(G)I-dle, History, 2021: I Burn, focus on members' solo activities and Soojin's departure
For the first time since their debut in 2018, all songs from I Burn was charted in Melon chart. Hwaa topped domestic charts and attained commercial success on Billboard charts, peaking at number 5 on K-pop Hot 100 and number 8 on World Digital Songs. The song also topped on NetEase Music's Real-Time chart and weekly K-Pop chart for two consecutive weeks since its release. Besides that, "Hwaa" achieved 10 music show wins, highest since their debut in 2018. (G)I-dle was also awarded a triple crown with their new lead single, "Hwaa".


(G)I-dle, History, 2021: I Burn, focus on members' solo activities and Soojin's departure
On January 27, (G)I-dle released the official English and Chinese version of the new EP's title song, "Hwaa". The song-writing credits for the Chinese version of "Hwaa" was given to Yuqi, the group's Chinese member. On February 5, (G)I-dle released a remixed version of "Hwaa" by Dimitri Vegas & Like Mike. It would be the band's first collaboration with foreign artists.


(G)I-dle, History, 2021: I Burn, focus on members' solo activities and Soojin's departure
On March 4, it was announced that Soojin would temporarily halt all activities following alleged bullying accusations by former classmates.


(G)I-dle, History, 2021: I Burn, focus on members' solo activities and Soojin's departure
On April 29, (G)I-dle alongside Universe released the song "Last Dance". However, due to Soojin's hiatus from the group, Universe and Cube Entertainment decided that the vocals will be redistributed to the remaining five active members in the group. The single peaked at number 142 on the Gaon Digital Chart, and at number 16 on the Billboard World Digital Songs Sales chart.


(G)I-dle, History, 2021: I Burn, focus on members' solo activities and Soojin's departure
Yuqi became the second (G)I-dle member to debut as a soloist with her debut single album A Page, which was released on May 13. The album consists of two lead singles, "Giant" and "Bonnie and Clyde" with the concept of 'A page of Yuqi's autobiography story and endless possibilities'. On May 21, it was announced that Soyeon was in the final stages of preparing for her comeback slated for a June release. She released her first solo EP Windy on July 5.


(G)I-dle, History, 2021: I Burn, focus on members' solo activities and Soojin's departure
On August 14, 2021, Cube Entertainment announced that Soojin has departed from the group. (G)I-dle will continue to promote as five-member group thereafter.


(G)I-dle, Philanthropy
On April 22, 2020, (G)I-dle donated 30,000 bottles of hand sanitizer worth ₩100 million through Holt Children's Services for children and their families to overcome COVID-19 pandemic in South Korea. For the release of Dumdi Dumdi in August 2020, (G)I-dle took part in Naver's Happybean Good Action event. The donations collected through the campaign was used to support psychological and mental health counseling treatment, snacks and nutritional kits for medical staff through Sports Doctors during the COVID-19 pandemic.


(G)I-dle, Artistry, Image
(G)I-dle has been praised for their musicality and ambiguity. According to industry specialists and marketing researches, the group was noted to embody the spirit a group like 2NE1 once had, but adapted to today's sensibilities.


(G)I-dle, Artistry, Image
The group has often been recognized for being a "self-producing" idol girl group and breaking female idol stereotypes. Being the youngest group to appear on Queendom, the members were actively involved in their own music videos, jacket photoshoots, song arrangements, choreography, and outfits production. Instead of appealing to the opposite sex with its femininity, their fanbase, collectively referred to as "Neverland", has a huge number of women and girls. The release of "Oh My God" further led to a spike in having 70% of female listeners on Melon.


(G)I-dle, Artistry, Image
Natalie Morin from Refinery29 described them as individuals with different energies that complement each other. She also described them as "bold and sensual", characteristics which she asserts sets them apart from other K-pop girl groups. Mor.bo named them as a diverse group that is unafraid to try different music styles. Elle magazine named the group as "independent musicians and artists" where girl groups' concepts typically work within a mould that was made by someone else.


(G)I-dle, Artistry, Image
Chun Yoon-Hye of HeraldPop describes "(G)I-dle, a group filled with skills and confidence [...] engraved their presence by successfully expressing their exceptional concepts during Queendom [...] has gone from super rookie to trending girl group." Choi Ji-sun, a pop music critic who wrote the book Is Goddess a Compliment? (Korean: 여신은 칭찬일까?) published in January 2021, talks about the music industry limiting idols and especially female ones. (G)I-dle was named as an example of change: (G)I-dle's "Lion" stage on Mnet's Queendom is a representative example. Choi introduced the song as a "rare case of calling a female wild beast" and praised the song and the performance in Queendom. "It was good to see Soyeon's leading creativity and integrating the message and the stage."


(G)I-dle, Artistry, Musical style and themes
(G)I-dle's songs have covered a wide variety of genres, crossing from "Latata" (moombahton trap), "Hann (Alone)" (moombahton), "Senorita" (Latin pop), "Uh- Oh" (boom bap), "Oh My God" (urban hip-hop) and "Dumdi Dumdi" (tropical moombahton). In the K-pop genre saturated with songs with themes of love and farewell, the group released "Lion", a song that diverges from a typical girl group song, comparing one's dignity to the dignity of a lion. In I Trust, the group explores elements of EDM trap, hip hop and urban music, with themes of self-love and self-trust.


(G)I-dle, Artistry, Musical style and themes
Taylor Glasby from MTV stated that (G)I-dle songs are steeped in their very essence — a girl's complex, internal house of mirrors that is constantly being broken, assessed, understood, and remade, where one style or sound is never enough to reflect who they are. (G)I-dle is the enticing tropical beats and coy finger snaps of "Latata" and the ominous, warning whistled hook of "Hann (Alone)".


(G)I-dle, Artistry, Musical style and themes
They are also the pensive harmonies and slow throb of bass on the R&B-infused ballad "Put It Straight," the whimsical words painted over the house music of "What's In Your House," and even the tango of "Senorita". Their lyrics push back, they beckon. They can be boring nonchalance or sharpening desire. Writing for Herald Pop, Kim Na-yul described (G)I-dle's genre can only be performed by them and made a good impression to the public. Melon's magazine described (G)I-dle's music generally as "Uniqueness is (G)I-dle's most powerful weapon." Korea JoongAng Daily journalist Yoo Seong-woon complimented the group for blending different elements from various sources into a unique mix of concepts and creating something new and fresh for the K-pop scene. (G)I-dle's summer song, "Dumdi Dumdi" was praised to have carried the legacy of summer songs.


(G)I-dle, Artistry, Stage performance
The group has also been praised for their stage presence during performances such as 2018 MMA's golden stage, reminiscent of Cleopatra, and 2018 MAMA's stage performing with dozens of female dancers to emphasize the image of women. It is also stated that their performance for Fan-dora's Box was "another legendary stage" due to the emotional acting by the members where they expressed "anger in sadness".


(G)I-dle, Artistry, Stage performance
(G)I-dle gave their last Queendom stage, "Lion" (with the Lion story narrated by Minnie), dancing in golden robes ornately decorated with a lion's mane, and finished with a herd of lions [dancers] following (G)I-dle to the six thrones. The stage was described as "world-class" and "legendary". This resulted in the group winning several performance awards, including Golden Disc Awards.


(G)I-dle, Impact and influences
In May 2018, (G)I-dle had revealed they deem Hyuna, a senior then from the same agency, as their role model. Yuqi said, "I grew up dreaming of becoming a singer after seeing Hyuna sunbae-nim. I want to become a sexy and cute singer like [her]. My mother played her music during preschool. That seems to have influenced me." Shuhua said, "Since I was young, I loved dancing with my friends. I want to stand on stage together."


(G)I-dle, Impact and influences
The group is recognized for its brand recognition and marketing power, having topped the "Girl Group Brand Power Ranking" published by the Korean Business Research Institute, for June and September 2018. Their highest brand reputation index was in September 2018. (G)I-dle has been dubbed the "monster rookie" of 2018. Billboard ranked them at the top of its list as the best new K-pop acts of 2018. It was reported that Cube's music sales in 2018 increased by 58% to ₩8.8 billion due to the popularity of (G)I-dle's "Latata" and "Hann (一)".


(G)I-dle, Impact and influences
In 2019, (G)I-dle gained more recognition in the general public after appearing on Queendom. The performance of their finale song "Lion" was considered one of K-pop's biggest moments of 2019 by CTV News. This resulted in them topping the "Girl Group Brand Power Ranking" again for two consecutive months, October and November 2019. Rolling Stone India included "Lion" in their list of the 10 best K-pop music videos of 2019. The song was considered "one of the most visceral tracks of 2019" and was topped the list out of 920 songs released in 2019.


(G)I-dle, Impact and influences
In January 2020, (G)I-dle was voted as one of the most anticipated singers/groups in 2020 based on surveys of several Korean music agencies, broadcasting and program officials, composers and popular music critics. In February, the group achieved number one in ranking brand power with the most-interacted topics, "Lion", and world touring. According to Hyundai Motors Investment Firm, during the Coronavirus pandemic, Cube target shares increased by 36.67% due to (G)I-dle's growth with "Oh My God". On August 13, Cube released a report of their earnings in the second quarter of the year.


(G)I-dle, Impact and influences
The sales in the record and broadcasting sectors rose by 349% (₩2 billion) from a year earlier due to I Trust, which sold 151,108 copies, the success of I-Land: Who Am I, and Dumdi Dumdi racking up 98,587 album sales. The same month, they achieved 500 million streams cumulatively on Spotify. They are the first K-pop fourth-generation girl group and the fifth in the K-pop girl group's career in about two years and three months after their debut. On August 26, it was reported that they were the first K-pop group to get interviewed by Forbes China after a video interview was released through Forbes's official Weibo account.


(G)I-dle, Impact and influences
(G)I-dle's integrity and breaking of idol stereotypes has influenced female artists such as Dal Shabet's Park Subin, former Wonder Girls Yubin, and STAYC's Yoon.


(G)I-dle, Other ventures, Ambassadorship
Seoul Metropolitan City appointed (G)I-dle as the city's goodwill ambassadors alongside Yura, Park Jin-hee, and eight other nominees on December 6, 2018. They held the title "City Ambassadors" for two years. At the tenth annual Children's Diabetes Celebration Festival held at Lotte World Underground Kingdom on June 8, 2019, in Eunpyeong-gu, Seoul, they were awarded as the new ambassadors for Korean Children's Diabetes Association.


(G)I-dle, Other ventures, Endorsements
In 2019, (G)I-dle started endorsing Kaja, a beauty brand co-created by Sephora and Memebox to create a new form combining K-beauty and K-pop. Through the partnership, the reality TV series To Neverland and the "Senorita" music video were released.


(G)I-dle, Other ventures, Endorsements
In 2020, Akiii Classic selected (G)I-dle as new models to reinforce the sensitivity of Gen Z's culture and trends pioneering the brand image. In early April 2020, (G)I-dle was revealed as a promotional model group for South Korea's biggest contact lens brand, LensMe. A representative from LensMe explained that the group's unique music and charismatic stage performances matched well with their "Basic, Trendy, Easy" company image. When choosing (G)I-dle as their models, the high fashion brand LipHop, emerging among young people predominantly in Korea, United States, Thailand, and Japan, stated that they considered the group to be "global artists who boast confident music and attractive visuals".


