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The Anatomy of a School Shooting
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"The Anatomy of a School Shooting"
Single by Ill Bill
from the album What's Wrong with Bill?
Released
April 16, 2004
Format
12"
Genre
Hip hop
Length
3:21
Label
Psycho+Logical-Records
Producer
Necro
Ill Bill singles chronology
"Gangsta Rap"
(1999) "The Anatomy of a School Shooting"
(2004) "God Is an Atheist"
(2004)
"The Anatomy of a School Shooting" is a song by American rapper Ill Bill, which was released on April 16, 2004. It was the first and only single from his debut album, What's Wrong with Bill?, released the following month.
The song takes the perspective of the Columbine High School Massacre, or more specifically Eric Harris with his friend Dylan Klebold, shooting students and teachers at Columbine High School for years of bullying.
The song discusses school bullying, Harris and Klebold's motivation for the shooting:
"Why do I have to be one that the cool kids just to walk by, without being tripped, thrown down on the ground and kicked? Insulting me for no reason. I was treated like shit! The teachers let it happen. I've even seen some of them teachers laughing. thats why I had a smile on my face when I started blasting.I was the nicest person in the world. Y'all were dicks!"
The song also mentions a second school massacre; The Jonesboro massacre which took place more than a year prior to the Columbine Massacre with the line 'We've been planning this before the kids from Jonesboro did it'.
Track listing[edit]
1."The Anatomy of a School Shooting" (Radio)
2."The Anatomy of a School Shooting" (Dirty)
3."The Anatomy of a School Shooting" (Instrumental)
4."Unstoppable" (Radio)
5."Unstoppable" (Dirty)
6."Unstoppable" (Instrumental)
External links[edit]
"The Anatomy of a School Shooting" at Discogs
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Flyleaf (album)
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Flyleaf
Studio album by Flyleaf
Released
October 4, 2005
Recorded
2005
Genre
Alternative metal,[1] Christian rock,[2] Nu metal[1]
Length
33:42
Label
Octone, Polydor
Producer
Howard Benson
Flyleaf chronology
Flyleaf
(2004) Flyleaf
(2005) Music as a Weapon
(2006)
Singles from Flyleaf
1."I'm So Sick"
Released: August 29, 2006
2."Fully Alive"
Released: November, 2006
3."All Around Me"
Released: April, 2007
4."Perfect"
Released: 2007
5."Sorrow"
Released: 2007
6."Cassie"
Released: December, 2007
7."There For You"
Released: July 25, 2008
Professional ratings
Review scores
Source
Rating
About.com 3.5/5 stars[3]
AllMusic 2.5/5 stars[1]
Dooyou 5/5 stars[citation needed]
Jesus Freak Hideout 4.5/5 stars [2]
Rock n World 3.5/5 stars[citation needed]
Sputnikmusic 3.5/5 stars[4]
Flyleaf is the debut studio album by the American rock band Flyleaf. It was released on October 4, 2005 through Octone Records. A re-packaged CD/DVD special edition was released on October 30, 2007, which included additional acoustic tracks and music videos. The album was re-released on January 14, 2008 through Polydor Records in the United Kingdom, which included three additional acoustic tracks.
Musically, Flyleaf is a Christian alternative rock and hard rock album with heavy influences of nu-metal, emo and heavy metal. While the band's frontwoman Lacey Sturm prominently sings, her unclean vocals are a frequent throughout the album. Lyrically, the album deals with topics such as Christianity, love and death. Flyleaf received mixed reviews from music critics, who commended its "radio-friendly" yet hardcore sound, but criticized its use of formula. It debuted at No. 88 on the Billboard 200, selling more than 13,000 copies within its first week. Due to the band's growing exposure to fame in 2007, it eventually reached its peak of No. 57 on the week of September 17, 2007, and spent more than 133 weeks on the chart. It also topped the Billboard Christian Albums chart, and has since become the ninth best-selling Christian album of the 2000s. It has sold more than 1 million copies to date, and was certified Platinum by the Recording Industry Association of America (RIAA).[citation needed]
Contents
[hide] 1 Background
2 Promotion
3 Singles
4 Sales
5 Track listing 5.1 Original Release
5.2 US Re-release
5.3 UK Re-release
6 Charts and awards
7 Album credits
8 References
Background[edit]
The album was released October 4, 2005. October 30, 2007 the band re-released this album repackaged as a CD/DVD Special Edition version. The Special Edition re-release has the same tracks as the original release, with the addition of acoustic versions of "Cassie", "Fully Alive", "I'm So Sick", "All Around Me", and Red Sam (which is the only acoustic song not released as a single). The DVD has exclusive interviews with Flyleaf and music videos of "All Around Me", "I'm So Sick" and "Fully Alive". The re-release also came packaged with a free ringtone of "All Around Me" and a "locker" poster. The album was re-released January 14, 2008 in the UK on Polydor Records but with only three additional acoustic tracks.
When A&M Records teamed with Octone Records, the album was re-printed to show the new joint-venture label arrangement. This re-printed version had "Fully Alive" at a length of 2:34, replacing the original 2:48 version, and a different back cover artwork.
Promotion[edit]
The album was hugely publicized on the website Purevolume. "I'm So Sick" appears in the game Rock Band, and "Perfect" appears in the PC/Mac video game Guitar Praise. According to Rolling Stone Magazine, the band is among the 2008 breakout bands, along with Paramore.
Singles[edit]
Their first single released was "I'm So Sick".
Their second single, "Fully Alive", hit radio stations on June 6, 2006.
Their third and highest charting single is "All Around Me", reaching No. 40 on the Billboard Hot 100.
Their fourth and fifth singles, Perfect, and Sorrow, were then released.
Their sixth and final seventh singles were Cassie, and There For You, in which the latter of the two did not garner much attention.
