Bruno Latour Laboratory Life Did he work in the laboratory? Latour rose in importance following the 1979 publication of Laboratory Life: the Social Construction of Scientific Facts with co-author Steve Woolgar.
What was it about?
What was Laboratory Life: the Social Construction of Scientific Facts about?
After his early career efforts, Latour shifted his research interests to focus on laboratory scientists. Latour rose in importance following the 1979 publication of Laboratory Life: the Social Construction of Scientific Facts with co-author Steve Woolgar. In the book, the authors undertake an ethnographic study of a neuroendocrinology research laboratory at the Salk Institute. This early work argued that naive descriptions of the scientific method, in which theories stand or fall on the outcome of a single experiment, are inconsistent with actual laboratory practice.  In the laboratory, Latour and Woolgar observed that a typical experiment produces only inconclusive data that is attributed to failure of the apparatus or experimental method, and that a large part of scientific training involves learning how to make the subjective decision of what data to keep and what data to throw out. Latour and Woolgar argued that, for untrained observers, the entire process resembles not an unbiased search for truth and accuracy but a mechanism for ignoring data that contradicts scientific orthodoxy.  Latour and Woolgar produced a highly heterodox and controversial picture of the sciences. Drawing on the work of Gaston Bachelard, they advance the notion that the objects of scientific study are socially constructed within the laboratory--that they cannot be attributed with an existence outside of the instruments that measure them and the minds that interpret them. They view scientific activity as a system of beliefs, oral traditions and culturally specific practices-- in short, science is reconstructed not as a procedure or as a set of principles but as a culture. Latour's 1987 book Science in Action: How to Follow Scientists and Engineers through Society is one of the key texts of the sociology of scientific knowledge in which he famously wrote his Second Principle as follows: "Scientist and engineers speak in the name of new allies that they have shaped and enrolled; representatives among other representatives, they add these unexpected resources to tip the balance of force in their favor."  Some of Latour's position and findings in this era provoked vehement rebuttals. Gross and Leavitt argue that Latour's position becomes absurd when applied to non-scientific contexts: e.g., if a group of coworkers in a windowless room were debating whether or not it were raining outside and went outdoors to discover raindrops in the air and puddles on the soil, Latour's hypothesis would assert that the rain was socially constructed. Similarly, philosopher John Searle argues that Latour's "extreme social constructivist" position is seriously flawed on several points, and furthermore has inadvertently "comical results." CANNOTANSWER
This early work argued that naive descriptions of the scientific method, in which theories stand or fall on the outcome of a single experiment, are inconsistent with actual laboratory practice.
Bruno Latour (; ; born 22 June 1947) is a French philosopher, anthropologist and sociologist. He is especially known for his work in the field of science and technology studies (STS). After teaching at the École des Mines de Paris (Centre de Sociologie de l'Innovation) from 1982 to 2006, he became Professor at Sciences Po Paris (2006–2017), where he was the scientific director of the Sciences Po Medialab. He retired from several university activities in 2017. He was also a Centennial Professor at the London School of Economics.

Latour is best known for his books We Have Never Been Modern (1991; English translation, 1993), Laboratory Life (with Steve Woolgar, 1979) and Science in Action (1987). Although his studies of scientific practice were at one time associated with social constructionist approaches to the philosophy of science, Latour has diverged significantly from such approaches. He is best known for withdrawing from the subjective/objective division and re-developing the approach to work in practice. Latour said in 2017 that he is interested in helping to rebuild trust in science and that some of the authority of science needs to be regained.
Along with Michel Callon and John Law, Latour is one of the primary developers of actor–network theory (ANT), a constructionist approach influenced by the ethnomethodology of Harold Garfinkel, the generative semiotics of Algirdas Julien Greimas, and (more recently) the sociology of Émile Durkheim's rival Gabriel Tarde.

Biography
Latour is related to a well-known family of winemakers from Burgundy, but is not associated with the similarly named estate in Bordeaux.

As a student, Latour originally focused on philosophy. In 1971–1972, he ranked second and then first (reçu second, premier) in the French national competitive exam (agrégation/CAPES de philosophie). He was deeply influenced by Michel Serres. Latour went on to earn his Ph.D. in philosophical theology in 1975 at the University of Tours. His thesis title was Exégèse et ontologie: une analyse des textes de resurrection (Exegesis and Ontology: An Analysis of the Texts of Resurrection).