(G)I-dle, Awards and nominations
(G)I-dle received their first music show win on SBS MTV's The Show with "Latata" on May 22, 2018. They won their first new artist award, "Female Rookie Idol of the Year", on July 24, 2018, at the Brand of the Year Awards, and went on to receive a total of seven rookie awards at various awards ceremonies in their debut year. In 2020, (G)I-dle won the International Music Video award at the 5th BreakTudo Awards with "Oh My God"—they also received a nomination for Best K-Pop Video at the 37th MTV Video Music Awards. In 2021, (G)I-dle received a nomination for K-pop Bomb at Nickelodeon Mexico Kids' Choice Awards.


(G)I-dle discography
South Korean girl group (G)I-dle have released six extended plays, one single album and eight digital singles. They have also participated in six collaboration songs, two soundtrack contributions and twelve music videos.


(G)I-dle discography
Formed by Cube Entertainment in 2018, (G)I-dle debuted on May 2, 2018 with EP I Am with the song "Latata" as their first single. The group continued with the release of their first digital single titled "Hann (Alone)" on August 14, 2018 peaking at number 8 on the Gaon Digital Chart. They released their second mini album titled I Made on February 26, 2019 followed by the release of their second digital single titled "Uh- Oh" on June 26. A month later, (G)I-dle began their venture into the Japanese music market with the release of Latata on July 31.


(G)I-dle discography
The same year, two more singles—"Put It Straight (Nightmare Version)" and "Lion"—was released through their participation in Mnet's survival show Queendom. "Lion" managed to gain commercial success and was nominated in Korean Music Awards. In April 2020, (G)I-dle's third EP, I Trust, and its lead single "Oh My God", were released on April 6. The EP became the group's best-selling album and scored the second-highest first-day sales by a girl group with 91,311 physical copies sold. It debuted atop the Gaon Album Chart with over 110,000 copies and scored their highest debut on Billboard's World Albums chart. In August 2020, they released 2 albums; Dumdi Dumdi, a special summer single album on August 3 with the title track of the same name, and the group's second Japanese mini album, Oh My God on August 26.


(G)I-dle videography
This is the list of South Korean girl group (G)I-dle videography. It includes music videos, lyric videos, dance practice videos, music clips and commercial films since its debut in 2018.


(G)Old & New
(G)Old & New is a studio album by American girl group the Ikettes, released on United Artists in 1974. The Ikettes were backing vocalists for the Ike & Tina Turner Revue. (G)Old & New is their second and final studio album, containing new songs and different version of previously released tracks such as their hit "I'm Blue (The Gong-Gong Song)" which featured Tina Turner singing background vocals.


(G)Old & New, Recording and release
(G)Old & New was recorded at Ike & Tina Turner's studio, Bolic Sound, in June 1973. The album was made due to popular demand, via requests to United Artists for an Ikettes album. The album features new compositions and new versions of old songs. The first hit single by the Ikettes "I'm Blue (The Gong-Gong Song)," was released in 1961. It reached No. 19 on the Billboard Hot 100 and No. 3 on the R&B chart. They released two more charting singles in 1965, "Peaches 'N' Cream" (Pop No. 36, R&B No. 28) and "I'm So Thankful" (Pop No. 74, R&B No. 12).


(G)Old & New, Recording and release
For the album, the Ikettes recorded two songs by the Supremes, soul/funk infused renditions of "Someday We'll Be Together" and "Come See About Me." There are also high energy funk rock covers of Billy Preston's "Will It Go Round In Circles" and the Doobie Brothers' "Listen to the Music." As well as songs by Joe Tex and The Crystals.


(G)Old & New, Recording and release
At the time of the album's release in January 1974, the Ikettes composed of Charlotte Lewis, Linda Sims, and Debbie Wilson. However, Linda Shuford-Williams is pictured on the cover instead of Lewis.


(G)Old & New, Critical reception
Reviewing the album, Cash Box noted that "each cut has the fresh, bouncy rhythm that become an Ikette trademark, especially 'Listen To The Music,' 'Camel Walk,' and 'Peaches and Cream.'"


(G)Old & New, Critical reception
Billboard (January 26, 1974): "Returning to the recording spotlight after a trio of big 1962-65 hits, the Ikettes deliver a strong uptempo soul collection for their first album as UA's first female group. Lots of characteristic Ikette energy, in a set of oldies combined with new material."


(G)Old & New, Critical reception
With more push, the Ikettes would be mentioned with the greatest female vocal groups. Their lineup changed constantly, but talent always replaced talent, and they never lost their assertive, attacking sound. "Peaches & Cream," an explosive slab of pop/soul, is aggressive and gritty. "Camel Walk" has a rolling beat and exudes soul; its chorus includes a sexy, funky count from one to 11. The easy, rhythmic "I'm So Thankful" reigns as their most relaxed hit, it's similar to the Supremes' "Where Did Our Love Go."


(G,X)-manifold
In geometry, if X is a manifold with an action of a topological group G by analytical diffeomorphisms, the notion of a (G, X)-structure on a topological space is a way to formalise it being locally isomorphic to X with its G-invariant structure; spaces with a (G, X)-structures are always manifolds and are called (G, X)-manifolds. This notion is often used with G being a Lie group and X a homogeneous space for G. Foundational examples are hyperbolic manifolds and affine manifolds.


(G,X)-manifold, Definition and examples, Formal definition
Let X{\displaystyle X} be a connected differential manifold and G{\displaystyle G} be a subgroup of the group of diffeomorphisms of X{\displaystyle X} which act analytically in the following sense:


(G,X)-manifold, Definition and examples, Formal definition
(this definition is inspired by the analytic continuation property of analytic diffeomorphisms on an analytic manifold).


(G,X)-manifold, Definition and examples, Formal definition
A (G,X){\displaystyle (G,X)}-structure on a topological space M{\displaystyle M} is a manifold structure on M{\displaystyle M} whose atlas' charts has values in X{\displaystyle X} and transition maps belong to G{\displaystyle G}. This means that there exists:


(G,X)-manifold, Definition and examples, Formal definition
such that every transition map φi∘φj−1: φj(Ui∩Uj)→φi(Ui∩Uj){\displaystyle \varphi _ {i}\circ \varphi _ {j}^{-1}:\varphi _ {j}(U_{i}\cap U_{j})\to \varphi _ {i}(U_{i}\cap U_{j})} is the restriction of a diffeomorphism in G{\displaystyle G}.


(G,X)-manifold, Definition and examples, Formal definition
Two such structures (Ui,φi),(Vj,ψj){\displaystyle (U_{i},\varphi _{i}),(V_{j},\psi _{j})} are equivalent when they are contained in a maximal one, equivalently when their union is also a (G,X){\displaystyle (G,X)} structure (i.e. the maps φi∘ψj−1{\displaystyle \varphi _ {i}\circ \psi _{j}^{-1}} and ψj∘φi−1{\displaystyle \psi _{j}\circ \varphi _{i}^{-1}} are restrictions of diffeomorphisms in G{\displaystyle G}).


(G,X)-manifold, Definition and examples, Riemannian examples
If G{\displaystyle G} is a Lie group and X{\displaystyle X} a Riemannian manifold with a faithful action of G{\displaystyle G} by isometries then the action is analytic. Usually one takes G{\displaystyle G} to be the full isometry group of X{\displaystyle X}. Then the category of  (G,X){\displaystyle (G,X)} manifolds is equivalent to the category of Riemannian manifolds which are locally isometric to X{\displaystyle X} (i.e. every point has a neighbourhood isometric to an open subset of X{\displaystyle X}).


(G,X)-manifold, Definition and examples, Riemannian examples
Often the examples of X{\displaystyle X} are homogeneous under G{\displaystyle G}, for example one can take X=G{\displaystyle X=G} with a left-invariant metric. A particularly simple example is X=Rn{\displaystyle X=\mathbb {R} ^{n}} and G{\displaystyle G} the group of euclidean isometries. Then a (G,X){\displaystyle (G,X)} manifold is simply a flat manifold.


(G,X)-manifold, Definition and examples, Riemannian examples
A particularly interesting example is when X{\displaystyle X} is a Riemannian symmetric space, for example hyperbolic space. The simplest such example is the hyperbolic plane, whose isometry group is isomorphic to G= PGL2(R){\displaystyle G=\mathrm {PGL} _{2}(\mathbb {R} )}.


(G,X)-manifold, Definition and examples, Pseudo-Riemannian examples
When X{\displaystyle X} is Minkowski space and G{\displaystyle G} the Lorentz group the notion of a (G,X){\displaystyle (G,X)}-structure is the same as that of a flat Lorentzian manifold.


(G,X)-manifold, Definition and examples, Other examples
When X{\displaystyle X} is the affine space and G{\displaystyle G} the group of affine transformations then one gets the notion of an affine manifold.


(G,X)-manifold, Definition and examples, Other examples
When X= Pn(R){\displaystyle X=\mathbb {P} ^{n}(\mathbb {R} )} is the n-dimensional real projective space and G= PGLn+1(R){\displaystyle G=\mathrm {PGL} _{n+1}(\mathbb {R} )} one gets the notion of a projective structure.


(G,X)-manifold, Developing map and completeness, Developing map
Let M{\displaystyle M} be a (G,X){\displaystyle (G,X)}-manifold which is connected (as a topological space). The developing map is a map from the universal cover M~{\displaystyle {\tilde {M}}} to X{\displaystyle X} which is only well-defined up to composition by an element of G{\displaystyle G}.


(G,X)-manifold, Developing map and completeness, Developing map
A developing map is defined as follows: fix p∈M~{\displaystyle p\in {\tilde {M}}} and let q∈M~{\displaystyle q\in {\tilde {M}}} be any other point, γ{\displaystyle \gamma } a path from p{\displaystyle p} to q{\displaystyle q}, and φ:U→X{\displaystyle \varphi : U\to X} (where U{\displaystyle U} is a small enough neighbourhood of p{\displaystyle p}) a map obtained by composing a chart of M{\displaystyle M} with the projection M~→M{\displaystyle {\tilde {M}}\to M}. We may use analytic continuation along γ{\displaystyle \gamma } to extend φ{\displaystyle \varphi } so that its domain includes q{\displaystyle q}.


(G,X)-manifold, Developing map and completeness, Developing map
Since M~{\displaystyle {\tilde {M}}} is simply connected the value of φ(q){\displaystyle \varphi (q)} thus obtained does not depend on the original choice of γ{\displaystyle \gamma }, and we call the (well-defined) map φ: M~→X{\displaystyle \varphi :{\tilde {M}}\to X} a developing map for the (G,X){\displaystyle (G,X)}-structure. It depends on the choice of base point and chart, but only up to composition by an element of G{\displaystyle G}.


(G,X)-manifold, Developing map and completeness, Monodromy
Given a developing map φ{\displaystyle \varphi }, the monodromy or holonomy of a (G,X){\displaystyle (G,X)}-structure is the unique morphism h:π1(M)→G{\displaystyle h:\pi _{1}(M)\to G} which satisfies


(G,X)-manifold, Developing map and completeness, Monodromy
It depends on the choice of a developing map but only up to an inner automorphism of G{\displaystyle G}.