Sales[edit]
Flyleaf sold over 13,000 copies of the Special Edition CD/DVD in the first week. They jumped 59 spots on the Billboard Top 200 chart up to No. 62. In the second week of sales for the Special Edition CD/DVD, Flyleaf sold over 10,100 copies. To date, it has sold over 1,000,000 copies in the U.S. certifying it as platinum.
According to Billboard, the album was the ninth best-selling Christian album between the years 2000 and 2009.[5]
Track listing[edit]
Original Release[edit]
All tracks written by Flyleaf, except "Perfect" by Flyleaf and Mark Lewis and "Red Sam", "Breathe Today" and "So I Thought" by Flyleaf and Will Hoffman.
Standard Edition
No.
Title
Length
1. "I'm So Sick" 3:00
2. "Fully Alive" 2:47
3. "Perfect" 2:53
4. "Cassie" 2:58
5. "Sorrow" 2:45
6. "I'm Sorry" 2:43
7. "All Around Me" 3:18
8. "Red Sam" 3:20
9. "There For You" 2:47
10. "Breathe Today" 2:29
11. "So I Thought" 4:50
[show]Japanese Edition
US Re-release[edit]
This release included all of the standard edition tracks plus acoustic versions of 5 songs from the album.
The album was released as a two-Disc CD/DVD package.
It also included a bonus ringtone of the track "All Around Me" and an exclusive full-color "locker" poster.
No.
Title
Length
12. "Fully Alive" (acoustic) 2:15
13. "Red Sam" (acoustic) 3:26
14. "Cassie" (acoustic) 3:10
15. "I'm So Sick" (acoustic) 2:59
16. "All Around Me" (acoustic) 3:21
[show]DVD
UK Re-release[edit]
This release included all of the standard edition tracks plus acoustic versions of three songs from the album.
No.
Title
Length
12. "Fully Alive" (acoustic) 2:41
13. "All Around Me" (acoustic) 3:21
14. "Cassie" (acoustic) 3:11
Charts and awards[edit]
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2011)
Chart (2005)
Peak[6]
position
Top Heatseekers 3
Chart (2006)
Peak[6]
position
The Billboard 200 57
Top Rock Albums 12
Top Christian Albums 1
Top Heatseekers 17
Chart (2008)
Peak
Top Digital Albums 71
Top Alternative Albums 11
Top Hard Rock Albums 5
Award (2009)
2009 BMI Pop Award Winning Song - All Around Me[7]
Album credits[edit]
Lacey Mosley - Lead Vocals
Pat Seals - Bass
Sameer Bhattacharya - Guitar
Jared Hartmann - Guitar
James Culpepper - Drums
Additional Guitar on "There For You": Dave Navarro
Background Vocals on "Cassie," "So I Thought," and "Red Sam": Ryan White of Resident Hero
Produced by Howard Benson
Mixed by Mike Plotnikoff
Mastered by Leon Zervos & Chris Athens at Sterling Sound, NY
A&R: James Diener & Ben Berkman
Recorded by Mike Plotnikoff
Recorded at Bay 7 Studios
Valley Village
Sparky Dark Studio, Calabasas, CA
Mixed at Scream Studios, Studio City, CA
Chalice Studios, LA
Assistant Engineers: Hatsukazu Inagaki, Alex Uychocde
Protools Editing: Paul Decarli
Drum Tech: Jon at Drum Fetish
Guitar Tech: Keith Nelson
Keyboards and Programming by Howard Benson
Art Direction: 7S
Photography: Sam Erickson, Stephen Albanese
Cover Photo: Cole Rise
Angel Illustration: Shannon Ronique Neall
References[edit]
1.^ Jump up to: a b c Allmusic review
2.^ Jump up to: a b "Flyleaf, "Flyleaf" Review". Jesusfreakhideout.com. 2005-10-04. Retrieved 2011-10-12.
3.Jump up ^ About.com review
4.Jump up ^ Spuutnikmusic review
5.Jump up ^ "Music Albums, Top 200 Albums & Music Album Charts". Billboard.com. 2009-12-31. Retrieved 2011-10-12.
6.^ Jump up to: a b http://www.allmusic.com/artist/p703878
7.Jump up ^ "2009 BMI Pop Awards Award Winning Songs | Press". BMI.com. 2009-05-19. Retrieved 2011-10-12.
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Thoughtless
From Wikipedia, the free encyclopedia
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This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2009)
"Thoughtless"
Single by Korn
from the album Untouchables
Released
October 15, 2002
Format
7", CD, DVD
Recorded
2002
Genre
Alternative metal, nu metal
Length
4:33
Label
Epic
Producer
Michael Beinhorn
Korn singles chronology
"Here to Stay"
(2002) "Thoughtless"
(2002) "Alone I Break"
(2002)
"Thoughtless" is a song written by American nu metal band Korn for their fifth studio album, Untouchables. "Thoughtless" was released as the album's second single sometime in July 2002. It is about Jonathan Davis' being assaulted and harassed in school and dreaming of seeking revenge on those who bully him. A music video was produced for this single, directed by the Hughes Brothers, known for their work with Korn's previous video, "Here to Stay". The plot of this video revolves around a young individual from high school who is picked on, beaten up, laughed at, and ridiculed with Korn performing inside the brain of the tormented boy. He seeks revenge throughout the video. The final scene shows him arriving at the school prom with an escort. He then vomits at those who had picked on him from across the auditorium, leaving them in disgust and humiliation.