He developed an interest in anthropology, and undertook fieldwork in Ivory Coast which resulted in a brief monograph on decolonization, race, and industrial relations. After spending more than twenty years (1982–2006) at the Centre de sociologie de l'innovation at the École des Mines in Paris, Latour moved in 2006 to Sciences Po, where he was the first occupant of a chair named for Gabriel Tarde. In recent years he also served as one of the curators of successful art exhibitions at the Zentrum für Kunst und Medientechnologie in Karlsruhe, Germany, including "Iconoclash" (2002) and "Making Things Public" (2005). In 2005 he also held the Spinoza Chair of Philosophy at the University of Amsterdam.

Awards and honors
On 22 May 2008, Latour was awarded an honorary doctorate by the Université de Montréal on the occasion of an organizational communication conference held in honor of the work of James R. Taylor, on whom Latour has had an important influence. He holds several other honorary doctorates, as well as France's Légion d'Honneur (2012).
The Dutch "International Spinozaprijs Foundation" will award the "Spinozalens 2020" to Bruno Latour on 24 November 2020.
In 2021 he received the Kyoto Prize in the category "Thought and Ethics".

Holberg Prize
On 13 March 2013, he was announced as the winner of the 2013 Holberg Prize. The prize committee stated that "Bruno Latour has undertaken an ambitious analysis and reinterpretation of modernity, and has challenged fundamental concepts such as the distinction between modern and pre-modern, nature and society, human and non-human." The committee states that "the impact of Latour's work is evident internationally and far beyond studies of the history of science, art history, history, philosophy, anthropology, geography, theology, literature and law."

A 2013 article in Aftenposten by Jon Elster criticised the conferment to Latour, by saying "The question is, does he deserve the prize. ... If the statutes [of the award] had used new knowledge as a main criteria, instead of one of several, then he would be completely unqualified in my opinion."

Main works

Laboratory Life
After his early career efforts, Latour shifted his research interests to focus on laboratory scientists. Latour rose in importance following the 1979 publication of Laboratory Life: the Social Construction of Scientific Facts with co-author Steve Woolgar. In the book, the authors undertake an ethnographic study of a neuroendocrinology research laboratory at the Salk Institute. This early work argued that naïve descriptions of the scientific method, in which theories stand or fall on the outcome of a single experiment, are inconsistent with actual laboratory practice.

In the laboratory, Latour and Woolgar observed that a typical experiment produces only inconclusive data that is attributed to failure of the apparatus or experimental method, and that a large part of scientific training involves learning how to make the subjective decision of what data to keep and what data to throw out. Latour and Woolgar argued that, for untrained observers, the entire process resembles not an unbiased search for truth and accuracy but a mechanism for ignoring data that contradicts scientific orthodoxy.

Latour and Woolgar produced a highly heterodox and controversial picture of the sciences. Drawing on the work of Gaston Bachelard, they advance the notion that the objects of scientific study are socially constructed within the laboratory—that they cannot be attributed with an existence outside of the instruments that measure them and the minds that interpret them. They view scientific activity as a system of beliefs, oral traditions and culturally specific practices—in short, science is reconstructed not as a procedure or as a set of principles but as a culture. Latour's 1987 book Science in Action: How to Follow Scientists and Engineers through Society is one of the key texts of the sociology of scientific knowledge in which he famously wrote his Second Principle as follows: "Scientist and engineers speak in the name of new allies that they have shaped and enrolled; representatives among other representatives, they add these unexpected resources to tip the balance of force in their favor."

Some of Latour's position and findings in this era provoked vehement rebuttals. Gross and Leavitt argue that Latour's position becomes absurd when applied to non-scientific contexts: e.g., if a group of coworkers in a windowless room were debating whether or not it were raining outside and went outdoors to discover raindrops in the air and puddles on the soil, Latour's hypothesis would assert that the rain was socially constructed. Similarly, philosopher John Searle argues that Latour's "extreme social constructivist" position is seriously flawed on several points, and furthermore has inadvertently "comical results".

The Pasteurization of France
After a research project examining the sociology of primatologists, Latour followed up the themes in Laboratory Life with Les Microbes: guerre et paix (published in English as The Pasteurization of France in 1988). In it, he reviews the life and career of one of France's most famous scientists Louis Pasteur and his discovery of microbes, in the fashion of a political biography. Latour highlights the social forces at work in and around Pasteur's career and the uneven manner in which his theories were accepted. By providing more explicitly ideological explanations for the acceptance of Pasteur's work more easily in some quarters than in others, he seeks to undermine the notion that the acceptance and rejection of scientific theories is primarily, or even usually, a matter of experiment, evidence or reason.