(G,X)-manifold, Developing map and completeness, Complete (G,X)-structures
A (G,X){\displaystyle (G,X)} structure is said to be complete if it has a developing map which is also a covering map (this does not depend on the choice of developing map since they differ by a diffeomorphism). For example, if X{\displaystyle X} is simply connected the structure is complete if and only if the developing map is a diffeomorphism.


(G,X)-manifold, Developing map and completeness, Examples, Riemannian (G,X)-structures
If X{\displaystyle X} is a Riemannian manifold and G{\displaystyle G} its full group of isometry, then a (G,X){\displaystyle (G,X)}-structure is complete if and only if the underlying Riemannian manifold is geodesically complete (equivalently metrically complete). In particular, in this case if the underlying space of a (G,X){\displaystyle (G,X)}-manifold is compact then the latter is automatically complete.


(G,X)-manifold, Developing map and completeness, Examples, Riemannian (G,X)-structures
In the case where X{\displaystyle X} is the hyperbolic plane the developing map is the same map as given by the Uniformisation Theorem.


(G,X)-manifold, Developing map and completeness, Examples, Other cases
In general compactness of the space does not imply completeness of a (G,X){\displaystyle (G,X)}-structure. For example, an affine structure on the torus is complete if and only if the monodromy map has its image inside the translations. But there are many affine tori which do not satisfy this condition, for example any quadrilateral with its opposite sides glued by an affine map yields an affine structure on the torus, which is complete if and only if the quadrilateral is a parallelogram.


(G,X)-manifold, Developing map and completeness, Examples, Other cases
Interesting examples of complete, noncompact affine manifolds are given by the Margulis spacetimes.


(G,X)-manifold, (G,X)-structures as connections
In the work of Charles Ehresmann (G,X){\displaystyle (G,X)}-structures on a manifold M{\displaystyle M} are viewed as flat Ehresmann connections on fiber bundles with fiber X{\displaystyle X} over M{\displaystyle M}, whose monodromy maps lie in G{\displaystyle G}.


(Get A) Grip (On Yourself)
"Grip", or "(Get A) Grip (On Yourself)", is a single by The Stranglers from the album Rattus Norvegicus. The Stranglers' first single, it reached number 44 in the UK Singles Chart. The song was written by Hugh Cornwell, and featured steel mill worker Eric Clarke on saxophone. The first line of the lyrics references a "Morry Thou" or Morris 1000.


(Get Your Kicks on) Route 66
"(Get Your Kicks on) Route 66" is a popular rhythm and blues song, composed in 1946 by American songwriter Bobby Troup. The lyrics follow the path of U.S. Route 66 (US 66), which traversed the western two-thirds of the U.S. from Chicago, Illinois, to Los Angeles, California. The song became a standard, with several renditions appearing on the record charts.


(Get Your Kicks on) Route 66, Background
Bobby Troup got the idea for the song on a cross-country drive from Pennsylvania to California. Troup wanted to try his hand as a Hollywood songwriter, so he and his wife, Cynthia, packed up their 1941 Buick and headed west. The trip began on US 40 and continued along US 66 to the California coast. Troup initially considered writing a tune about US 40, but Cynthia suggested the title "Get Your Kicks on Route 66". The song was composed on the ten-day journey and completed by referring to maps when the couple arrived in Los Angeles.


(Get Your Kicks on) Route 66, Lyrics
The lyrics read as a mini-travelogue about the major stops along the route, listing several cities and towns through which Route 66 passes: St. Louis, Missouri; Joplin, Missouri; Oklahoma City, Oklahoma; Amarillo, Texas; Gallup, New Mexico; Flagstaff, Arizona; Winona, Arizona; Kingman, Arizona; Barstow, California; and San Bernardino, California. Winona is the only town out of sequence: it was a very small settlement east of Flagstaff and might indeed have been forgotten if not for the lyric "Don't forget Winona", written to rhyme with "Flagstaff, Arizona".


(Get Your Kicks on) Route 66, Lyrics
Many artists who have covered the tune over the years have changed the initial lyrics, usually to "It goes to St. Louis, down through Missouri ..." then continuing with Oklahoma City and so on. Of the eight states through which the actual route passes, only Kansas and its cities are not mentioned (US 66 only passes eleven miles (18 km) inside the state's southeast corner).


(Get Your Kicks on) Route 66, Nat King Cole original version
Nat King Cole, with the King Cole Trio, first recorded the song in 1946 at Radio Recorders in Los Angeles. Capitol Records released it as a single, which reached number three on Billboard magazine's Race Records chart and number eleven on its broader singles chart. Cole later re-recorded the tune for the album After Midnight (1956) and The Nat King Cole Story (1961).


(Get Your Kicks on) Route 66, Other recorded renditions
The song has become a standard and has been recorded by numerous artists:


(Get to) The Point
(Get to) The Point is a short-lived current events discussion television program that aired on CNN in April 2013. Initially billed by CNN as "a week of special programming", the program was hosted by advertising executive and television personality Donny Deutsch with a panel that consisted of political commentator and gay rights activist Margaret Hoover, ESPN columnist Rick Reilly and ESPN NFL analyst Jason Taylor. A fifth panelist slot was filled by a different person each day. (Get to) The Point attracted a great deal of ridicule on Twitter during its time on air.


(Get to) The Point
Also during that time, the program averaged just 268,000 viewers with an average of merely 77,000 viewers in the 25-54 viewing demographic. It was also mocked by comedian Jon Stewart during his Comedy Central show. As a result of the low ratings, CNN's management decided not to continue with the show, cancelling (Get to) The Point after only a week of airtime.


(Ghost) Riders in the Sky: A Cowboy Legend
"(Ghost) Riders in the Sky: A Cowboy Legend" is a cowboy-styled country/western song written in 1948 by American songwriter, film and television actor Stan Jones.


(Ghost) Riders in the Sky: A Cowboy Legend
A number of versions were crossover hits on the pop charts in 1949, the most successful being by Vaughn Monroe. The ASCAP database lists the song as "Riders in the Sky" (title code 480028324), but the title has been written as "Ghost Riders", "Ghost Riders in the Sky", and "A Cowboy Legend". Members of the Western Writers of America chose it as the greatest Western song of all time.


(Ghost) Riders in the Sky: A Cowboy Legend, Overview
The song tells a folk tale of a cowboy who has a vision of red-eyed, steel-hooved cattle thundering across the sky, being chased by the spirits of damned cowboys. One warns him that if he does not change his ways, he will be doomed to join them, forever "trying to catch the Devil's herd across these endless skies". The story has been linked with old European myths of the Wild Hunt, in which a supernatural group of hunters passes the narrator in wild pursuit.


(Ghost) Riders in the Sky: A Cowboy Legend, Overview
Stan Jones stated that he had been told the story when he was 12 years old by an old Native American who resided north-east of the Douglas, Arizona border town, a few miles behind D Hill, north of Agua Prieta, Sonora. The Native Americans, possibly Apache, who lived within Cochise County, believed that when souls vacate their physical bodies, they reside as spirits in the sky, resembling ghost riders. He related this story to Wayne Hester, a boyhood friend (later owner of the Douglas Cable Company). As both boys were looking at the clouds, Stan shared what the old Native American had told him, looking in amazement as the cloudy shapes were identified as the "ghost riders" that years later, would be transposed into lyrics.


(Ghost) Riders in the Sky: A Cowboy Legend, Overview
Hundreds of performers have recorded versions of the song. Charting versions were recorded by The Outlaws, Vaughn Monroe ("Riders in the Sky" with orchestra and vocal quartet), which topped the Billboard magazine charts, by Bing Crosby (with the Ken Darby Singers), Frankie Laine, Burl Ives (two different versions), Marty Robbins, The Ramrods and Johnny Cash.


(Glad I'm) Not a Kennedy
"(Glad I'm) Not a Kennedy" is a song by New Zealand musician Shona Laing. The song was to be included on her 1985 album Genre. The song was re-mixed and included on Laing's 1987 album South. Released as a single, the song reached number two in New Zealand and number nine in Australia, and number 14 on the Billboard Alternative Airplay chart. According to Laing, the inspiration for the song was her reaction to a television appearance of American politician Edward Kennedy.


(God Must Have Spent) A Little More Time on You
"(God Must Have Spent) A Little More Time on You" is a song by American boy band NSYNC. It was released as the third single from their self-titled debut album in the U.S. While some of the previous singles were released in Europe, this one was not, and subsequently only charted in Australia and the U.S., reaching number 46 and number 8 respectively. The single included a live version of Christopher Cross song "Sailing", as well as a limited edition postcard. Some versions of the single included the track's video. The radio version of this song was featured on both their first and third compilation albums: Greatest Hits (2005) and The Essential *NSYNC (2014).


(God Must Have Spent) A Little More Time on You, Music video
The video was directed by Lionel C. Martin. The video shows the band performing around one single microphone, while showing footage of the mother and son, from birth to old age, including childhood memories, going to war, and coming home. All the footage of the mother and son was in black and white, whereas most of the footage of *NSYNC is in full color.


(God Must Have Spent) A Little More Time on You, Alabama version
In 1999, country music band Alabama recorded the song with a backing vocal from NSYNC, and released it as a single from their eighteenth studio album, Twentieth Century. This version peaked at number three on the Billboard Hot Country Songs chart and at number 29 on the Billboard Hot 100. The song is the only Hot Country Songs chart entry for NSYNC. This was also Alabama's final top 10 hit on the Billboard Country charts. The song was later included as the B-side to Alabama's next single, "Small Stuff."


(Ha Ha) Slow Down
"(Ha Ha) Slow Down" is the first single from Fat Joe's tenth studio album The Darkside Vol. 1. The song features rapper Young Jeezy. It also contains a short sample of Soul II Soul's "Back to Life (However Do You Want Me)" (a capella version)  throughout the entire beat.


(Ha Ha) Slow Down, Remixes
Several rappers have recorded freestyles over the song's instrumental, including The Lox, Talib Kweli, Shyne, Jae Millz, Game, Rick Ross, Nipsey Hussle, Capone-N-Noreaga, Raekwon, Uncle Murda, Jim Jones, Rayne Storm and French Montana. More elements of "Back to Life (However Do You Want Me)" are sampled on Maino's version.


(Ha Ha) Slow Down, Music video
The music video was produced by Parris and features a cameo by Diddy, Trina, Waah (Ruff Ryders Entertainment CEO) & Al Harrington (professional NBA player from the Denver Nuggets).


(He'll Never Be An) Ol' Man River
"(He'll Never Be An) Ol' Man River" is a song by Australian alternative rock band TISM, released in June 1995 as the second single from their third studio album, Machiavelli and the Four Seasons. The song peaked at number 23 on the ARIA Charts, becoming the band's highest charting single and polled at number 9 in the Triple J Hottest 100, 1995


(He'll Never Be An) Ol' Man River
The band performed the song on the RMITV show Under Melbourne Tonight in April 1995.


(He'll Never Be An) Ol' Man River
The song opens with the refrain "I'm on the drug that killed River Phoenix" and, as the song continues, notes a variety of celebrities who died due to some sort of excess. As the song progresses, it becomes clear that the addiction is not about actually doing these things himself; rather, his addiction is vicariously following celebrities and their excesses and premature deaths.