Contents
[hide] 1 Live performance
2 Music video
3 Evanescence Cover
4 Track listing
5 See also
6 External links
Live performance[edit]
This song was introduced to fans during a live show at the Hammerstein Ballroom, in NYC on June 10, 2002, which celebrated the release of the band's fifth album, Untouchables. This performance appears on the DVD release entitled Live. "Thoughtless" has been played during the Untouchables promotional tour, in 2002, but it was scrapped from the band's setlist one year later. It eventually returned in 2006 on the See You on the Other Side World Tour as a part of a medley. The full song was played at the 2006 Family Values Tour and the Escape from the Studio Tour. It has most recently been performed within a medley at the Music as a Weapon V tour. The song was well received,
Music video[edit]
In the beginning, a high-school aged boy (played by Aaron Paul, best known for his role on Breaking Bad) is walking through the hallways of his school. Four girls are teasing and looking at him in disgust. A group of jocks on the other side of the hallway give him dirty looks and then beat him up. In the next scene, the boy is in his science class drawing strange pictures of his pain in his notebook. Song titles from Untouchables can also been seen. He goes to the pool to swim and the jocks see him there and beat him up. After that, he is in the locker room wrapped in a towel and is seen sweaty and increasingly agitated. We then see him in his room looking at his yearbook. He throws the year book at his window and looks in the phone book for a service that says "Fantasy Escorts." He calls the service then shows up at his prom with a strange woman (played by Aimee Sweet). He vomits on everyone who had bullied him and gets his revenge. Korn performs inside his brain throughout the video. Aaron Paul's character's name appears in his yearbook as "Floyd", which was the working title for "Thoughtless" on the unmastered, leaked version of Untouchables.
There is also a "performance version" that only shows Korn performing the song in the room featured in the original video.
Evanescence Cover[edit]
The song has been covered by band Evanescence, both on tour and for the 2004 live album Anywhere but Home, with a different intro that features piano arrangements. Lead singer Amy Lee said to the crowd at the beginning of the performance, "We're going to do something completely different now. This is by a band that we all like very much. I'm not even going to announce it; you ought to know what this is." .
Track listing[edit]
Enhanced Maxi CD Single:
1."Thoughtless – 4:32
2."Thoughtless (D Cooley Remix featuring DJ Z-Trip) – 3:52
3."Thoughtless (Dante Ross remix) – 4:21
4."Here to Stay (Tone Toven and Sleep remix) – 3:28
5."Here to Stay (Remixed by Mindless Self Indulgence) – 3:45
6."Thoughtless (video) – 4:32
DVD Single:
1."Thoughtless" (video) - 4:32
See also[edit]
Book icon Book: Korn
External links[edit]
"Thoughtless" Official music video on YouTube
[hide]
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Who Then Now?·
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All Mixed Up·
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"Christmas Song"·
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"Did My Time"·
"Right Now"·
"Y'All Want a Single"·
"Everything I've Known"·
"Word Up!"·
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"Coming Undone wit It"·
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Concert tours
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Bitch We Have a Problem Tour·
Escape from the Studio Tour·
Ballroom Blitz Tour·
Mayhem Festival 2010·
Music as a Weapon V Tour·
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Reunion Tour With Head
Signature instruments
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Holy Wood (In the Shadow of the Valley of Death)
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Holy Wood (In the Shadow of the Valley of Death)
Studio album by Marilyn Manson
Released
November 13, 2000
Recorded
1999–2000
Death Valley, California
The Mansion (Laurel Canyon, California)
Genre
Industrial metal, alternative metal
Length
68:07
Label
Nothing, Interscope
Producer
Marilyn Manson, Dave Sardy
Marilyn Manson chronology
The Last Tour on Earth
(1999) Holy Wood (In the Shadow of the Valley of Death)
(2000) The Golden Age of Grotesque
(2003)
Singles from Holy Wood (In the Shadow of the Valley of Death)
1."Disposable Teens"
Released: November 7, 2000
2."The Fight Song"
Released: February 2, 2001
3."The Nobodies"
Released: October 6, 2001
Holy Wood (In the Shadow of the Valley of Death) is the fourth studio album by American rock band Marilyn Manson, released in November 2000 by Nothing and Interscope Records. The album marked a return to the industrial and alternative metal styles of the band's earlier efforts, after the modernized glam rock of Mechanical Animals. As their first release following the Columbine High School massacre of April 20, 1999, Holy Wood was Marilyn Manson's rebuttal to accusations leveled against them in the wake of the shootings. The band's frontman, Marilyn Manson, described the record as "a declaration of war".[1]
A rock opera concept album, it is the final installment in a trilogy which includes Antichrist Superstar and Mechanical Animals. After its release, Manson said that the overarching story within the trilogy is presented in reverse chronological order; Holy Wood, therefore, begins the narrative.[2] It was written in the singer's former home in the Hollywood Hills and recorded in several undisclosed locations, including Death Valley and Laurel Canyon.
At its release, Holy Wood received mixed-to-positive reviews; many critics noted that while ambitious, it fell short in execution. The album was not at first as commercially successful as the group's two previous releases, and took three years to receive a gold certification from the RIAA. Nevertheless, with worldwide sales of over nine million copies as of 2011, it has become one of the most successful of their career. It spawned three singles and an abandoned film project which was modified into the as-yet-unreleased Holy Wood novel. Marilyn Manson supported the album with the controversial Guns, God and Government Tour.
On November 10, 2010, British rock magazine Kerrang! published a 10th-anniversary commemorative piece in which they called the album "Manson's finest hour ... A decade on, there has still not been as eloquent and savage a musical attack on the media and mainstream culture ... [It is] still scathingly relevant [and] a credit to a man who refused to sit and take it, but instead come out swinging."[1]
Contents
[hide] 1 Background and development
2 Recording and production 2.1 Novel and film
3 Concept 3.1 Themes
4 Composition
5 Promotion
6 Release 6.1 Singles
6.2 Cover and packaging
6.3 Formats
7 Reception 7.1 From critics
7.2 Sales
7.3 Accolades
7.4 Legacy
8 Guns, God and Government Tour
9 Track listing
10 Charts and certifications 10.1 Album charts
10.2 Certifications
10.3 Singles
11 Credits and personnel
12 References
13 External links
Background and development
Further information: Columbine High School massacre and Rock Is Dead Tour
Ninety-nine was a pivotal year — as was 1969, the year of my birth. The two years share many similarities. Woodstock '99 [where rape and mass looting were rife], became an Altamont [the Rolling Stones concert in 1969 where the Hells Angels beat a fan to death] of its own. Columbine became the Manson murders of our generation. Things happened that could've made me want to stop making music. Instead, I decided to come out and really punish everyone for daring to fuck with me. I've got a big fight ahead of me on this one. And I want every bit of it.