Aramis, or, The Love of Technology

Aramis, or, The Love of Technology focuses on the history of an unsuccessful mass-transit project. Aramis PRT (personal rapid transit), a high tech automated subway, had been developed in France during the 70s and 80s and was supposed to be implemented as a Personal Rapid Transit (PRT) system in Paris. It combined the flexibility of an automobile with the efficiency of a subway. Aramis was to be an ideal urban transportation system based on private cars in constant motion and the elimination of unnecessary transfers. This new form of transportation was intended to be as secure and inexpensive as collective transportation. The proposed system had custom-designed motors, sensors, controls, digital electronics, software and a major installation in southern Paris. But in the end, the project died in 1987. Latour argues that the technology failed not because any particular actor killed it, but because the actors failed to sustain it through negotiation and adaptation to a changing social situation. While investigating Aramis's demise, Latour delineates the tenets of actor-network theory. According to Latour's own description of the book, the work aims "at training readers in the booming field of technology studies and at experimenting in the many new literary forms that are necessary to handle mechanisms and automatisms without using the belief that they are mechanical nor automatic."

We Have Never Been Modern
Latour's work Nous n’avons jamais été modernes : Essai d’anthropologie symétrique was first published in French in 1991, and then in English in 1993 as We Have Never Been Modern.

Latour encouraged the reader of this anthropology of science to re-think and re-evaluate our mental landscape. He evaluated the work of scientists and contemplated the contribution of the scientific method to knowledge and work, blurring the distinction across various fields and disciplines.	

Latour argued that society has never really been modern and promoted nonmodernism (or amodernism) over postmodernism, modernism, or antimodernism. His stance was that we have never been modern and minor divisions alone separate Westerners now from other collectives. Latour viewed modernism as an era that believed it had annulled the entire past in its wake. He presented the antimodern reaction as defending such entities as spirit, rationality, liberty, society, God, or even the past. Postmoderns, according to Latour, also accepted the modernistic abstractions as if they were real. In contrast, the nonmodern approach reestablished symmetry between science and technology on the one hand and society on the other. Latour also referred to the impossibility of returning to premodernism because it precluded the large scale experimentation which was a benefit of modernism.

Latour attempted to prove through case studies the fallacy in the old object/subject and Nature/Society compacts of modernity, which can be traced back to Plato. He refused the concept of "out there" versus "in here". He rendered the object/subject distinction as simply unusable and charted a new approach towards knowledge, work, and circulating reference. Latour considered nonmoderns to be playing on a different field, one vastly different than that of post-moderns. He referred to it as much broader and much less polemical, a creation of an unknown territory, which he playfully referred to as the Middle Kingdom.

In 1998, historian of science Margaret C. Jacob argued that Latour's politicized account of the development of modernism in the 17th century is "a fanciful escape from modern Western history".

Pandora's Hope

Pandora's Hope (1999) marks a return to the themes Latour explored in Science in Action and We Have Never Been Modern. It uses independent but thematically linked essays and case studies to question the authority and reliability of scientific knowledge. Latour uses a narrative, anecdotal approach in a number of the essays, describing his work with pedologists in the Amazon rainforest, the development of the pasteurization process, and the research of French atomic scientists at the outbreak of the Second World War. Latour states that this specific, anecdotal approach to science studies is essential to gaining a full understanding of the discipline: "The only way to understand the reality of science studies is to follow what science studies do best, that is, paying close attention to the details of scientific practice" (p. 24). Some authors have criticized Latour's methodology, including Katherine Pandora, a history of science professor at the University of Oklahoma. In her review of Pandora's Hope, Katherine Pandora states:
"[Latour's] writing can be stimulating, fresh and at times genuinely moving, but it can also display a distractingly mannered style in which a rococo zeal for compounding metaphors, examples, definitions and abstractions can frustrate even readers who approach his work with the best of intentions (notwithstanding the inclusion of a nine-page glossary of terms and liberal use of diagrams in an attempt to achieve the utmost clarity)".
In addition to his epistemological concerns, Latour also explores the political dimension of science studies in Pandora's Hope. Two of the chapters draw on Plato's Gorgias as a means of investigating and highlighting the distinction between content and context. As Katherine Pandora states in her review:
"It is hard not to be caught up in the author's obvious delight in deploying a classic work from antiquity to bring current concerns into sharper focus, following along as he manages to leave the reader with the impression that the protagonists Socrates and Callicles are not only in dialogue with each other but with Latour as well."
Although Latour frames his discussion with a classical model, his examples of fraught political issues are all current and of continuing relevance: global warming, the spread of mad cow disease, and the carcinogenic effects of smoking are all mentioned at various points in Pandora's Hope. In Felix Stalder's article "Beyond constructivism: towards a realistic realism", he summarizes Latour's position on the political dimension of science studies as follows: "These scientific debates have been artificially kept open in order to render impossible any political action against these problems and those who profit from them".

