative.
Background.
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[Faramir] read the hearts of men as shrewdly as his father, but what he read moved him sooner to pity than to scorn. He was gentle in bearing, and a lover of lore and of music, and therefore by many in those days his courage was judged less than his brother's. But it was not so, except that he did not seek glory in danger without a purpose.
 J.R.R. Tolkien
 , Appendix A to "The Lord of the Rings"
Faramir is the son of Denethor, who becomes steward of Gondor a year after Faramir's birth. His mother is Finduilas, daughter of Prince Adrahil of Dol Amroth; she dies when Faramir is five, and is to him "but a memory of loveliness in far days and of his first grief". After her death Denethor becomes sombre, cold, and detached, but the relationship between Faramir and his elder brother Boromir, who is five years older, only grows closer, even though Denethor openly favours Boromir. Faramir is used to giving way and not airing his own opinions. Faramir displeases his father by welcoming the wizard Gandalf to Minas Tirith, Gondor's capital. Faramir, eager for knowledge, learns much from Gandalf about Gondor's history.
Faramir looks much like Boromir, who is described as "a tall man with a fair and noble face, dark-haired and grey-eyed, proud and stern of glance". In Faramir, "by some chance the blood of Westernesse [runs] nearly true". He does not enjoy fighting for its own sake.
Gondor had long been threatened by the nearby realm of Mordor, and in 3018 (when Faramir was 35) the Dark Lord Sauron begins the War of the Ring, attacking the ruined city of Osgiliath that guards the river crossing to Minas Tirith. Faramir and Boromir commands the defence.
Shortly before the battle, Faramir has a prophetic dream, in which a voice speaks of the "Sword that was Broken" that is to be found at Imladris far to the north, about the awakening of "Isildur's Bane", the approach of "Doom", and the appearance of "the Halfling". Faramir decides to journey to Imladris and seek the advice of Elrond the Half-elven, but Denethor sends Boromir instead.
"The Two Towers".
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 “For myself,” said Faramir, “I would see the White Tree in flower again in the courts of the kings, and the Silver Crown return, and Minas Tirith in peace: Minas Anor again as of old, full of light, high and fair, beautiful as a queen among other queens: not a mistress of many slaves, nay, not even a kind mistress of willing slaves. War must be, while we defend our lives against a destroyer who would devour all; but I do not love the bright sword for its sharpness, nor the arrow for its swiftness, nor the warrior for his glory. I love only that which they defend: the city of the Men of Númenor; and I would have her loved for her memory, her ancientry, her beauty, and her present wisdom.”
 J.R.R. Tolkien
 , "The Two Towers"
Faramir first encounters the hobbits Frodo Baggins and Samwise Gamgee in Ithilien, and recognises them to be the Halflings mentioned in his dreams. Faramir questions Frodo about his quest, and Frodo reveals that he, along with eight other companions including Boromir, had set out from Rivendell. During the interrogation, Faramir asks often about Boromir, since he knows, as Frodo does not, that Boromir is already dead. One night, Faramir had waded down to the Anduin after seeing a boat there. It contained the dead body of his brother, who had been killed by Orcs after Frodo had left the group. Frodo tries to avoid the subject of his quest, but Faramir realises that Frodo was carrying something important to Sauron. Sam accidentally speaks of Boromir's desire for the One Ring, thus revealing what Frodo is carrying. Faramir then shows the crucial difference between him and his proud brother:
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Faramir is wise enough to know that such a weapon is not to be used. He sees how his brother had been tempted beyond his strength, and wishes that he had gone on the quest himself. He gives the Hobbits provisions and sends them on their way, warning Frodo that their guide, Gollum, is treacherous, and that an unknown terror lives on the pass of Cirith Ungol, where Gollum is leading them.
"The Return of the King".
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 [Pippin said:] 'Here was one with an air of high nobility such as Aragorn at times revealed, less high perhaps, yet also less incalculable and remote: one of the Kings of Men born into a later time, but touched with the wisdom and sadness of the Elder Race. [...] He was a captain that men would follow, [...] even under the shadow of the black wings [of the Nazgûl].'