—Marilyn Manson[3]
During the 1990s Marilyn Manson and his eponymous band established themselves as one of the most controversial rock acts in music history.[4] The band became a household name with the mainstream success of their albums, Antichrist Superstar (1996) and Mechanical Animals (1998).[4] By the time of their Rock Is Dead Tour in 1999, the band's outspoken frontman had become a culture war iconoclast and a rallying icon for alienated youth.[4]
As their popularity increased the transgressive, confrontational nature of the group's music and imagery angered social conservatives.[5] Politicians across the political spectrum lobbied to have their performances banned, citing rumors that the shows contained animal sacrifices, bestiality and rape.[4] Their concerts were picketed by religious advocates and parent groups, who contended that their music had a corrupting influence on youth culture by inciting "rape, murder, blasphemy and suicide".[5]
On April 20, 1999, Columbine High School students Eric Harris and Dylan Klebold shot 12 students and a teacher to death, wounding 21 others before committing suicide.[6] In the aftermath of the fourth-deadliest school shooting in United States history, the band became a scapegoat.[1][6] Early media reports alleged that the shooters were fans of the band and wore the group's t-shirts during the massacre.[7][8] Speculation in national media and among the public blamed Manson's music and imagery for inciting Harris and Klebold.[1][9] Later reports revealed that the two considered the band "a joke".[7][10] Despite this, the group (and other bands and popular entertainment, such as movies and video games) were widely criticized by religious, political and entertainment-industry figures.[3][11][12]
Under mounting pressure in the days after Columbine, the group postponed their last five North American tour dates out of respect for the victims and their families.[13] On April 29 ten US senators (led by Sam Brownback of Kansas) sent a letter to Edgar Bronfman Jr., president of Seagrams (which owned Interscope Records), requesting a voluntary halt to his company's distribution to children of "music that glorifies violence".[14][15] The letter named Marilyn Manson (and other bands) for producing songs which "eerily reflect" the actions of Harris and Klebold.[14][15] Later that day, the band canceled their remaining North American shows.[16] On May 1 Manson published a Rolling Stone op-ed response to the accusations, "Columbine: Whose Fault Is It?"[17][18] In it, he wrote:
I chose not to jump into the media frenzy and defend myself, though I was begged to be on every single TV show in existence. I didn't want to contribute to these fame-seeking journalists and opportunists looking to fill their churches or to get elected [during the US presidential election of 2000] because of their self-righteous finger-pointing. They want to blame entertainment? Isn't religion the first real entertainment? People dress up in costumes, sing songs and dedicate themselves to eternal fandom ... I'd like [the] media commentators to ask themselves, because their coverage of [Columbine] was some of the most gruesome entertainment any of us have seen.[19]
On May 4, a hearing on the marketing and distribution of violent content to minors by the television, music, film and video-game industries was held by the United States Senate Committee on Commerce, Science and Transportation.[20] The committee heard testimony from cultural observers, professors and mental-health professionals (including William Bennett and the Archbishop of Denver, Charles J. Chaput).[20] Speakers criticized the band, its label-mate Nine Inch Nails and the 1999 film The Matrix for their alleged contribution to a cultural environment enabling violence such as the Columbine shootings.[20] The committee requested that the Federal Trade Commission and the United States Department of Justice investigate the entertainment industry's marketing practices to minors.[20][21]
Concluding the European and Japanese legs of their tour on August 8, 1999, the band withdrew from public view.[1][2] The album's early development coincided with Manson's three-month seclusion at his home in the Hollywood Hills,[2] during which he considered how to respond to the accusations.[1] Manson said the maelstrom made him reevaluate his career: "[t]here was a bit of trepidation, [in] deciding, 'Is it worth it? Are people understanding what I'm trying to say? Am I even gonna be allowed to say it?' Because I definitely had every single door shut in my face ... there were not a lot of people who stood behind me."[2][3] He told Alternative Press he felt his safety was threatened to the point that he "could be shot Mark David Chapman-style".[2] Manson concluded that it was unwise for a controversial artist to allow his detractors to scapegoat his work (and popular entertainment in general), beginning work on the album as a counterattack.[1][22]
Recording and production
Manson began writing for the album in 1995, before the release of Antichrist Superstar;[23] the material initially consisted of scattered ideas.[24] Isolating himself in his attic, he worked the early material into a usable shape.[25][26] At the end of Manson's three-month retreat, the band embarked on a year of writing and developing the material.[1][22][27] Band members maintained a low profile, and Manson said the band's website would "be my only contact with humanity".[28]
I'm at that point in my career where I wanted to make this film and I'm making this new record, where I really examine suffering and where celebrities come from. How it all kind of traces back in religion, and celebrities and Hollywood all kind of relate to each other. And that's very American.