"Why Has Critique Run Out of Steam?"
In a 2004 article, Latour questioned the fundamental premises on which he had based most of his career, asking, "Was I wrong to participate in the invention of this field known as science studies?" He undertakes a trenchant critique of his own field of study and, more generally, of social criticism in contemporary academia. He suggests that critique, as currently practiced, is bordering on irrelevancy. To maintain any vitality, Latour argues that social critiques require a drastic reappraisal: "our critical equipment deserves as much critical scrutiny as the Pentagon budget." (p. 231) To regain focus and credibility, Latour argues that social critiques must embrace empiricism, to insist on the "cultivation of a stubbornly realist attitude – to speak like William James". (p. 233)

Latour suggests that about 90 per cent of contemporary social criticism displays one of two approaches which he terms "the fact position and the fairy position." (p. 237) The fairy position is anti-fetishist, arguing that "objects of belief" (e.g., religion, arts) are merely concepts created by the projected wishes and desires of the "naive believer"; the "fact position" argues that individuals are dominated, often covertly and without their awareness, by external forces (e.g., economics, gender). (p. 238) "Do you see now why it feels so good to be a critical mind?” asks Latour: no matter which position you take, "You’re always right!" (p. 238–239) Social critics tend to use anti-fetishism against ideas they personally reject; to use "an unrepentant positivist" approach for fields of study they consider valuable; all the while thinking as "a perfectly healthy sturdy realist for what you really cherish." (p. 241) These inconsistencies and double standards go largely unrecognized in social critique because "there is never any crossover between the two lists of objects in the fact position and the fairy position." (p. 241)

The practical result of these approaches being taught to millions of students in elite universities for several decades is a widespread and influential "critical barbarity" that has—like a malign virus created by a "mad scientist"—thus far proven impossible to control. Most troubling, Latour notes that critical ideas have been appropriated by those he describes as conspiracy theorists, including global warming deniers and the 9/11 Truth movement: "Maybe I am taking conspiracy theories too seriously, but I am worried to detect, in those mad mixtures of knee-jerk disbelief, punctilious demands for proofs, and free use of powerful explanation from the social neverland, many of the weapons of social critique." (p. 230)

The conclusion of the article is to argue for a positive framing of critique, to help understand how matters of concern can be supported rather than undermined: "The critic is not the one who lifts the rugs from under the feet of the naïve believers, but the one who offers the participants arenas in which to gather. The critic is not the one who alternates haphazardly between antifetishism and positivism like the drunk iconoclast drawn by Goya, but the one for whom, if something is constructed, then it means it is fragile and thus in great need of care and caution."

Latour's article has been highly influential within the field of postcritique, an intellectual movement within literary criticism and cultural studies that seeks to find new forms of reading and interpretation that go beyond the methods of critique, critical theory, and ideological criticism. The literary critic Rita Felski has named Latour as an important precursor to the project of postcritique.

Reassembling the Social
In Reassembling the Social (2005), Latour continues a reappraisal of his work, developing what he calls a "practical metaphysics", which calls "real" anything that an actor (one whom we are studying) claims as a source of motivation for action. So if someone says, "I was inspired by God to be charitable to my neighbors" we are obliged to recognize the "ontological weight" of their claim, rather than attempting to replace their belief in God's presence with "social stuff", like class, gender, imperialism, etc. Latour’s nuanced metaphysics demands the existence of a plurality of worlds, and the willingness of the researcher to chart ever more. He argues that researchers must give up the hope of fitting their actors into a structure or framework, but Latour believes the benefits of this sacrifice far outweigh the downsides: "Their complex metaphysics would at least be respected, their recalcitrance recognized, their objections deployed, their multiplicity accepted."

For Latour, to talk about metaphysics or ontology–what really is–means paying close empirical attention to the various, contradictory institutions and ideas that bring people together and inspire them to act. Here is Latour's description of metaphysics:
If we call metaphysics the discipline . . . that purports to define the basic structure of the world, then empirical metaphysics is what the controversies over agencies lead to since they ceaselessly populate the world with new drives and, as ceaselessly, contest the existence of others. The question then becomes how to explore the actors' own metaphysics.
A more traditional metaphysicist might object, arguing that this means there are multiple, contradictory realities, since there are "controversies over agencies" – since there is a plurality of contradictory ideas that people claim as a basis for action (God, nature, the state, sexual drives, personal ambition, and so on). This objection manifests the most important difference between traditional philosophical metaphysics and Latour's nuance: for Latour, there is no "basic structure of reality" or a single, self-consistent world. An unknowably large multiplicity of realities, or "worlds" in his terms, exists–one for each actor's sources of agency, inspirations for action. Actors bring "the real" (metaphysics) into being. The task of the researcher is not to find one "basic structure" that explains agency, but to recognize "the metaphysical innovations proposed by ordinary actors". Mapping those metaphysical innovations involves a strong dedication to relativism, Latour argues. The relativist researcher "learns the actors' language," records what they say about what they do, and does not appeal to a higher "structure" to "explain" the actor's motivations. The relativist "takes seriously what [actors] are obstinately saying" and "follows the direction indicated by their fingers when they designate what 'makes them act'". The relativist recognizes the plurality of metaphysics that actors bring into being, and attempts to map them rather than reducing them to a single structure or explanation.