(He'll Never Be An) Ol' Man River
Controversy surrounded the release of this track. Red Hot Chili Peppers' Australian-born bassist Michael "Flea" Balzary (a close friend of Phoenix) reportedly left "wanting to kill" TISM.


(He'll Never Be An) Ol' Man River
TISM addressed this controversy in 2004: "By the same token, Hitler-Barassi says, 'I'm on the drug that killed River Phoenix', the line that famously enraged Red Hot Chili Peppers bassist Flea, 'wasn't about River Phoenix at all. That song was about fame, and the people listed in it weren't even real celebrities."


(He'll Never Be An) Ol' Man River
The single was issued with a second "pills" cover after a version depicting a mockup of Phoenix's tombstone was withdrawn.


(He's Got) The Look
"(He's Got) The Look" is the second single from Vanessa Williams' 1988 debut album. The single peaked at No. 10 on Billboard's Hot Black Singles chart. The song was written and produced by Amir Bayyan who had written and produced the majority of La Toya Jackson's 1984 album Heart Don't Lie.


(He's a) Grunge Whore
(He's a) Grunge Whore is a 10" vinyl EP by Norwegian rock band Turbonegro, released in 1993 via Sympathy for the Record Industry. It was the first release with vocalist Hans Erik Dyvik Husby a.k.a. Hank Von Helvete.


(He's a) Grunge Whore
The album was re-released on 30 June 2004. The differences between the original and this repressing are:


(He's a) Shape in a Drape
"(He's a) Shape in a Drape" is a song by British singer-songwriter and musician Joe Jackson, which was released in 1988 as a single from the soundtrack album of the American biographical comedy-drama film Tucker: The Man and His Dream. The song was written and produced by Jackson.


(He's a) Shape in a Drape, Critical reception
In a review of the single, Paul Massey of the Aberdeen Evening Express described Jackson as "a talented guy" and noted the song returned Jackson to "his Jumpin' Jive era". In a review of the Tucker soundtrack, Tom Moon of The Philadelphia Inquirer considered "(He's a) Shape in a Drape" to be "the most engaging" of the three tracks to feature vocals. Tomm Carroll, writing for the News-Pilot commented: "With a nod to the commercial, Tucker [features] a couple of vocal pieces compatible with the style of the score, [including] the swing-fest, "(He's a) Shape in a Drape"." Carroll added that the song "smacks of a hit single".


(He's) The Great Imposter
"(He's) The Great Imposter" is a 1961 song by The Fleetwoods. The song was written by Sharon Sheeley and Jackie DeShannon. It reached #30 on the Billboard Hot 100. One of the musicians on the song was session drummer Earl Palmer.


(Here I Stand) In the Spirit of Paul Robeson
(Here I Stand) in the Spirit of Paul Robeson is a public artwork by American artist Allen Uzikee Nelson, located at the intersection of Kansas Ave NW, Georgia Ave NW and Varnum St NW in the Petworth neighborhood in Washington, D.C., United States. It is a tribute to musician, actor and social activist Paul Robeson.


(Here I Stand) In the Spirit of Paul Robeson, Description
This Cor-Ten steel sculpture stands like a sign in the middle of the intersection. It rises upwards and opens up into a large face created with heavy African influences. Greenish glass frames the face. The artist describes it as a "Janus-face".


(Here I Stand) In the Spirit of Paul Robeson, Artist
Originally from Tupelo, Mississippi, Uzikee now lives in Washington D.C. His background in engineering provides a basis for his work. His creative goal is to combine "African design and aesthetic into subconscious culture." All of his works are three-dimensional, steel and glass. His work has been on display at Howard University, Martin Luther King Jr. Memorial Library, and throughout the United States.


(Here I Stand) In the Spirit of Paul Robeson, Acquisition
The piece was formally dedicated on April 8, 2001, to celebrate the 103rd anniversary of Paul Robeson's birthday.


(Hey Won't You Play) Another Somebody Done Somebody Wrong Song
"(Hey Won't You Play) Another Somebody Done Somebody Wrong Song" is an American country and pop song made famous by B.J. Thomas. It won the 1976 Grammy Award for Best Country Song, awarded to its songwriters, Larry Butler and Chips Moman.


(Hey Won't You Play) Another Somebody Done Somebody Wrong Song
Debuting at number 99 on the Billboard Hot 100 on February 1, 1975, the hit became Thomas' second number 1 single, on April 26, 1975. Including the parenthetical part, the title is the longest of any song to top the Hot 100. (For comparison, the medley by Stars on 45, whose much longer title appeared at number 1 on the 20 June 1981 Hot 100, consisted of snippets of 11 songs, not just one song.) It also topped Billboard's Easy Listening chart and was the last of his four Number Ones on that chart. It also hit number 1 on the Billboard Hot Country Singles chart. Billboard ranked it as the number 17 song for 1975.


(Hey Won't You Play) Another Somebody Done Somebody Wrong Song
Although he would not have any major country hits for another eight years, this hit paved the way for Thomas' future success as a mainstream artist in that genre.


(Hey Won't You Play) Another Somebody Done Somebody Wrong Song
In 1976, the song was performed by the Muppets on The Muppet Show. In 1979, Larry Butler produced a cover version by Kenny Rogers and Dottie West for their album Classics. Alvin and the Chipmunks and Butler covered the song for the 1981 album Urban Chipmunk.


(Hey Won't You Play) Another Somebody Done Somebody Wrong Song
"(Hey Won't You Play) Another Somebody Done Somebody Wrong Song" was certified gold for sales of one million units by the Recording Industry Association of America.


(Hey You) The Rock Steady Crew
"(Hey You) The Rock Steady Crew" is a song by American hip hop group the Rock Steady Crew from their debut studio album Ready For Battle. It was released in 1983 through Charisma/Virgin Records as the album's lead single. Written by Budd "Blue Soldier" Dixon, Ruza Blue and Stephen Hague, and produced by Dixon and Hague, the song became the most popular Rock Steady Crew's hit. The single peaked at number-one spot on Belgian and Dutch singles charts, and also reached the top ten in many European countries, including the UK. The song was featured in the 2006 video game Scarface: The World Is Yours.


(Histone-H3)-lysine-36 demethylase
(Histone-H3)-lysine-36 demethylase (EC , JHDM1A, JmjC domain-containing histone demethylase 1A, H3-K36-specific demethylase, histone-lysine (H3-K36) demethylase, histone demethylase, protein-6-N,6-N-dimethyl-L-lysine,2-oxoglutarate:oxygen oxidoreductase) is an enzyme with systematic name protein-N6,N6-dimethyl-L-lysine,2-oxoglutarate:oxygen oxidoreductase. This enzyme catalyses the following chemical reaction


(Hotel) Beau Séjour
Beau Séjour (the first season is internationally known as Hotel Beau Séjour) is a Dutch-language Belgian supernatural crime drama television series, created by Bert Van Dael and Sanne Nuyens, and directed by Nathalie Basteyns and Kaat Beels. It began airing on Belgian channel Eén on 1 January 2017 and on Arte in France, Germany and French-speaking Belgium on 2 March. It debuted on Netflix in some countries on 16 March 2017 however has since departed.


(Hotel) Beau Séjour
A second season was confirmed for the series in November 2017, and filming began in 2019. It premiered on Eén on January 31, 2021.


(Hotel) Beau Séjour, Synopsis
First season: In the village Lanklaar, in Limburg, Maasland, near Belgium's Dutch border, Belgian teenager Kato Hoeven (Lynn Van Royen) awakens at the small Hotel Beau Séjour to find a bloody corpse in the bathtub – her own. She has no memory of the day before her death or why she was there. She soon discovers that a select few people are able to see her and communicate with her as she desperately tries to find out who was responsible for her murder and why they killed her.


(Hotel) Beau Séjour, Synopsis
Second season: Maurice, a Belgian Naval officer, awakes in the middle of a huge storm to discover his own dead body hanging from a mast on his sailboat Beau Séjour off the coast of Zeebrugge. Refusing to believe he hanged himself, he must solve his own murder.


(Hotel) Beau Séjour, Production
The series' first season was shot on location at the real Hotel Beau Séjour ("Nice Stay") in Dilsen-Stokkem. The father of series co-creator Nathalie Basteyns stayed at the hotel 10 years before the show was created, and it made an impression upon him. Basteyns and Kaat Beels conceived the idea for the series immediately after this, when the child murders of serial killer Marc Dutroux were still fresh in people's minds. They elected to add a supernatural element to the story to set it apart from other similar neo-noir dramas currently airing. Lynn Van Royen, who portrays teenager Kato, was 28 and pregnant with her second child during the shoot. The creators and producers hope to make the series an anthology, with a different dead character in each season.


(Hotel) Beau Séjour, Production
A second season was announced in November 2017. Sanne Nuyens and Bert Van Dael will return as writers. For the second season, the writers received a subsidy of 25,000 euros from the Flemish Audiovisual Fund.


(Hotel) Beau Séjour, Production
In February 2019, it was announced that the city of Bruges and production house De Mensen had reached an agreement to film the second season in the village of Zeebrugge, a port on the coast of Belgium. Filming began in summer 2019 with Gene Bervoets cast in a main role. The second season will feature an all-new cast and storyline, albeit with a similar premise of a murder victim trying to solve his own death. It is expected to return in 2021. In December 2019, it was reported that Bervoets was injured during filming. He was treated at the hospital and released the same day.


(Hotel) Beau Séjour, Reception
Hotel Beau Séjour has been well received by critics, with particular praise for Lynn Van Royen's portrayal of the murdered Kato. John Doyle of The Globe and Mail compared it favorably to the first season of HBO's True Detective, calling it "a remarkably textured, slow-burning and compelling murder mystery." The Los Angeles Times called Hotel Beau Séjour a "worthy new addition to a crowded streaming field of moody European crime thrillers."


(Hotel) Beau Séjour, Reception
American horror master Stephen King praised the series on Twitter, calling Hotel Beau Séjour "Eccentric, brilliant, and strangely touching. Supernatural fare for those who don't ordinarily like it."


(How Could You) Bring Him Home
"(How Could You) Bring Him Home" is a song by American pop/R&B singer-songwriter/harmonicist Eamon. The song was released on September 15, 2006, as the lead and only single from his second studio album Love & Pain (2006). The song has peaked at number 61 on the UK Singles Chart.


(How Could You) Bring Him Home, Music video
A music video for "(How Could You) Bring Him Home" was uploaded to Eamon's VEVO account on October 25, 2009 at a total length of three minutes and 44 seconds.


(How Does It Feel to Be) On Top of the World
"(How Does it Feel to Be) on Top of the World" is a song by the British supergroup England United – formed by Echo and the Bunnymen, Ocean Colour Scene, Space and the Spice Girls. The song was written by Echo and the Bunnymen frontman Ian McCulloch and Johnny Marr and released as official theme of the England national football team for the 1998 World Cup. According to Official Charts Company the single has sold a total of 94,000 copies.