 J.R.R. Tolkien
 , "The Return of the King"
The following evening, Faramir sends his company to reinforce the garrison at Osgiliath, while he and three men ride to Minas Tirith. They are pursued by the Nazgûl. Faramir rides back to help the fallen and is rescued by Gandalf. At Minas Tirith, Faramir reports to Denethor and Gandalf that he had met Frodo and Sam. Denethor becomes angry that Faramir had let them go to Mordor with the Ring, instead of bringing it to him.
The Witch-king of Angmar, leader of the Nazgûl, leads a large army from Minas Morgul, and seizes Osgiliath. Faramir stays with the rearguard, and is gravely wounded. The city's cavalry bring him back to Minas Tirith, and the Battle of the Pelennor Fields begins. Denethor believes the unconscious Faramir to be fatally injured. He has a funeral pyre built for himself and Faramir. The Hobbit Pippin Took, sworn into Denethor's service, alerts Gandalf, and Faramir is rescued from the flames. Mad with grief, Denethor lies down on the pyre, burning himself alive.
After the battle, Aragorn heals Faramir with "athelas" in the Houses of Healing. Recuperating, Faramir meets the Lady Éowyn of Rohan, and falls in love with her. At first, Éowyn refuses his advances, only desiring to find honour in death, but soon she loves him in return. Faramir becomes Steward, and prepares the city for the arrival of Aragorn, now King of Gondor. On the day of the coronation, Faramir surrenders his Stewardship. Aragorn, however, renews the office, announcing that as long as his line lasts, Faramir's descendants would be Stewards of Gondor. He makes Faramir Prince of Ithilien. In addition, as Steward Faramir serves as the King's chief counsellor and rules Gondor when the King is absent. With Éowyn, he settles in Ithilien, among the hills of the Emyn Arnen; they have a son named Elboron. After Faramir's death at the age of 120, his son succeeds him. Barahir, Faramir's grandson, writes "The Tale of Aragorn and Arwen", said in the frame story to have been inserted in the "Thain's Book" by the writer Findegil.
Analysis.
Medieval knight.
The Tolkien scholar Elizabeth Solopova states that Faramir's decision to reject the One Ring shows influences from a kind of courage and behaviour that was known to Tolkien from the medieval poem "The Battle of Maldon". By not taking the Ring, Faramir rejects the desire for power and glory which a defeat of Sauron would bring him.
The Tolkien scholar Jane Chance analyses Faramir's place in what she identifies as an elaborate web of relationships based on a medieval Germanic worldview. Firstly, she describes Faramir and Boromir as a pair of opposites, good and evil brothers, which she likens to Theoden and Denethor whom she considers a pair of good and evil "Kings". Secondly, she explores what she sees as a series of parallel instances of feudal allegiance (a man's oath of service to his lord, in return for protection) and betrayal (the breaking of that oath) involving Faramir and Frodo. Sam serves Frodo faithfully, but accidentally betrays him to Faramir with the smoke from his cooking fire and then by mentioning the Ring. Gollum's allegiance to Frodo is in the form of an oath sworn on the Ring, to obey Frodo and not to run off. Frodo "betrays" Gollum by luring him into the captivity of Faramir's men. Gollum then swears to Faramir that he will never return to the forbidden pool. The last of the parallel allegiance relationships is that Faramir grants Frodo protection, in the manner of a Germanic lord, and in return Frodo offers his service. Thirdly, after the War of the Ring, society is renewed as Aragorn marries Arwen, bringing the races of Man and Elf together, while in parallel to that Faramir marries Éowyn, bringing together the nations of Rohan and Gondor.
Medieval outlaw.