—Marilyn Manson[29]
The album is the group's most collaborative effort to date, with everyone contributing to the songwriting process (resulting in a more-unified sound).[27][30] Most of the work was shouldered by Twiggy Ramirez, John 5 and Marilyn Manson; keyboardist Madonna Wayne Gacy provided input on "President Dead" and "Cruci-Fiction in Space", and Ginger Fish did the drum work.[1][31] Manson said that his songwriting sessions with John 5 were very focused;[31] most of the songs were complete before being brought to the band for consideration, and were enthusiastically received.[31] In contrast, his sessions with Ramirez were less demanding while they experimented with absinthe.[31] The band wrote 100 musical fragments; between 25 and 30 became songs,[31] and 19 were selected for the album.[32]
White symbol inside a white circle on a black background
Stylized version of the alchemical symbol for mercury, used by the band as a logo for the album and the character of Adam Kadmon[33]
The album was recorded at several locations, including Death Valley and Rick Rubin's Mansion Studio in Laurel Canyon.[34] Locations were chosen for the atmosphere they were intended to impart to the music.[27] Mixing engineer Dave Sardy co-produced the album with Manson; Bon Harris, of electronic body music group Nitzer Ebb, did the programming and pre-production editing.[28] Manson announced on December 16, 1999 that the album was progressing under a working title of "In the Shadow of the Valley of Death", with its logo the alchemical symbol for mercury.[28][35][36]
The band visited Death Valley a number of times to "imprint the feeling of the desert into [their] minds" and avoid composing artificial-sounding songs.[37] Experimental recordings and acoustic songs were recorded with live instrumentation. Manson later explained that the acoustic songs were "acoustic" in that they were not produced electrically; the album's sonic landscape is intrinsically electronic. Harris' programming skills proved invaluable as the band recorded unique, natural sounds, which he molded into aural elements.[27]
The band spent considerable time at the Mansion Studio, with its cavernous rooms suitable for recording drums.[27] Inspired by the space,[38][39] the band found they could accomplish more there than in the limited environment of Manson's home studio.[27][28] Ramirez later had a fuzzy memory of the sessions,[40] explaining that there were "a lot of different emotions racing around [us]"; the house, which once belonged to Harry Houdini, is said to be haunted.[40] Gacy said that he spent most of his time working on a computer and synthesizer, "mess[ing] around with prime-number loops where they only intersect every three days and I'd check up on what kind of music they'd be making. You never know what's going to happen".[38] Fish worked constantly, and the bulk of his contributions to the recording process were made at the Mansion.[39]
On February 23, 2000 Manson delivered a 20-minute lecture via satellite at a current-events convention, "DisinfoCon 2000", aimed at exposing (and dispelling) disinformation.[41] Six days later, their album was entitled Holy Wood (In the Shadow of the Valley of Death).[23] By April 12 the band was in their final stages of recording, and Manson posted footage of the recording studio.[42] In pre-release interviews, he noted that the record would be "a very sharp pencil" which would appeal to Marilyn Manson fans.[43]
Novel and film
Further information: Holy Wood (novel)
Manson's ambitions for the project initially included an eponymous film exploring the album's backstory.[1][29] In July 1999, he had reportedly begun negotiating with New Line Cinema to produce and distribute the film and its soundtrack.[23] At the 1999 MTV Europe Music Awards in Dublin (where the band performed on November 11),[44] he disclosed the film's title and his production plans.[29] Manson met Chilean avant-garde filmmaker Alejandro Jodorowsky at the event to discuss work on the film, although no final decision was made.[44][45] By February 29, 2000 the deal fell through when Manson had reservations that New Line Cinema would take the film in a direction which would not have "retained his artistic vision".[23]
Abandoning his attempt to bring Holy Wood to the screen, Manson announced plans to publish two books accompanying the album.[23] The first was a "graphic and phantasmagoric" novelization, intended for release shortly after the album by ReganBooks (a division of HarperCollins).[25] The novel's style was inspired by William S. Burroughs, Kurt Vonnegut, Aldous Huxley and Philip K. Dick,[27] and it would be followed by a coffee table book of images created for the project.[23]
In a December 2000 interview with Manson, novelist Chuck Palahniuk mentioned the Holy Wood novel (due for release in spring 2001) and complimented its style.[46] Neither book has yet been released, reportedly due to a publishing dispute.[47]
Concept
"Holy Wood"—which isn't even that great of a hyperbole of America—is a place where an obituary is just another headline. Where if you die and enough people are watching, then you're famous.
—Marilyn Manson, on the album's concept[2]
The album's plot is a "parable"[25] in a thinly-veiled satire of modern America called "Holy Wood", which Manson has described as a city-sized, Disneyesque amusement park where the main attractions are violence and sex.[2][48] Its literary foil is "Death Valley", "a metaphor for the outcast and the imperfect of the world."[49]
The central character is the ill-fated protagonist "Adam Kadmon",[1][23][50] a name borrowed from the Kabbalah which means "primal man". In the similarly-mystical Sufi and Alevi philosophies, he is an archetypical "perfect" or "complete man".[23] Adam Kadmon travels from Death Valley to Holy Wood;[49] idealistic and naïve, he attempts a revolution through music.[49]
Disenchanted when his revolution is consumed by Holy Wood's ideology of "guns, God and government", he is absorbed by its culture of death and fame in which celebrity worship, violence and scapegoating are the moral values of a religion rooted in martyrdom.[1][2][25] In this religion dead celebrities are revered as saints, and John F. Kennedy is idolized as a modern Christ.[3][25][49]
This religion, known as "celebritarianism",[50] parallels Christianity. It critiques the dead-celebrity phenomenon in American culture, with the crucifixion of Jesus as its blueprint.[2][3][25] This concept extended to the world Guns, God and Government Tour supporting the album; the tour's logo was a rifle, with handguns arranged to resemble the Christian cross.[51]
Manson told Rolling Stone that the plot is semi-autobiographical. While it can be viewed on several levels, he said that the simplest interpretation is to see it as a story of an angry youth whose revolution is commercialized, leading him to "destroy the thing he has created, which is himself."[30][34]
Themes
Violence is the central theme of the album,[52] which takes a critical look at America's obsession with firearms, death and fame and their ramifications in the Columbine tragedy.[1] Manson sees the root causes of Columbine as the gun culture, conservative American Christianity and traditional family values. The album illustrates the harmful roles they play in the glorification (and acceptance) of violence in "mainstream" culture,[22][53] illustrated by the slogan "Guns, God and Government".[1][49][54] Drawing similarities between the Cold War period of 1960s America and the 1990s, Manson uses allegories from that decade and other events and figures in cultural history.[25][46][48][55] Music journalist Charlotte Robinson said that it is difficult to assess the "narrative's effectiveness" without the book and film: "the album doesn't tell much of a story, instead presenting variations on the same themes".[50]
[Holy Wood is] not necessarily [all] about the Columbine incident, but more the reason why it happened ... [It's about] the way America raises its kids to feel like they're unwanted and made to feel like they're dead already. They really don't have anything to live for and it's also concerned with the repercussions of that incident.