Selected bibliography

Books 
  Originally published 1979 in Los Angeles, by Sage Publications

Chapters in books

Journal articles

See also

 Actant
 Blackboxing
 Fashionable Nonsense
 Graphism thesis
 Mapping controversies
 Obligatory passage point
 Science wars
 Social construction of technology
 Technological determinism

References

Sources

External links

 Bruno Latour's website

 
1947 births
Living people
People from Beaune
Sociologists of science
Science and technology studies scholars
Social constructionism
Sociology of scientific knowledge
French sociologists
French anthropologists
Mines ParisTech faculty
Actor-network theory
French Roman Catholics
Catholic philosophers
Holberg Prize laureates
French male writers
French male essayists
20th-century French philosophers
21st-century French philosophers
Philosophers of science
Philosophers of technology
Posthumanists
Continental philosophers
Recipients of the Legion of Honour
20th-century male writers
21st-century male writers
Sciences Po faculty
"What About Us" is a single released by British-Irish girl group the Saturdays. Their first international single, it is the lead single from their first American-only release EP, Chasing the Saturdays (2013). It also acts as the second single from their fourth studio album Living for the Weekend (2013). The single was first released in the United States and Canada on 18 December 2012 via digital download, before being released in the United Kingdom on 16 March 2013 via CD single and digital download. The single was written by Camille Purcell, Ollie Jacobs, Philip Jacobs. There are two different versions of the track which have been recorded and released: a solo version, which was released exclusively in the US and Canada, and a version featuring Jamaican rapper Sean Paul, which was released internationally. Music critics gave the song positive feedback, but questioned the heavily auto-tuned chorus and the move away from the group's traditional sound.

A music video was released for the song was published and released via the Saturdays' Vevo account on 11 January 2013. The video was filmed in Los Angeles, where the band were filming their US reality series, Chasing the Saturdays, which is broadcast through E!. An acoustic version of "Somebody Else's Life", which can be heard on the opening titles of the show, was released as a B-side. The Saturdays went on to a promotional tour in order to get the song "out there" in the United States, and appeared on a number of different chat shows including The Tonight Show with Jay Leno, The Jeff Probst Show, Fashion Police, Chelsea Lately and The Today Show in New York City. They later went on to a promotional tour in the UK, visiting radio stations around the country.

"What About Us" gained commercial success, debuted at number one on the UK Singles Chart to become the Saturdays' twelfth UK top 10 single and first ever number-one. In Ireland, the song debuted at number six on the Irish Singles Chart, gaining the group their fifth top 10 single there. With first-week sales of 114,000 copies and 40,000 copies more sold than their closest competitor to number one, "What About Us" was the fastest-selling single of 2013 in the UK until it was overtaken by Naughty Boy's "La La La" two months later. In December 2013, it was announced as the eleventh fastest-selling single of the year overall. As of August 2014, the song has sold over 400,000 copies in the UK. On 23 December 2013, Mollie King posted a photo on Instagram of her holding a 500,000 sales plaque from their record label, with the message that "What About Us" had sold over 500,000 copies in UK and USA, with 120,000 copies in the US alone even without charting on the Billboard Hot 100.

Background 

In 2012, it was announced that the Saturdays had received an offer to star in their own reality television programme, Chasing the Saturdays, broadcast through E! Network. While filming their show, the band began visiting the recording studio, where they began work with Rodney "Darkchild" Jerkins.

The Saturdays felt comfortable with their US labels, and thanked them for not only giving them a chance in North America, but for making them feel at ease and welcome which took a lot of "weight of our shoulders". The band said they have always respected the labels due to the massive success they've had with artists. The band had been working with Demi Lovato in the recording studio.