(How Does It Feel to Be) On Top of the World, Background and release
In 1998, Universal Music Group and the UEFA European Championship called a group of artists to record the official theme of the England national football team for the 1998 World Cup. The supergroup, credited as England United, was formed by the Spice Girls, Echo and the Bunnymen, Space and Ocean Colour Scene. The song was the final single by the Spice Girls released with Geri Halliwell's vocals, until the group's reunion in 2007. It was overshadowed however by "Three Lions 98" and "Vindaloo".


(How Does It Feel to Be) On Top of the World, Background and release
It was released on 2 CD single formats on the same day, the first featuring the standard versions of the song, including an instrumental. The second featuring remixes by Perfecto and an alternative instrumental version. The sleeve designs were of the white home kit (CD1) and the away red kit (CD2).


(How Does It Feel to Be) On Top of the World, Reception
Although the song was a substantial chart hit in the UK, peaking at #9, critical reception to the song was largely negative. Chris Evans was quoted as saying: "It is a good pop song, but you can't sing it on the terraces. You can't really get your teeth into the lyrics." Charlie Porter in The Times said that it was "a snivelling apology for an official song" that "washes over you". Matthew Wright, writing in The Daily Mirror quoted footballers Ian Wright and Rio Ferdinand describing it as "bollocks" and "rubbish" respectively. In 2006 Guardian readers voted it the second worst England football song ever, after 1982's "This Time (We'll Get It Right)". BBC reporter Mark Savage describes the song as "clumsy and boring". When it was played at Wembley Stadium, it was booed by fans.


(How Does It Feel to Be) On Top of the World, Live performances
The song was first performed live on TFI Friday on 1 May 1998. On 21 May 1998, a performance of song was recorded for Top of the Pops, which was broadcast on 5 June 1998.


(How Does It Feel to Be) On Top of the World, Music video
An official music video was released featuring all the members of England United, with appearances by footballers of the National Team, including David Beckham, Ian Wright and Rio Ferdinand.


(How Much Is) That Doggie in the Window?
"(How Much Is) That Doggie in the Window?" is a popular novelty song. It was written by Bob Merrill, and first published on September 25, 1952 as "The Doggie in the Window". On January 27, 1953, it was published in New York as "How Much is That Doggie in the Window?". The song was loosely based on the folk tune "Carnival of Venice" and the song "Oh, Where, Oh, Where, Has my Little Dog Gone?". The song's lyrics ask how frequently a dog can be seen in a window.


(How Much Is) That Doggie in the Window?
The best-known version of the song was the original, recorded by Patti Page on December 18, 1952, and released in January 1953 by Mercury Records as catalog numbers 70070 (78 rpm) and 70070X45 (45 rpm) under the title "The Doggie in the Window", with the flip side being "My Jealous Eyes". It reached No. 1 on both the Billboard and Cash Box charts in 1953, and sold over two million copies. Mercury, however, had poor distribution in the United Kingdom.


(How Much Is) That Doggie in the Window?
Therefore, a recording by Lita Roza was the one most widely heard in that country, reaching No. 1 on the UK Singles Chart in 1953. It distinguished Roza as the first British woman to have a No. 1 hit in the UK chart, and was also the first song with a question in the title to reach the top spot.


(How Much Is) That Doggie in the Window?, Patti Page recording, Background
"Doggie" was one in a series of successful novelty songs since the 1930s, following on the success of songs such as Bing Crosby's "Pistol Packin' Mama" and Merv Griffin's "I've Got a Lovely Bunch of Coconuts". Prior to the release of "Doggie", composer Bob Merrill penned "If I Knew You Were Comin' I'd've Baked a Cake". The original Page recording included the sounds of dogs barking, credited on the label as "Barks by Joe and Mac" (her arranger, Joe Reisman, and a violinist). The recording also features Page's signature multi-part tight harmonies, all sung by Page. Throughout her career, she also recorded several other versions.


(How Much Is) That Doggie in the Window?, Patti Page recording, Popular reception
On April 4, 1953, singer Patti Page's rendition of "The Doggie in the Window" went to No. 1 in the US Billboard magazine chart, staying at that top spot for eight weeks. The song was wildly popular across a wide demographic. The song had school children "yipping", Mercury Records was besieged with requests for free puppies, and the American Kennel Club's annual registrations spiked up by eight percent. In all, Page's record sold over 2 million copies.


(How Much Is) That Doggie in the Window?, Patti Page recording, Popular reception
Following the UK top ten debut of Lita Roza's cover version on March 19, 1953, the Patti Page version of the song was released in the UK on March 28, renamed "(How Much Is) That Doggie in the Window" (sans question mark), under Mercury's Oriole Records label. Given the delay getting to market in the UK, it was not as successful as the Roza version, entering the charts at No. 9 on April 2, before leaving the charts altogether five weeks later. The Roza version reached No. 1 on April 23, where it stayed for a single week. For five weeks between March 28, 1953 and April 25, 1953, there were two versions of "Doggie" in the UK's Top 12 singles chart.


(How Much Is) That Doggie in the Window?, Patti Page recording, Legacy
According to rock historian Michael Uslan, "novelty songs" like "Doggie" led to the "fervent embrace of rock & roll" by 1955. "A lot of songs at that time were extremely bland, squeaky-clean stuff. The music field was ripe for something new, something vibrant to shake the rafters."


(How Much Is) That Doggie in the Window?, Patti Page recording, Legacy
The song has since become a popular children's song. Bob Merrill's lyrics were reworked by Iza Trapani into her 2004 children's book, How Much Is That Doggie in the Window?.


(How Much Is) That Doggie in the Window?, Patti Page recording, Legacy
In 2009, Patti Page recorded a version of the song with a new title ("Do You See That Doggie in the Shelter") together with new lyrics by Chris Gantry, with the hopes of emphasizing the adoption of homeless animals from animal shelters. The rights to that song were given exclusively to the Humane Society of the United States. Said Page:


(How Much Is) That Doggie in the Window?, Patti Page recording, Legacy
"The original song asks the question: 'How much is that doggie in the window?' Today, the answer is 'too much.' And I don't just mean the price tag on the puppies in pet stores. The real cost is in the suffering of the mother dogs back at the puppy mill. That's where most pet store puppies come from. And that kind of cruelty is too high a price to pay."


(How Much Is) That Doggie in the Window?, Patti Page recording, Legacy
Upon Page's death in 2013, the Humane Society wrote in its online eulogy, "We remember her fondly for her compassion for animals."


(How Much Is) That Doggie in the Window?, Patti Page recording, Legacy
The song, and Page's version in particular, gained some notoriety for its use in the infamous final scene of John Waters' 1972 film Pink Flamingos.


(How Much Is) That Doggie in the Window?, Patti Page recording, Legacy
A season five episode of Cold Case, "Devil's Music", used Patti Page's recording in the opening.


(How Much Is) That Doggie in the Window?, Patti Page recording, Legacy
Creative director Ken Levine commented on the use of the song in 2007 video game BioShock as choosing "the sort of crap pop of the time, what we consider pop music, like Patti Page, which holds up more for its nostalgic value than for being great music." He also remarked that the story of BioShock is "a sad story - not a horror story" and "we counterpoint it with [Patti Page's] '(How Much Is) that Doggie in the Window'". However, due to licensing restrictions, Levine noted they had to use "another version of the recording": the game does not use Page's original 1952 overdubbed Mercury recording, and instead uses her 1966 re-recording with full orchestra for Columbia Records.


(How Much Is) That Doggie in the Window?, Cover versions, Lita Roza version, Background
Roza was a singer with the Ted Heath jazz band in the 1950s. During this period, she was voted Favourite Female Vocalist in a Melody Maker poll from 1951 to 1955, and in a similar New Musical Express poll from 1952 to 1955.


(How Much Is) That Doggie in the Window?, Cover versions, Lita Roza version, Background
In 1951, Roza recorded "Allentown Jail" with the Heath Band, which led to her A&R man Dick Rowe asking her to sing "(How Much is) That Doggie in the Window". Her initial response was negative: "I'm not recording that, it's rubbish." She recalled that he pleaded with her, responding "It'll be a big hit, please do it, Lita." She relented, saying she would record it but never sing it again afterwards. Roza's version was recorded on Wednesday, 18 February 1953, with accompaniment directed by Johnny Douglas.


(How Much Is) That Doggie in the Window?, Cover versions, Lita Roza version, Reception
"(How Much is) That Doggie in the Window" was a new entry in the UK charts on March 14, 1953 at No. 9. It moved up to No. 3 in its second and third week of release, before dropping down to No. 4 on April 4. On April 11, it moved up to No. 2 for a week, before reaching No. 1 on April 18.


(How Much Is) That Doggie in the Window?, Cover versions, Lita Roza version, Reception
This made Lita Roza both the first female vocalist to top the UK singles chart and the first artist from Liverpool to do so, long before the success of The Beatles or Cilla Black in the 1960s. Roza held the top spot for one week, before gradually dropping down the top ten over the next five weeks, with its final week in the top ten being at No. 9 on May 23.


(How Much Is) That Doggie in the Window?, Cover versions, Other contemporary versions
Record sales in the UK were not a threat to the sheet music charts, broadcast on Radio Luxembourg, until around 1955. It is thought that the last sheet music million sellers were in 1953, and it has been suggested that "(How Much is) That Doggie in the Window" was the final title to reach this figure. The song entered the sheet music charts on February 28, 1953, and peaked at No. 1 on March 28, its fifth week on chart, staying there for six weeks in total.


(How Much Is) That Doggie in the Window?, Cover versions, Other contemporary versions
No recordings were commercially available until after the song had entered the sheet music charts, with several versions issued in March 1953: these were by Lita Roza, Patti Page, Carole Carr with Children's Choir and Rustler the Dog, and British actor John Slater. The following month, a version by the British child star Mandy Miller, who was aged just 8, was released. A parody version by American country music duo Homer and Jethro (titled "That Hound Dog in the Window") was released in November in the UK, after the song had left the charts. In May 1954, the UK branch of Mercury re-issued Page's recording. The company had taken over distribution of American Mercury's repertoire from Oriole, who had originally released the Page version in the UK.


(How Much Is) That Doggie in the Window?, Cover versions, Other contemporary versions, Legacy
Lita Roza was widely reported to have strongly disliked her song. In an interview in 2004 she revealed that she had kept her promise never to perform the song, "I sang it once, just one take, and vowed I would never sing it again. When it reached number one, there was enormous pressure to perform it but I always refused. It just wasn't my style." However, she would go on to be most widely remembered for that song. In 2001, Roza opened Liverpool's Wall of Hits on Mathew Street, home of The Cavern Club. On display were various discs from every British number-one from Merseyside, the first being her own.


(How Much Is) That Doggie in the Window?, Cover versions, Other contemporary versions, Legacy
The song returned to the spotlight briefly during the 1980s as the result of an interview with Smash Hits magazine, wherein Margaret Thatcher, who was then serving as Prime Minister of the United Kingdom, admitted that Lita Roza's version of "Doggie" was her favourite song of all time.


(How Much Is) That Doggie in the Window?, Cover versions, Other contemporary versions, Legacy
Following Roza's death in August 2008, she left £300,000 in her will to charities, of which £190,000 went to three dog-related charities: Battersea Dogs and Cats Home, The Guide Dogs for the Blind Association, and The Cinnamon Trust.