Several scholars have noted a likeness between Faramir and the legendary medieval figure of Robin Hood. Marjorie Burns sees a sign of Englishness, "a Robin Hood touch", in the green-clad Faramir and his men hunting the enemy in the forested Ithilien. P.N. Harrison comments that Faramir's "wilderness dwelling, his skill with the bow, and his choice of a green cloak, mask, and gauntlets as clothing all invite direct comparisons" with the outlaw of Sherwood Forest. Ben Reinhard, in "Mythlore", writes that while there are medieval-style knights in "The Lord of the Rings", and Faramir's conduct and speech are in many ways perfectly chivalric, he is definitely not a "knight in shining armour". Instead, he leads the attack on the men of Harad "in a thoroughly unchivalric guerilla ambuscade", while "clothing, weaponry, tactics, and [concealed] refuge" all indicate the opposite of the shining knight: the outlaw in the Greenwood.
Tolkien's personal experiences.
Tolkien's biographer John Garth, in his book "Tolkien and the Great War: The Threshold of Middle-earth", writes that the resemblance between Faramir and the author, which Tolkien admitted in a letter ("As far as any character is 'like me', it is Faramir"), was that the two men were both soldiers and scholars, Faramir having "a reverence for the old histories and sacred values that helps him through a bitter war." Tolkien served as an officer in the British Army during the First World War, fighting in the Battle of the Somme in 1916. Tolkien bestowed his dream of "darkness unescapable" on Faramir, who narrates the dream to Éowyn. Of this, Tolkien wrote, "when Faramir speaks of his private vision of the Great Wave, he speaks for me. That vision and dream has been ever with me — and has been inherited (as I only discovered recently) by one of my children, Michael."
The scholar of literature Melissa A. Smith suggests that Tolkien's First World War experience of war brides may be reflected in Faramir's brief courtship of Éowyn. She notes that Tolkien wrote in response to criticism that "In my experience feelings and decisions ripen very quickly (as measured by mere 'clock-time', which is actually not justly applicable) in periods of great stress, and especially under the expectation of imminent death". Smith adds that Tolkien indeed married Edith Bratt just before he was posted to the Western Front in France.
Development.
In "The History of The Lord of the Rings", Christopher Tolkien recorded that his father had not foreseen the emergence of Faramir during the writing of the book, only inventing him at the actual point of his appearance in "The Two Towers". Tolkien himself noted that the introduction of Faramir had led to postponement of the book's dénouement and to further development of the background for Gondor and Rohan.
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Faramir said: "Do not scorn pity that is the gift of a gentle heart, Éowyn! But I do not offer you my pity. For you are a lady high and valiant and have yourself won
renown that shall not be forgotten; and you are a lady beautiful, I deem, beyond even the words of the Elven-tongue to tell. And I love you. Once I pitied your sorrow. But now, were you sorrowless, without fear or any lack, were you the blissful Queen of Gondor, still I would love you. Éowyn, do you not love me?"
 J.R.R. Tolkien
 , "The Return of the King", after Tolkien had edited out all the "thou" and "thee" forms.
In early drafts, Tolkien had used the familiar forms "thou" and "thee" to show a sudden shift in the relationship between Faramir and Éowyn, a "deliberate change to a form of affection or endearment". Christopher Tolkien comments that
<templatestyles src="Template:Blockquote/styles.css" />The 'sudden change' to which he referred here ... is possibly to be seen in their first meeting in the garden of the Houses of Healing, where Faramir says: 'Then, Éowyn of Rohan, I say to you that you are beautiful', but at the end of his speech changes to the 'familiar' form, 'But thou and I have both passed under the wings of the Shadow' (whereas Éowyn continues to use 'you'). In the following meetings, in this text, Faramir uses the 'familiar' forms, but Éowyn does not do so until the last ('Dost thou not know?'); and soon after this point my father went back over what he had written and changed every 'thou' and 'thee' to 'you'.
Portrayal in adaptations.
Art.
Faramir appears in several illustrations created by John Howe, Ted Nasmith and Anke Eißmann for "The Lord of the Rings" and related products. One of the scenes from the book that received many depictions is Faramir and Éowyn's meeting at the top of Minas Tirith.