Composition

"What About Us" was written and produced by Ollie Jacobs and acts as the Saturdays first single to be released in North America where it could appear on the Billboard Hot 100 and Canadian Hot 100. In America its release coincided with their TV show, Chasing the Saturdays. The track is the band's fourteenth single to be released in the United Kingdom and Ireland and the track is a dance-pop song. Before the release of the song, Mollie King said that the band were excited to share the track as they had the song "for months" She said: "I can't wait for everyone to hear it and to get to perform it. I'm just so excited about this one, I think it's going down really well." The band said they didn't want to change their type of music just for the American public and would stick to their roots and the genre they enjoyed to perform. King spoke: "We've always made a point that we don't want to change to go to America. We wanted to go over as we are and if they like us, they like us and if they don't, they don't!" King said that the track is reggae pop music, a little different from what band usually record, but the track is still really "dancey" and "upbeat", as well a good song to dance to on either stage or at a club. When Una Healy was asked what the song was about she said that she "did not know" what the song was exactly about. "To be honest I was trying to figure out the other day what exactly it's about. I could bullshit away telling you, but I really don't know. But I think it's all about someone driving you crazy." She said she "thinks" that 'What About Us' part means "me and you getting together". She did point out that she did know that the song was about "making you happy" and that the track was good for the summer and will get you on the dancefloor. The band teased saying that "What About Us" is a pop track, and that is a good indication of what the expect from the album, and that they've paired up with Diane Warren to record a few ballads and not just pop tracks. "What About Us" is the only collaboration on the album.

Release
"What About Us" was confirmed as the Saturdays' first single to be released in North America, and would be released on 18 December 2012 to coincide with their American reality show, Chasing the Saturdays. It was also revealed that the track would be released as the lead single from the band's North America released only Extended play, Chasing the Saturdays, which was named after the show. Some critics said that releasing "What About Us" from an EP for the US market was a "wise decision". One critic said: For, throwing out a traditional release on the back of a show that isn't (yet) a hit would ultimately be setting them up for failure. What's more, the EP allows their "storyline" for the next season of the show (should there be one) to revolve around recording an album. In the United Kingdom, it was revealed that "What About Us" would be the follow-up single from "30 Days" in the UK and Ireland, and therefore would not be the lead single from the band's fourth studio album. The band announced that before the release of the album, there would be another single release from the album. The follow-up single was revealed to be titled "Gentleman".

Just like all the band's previous singles, the record was accepted by all A-Lists at radio stations. The UK and Ireland version of the track features a guest rap from Sean Paul. Whereas the North American version does not feature vocals from Sean Paul and only vocals from the band. The original version of the track last 3 minutes and 24 seconds, whereas the version which features Sean Paul lasts 3 minutes and 40 seconds. The single was released with B-side, an Acoustic version of a brand new track, "Somebody Else's Life", which is the opening theme to Chasing the Saturdays. "What About Us" was released as a digital download EP, and this featured the single version which features Sean Paul, the solo version and the B-side track. Upon the release in North America, there was a digital remixes EP which featured remixes of "What About Us" by a number of DJs including: Seamus Haji, Guy Scheiman, the Buzz Junkies and 2nd Adventure and this was also made available to purchase on 18 December 2012. While in the UK, the CD single was made available to be from stores from 18 March 2013. On the CD single featured "What About Us", the B-side "Somebody Else's Life".

The band decided to release "What About Us" differently between the United Kingdom and the United States, "What About Us" was released onto the charts without any airplay and without a music video accompanying the release, something the band experienced in the UK, with "Notorious". Whereas in the UK, "What About Us" was released with airplay and the music video being released before the release of the single. During this time, Frankie Sandford became ambassadors for mental health after Sandford battled depression. The band said they choose "What About Us" to be the lead single in the US and follow-up single from "30 Days" because they all loved it once they demoed it and it gave them a "really good feeling" They also said it is a fresh start for a new album, with a "reggae vibe", but still a pop record. The Saturdays said that Sean Paul was "perfect" for the UK version of the song. They said that he was "just so nice" and that he would be present during some of the promotional performances when the single was released.

Critical reception
Robert Copsey of Digital Spy said that Rochelle Humes asks in a "curious Jamaican-flecked timbre" during the intro of "What About Us". During the lyrics "Oh why are we are waiting so long I'm suffocating", and he went on to say that it is in reference to "man-related drama" and also pointing out that there is plenty of that on their reality series, Chasing the Saturdays. Copsey later went on to tip the band for their first number-one single as he said: "but we suspect it could also be a sly wink at their enduring quest for a number one single". He said that track was "radio-friendly" due to the "trace beats" and "demanding their contrary lover to give up the hard-to-get schtick sharpish". Although he didn't think that the song was "original" enough for the band, but is "strangely addictive" and he would be happy to see the song at the top of the charts.