(How Much Is) That Doggie in the Window?, Cover versions, Parodies
The song has also been parodied a few times, including:


(How to Be A) Millionaire
"(How to Be A) Millionaire" is a song by English new wave and synth-pop band ABC. It was the first single taken from their third studio album, How to Be a ... Zillionaire!


(How to Be A) Millionaire
The single peaked at a modest No. 49 on the UK Singles Chart, though it fared better in the US where it reached No. 20 on the US Billboard Hot 100 and No. 4 on the Hot Dance Club Play chart.


(How to Be A) Millionaire
The CBS Orchestra played the song for Regis Philbin when he was a guest on the Late Show with David Letterman. Philbin was the former host of Who Wants to Be a Millionaire for the ABC television network.


(How to Be A) Millionaire, Music video
The animated music video shows a cartoon Martin Fry and Mark White being overwhelmed by their luxury goods, which are continually growing in size. The other two band members make a brief appearance also in animated form.


(How to Live) As Ghosts
(How to Live) As Ghosts, is the eighth studio album by American rock band 10 Years. While their prior album, From Birth to Burial alluded to the band's plan at the time for it to be their final album, (How to Live) As Ghosts alludes to the sentiment of it being a rebirth of a band, while also alluding to the general sentiment that humanity spends too much time worrying about death rather than life. The album's first single, "Novacaine" was released in August 2017. The second single, "Burnout" was released April 23, 2018.


(How to Live) As Ghosts, Background
In 2015, the band released their seventh studio album, From Birth to Burial, deriving from the fact that frontman and lead vocalist Jesse Hasek believed it to be the band's final album. The sessions for the prior album had been difficult for the band, with long-time members Matt Wantland and Brian Vodinh leaving in 2013, after over a decade of involvement in the band, with Hasek conceding that it "just didn't feel like 10 Years without [them]." However, Hasek reconnected with the two after the release of the prior album, and after rejoining, began work on a new album in 2016.


(How to Live) As Ghosts, Writing and recording
For the first time since 2008's Division, the album's core writing team again consisted of Hasek, Vodinh, and Wantland again. However, this time they approached writing differently; historically, Hasek and Vodinh would do the bulk of the writing together, and then have the rest of the band members add minor nuances to the songs. For (How to Live) As Ghosts, all of the music was written as a full-band and collaborating with music producer Nick Raskulinecz. Vodinh provided guitar and drums for the album, relegating newcomer Kyle Mayer as merely the live drummer for touring. The track "Blood Red Sky" originated from a solo EP recorded by Vodinh, but was reworked by Hasek to have a vastly different vocal approach.


(How to Live) As Ghosts, Themes and composition
Working with Raskulinecz for the first time lead to the band changing a number of aspects of the music. Past albums focused on layering and harmonizing Hasek's vocals for a more "epic" feel, though Raskulinecz encouraged Hasek to move away from that, stripping it down to just one unaltered vocal track for much of the album, in an effort for the vocals to feel more "intimate" and "human". Similarly, Hasek moved away from the abstract themes of his lyrics, to more direct themes:


(How to Live) As Ghosts, Themes and composition
In the past, I've written a lot of songs that were pretty ambiguous. But on this record, I'm more comfortable being direct and talking about things that are important to me. I'm older and find myself reflecting on the world more especially after having travelled the world and talk to people and really see what's going on...seeing all the political, social, and religious turmoil, it had me thinking about how many people are judging and preparing for death, but are actually missing life. And, instead of using spirituality for good, a lot of people use it to point fingers and judge. Instead of worrying where we end up in the end, we need to focus on the now and the humanity.


(How to Live) As Ghosts, Themes and composition
Some lyrics were also more upbeat than prior albums, with the band feeling like the recording sessions had been a "rebirth" for the band, feeling more positive about their musical future.


(How to Live) As Ghosts, Release and promotion
In December 2016, the band announced that they had signed with Mascot Records of Mascot Label Group, to release their album. The album's name was first announced on August 16, 2017, alongside the track list, and the album's first single, "Novacaine". The song peaked at number 5 on the Billboard US Mainstream Rock Songs chart. Touring in support of the album started prior to its release as well, including a one-off show in August, and then starting with more regular shows in September.


(Hurt Me! Hurt Me!) But the Pants Stay On
"(Hurt Me! Hurt Me!) But the Pants Stay On" is a 1991 dance-house song performed by British singer Samantha Fox. It was written and produced by Full Force and was released as the first single from Samantha’s fourth album, Just One Night. A music video was also made to accompany the song, directed by Jim Swaffield.


(Hurt Me! Hurt Me!) But the Pants Stay On, Critical reception
Larry Flick from Billboard wrote, "Naughty girl seems to be having almost too much fun on this titillating house teaser that revolves around whether or not Fox is going to keep her drawers on. In collaborating with Full Force the singer once again finds all the right buttons to push and has come up with yet another controversial hit that will be crossing over to top-40 radio in no time flat." Another editor described the song as a "safe-sex anthem".


(Hydroxyethyl)methacrylate
Hydroxyethylmethacrylate or HEMA is the organic compound with the formula H2C=C(CH3)CO2CH2CH2OH. It is a colorless viscous liquid that readily polymerizes. HEMA is a monomer that is used to make various polymers.


(Hydroxyethyl)methacrylate, Applications
Polyhydroxyethylmethacrylate is hydrophobic; however, when the polymer is subjected to water it will swell due to the molecule's hydrophilic pendant group. Depending on the physical and chemical structure of the polymer, it is capable of absorbing from 10 to 600% water relative to the dry weight. Because of this property, it was one of the first materials to be successfully used in the manufacture of soft contact lenses.


(Hydroxyethyl)methacrylate, Applications
When treated with polyisocyanates, poly(HEMA) makes a crosslinked polymer, an acrylic resin, that is a useful component in some paints.


(Hydroxyethyl)methacrylate, Use in 3D printing
HEMA lends itself well to applications in 3D printing as it cures quickly at room temperature when exposed to UV light in the presence of photoinitiators. It may be used as a monomeric matrix in which 40nm silica particles are suspended for 3D glass printing. When combined with a suitable blowing agent such as BOC Anhydride it forms a foaming resin which expands when heated.


(I Am) Nobody's Lunch
(I Am) Nobody's Lunch is a 2006 play with music produced by The Civilians, an investigative theater company in New York City. Based on interviews conducted in 2003, the play explores the compromised issues of trust and truth that arose between the American government and its people during the lead-up to the Iraq War. (I Am) Nobody's Lunch was written and directed by Steve Cosson from interviews by the company, with music and lyrics by Michael Friedman.


(I Am) Nobody's Lunch, Conception
(I Am) Nobody's Lunch grew from interviews with people from all over America about what they believe regarding their current government and public culture. When writing about the motivation to create such a work, writer and director Steve Cosson said


(I Am) Nobody's Lunch, Conception
"If a democracy depends in part on there being some common understanding of what is actually taking place in the world, then we wanted to know if in fact if such a consensus existed, and if not, then just how are people parsing reality?"


(I Am) Nobody's Lunch, Process
(I Am) Nobody's Lunch is marked by The Civilians' characteristic journalistic approach to theater, in which the play's foundation is built from a series of individual interviews, usually conducted by the cast members themselves. These interviews are not recorded, and transcribed later from memory. The dialogue from the interviews is then woven verbatim into the script, producing a kind of theater that Brian Logan from The Guardian describes thus: "The Civilians co-mingle docudrama with cabaret, spinning their interviewees' responses into improbable, inquisitive song-and-soliloquy revues."


(I Am) Nobody's Lunch, The Play
(I Am) Nobody's Lunch takes on the question that was on the minds of many Americans as the Bush Administration began to launch the Iraq War: Who, or what, do we believe? It presents a dynamic range of real-life perspectives from across the country, from an Arab-American cab driver to a staffer at the Department of Homeland Security, everyone in the phone book listed under the name Jessica Lynch, an elderly Jewish woman, and even an alien.


(I Am) Nobody's Lunch, The Play
According to Sam Marlowe, in his review of (I Am) Nobody's Lunch when it played at the SoHo Theater in London, the play "considers the impossibility of certainty in a world stuffed with lies." The scenes and monologues from Cosson's script are interspersed with composer Michael Friedman's musical numbers, producing a cabaret-like piece of theatre.


(I Am) Nobody's Lunch, Production history
An early version of the play opened in September 2004 and was produced by The Civilians and presented by Performance Space 122. (I Am) Nobody's Lunch had its official U.S. Premiere by The Civilians at 59E59 Theaters, New York City, January 19, 2006. The play then received its London Premiere by The Civilians at Soho Theatre on September 6, 2006, after playing an award-winning run at the Edinburgh Fringe Festival earlier that year. (I Am) Nobody's Lunch also  toured along the East Coast during April 2006, playing shows at the Annenberg Center for the Performing Arts in Philadelphia, PA (April 19 – 23, 2006) and the American Repertory Theater in Cambridge, MA (April 25 – 30, 2006).


(I Am) Nobody's Lunch, Public response and recognition
(I Am) Nobody's Lunch garnered favorable reviews from such publications as The New York Times, The Boston Globe, and The Times. The play also won a coveted First Fringe award at the Edinburgh Fringe Festival in 2006  and was named as a Critic's Choice: Top Five Plays selection by The Evening Standard.


(I Am) Nobody's Lunch, Cast
U.S. Premiere: Quincy Tyler Bernstine, Matt Dellapina, Brad Heberlee, Daoud Heidami, Caitlin Miller, Jennifer R. Morris, and Andy Boronson.


(I Am) Nobody's Lunch, Cast
London Premiere: Matt Dellapina, Daoud Heidami, Brandon Miller, Caitlin Miller, Lexy Fridell, and Andy Boroson on piano.


(I Am) The Seeker
The Seeker is a song written by ABBA composers Björn Ulvaeus and Benny Andersson towards the end of the group's career. The song was however not recorded by ABBA, but was 'given' by the composers to be included in the 1983 London staging of the originally French musical "Abbacadabra", based on 14 of the group's songs. The lyrics were altered for the show by Don Black and Mike Batt.


(I Am) The Seeker
The song was performed by singer and actor B. A. Robertson, and recorded for the English language cast album. It was used as the B-side to the single "Time".


(I Am) The Seeker
The song was re-recorded by Benny Anderssons Orchestra in 2007 with a new chorus and completely new lyrics, as well as a new title "Upp Till Dig", and was performed by Helen Sjöholm.


(I Believe) Love's a Prima Donna
"(I Believe) Love's a Prima Donna" is a song by the British rock band Steve Harley & Cockney Rebel, released in 1976 as the second single from their fifth studio album Love's a Prima Donna. It was written and produced by Harley. The song reached No. 41 in the UK and would be the band's last charting single before their split in 1977.


(I Believe) Love's a Prima Donna, Background
Following the UK Top 10 success of the lead single "Here Comes the Sun" during Summer 1976, "(I Believe) Love's a Prima Donna" was chosen as the second single from Love's a Prima Donna. Released in October, it peaked at No. 41 on the UK Singles Chart, remaining in the Top 50 for four weeks. The song had originally debuted at No. 48 in early November. Like the entire Love's a Prima Donna album, the song was recorded at Abbey Road Studios during sessions between June–September 1976.