Radio.
In the BBC's 1981 radio adaptation of "The Lord of the Rings", Faramir is voiced by Andrew Seear. The radio drama adhered faithfully to the books, and Peter Jackson gave the adaptation credit in the production of his film trilogy.
Film.
In Rankin/Bass' 1980 adaptation of "The Return of the King", a dark-haired man taken to be Faramir is shown next to Éowyn in greeting Aragorn as he arrives to Minas Tirith.
In Peter Jackson's "The Lord of the Rings" film trilogy, Faramir is played by David Wenham. The actor joked that he got the role because he and Sean Bean, who played Boromir, both had large noses. The plot of the second film, "", introduces a significant deviation from the book: Faramir does not at first let Frodo, Sam, and Gollum go, but decides to bring them and the Ring to Gondor. He takes them to Osgiliath and not until the Nazgûl attack the city and Frodo comes under the threat of capture does he release them. Jackson's explanation is that he needed another adventure to delay Frodo and Sam, because the episode at Cirith Ungol was moved to the third film, and so a new climax was needed. On the timeline given by Tolkien, Frodo and Sam had only reached the Black Gate at the time of the fall of Isengard. Jackson argues that it was necessary for Faramir to be tempted by the Ring because in his films everyone else was tempted, and letting Faramir be immune would seem inconsistent to a film audience. Jackson's portrayal of the Rangers' treatment of Gollum, who is beaten up, and Faramir's implicit compliance, have been criticised. In the book, Faramir calls the creature "Sméagol" instead of "Gollum", and tells his men to "treat him gently, but watch him".
In the extended edition of "The Two Towers", Jackson included an invented flashback scene in which Denethor neglects Faramir in favour of Boromir when sending him to Rivendell, so that Faramir wanted to please his father by bringing him the Ring. (The relationship is similarly strained in the book, but his father's favouritism does not seem to affect his decisions in Ithilien.) Reviewers have opined that the extended edition presents Faramir in a more favourable light.
Video games.
Faramir is a bonus playable character in the video game "". In a bonus video track within this game, Wenham says that "Faramir and Boromir were brothers, and it isn't beyond possibility that Faramir would have gone to Rivendell instead. And if that [had] happened, Faramir could have survived and returned to Gondor."
References.
Primary.
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Secondary.
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Frodo Baggins
Fictional hobbit protagonist in J. R. R. Tolkien's The Lord of the Rings
Frodo Baggins (Westron: "Maura Labingi") is a fictional character in J. R. R. Tolkien's writings and one of the protagonists in "The Lord of the Rings". Frodo is a hobbit of the Shire who inherits the One Ring from his cousin Bilbo Baggins, described familiarly as "uncle", and undertakes the quest to destroy it in the fires of Mount Doom in Mordor. He is mentioned in Tolkien's posthumously published works, "The Silmarillion" and "Unfinished Tales".
Frodo is repeatedly wounded during the quest and becomes increasingly burdened by the Ring as it nears Mordor. He changes, too, growing in understanding and compassion, and avoiding violence. On his return to the Shire, he is unable to settle back into ordinary life; two years after the Ring's destruction, he is allowed to take ship to the earthly paradise of Valinor.
Frodo's name comes from the Old English name "Fróda", meaning "wise by experience". Commentators have written that he combines courage, selflessness, and fidelity and that as a good character, he seems unexciting but grows through his quest, an unheroic person who reaches heroic stature.
Internal history.
Background.
Frodo is introduced in "The Lord of the Rings" as Bilbo Baggins's cousin and adoptive heir. Frodo's parents, Drogo Baggins and Primula Brandybuck, had been killed in a boating accident when Frodo was twelve; Frodo spends the next nine years living with his maternal family, the Brandybucks, in Brandy Hall. At the age of twenty-one, he is adopted by Bilbo, who brings him to live at his home, Bag End in the Shire. He and Bilbo share the same birthday, the 22nd of September. Bilbo introduces Frodo to the Elvish languages, and they often go on long walking trips together.