4Music described the song as a "electro-pop affair with a bucket-load of synths thrown in for good measure. It's quite good, but we wonder if they should reconsider this single choice if they truly want to launch an invasion on America's charts." Idolator wrote a mixed review criticizing the track for lacking the group's signature style; "While the beat is pounding enough to nab the girls a chart hit, it doesn’t feel true to the spirit of The Sats. Then again, maybe it isn’t supposed to." Jessica Sager from PopCrush also touched on the departure from their original sound; "It’s a pretty big departure from their usual sugary oeuvre, but not necessarily in a bad way." She went on to praise Sean Paul's feature; "His presence on the track gives it an air of authenticity and fun, but pretty much only during his own verses and interjections." However, she criticised the mediocre attempt at dialect the groups sing in throughout the track; "When the Saturdays try to emulate island tones, it sounds a little awkward and they start out like that right off the bat, but go in and out of the undistinguished dialect throughout the song." She also felt that the heavily Auto-Tuned chorus was not need; "The Auto-Tune seems extraneous, because the Saturdays can actually sing well without it." She end the review by labeling their latest effort as "generic" and "not the best the Saturdays have to offer", also rating it two and a half stars out of five.

Commercial reception
"What About Us" debuted at number 44 on the US Billboard Hot Dance Club Songs chart for the week dated 8 December 2012. This marks their first ever chart entry in the United States and it has since peaked at number twenty-seven. The song debuted at number 79 on the Canadian Hot 100, becoming the highest Canadian debut for a new artist in 2013.

The Saturdays admitted that they did not want to get their hopes up on debuting at number one on the UK Singles Charts due to being beaten to number-one three times before with "Forever Is Over", "Just Can't Get Enough" and "Missing You", after being number one on the Official Chart Update. During the latter two occasions, it was rapper Flo Rida who had pushed them back to numbers two and three respectively. It was revealed that the Saturdays had knocked Justin Timberlake's "Mirrors" off the number-one spot on the UK Singles Chart. This became the band's first ever number-one single in the United Kingdom, it also became Sean Paul's second number one in the United Kingdom after being featured on "Breathe" in 2003. For every one copy that Timberlake's "Mirrors" sold, the Saturdays sold two more copies of "What About Us". "What About Us" sold 114,000 copies in the first week of release, making it, at the time, the fastest selling single of 2013. The track sold 40,000 copies more than Timberlake, who was pushed back to number-two on the UK Singles Charts. The band said they were thrilled to be the UK's number-one with "What About Us". They went on to thanking their fans for supporting the single and supporting them for the past five years.

"What About Us" debuted at number six on the Irish Singles Chart, marking the band's fifth top ten single in that country. "What About Us" made its debut at number thirty-six on the New Zealand Singles Chart.

Music video
The music video for "What About Us" was filmed during the summer of 2012 in Los Angeles, while the Saturdays were filming their reality television series. The North American version of the video was released via the Saturdays' official Vevo account on YouTube on 11 January 2013. A variant of the video, featuring vocals and additional scenes of the women with Sean Paul, was later released on 5 February 2013.

Live performances and promotion
The Saturdays appeared in a number of nightclubs throughout 2012 in the United States performing "What About Us" along other hits. On 14 January 2013, the group made their first televised performance of the single on The Tonight Show with Jay Leno. It was their first performance done on American television. On 16 January, the girls performed "What About Us" on The Today Show in New York City. Along with the performances, they appeared on chat shows such as Chelsea Lately, Daybreak, Fashion Police, Lorraine, The Jeff Probst Show, Loose Women, Alan Carr: Chatty Man, Sunday Brunch and What's Cooking? to promote the single.

Track listings
US digital download
"What About Us" - 3:24

CD Single - UK Version Only
"What About Us" (featuring Sean Paul) - 3:40
"What About Us" - 3:24
"Somebody Else's Life" (Acoustic) - 3:18

US Digital remixes EP
"What About Us" (Seamus Haji Radio Edit) - 3:06
"What About Us" (Seamus Haji Club Mix) - 6:35
"What About Us" (Seamus Haji Dub) - 6:49
"What About Us" (Guy Scheiman Radio Edit) - 3:59
"What About Us" (Guy Scheiman Club Mix) - 7:35
"What About Us" (Guy Scheiman Dub) - 7:20
"What About Us" (The Buzz Junkies Radio Edit) - 3:23
"What About Us" (The Buzz Junkies Club Mix) - 4:32
"What About Us" (featuring Sean Paul) - 4:32
"What About Us" (2nd Adventure Radio Edit) - 4:24
"What About Us" (2nd Adventure Club Mix) - 6:36

Europe and Oceania EP - digital download
"What About Us" (featuring Sean Paul) - 3:40
"What About Us" (featuring Sean Paul) [The Buzz Junkies Radio Edit] - 3:23
"What About Us" (featuring Sean Paul) [Seamus Haji Radio Edit] - 3:37
"What About Us" (Guy Scheiman Radio Edit) - 3:58
"What About Us" (Extended Mix) - 3:49 (only available through pre-order)