(I Believe) Love's a Prima Donna, Release
"(I Believe) Love's a Prima Donna" was released by EMI Records on 7" vinyl in the UK, the Netherlands, Germany, Belgium and Japan. The B-Side, "Sidetrack 1", was written and produced by Harley. It has remained exclusive to the single ever since. In the UK, two almost-identical editions of the single were released. One titled the B-Side as "Sidetrack 1", while the other "Sidetrack 1 (Group Version)". The follow-up "Sidetrack 2" appeared as an album track on Love's a Prima Donna.


(I Believe) Love's a Prima Donna, Release
The UK release had no artwork and was issued in a generic sleeve, however the other releases of the single featured picture sleeves. The Netherlands sleeve featured a photograph of the entire band, using black and light red as the only colours. The German release featured a close-up shot of Harley in front of a microphone on stage, while the Belgian release had no photograph, using the band's name and song title as large text with a blue background instead. The Japanese release featured the same artwork as the Love's a Prima Donna album. All sleeves of the single named the song as "Love is a Prima Donna", although the actual vinyl used the song's full title.


(I Believe) Love's a Prima Donna, Release
Following its original release as a single and on Love's a Prima Donna, the song has since appeared on the 1987 Steve Harley & Cockney Rebel compilation Greatest Hits, and the 2006 compilation The Cockney Rebel – A Steve Harley Anthology.


(I Believe) Love's a Prima Donna, Promotion
No music video was filmed to promote the single. On 21 October 1976, the band appeared on the UK music show Top of the Pops to perform the song. Harley also performed the song, minus the band, on ITV's Supersonic show during the same period.


(I Believe) Love's a Prima Donna, Promotion
The song has been performed during the band's live concerts on many occasions. A version was included on the band's 1977 live album Face to Face. In 1989, the band's concert at Brighton, which included the song, was released on the VHS The Come Back, All is Forgiven Tour: Live.


(I Believe) Love's a Prima Donna, Critical reception
On its release as a single, Sue Byrom of Record Mirror described the song as one with "a lot of changes of rhythm and tempo" and a "quick burst of Queen-type backing". She felt the song was "fairly complex" which "might put its chances at risk".


(I Believe) Love's a Prima Donna, Critical reception
In a 1976 issue of the EMI Records Weekly News magazine Music Talk, Rex Anderson reviewed the Love's a Prima Donna album. He compared the track "(Love) Compared with You" with the title track: ""(I Believe) Love's a Prima Donna" is a brilliant contrast. The guy has been through all the different pangs of adolescent love and comes to the realisation that "love" is a prima donna." Later in the review, Anderson also noted: "Tony Rivers deserves some praise for his vocal arrangements, particularly on "(Love) Compared with You" and "Love's a Prima Donna"." In a review of the album, American magazine Billboard picked the song, along with "(Love) Compared with You", as the album's best cuts.


(I Believe) Love's a Prima Donna, Critical reception
In a retrospective review, Donald A. Guarisco of AllMusic commented that the song was one of "Harley's finest songs". He described it as "a bracing song that features the writer waxing comical about the pitfalls of love over a briskly paced pop tune that fleshes out its pub-piano melody with flamenco guitar and a choir".


(I Can't Get No) Satisfaction
"(I Can't Get No) Satisfaction" is a song recorded by the English rock band the Rolling Stones. A product of Mick Jagger and Keith Richards' songwriting partnership, it features a guitar riff by Richards that opens and drives the song. The riff by Richards is widely considered one of the greatest hooks of all time. The song lyrics refer to sexual frustration and commercialism.


(I Can't Get No) Satisfaction
The song was first released as a single in the United States in June 1965 and was also featured on the American version of the Rolling Stones' fourth studio album, Out of Our Heads, released that July. "Satisfaction" was a hit, giving the Stones their first number one in the US. In the UK, the song initially was played only on pirate radio stations, because its lyrics were considered too sexually suggestive. It later became the Rolling Stones' fourth number one in the United Kingdom.


(I Can't Get No) Satisfaction
It is one of the world's most popular songs, and was No. 31 on Rolling Stone magazine's 500 Greatest Songs of All Time list in 2021. It was inducted into the Grammy Hall of Fame in 1998, and it is the 10th ranked song on critics' all-time lists according to Acclaimed Music. The song was added to the National Recording Registry of the Library of Congress in 2006.


(I Can't Get No) Satisfaction, Recording
Keith Richards wrote "Satisfaction" in his sleep and recorded a rough version of the riff on a Philips cassette player. He had no idea he had written it. He said when he listened to the recording in the morning, there was about two minutes of acoustic guitar before you could hear him drop the pick and "then me snoring for the next forty minutes". Sources vary as to where this story happened.


(I Can't Get No) Satisfaction, Recording
While they make reference to a hotel room at the Fort Harrison Hotel in Clearwater, Florida, a house in Chelsea and the London Hilton, Richards wrote in his most recent autobiography that he was in his flat in Carlton Hill, St. John's Wood. He specifies that Mick Jagger wrote the lyrics by the pool in Clearwater, four days before they went into the studio, hence the confusion.


(I Can't Get No) Satisfaction, Recording
The Rolling Stones first recorded the track on 10 May 1965 at Chess Studios in Chicago, Illinois, which included Brian Jones on harmonica. The Stones lip-synched to a dub of this version the first time they debuted the song on the American music variety television programme Shindig! The group re-recorded it two days later at RCA Studios in Hollywood, California, with a different beat and the Maestro fuzzbox adding sustain to the sound of the guitar riff.


(I Can't Get No) Satisfaction, Recording
Richards envisioned redoing the track later with a horn section playing the riff: "this was just a little sketch, because, to my mind, the fuzz tone was really there to denote what the horns would be doing." The other Rolling Stones (Jones, Watts, and Wyman), as well as producer and manager Andrew Loog Oldham and sound engineer David Hassinger eventually outvoted Richards and Jagger so the track was selected for release as a single. The song's success boosted sales of the Gibson fuzzbox so that the entire available stock sold out by the end of 1965.


(I Can't Get No) Satisfaction, Recording
Like most of the Stones' pre-1966 recordings, "Satisfaction" was originally released in mono only. In the mid-1980s, a true stereo version of the song was released on German and Japanese editions of the CD reissue of Hot Rocks 1964–1971. The stereo mix features a piano (played by session player Jack Nitzsche, who also provides the song's iconic tambourine) and acoustic guitar that are barely audible in the original mono release (both instruments are also audible on a bootleg recording of the instrumental track).


(I Can't Get No) Satisfaction, Recording
This stereo mix of "Satisfaction" also appeared on a radio-promo CD of rare stereo tracks provided to US radio stations in the mid-1980s, but has not yet been featured on a worldwide commercial CD; even later pressings of the German and Japanese Hot Rocks CDs feature the mono mix, making the earlier releases with the stereo mix collectors' items. For the worldwide 2002 reissue of Hot Rocks, an alternative quasi-stereo mix was used featuring the lead guitar, bass, drums, and vocals in the center channel and the acoustic guitar and piano "split" left and right via a delay effect.


(I Can't Get No) Satisfaction, Lyrics and melody
The song opens with the guitar riff, which is joined by the bass halfway through. It is repeated three times with the drums and acoustic guitar before the vocal enters with the line: "I can't get no satisfaction." The key is E major, but with the 3rd and 7th degree occasionally lowered, creating – in the first part of the verses ("I can't get no ...") – a distinctive mellow sound. The accompanying chords (i.e. E major, D major and A major) are borrowed from the E mixolydian scale, which is often used in blues and rock.


(I Can't Get No) Satisfaction, Lyrics and melody
The title line is an example of a negative concord. Jagger sings the verses in a tone hovering between cynical commentary and frustrated protest, and then leaps half singing and half yelling into the chorus, where the guitar riff reappears.


(I Can't Get No) Satisfaction, Lyrics and melody
The lyrics outline the singer's irritation and confusion with the increasing commercialism of the modern world, where the radio broadcasts "useless information" and a man on television tells him "how white my shirts can be – but he can't be a man 'cause he doesn't smoke the same cigarettes as me", a reference to the then ubiquitous Marlboro Cowboy style advertisement. Jagger also describes the stress of being a celebrity, and the tensions of touring.


(I Can't Get No) Satisfaction, Lyrics and melody
The reference in the verse to not getting any "girl reaction" was fairly controversial in its day, interpreted by some listeners (and radio programmers) as meaning a girl willing to have sex. Jagger commented that they "didn't understand the dirtiest line", as afterwards the girl asks him to return the following week as she is "on a losing streak", an apparent reference to menstruation. The song closes with a fairly subdued repetition of the song's title, followed suddenly by a full shout of the line, with the final words repeated into the fade-out.


(I Can't Get No) Satisfaction, Lyrics and melody
In its day the song was perceived as disturbing because of both its sexual connotations and the negative view of commercialism and other aspects of modern culture; critic Paul Gambaccini stated: "The lyrics to this were truly threatening to an older audience. This song was perceived as an attack on the status quo." When the Rolling Stones performed the song on Shindig! in 1965, the line "trying to make some girl" was censored, although a performance on The Ed Sullivan Show on 13 February 1966 was uncensored. Forty years later, when the band performed three songs during the February 2006 Super Bowl XL halftime show, "Satisfaction" was the only one of the three songs not censored as it was broadcast.


(I Can't Get No) Satisfaction, Release and success
"Satisfaction" was released as a single in the US by London Records on 5 June 1965, with "The Under-Assistant West Coast Promotion Man" as its B-side. The single entered the Billboard Hot 100 charts in America in the week ending 12 June 1965, remaining there for 14 weeks, reaching the top on 10 July by displacing the Four Tops' "I Can't Help Myself (Sugar Pie Honey Bunch)". "Satisfaction" held the number one spot for four weeks, being knocked off on 7 August by "I'm Henry the Eighth, I Am" by Herman's Hermits.


(I Can't Get No) Satisfaction, Release and success
While in its eighth week on the American charts, the single was certified a gold record award by the RIAA for shipping over a million copies across the United States, giving the band their first of many gold disc awards in America. Later the song was also released by London Records on Out of Our Heads in America. Billboard ranked the record as the No. 3 song of 1965. Billboard said of the single that a "hard-driving blues dance beat backs up a strong vocal performance."


(I Can't Get No) Satisfaction, Release and success
"Satisfaction" was not immediately released by Decca Records in Great Britain. Decca was already in the process of preparing a live Rolling Stones EP for release, so the new single did not come out in Britain until 20 August, with "The Spider and the Fly" on the B-side. The song peaked at number one for two weeks, replacing Sonny & Cher's "I Got You Babe", between 11 and 25 September, before being toppled by the Walker Brothers' "Make It Easy on Yourself".


(I Can't Get No) Satisfaction, Release and success
In the decades since its release, "Satisfaction" has repeatedly been acclaimed by the music industry. In 1976, Britain's New Musical Express listed "Satisfaction" 7th among the top 100 singles of all time. There was a resurgence of interest in the song after it was prominently featured in the 1979 movie Apocalypse Now. In 1991, Vox listed "Satisfaction" among "100 records that shook the world". In 1999, BMI named "Satisfaction" as the 91st-most performed song of the 20th century.