—Marilyn Manson, on the album's prevailing theme[49]
Manson was drawn to The Beatles' White Album because of its role in the Charles Manson "Family" murders and the parallels he saw between that crime and Columbine:[3][26][55] "[It] had a lot of very subversive messages on it. Ones they intended and ones that may've [sic] been misinterpreted by [convicted mass murder conspirator] Charles Manson". It was the first piece of music blamed for inciting violence: "When you've got 'Helter Skelter' [taken from a Beatles song of the same name] written in blood on someone's wall, it's a little more damning than anything I've been blamed for".[3][26][55] Manson appreciates the record's power, which inspired his album's concept. Holy Wood, he said, "is a tribute to what that record did in history."[3][49][55]
Critics also noted similarities between anti-hero Adam Kadmon and Charles Manson.[3][37][49] Manson echoed this assessment, describing Holy Wood as a declaration of war on the entertainment industry: "their self-congratulatory attitude, their beliefs that they can never do wrong, ... that they're the center of the universe[1] ... [i]n one way it's defending Hollywood, and in another way it's attacking it for not being brave enough".[3][37]
A substantial portion of the album analyzes the cultural role of Jesus Christ and the iconography of his crucifixion as the origin of celebrity,[25][56] appraising "our relationship with Christ, and how we outgrew that".[3] Manson says that while in the past he critiqued religion, with this album he accepts the story and looks for things to which he can relate.[25][27] He discovered that Christ was a revolutionary figure—a person who was killed for having dangerous opinions, and was later exploited and merchandised by Christianity.[25][27] Manson notes the irony of "religious people who indict entertainment as being violent"; the crucifixion is an icon of violence which made Jesus "the first rock star". He feels that the exploitation of Christ as "the first celebrity" made religion the root of all entertainment.[25][56]
Christ's death is compared to Abraham Zapruder's film of the assassination of John F. Kennedy,[26] which Manson called "the only thing that's happened in modern times to equal the crucifixion".[2] He sarcastically described the historic home movie as a "good clip of mankind's generosity to share his violence with the world in such a cinematic way".[57] Manson stresses the film's cultural importance, noting the irony of showing such violence on the news while complaining about violence in the entertainment industry.[25] He watched the clip many times as a child, saying it was the most violent thing he had ever seen[25] and juxtaposing Christ and Kennedy:
Christ was the blueprint for celebrity. He was the first celebrity, or rock star if you want to look at it that way, and [dying on the cross] he became this image of sexuality and suffering. He’s literally marketed—A crucifix is no different than a concert T-shirt in some ways. I think for America, in my lifetime, John F. Kennedy kind of took the place of that [as a modern-day Christ] in some ways. [After being murdered on TV], he became lifted up as this icon and this Christ figure [by America].[58]
Manson also cites John Lennon as an assassinated icon, criticizing the media's veneration of media martyrs and its conversion of death into spectacle to cater to the American public's appetite for violence, tragedy and celebrity. He denies claims that Marilyn Manson's music was responsible for Columbine,[1][3] speculating how the media would have covered the Crucifixion[3] and linking these observations to Columbine during an interview on the O'Reilly Factor. Bill O'Reilly argued that "disturbed kids" without direction from responsible parents could misinterpret the message of his music as endorsing the belief that "when I'm dead [then] everybody's going to know me". Manson responded:
Well, I think that's a very valid point and I think that it's a reflection of, not necessarily this programme but of television in general, that if you die and enough people are watching you become a martyr, you become a hero, you become well known. So when you have these things like Columbine, and you have these kids who are angry and they have something to say and no one's listening, the media sends a message that says if you do something loud enough and it gets our attention then you will be famous for it. Those kids ended up on the cover of Time magazine [twice[N 1]], the media gave them exactly what they wanted. That's why I never did any interviews around that time when I was being blamed for it because I didn't want to contribute to something that I found to be reprehensible.[61]
Despite references to (and fascination with) the iconic men, Manson was reluctant to draw comparisons between them and himself (saying it would have been pretentious):[52] "[w]hat I did find was parallels in their stories and my story, and I tried to maybe learn from their mistakes and what they tried to do ... You realise you can't change the world and you can only change yourself, and I think that's what [they] found out".[52] He added, "[f]or me it was about learning from that and trying to break the evolution of man [since] it's man's nature to be violent".[52]
Composition
Is adult entertainment killing our children? Or is killing our children entertaining adults?