UK Digital Remixes EP
"What About Us" (Guy Scheiman Club Mix) - 7:35
"What About Us" (2nd Adventure Club Mix) - 6:36
"What About Us" (Seamus Haji Club Mix) - 6:35
"What About Us" (The Buzz Junkies Club Mix) - 4:32
"What About Us" (2nd Adventure Radio Edit) - 4:24

Revamped Version
"What About Us" - 3:24
"Somebody Else's Life" (Acoustic) - 3:18
"What About Us" (Extended Mix) - 3:49
"What About Us" (2nd Adventure Radio Edit) - 4:24
"What About Us" (Guy Scheiman Radio Edit) - 3:58
"What About Us" (featuring Sean Paul) - 4:32
"What About Us" (featuring Sean Paul) [The Buzz Junkies Radio Edit] - 3:23
"What About Us" (featuring Sean Paul) [Seamus Haji Radio Edit] - 3:37
"What About Us" (2nd Adventure Club Mix) - 6:36
"What About Us" (Guy Scheiman Club Mix) - 7:35
"What About Us" (The Buzz Junkies Club Mix) - 4:32
"What About Us" (Seamus Haji Club Mix) - 6:35

Credits and personnel
"What About Us" was recorded at Rollover Studios in London.

Ollie Jacobs a.k.a. Art Bastian  ~ Songwriter, Producer, Vocal Producer, Mix Engineer

Phillip Jacobs ~ co-writer
Camille Purcell ~  co-writer
The Saturdays  ~  vocals
Sean Paul ~  guest vocalist

Charts and certifications

Weekly charts

Year-end charts

Certifications

Release and radio history

See also

List of UK Singles Chart number ones of the 2010s

References

External links

 feat. Sean Paul

The Saturdays songs
Sean Paul songs
2012 singles
Dance-pop songs
Number-one singles in Scotland
UK Singles Chart number-one singles
Songs written by Camille Purcell
2012 songs
Fascination Records singles
Songs written by Ollie Jacobs No Turning Back: The Story So Far is the first compilation album by Shannon Noll. The album includes tracks from Noll's three studio albums to date, That's What I'm Talking About (2004), Lift (2005) and Turn It Up (2008) and five brand new tracks. The album was released in September 2008 and peaked at number 7 on the ARIA Charts, becoming Noll's fourth consecutive top ten album.

Upon released, Noll said "It was only once we started talking about the idea that it sank in how many singles there's been, from "What About Me" right through to "Loud" and "In Pieces". All these songs mean so much to me and showcase a journey that I've been through with my songwriting and recording, my career in general. It's great to have the new songs on the album, as they are just a taste of what we've got planned for next year!"

Singles
The first single taken from the album was "Summertime", which was originally by 2007 Canadian Idol Brian Melo. The track peaked at number 54 on the ARIA Chart.

Track listing
"Summertime" – 3:42
"Shine" – 3:34
"Lift" – 3:56
"Lonely" – 4:42
"Now I Run" – 3:44
"What About Me" – 3:21
"Drive" – 3:58
"Learn to Fly" – 4:09
"Don't Give Up" (with Natalie Bassingthwaighte) – 4:40
"Loud" – 3:10
"In Pieces" – 3:32
"Tomorrow" – 3:57
"No Turning Back" – 3:43
"Crash" – 3:21
"You're Never Alone" – 5:01
"Sorry Is Just Too Late" (featuring Kari Kimmel) (iTunes exclusive bonus track) – 3:54

Disc 2 (DVD edition)
"What About Me"
"Drive"
"Learn to Fly"
"Lonely"
"Shine"
"Lift"
"Now I Run"
"Loud"
"In Pieces"
"Don't Give Up" (with Natalie Bassingthwaighte)

Omissions
The compilation omits the following singles:
 "Rise Up" with Australian Idol Top 12 (2003) – was a collaborative single and is not considered part of Noll's official discography.
 "New Beginning" (2004) – was a radio-only single release from That's What I'm Talking About.
 "C'mon Aussie C'mon" (2004) – was a charity single only.
 "Twelve Days of Christmas" with Dreamtime Christmas All-Stars (2004) – was a collaborative single and is not considered part of Noll's official discography.
 "Everybody Needs a Little Help" (2008) – was a radio-only single release from Turn It Up.

Charts

Weekly charts

Year-end charts

Release history

References

Shannon Noll albums
Sony BMG albums
2008 greatest hits albums
Compilation albums by Australian artists