"The Fellowship of the Ring".
Frodo comes of age as Bilbo leaves the Shire. Frodo inherits Bag End and Bilbo's ring. Gandalf, uncertain about the origin of the ring, warns Frodo to avoid using it and to keep it secret. Frodo keeps it hidden for the next seventeen years, and it gives him the same longevity it had given Bilbo. Gandalf returns to tell him that it is the One Ring of the Dark Lord Sauron, who is seeking to recover and use it to conquer Middle-earth.
Realising that he is a danger to the Shire as long as he remains there, Frodo decides to take the Ring to Rivendell, home of Elrond, a mighty Elf-lord. He leaves with three companions: his gardener Samwise Gamgee and his cousins Merry Brandybuck and Pippin Took. They are just in time, for Sauron's most powerful servants, the Nine Nazgûl, have entered the Shire as Black Riders, looking for the Ring. They follow Frodo's trail, nearly intercepting him.
The hobbits escape into the Old Forest. They are waylaid by the magic of Old Man Willow, but rescued by Tom Bombadil, who gives them shelter and guidance. They are caught in fog on the Barrow Downs by a barrow-wight and put under a spell. Frodo breaks free, attacks the barrow-wight, and summons Bombadil, who again rescues the hobbits and sets them on their way.
At the "Prancing Pony" inn, Frodo receives a delayed letter from Gandalf and meets a man calling himself Strider, a Ranger; his real name is Aragorn. The One Ring slips onto Frodo's finger in the inn's common room, turning him invisible. This attracts the Nazgûl, who ransack the hobbits' empty rooms in the night. Strider leads the group through the marshes.
While encamped on Weathertop, they are attacked by five Nazgûl. The leader, the Witch-king of Angmar, stabs Frodo with a Morgul blade, the wound threatening to turn him into a wraith under the Nazgûl's control. Reaching Rivendell, he is healed by Elrond.
The Council of Elrond resolves to destroy the Ring by casting it into Mount Doom in Mordor, Sauron's realm. Frodo, realizing that he is destined for this task, steps forward to be the Ring-bearer. A Fellowship of nine companions is formed to assist him: the hobbits, Gandalf, Aragorn, the dwarf Gimli, the elf Legolas, and Boromir, a man of Gondor. Bilbo, living in Rivendell, gives Frodo his sword Sting and a coat of Dwarf mail made of "mithril". The company, unable to cross the Misty Mountains by a pass, enters the mines of Moria. Frodo is stabbed by an Orc with a spear, but his "mithril" mail-shirt saves his life. Gandalf was killed battling a Balrog. Aragorn leads them out to Lothlórien. There Galadriel gives Frodo an Elven cloak and a phial, which carries the Light of Eärendil to aid him on his quest.
The Fellowship travels by boat down the Anduin River and reaches the lawn of Parth Galen, just above the impassable falls of Rauros. There, Boromir, succumbing to the lure of the Ring, tries to take it by force. Frodo escapes by putting it on. This breaks the Fellowship; the company is scattered by invading Orcs. Frodo chooses to continue the quest alone, but Sam follows him.
"The Two Towers".
Frodo and Sam make their way through the wilds, followed by the monster Gollum, who has been tracking them, seeking to reclaim the Ring, which he had lost to Bilbo (as portrayed in "The Hobbit"). Gollum attacks the hobbits, but Frodo subdues him with Sting. He takes pity on Gollum and spares his life, making him promise to guide them through the dead marshes to the Black Gate. They find the gate impassable; Gollum tells them of "another way" into Mordor, and Frodo, over Sam's objections, lets him lead them south into Ithilien. There they meet Faramir, younger brother of Boromir, who takes them to a hidden cave. Frodo allows Gollum to be captured by Faramir, saving Gollum's life but leaving him feeling betrayed. Faramir provisions the hobbits and sends them on their way, warning Frodo to beware of Gollum's treachery.