—Statement on the band's website during the Holy Wood era.[35]
In pre-release interviews, Manson said that Holy Wood (In the Shadow of the Valley of Death) was intended to be the "industrial White Album ... in the sense that it's very experimental. I play a lot of keyboards, we switched things around, wrote in the desert ... it's experimental and when I think of experimental I think of The White Album".[3] The 1969 Rolling Stones album Let It Bleed (another source of inspiration) was written in the same house where Manson wrote Holy Wood.[26]
Sonically, Manson said the record was "arrogant in an art rock sense" and the "heaviest" record the band has done. "It needs to be to complete the trilogy", he said.[3][27][30] Most of the songs have three or four parts (similar to art rock), because of the way the story is told.[27] The band took great care to avoid being "self-indulgent".[27] Manson considers the record entertaining: "Art rock is only self indulgent if it bores you".[27] CMJ New Music Monthly called the songs "angry and complex".[25] Rolling Stone noted that "on such songs as 'Target Audience', 'Disposable Teens' and 'Cruci-Fiction in Space', [the band] dismantles the slick, glam-tinged sound of [Mechanical] Animals in favor of the more brutal industrial-goth grind of his first [two] albums".[34]
Like Antichrist Superstar Holy Wood uses a song cycle structure, dividing the album into four movements—A: In the Shadow, D: The Androgyne, A: Of Red Earth and M: The Fallen—to frame Kadmon's story.[55] The storyline unfolds in a multi-tiered series of metaphors and allusions;[25] for example, the album's title refers not only to the "Hollywood sign" but also to "the tree of knowledge that Adam took the first fruit from when he fell out of paradise, the wood that Christ was crucified on, the wood that [Lee Harvey] Oswald's rifle is made from and the wood that so many coffins are made of".[25]
"GodEatGod" follows Adam as he meditates in the desert.[49] "The Love Song" is an anthem to Holy Wood's religion, Celebritarianism.[49] Manson said the idea for the song came from his observation that "Love Song" is one of the most common titles in music, and he wove in a metaphor about guns: "I was suggesting with the lyrics that the father is the hand, the mother is the gun, and the children are the bullets. Where you shoot them is your responsibility as parents".[53] The chorus is a rhetorical take on an American bumper sticker, which asks "Do you love your God, gun, government?"[49]
"The Love Song"
"The Love Song" applies dark humor to satirize America's concept of traditional family values by drawing parallels to its love affair with guns and violence.[53]
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The UK music magazine Kerrang! described "The Fight Song" as a "playground punk anthem".[43] Manson noted that the song's theme is Adam's desire to be a part of Holy Wood, and the track is autobiographical.[49] Speaking broadly, it is about "a person who's grown up all his life thinking that the grass is greener on the other side, but when he finally [gets there], he realises that it's worse than where he came from and that it's truly exploitative".[49] The line "The death of one is a tragedy, the death of millions is just a statistic" relates to overlooking the deaths of ordinary people, ignored by the media, compared to the media frenzy when someone dies dramatically.[48]
"Disposable Teens" is a "signature Marilyn Manson song",[49] with a bouncing guitar riff and Teutonic, staccato rhythm rooted in glam rocker Gary Glitter's song "Rock and Roll, Pt.2".[62] Its lyrical themes tackle the disenfranchisement of contemporary youth, "particularly those that have been [brought up] to feel like accidents", with the revolutionary idealism of their parents' generation.[48][49] The Beatles' influence is evident in this song,[26][35][48] whose chorus echoes the disillusionment of their White Album song "Revolution 1".[35][48] Here, the sentiment is a rallying cry for "disposable teens" against "this so-called generation of revolutionaries" indicted in the song: "You said you wanted evolution, the ape was a great big hit. You say want a revolution, man, and I say that you're full of shit".[35][48] Manson singles out "Target Audience (Narcissus Narcosis)" as his favorite song on the album; to him, it describes every person's desire for self-actualization.[49][63]
Borrowing a riff from English alternative rock band Radiohead,[43] "President Dead" is a guitar-driven song showcasing John 5's technical skill.[43] It opens with a sample of Don Gardiner's ABC News Radio broadcast announcing the death of John F. Kennedy.[48] The song is 3:13 long — a deliberate numerological reference to frame 313 of the Zapruder film, the frame with Kennedy's fatal head shot and the point at which JFK became an American media martyr "because the production value of his murder was so grand; the cinematography was so well done".[48] "In the Shadow of the Valley of Death" is an introspective song with Adam at his most emotionally vulnerable, nearly despairing.[48] "Cruci-Fiction in Space" further explores the Kennedy assassination, concluding that human beings have evolved from monkeys to men to guns.[25] "A Place in the Dirt" is another personal song, characterized by Adam's self-analysis of his place in Holy Wood.[43]
"Lamb of God"
Using the assassinations of Jesus Christ, JFK, and John Lennon as examples, in "Lamb of God" Manson criticizes his accusers by illustrating their hunger for venerating dead people into martyrs and superstars and for turning tragedy into televised spectacle.[1][50]
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"The Nobodies" is a mournful, elegiac dirge with a harpsichord and synthesized-drum introduction.[25][43] The verse "today I'm dirty and I want to be pretty, tomorrow I know I'm just dirt" has an Iggy Pop-style vocal delivery building to the adrenaline-fuelled chorus: "we are the nobodies, we wanna be somebodies, when we're dead they'll know just who we are. Some children died the other day, we fed machines and then we prayed, puked up and down in morbid faith, you should have seen the ratings that day".[6][25][43] CMJ noted that the song would be interpreted by some as a tribute to the Columbine shooters, but its point was not to glorify violence; rather, it was to depict a society drenched in its children's blood.[25] "The Death Song" is the turning point for Adam; he no longer cares.[48] Manson described it as sarcastic and nihilistic: "it's like 'We have no future and we don't give a fuck'".[48] Kerrang! described it as one of the album's "heaviest" songs.[43]
In "Lamb of God" Manson uses the examples of the assassinations of Jesus Christ, JFK and John Lennon to criticize his accusers, illuminating their hunger for venerating dead people as martyrs and superstars and for turning tragedy into televised spectacle.[1][50] The bridge paraphrases the chorus of "Across the Universe".[26] Manson notes that although John Lennon sang "nothing's going to change my world", "[Lennon's killer] Mark David Chapman came along and proved him very wrong. That was always something, growing up, that was very sad and tragic to me—a song that I always identified with".[26] "Burning Flag" is a heavy-metal song reminiscent of American industrial-metal band Ministry.[43] Lennon's "Working Class Hero" was covered between the band's August 30, 2000 appearance at the Kerrang! Awards and the November 14 launch of the album.[26][62][64] Describing Lennon's idealism and influence, Manson said "some of Lennon's Communist sentiments in his music later in his life were very dangerous. I think he died because of it. I don't think his death was any sort of accident. Aside from that, I think he's one of my favorite songwriters of all time".[62]