(I Can't Get No) Satisfaction, Release and success
In 2000, VH1 listed "Satisfaction" first among its "Top 100 Greatest Rock Songs"; the same year, "Satisfaction" also finished runner-up to "Yesterday" in a list jointly compiled by Rolling Stone and MTV. In 2003, Q placed the song 68th out of its "1001 Best Songs Ever". Newsweek magazine has called the opening riff "five notes that shook the world".


(I Can't Get No) Satisfaction, Release and success
The song and its opening riff are widely considered both iconic and one of the greatest musical hooks of all time. "Satisfaction" was ranked number 2 on both Rolling Stone's 500 Greatest Songs of All Time list in 2004, and the magazine's list of the band's best songs. A 2021 update ranked the song number 31. According to Acclaimed Music, it is the 10th most celebrated song in popular music history. In 1998, the song was inducted into the Grammy Hall of Fame. It was added to the Library of Congress' National Recording Registry list of sound recordings that "are culturally, historically, or aesthetically important" in 2006.


(I Can't Get No) Satisfaction, Release and success
It was the song that really made the Rolling Stones, changed us from just another band into a huge, monster band ... It has a very catchy title. It has a very catchy guitar riff. It has a great guitar sound, which was original at that time. And it captures a spirit of the times, which is very important in those kinds of songs ... Which was alienation.


(I Can't Get No) Satisfaction, Release and success
The song has become a staple at Rolling Stones shows. They have performed it on nearly every tour since its release, and concert renditions have been included on the albums Got Live If You Want It!, Still Life, Flashpoint, Live Licks, Shine a Light, Hyde Park Live, and Havana Moon. One unusual rendition is included in Robert Frank's film Cocksucker Blues from the 1972 tour, when the song was performed by both the Rolling Stones and Stevie Wonder's band as the second half of a medley with Wonder's "Uptight".


(I Can't Get No) Satisfaction, Music video
A live performance in Hampton Roads, Virginia, US in 1981 was released as an official music video.


(I Can't Get No) Satisfaction, Charts and certifications, Certifications
^ Shipments figures based on certification alone. Sales+streaming figures based on certification alone.


(I Can't Get No) Satisfaction, Other versions, Otis Redding
Otis Redding recorded a rendition of "Satisfaction" for his album Otis Blue/Otis Redding Sings Soul, released in 1965. Redding claimed that he did not know the lyrics of the song. "I use a lot of words different than the Stones' version," he noted. "That's because I made them up." Of that session, Steve Cropper said, "...if you ever listened to the record you can hardly understand the lyrics, right?


(I Can't Get No) Satisfaction, Other versions, Otis Redding
I set down to a record player and copied down what I thought the lyrics were and I handed Otis a piece of paper and before we got through with the cut, he threw the paper on the floor and that was it." Music writer Robert Christgau described it as an "anarchic reading" of the Stones' original. Redding's soul-style arrangement featured horns playing the main riff, as Keith Richards had originally intended. In 2003, Ronnie Wood noted that the Rolling Stones' later concert renditions of the number reflect Redding's interpretation.


(I Can't Get No) Satisfaction, Other versions, The Residents
The American avant-garde/experimental collective the Residents recorded and released their own performance of "Satisfaction" in 1976. Originally released in an edition of only 200 copies, the cover quickly became a cult sensation, thanks in part to the success of Devo's cover the following year, necessitating a re-press in 1978 of 30,000 copies. Brad Laner, writing for Dangerous Minds, states the cover "is nearly everything the better known version by Devo from a year later is not: Loose, belligerent, violent, truly fucked-up. A real stick in the eye of everything conventionally tasteful in 1976 America."


(I Can't Get No) Satisfaction, Other versions, Devo
The American new wave band Devo released their rendition of "(I Can't Get No) Satisfaction" as a single in 1977, initially in a self-produced version on their own label Booji Boy Records. The song was re-recorded with Brian Eno as producer for their first album, and that version was also released as a single in 1978, this time by Warner Brothers Records, after it was played for Mick Jagger's approval. Steve Huey of AllMusic stated that the cover version "reworks the original's alienation into a spastic freak-out that's nearly unrecognizable". This version of the song was featured prominently in the 1995 Martin Scorsese epic crime film  Casino. Devo's version also featured in Netflix's series Sex Education.


(I Can't Get No) Satisfaction, Other versions, Devo
Devo's version arose from the group's jam sessions, starting with a guitar part from Bob Casale, joined by a drum beat by Alan Myers and a bass part by Gerald Casale. At first, the band tried the lyrics to "Paint it Black," switching to "Satisfaction" when it didn't fit the music.


(I Can't Get No) Satisfaction, Other versions, Devo
The quirky music video for the song and several others from this album received significant airplay on the upstart MTV. A notable feature of the video was dancer Craig Allen Rothwell, known as Spazz Attack, whose signature dance move, a forward flip onto his back, drew him significant attention.


(I Can't Get No) Satisfaction, Other versions, Britney Spears
American pop singer Britney Spears recorded the song with producer Rodney "Darkchild" Jerkins for her second studio album, Oops!... I Did It Again, on 24 February 2000 at Pacifique Recording Studios in Hollywood.


(I Can't Get No) Satisfaction, Other versions, Britney Spears
Spears' version received mixed reviews from critics. While reviewing Oops!, Stephen Thomas Erlewine of AllMusic selected the song as Track Pick, describing "the clenched-funk revision of the Stones' deathless 'Satisfaction'" as emblematic of a "bewildering magpie aesthetic" on Spears' early albums. Robert Christgau declared the song a 'choice cut,' meaning a good song on an otherwise lackluster album," while New Musical Express gave the cover a negative review, saying, "the long-awaited [...] [Spears'] cover of the Stones' '(I Can't Get No) Satisfaction' is a letdown".


(I Can't Get No) Satisfaction, Other versions, Britney Spears
Spears first performed the song on her 2000's Oops!... I Did It Again Tour. The performance ended with a dance sequence set to the familiar Richards guitar lick that was omitted from her recorded version (played here by her guitarist "Skip"). Spears also performed "(I Can't Get No) Satisfaction" on the 2000 MTV Video Music Awards.


(I Can't Help You) I'm Falling Too
"(I Can't Help You) I'm Falling Too" is a song written by Hal Blair, Skeeter Davis, and Don Robertson. In 1960, Skeeter Davis recorded and released the song as a single for RCA Victor. It was an answer song to Hank Locklin's major country pop crossover hit entitled, "Please Help Me, I'm Falling". It was Davis' second answer song in response to a Locklin tune.


(I Can't Help You) I'm Falling Too
"(I Can't Help You) I'm Falling Too" was recorded on May 13, 1960, at the RCA Victor Studio in Nashville, Tennessee, United States. The song was released as a single in July 1960, and it peaked at number two on the Billboard Magazine Hot C&W Sides chart later and number thirty nine on the  Billboard Hot 100. The single became Davis' highest-charting single to that point and her fourth solo hit. It also became her first single to chart on the Hot 100. In the later months, the song was issued onto Davis' second studio album entitled, Here's the Answer.


(I Can't Make It) Another Day
"(I Can't Make It) Another Day" is a song by American recording artist Michael Jackson featuring Lenny Kravitz, released on the posthumous album Michael. Initially leaked as a 90-second snippet, it was referred to as "Another Day". Shortly after the leak, singer-songwriter Lenny Kravitz confirmed that he had produced and composed "Another Day"; he stated that although he did not leak the song, he would like to have the full version of the song—in which he also features—officially released. Kravitz later referred to the song as "(I Can't Make It) Another Day" on Facebook prior to the release of the Michael album. The song was recorded for the album Invincible, but dropped from the final track list. It was later re-written and re-titled "Storm", a collaboration between Kravitz and rapper Jay-Z which is featured on the former's 2004 album Baptism.


(I Can't Make It) Another Day
Shortly after the leak, both Jackson's estate and record label, Sony Music Entertainment, revealed that they were in the process of removing "Another Day" from the Internet for copyright reasons. Despite successful attempts, the song has continued to be re-uploaded to the Internet and listened to thousands of times. "Another Day" is the second Jackson track to be posthumously leaked, as it follows "A Place with No Name", which was unofficially released on July 16, 2009.


(I Can't Make It) Another Day, Background
In June 2009, singer Michael Jackson died at the age of 50 following cardiac arrest. Three weeks after Jackson's death, celebrity news website TMZ.com (who were the first media outlet to report his death) obtained a 24-second snippet of a song entitled "A Place with No Name", and released it on the Internet. At the time of the leak  there were news reports that there was a "vast vault" and "dozens and dozens" of unreleased Jackson songs that could be issued for several years to come.


(I Can't Make It) Another Day, Background
The curator of the Rock and Roll Hall of Fame, Jim Henke, commented that any future Jackson releases would receive a significant amount of attention, stating, "What we have seen happen in the last three weeks is that the albums that are out here right now are selling in amazing numbers. I think we are going to see amazing interest in any released Michael Jackson material that will come out in the future or a year from now on."


(I Can't Make It) Another Day, Background
After Jackson's death, rock musician Lenny Kravitz wrote a letter about the late singer that was published by AOL Music's website Spinner.com. In it he spoke of collaborating with Jackson on an unspecified song: "I got to work with Michael on a track that has not been released and it was the most amazing experience I've had in the studio. He was funny. Very funny and we laughed the whole time." Kravitz added, "He was a beautiful human being."


(I Can't Make It) Another Day, Background
On December 10, 2010, the song was officially released on the posthumous album Michael. It features more vocals and instrumentation.


(I Can't Make It) Another Day, Leak and music
A 90-second snippet of a song called "Another Day" was leaked onto the Internet on January 2, 2010. It features the vocals of Michael Jackson and Winnipeg Free Press stated the song originated from TMZ.com. At the beginning of the leaked snippet, two DJs, one calling himself Kels, are name-checked. The full song is said to feature both Jackson and Kravitz, with the Huffington Post insisting that while the latter does not appear on the snippet of "Another Day", the song is a duet between the two musicians.


(I Can't Make It) Another Day, Leak and music
Gil Kaufman of MTV spoke of the snippet's composition, proclaiming that it had a "thumping R&B beat and soaring strings". She stated that "the tune rides a grinding R&B beat" as Jackson sings in a "plaintive falsetto": "My life has taken me beyond the planets and the stars/ And you're the only one that could take me this far/ I'll be forever searching for your love."


(I Can't Make It) Another Day, Leak and music
Kaufman noted that Jackson became more forceful during the chorus, when he sang, "You're the one that makes me strong / I can't make it another day / You're the fire that keeps me warm / I can't make it another day." The journalist also noted the lyrical and melodical similarities between "Another Day" and "Storm", which features Kravitz singing, "I walked away but I was wrong / You're the one that keeps me strong / You're the fire that keeps me warm / How will I get through this storm?"


(I Can't Make It) Another Day, Response
The song had not been intended for release and Jackson's record label Sony Music Entertainment gained the support of the late entertainer's estate and its lawyers in their endeavor to have the track removed from the Internet on the basis of copyright infringement. Some of their attempts at removal were successful, though individuals continued to upload the  audio, one clip garnering 20,000 views within hours.