They pass Minas Morgul, where the pull of the Ring becomes overwhelming, and climb the Endless Stair to cross into Mordor. At the top they enter a tunnel, not knowing it is the home of the giant spider Shelob. Gollum hopes to deliver the hobbits to her and retake the Ring after she had killed them. Shelob stings Frodo, rendering him unconscious, but Sam drives her off with Sting and the Phial of Galadriel. Believing that Frodo is dead, Sam takes the Ring and continues the quest. Soon, however, he overhears Orcs taking Frodo for questioning, saying that he is still alive.
"The Return of the King".
Sam rescues Frodo and returns the Ring. Dressed in scavenged Orc-armour, they set off, trailed by Gollum. At Mount Doom, Frodo enters the chasm where Sauron had forged the Ring. Here Frodo loses the will to destroy the Ring, and puts it on, claiming it for himself. Gollum attacks the invisible Frodo, biting off his finger and reclaiming the Ring. As he dances in elation, Gollum falls with the Ring into the fiery Cracks of Doom. The Ring is destroyed, and with it Sauron's power. Frodo and Sam are rescued by Great Eagles as Mount Doom erupts, destroying Mordor.
After Aragorn's coronation, the four hobbits return home. They find that the fallen wizard Saruman and his agents have taken over the Shire and started to industrialize it. Frodo and his companions lead a rebellion and defeat the intruders. Even after Saruman attempts to stab Frodo, Frodo lets him go, only for Saruman to be killed by his henchman Gríma Wormtongue. The hobbits restore the Shire to its prior state of peace and goodwill. While successful in his quest, Frodo never recovers from the physical and emotional wounds he suffered on the quest. After two years, Frodo and Bilbo as Ring-bearers are granted passage to Valinor.
Other works.
"The Sea-Bell" was published in Tolkien's 1962 collection of verse "The Adventures of Tom Bombadil" with the sub-title "Frodos Dreme". Tolkien suggests that this enigmatic narrative poem represents the despairing dreams that visited Frodo in the Shire in the years following the destruction of the Ring. It relates the unnamed speaker's journey to a mysterious land across the sea, where he tries but fails to make contact with the people who dwell there. He descends into despair and near-madness, eventually returning to his own country, to find himself utterly alienated from those he once knew.
"Frodo the halfling" is mentioned briefly at the end of "The Silmarillion", as "alone with his servant he passed through peril and darkness" and "cast the Great Ring of Power" into the fire.
In the poem "Bilbo's Last Song", Frodo is at the Grey Havens at the farthest west of Middle-earth, about to leave the mortal world on an elven-ship to Valinor.
"The Hunt for the Ring" in "Unfinished Tales" describes how the Black Riders travelled to Isengard and the Shire in search of the One Ring, purportedly "according to the account that Gandalf gave to Frodo". It is one of several mentions of Frodo in the book.
Family tree.
The Tolkien scholar Jason Fisher notes that Tolkien stated that hobbits were extremely "clannish" and had a strong "predilections for genealogy". Accordingly, Tolkien's decision to include Frodo's family tree in "Lord of the Rings" gives the book, in Fisher's view, a strongly "hobbitish perspective". The tree also, he notes, serves to show Frodo's and Bilbo's connections and familial characteristics. Frodo's family tree is as follows:
Concept and creation.
Frodo did not appear until the third draft of "A Long-Expected Party" (the first chapter of "The Lord of the Rings"), when he was named Bingo, son of Bilbo Baggins and Primula Brandybuck. In the fourth draft, he was renamed Bingo Bolger-Baggins, son of Rollo Bolger and Primula Brandybuck. Tolkien did not change the name to Frodo until the third phase of writing, when much of the narrative, as far as the hobbits' arrival in Rivendell, had already taken shape. Prior to this, the name "Frodo" had been used for the character who eventually became Pippin Took