Promotion
Promotion began on June 9, 1999, with a web update that Manson was composing for a new album in tandem with a screenplay.[28][65] On December 16 he posted a four-minute video clip and written statement, elaborating on the upcoming album's themes and featuring excerpts of the band performing two new songs.[35] The first cut was a rock song which later became "Disposable Teens", and the second was a rough demo cover of the ballad "Little Child" known as "Mommy Dear".[35] Manson described the album as "the most violent yet beautiful creation we have accomplished. This is a soundtrack for a world that is being sold to kids and then being destroyed by them. But maybe that's exactly what it deserves".[28][35] An acoustic version of "Sick City", from Charles Manson's 1970 album Lie: The Love and Terror Cult, later appeared on February 14, 2000;[66] however, this song was not intended to be included in the upcoming album or the Holy Wood feature film.[66]
On April 12, 2000 Manson wrote that they were completing the final stages of recording and posted a downloadable, silent movie documenting the process.[42] This was followed on August 9 with a posting of the Holy Wood novel cover and a sound clip of "The Love Song" the following day.[67] On August 25 he released three tracks ("Burning Flag", "Cruci-Fiction in Space" and "The Love Song") for digital download on their website.[33] Manson traveled to the UK to perform "Disposable Teens" on the October 12, 2000 episode of BBC One's Top of the Pops.[68] On October 27, the band launched their worldwide Guns, God and Government Tour.[54][69] Video footage and photographs from shows at the Minneapolis Orpheum Theatre and the Milwaukee Eagles Ballroom (showing them performing "Disposable Teens" and "The Fight Song") were posted on the band's website November 2.[70]
From November 1 to November 13, the UK division of Nothing/Interscope Records held a contest to promote the album and launch the UK version of the band's website. The contest invited fans to log onto the site daily to pick up a series of coded clues which led to a message linked to the album. Fans who solved the riddle received an exclusive download, and were entered into a drawing for a one-week trip for two to meet Manson in Hollywood, California.[71]
In mid-2001, Universal Music Group was criticized for airing commercials promoting the album on MTV's Total Request Live.[72] Manson suspected that Senator and former Democratic vice-presidential candidate Joseph Lieberman played a role in the criticism.[72] Lieberman had recently introduced the Media Marketing Accountability Act (banning the marketing of violent and sexually-explicit media to minors) in Congress.[73][74] The proposed legislation stemmed from a Federal Trade Commission investigation he and Senators Sam Brownback and Orrin Hatch requested from US President Bill Clinton at the May 4, 1999 Senate Committee on Commerce, Science and Transportation hearing on entertainment-industry marketing practices to minors.[20][21][75][76]
Release
This is the final piece of a triptych that I began with Antichrist Superstar. The character of Omēga [from Mechanical Animals] has been disposed of, as he was a ruse to lure the commercial mall-goers into the web of destruction that I've always planned since the beginning.
—Marilyn Manson[28]
On February 29, 2000, Manson confirmed that the album was on track for a fall 2000 release.[23] On August 2, the singer announced a new release date of October 24 and posted a draft of the track listing. Manson then began posting weekly updates on the website, giving fans free access to previews of new songs and artwork.[77] On August 25, the track listing was released.[33]
On September 18, Manson announced that the album's US release was postponed to November 14 (to fine-tune the final mix) and its first single would be "Disposable Teens".[26][49][78] The album was released on November 13, 2000 in the UK and on December 5 in Japan by Nothing and Interscope Records.[79]
On the evening of November 14, 2000, Manson, Ramirez, and John 5 took a break from the tour to celebrate the album with a brief invitation-only acoustic set at the Saci nightclub in New York City. Tickets were given out in radio contests, on the band's website and to the first 100 album buyers at Tower Records on Broadway in New York. The set consisted of four songs, including a cover of John Lennon's "Working Class Hero" and "Suicide Is Painless", theme of the film (and TV series) M*A*S*H. Manson noted that the latter song "[was] far more depressing than anything I could have ever written".[64][80] The following day, he appeared on Total Request Live in a segment entitled "Mothers Against Marilyn Manson".[80] The band performed "Disposable Teens" on MTV's New Year's Eve celebration (with a cover of Cheap Trick's "Surrender") and on January 8, 2001 at the American Music Awards.[81][82]
Singles
Holy Wood (In the Shadow of the Valley of Death) spawned three singles, the first two of which were released in three versions. The first, "Disposable Teens", debuted as a music video (directed by Samuel Bayer)[71][83] on Total Request Live October 25, 2000.[71][83] During the following weeks, it was released as two standalone single EPs. The first version, "Disposable Teens Pt.1", was released on November 6 in the UK[71][84] and features Manson's cover of "Working Class Hero".[85] It was rereleased as a maxi single in the UK on August 21, 2002.[86] The second version, "Disposable Teens Pt.2", followed on November 14, 2000 and features a cover of "Five to One" by The Doors.[87] This version was released in the UK as a maxi single on October 31, 2000 and a 12" picture disc vinyl EP on November 6.[88][89]
The second single, "The Fight Song", was also released in three versions. The first, "The Fight Song Pt.1", was released on January 29, 2001 in the US and February 19 in the UK;[90][91] the latter was a 12" picture disc vinyl EP.[92] Both feature a remix by Joey Jordison of the heavy metal band Slipknot.[91][93] The second version, "The Fight Song Pt.2", was released on February 2, 2001 in the US and March 6 in the UK.[94][95] The music video was directed by W.I.Z., and sparked controversy for its violent depiction of a football game between jocks and goths (which some thought exploited the Columbine tragedy).[82][90] Manson dismissed the claims as hype: "Flak is my job".[91]
On February 10, 2001 Manson indicated that the "The Nobodies" would be the album's third single.[96][97] The music video, directed by Paul Fedor, premiered on MTV in June.[72] Manson originally wanted to film the video in Russia "because the atmosphere, the desolation, the coldness and the architecture would really suit the song".[96] Another early plan was to incorporate the MTV stunt series Jackass, because the song was included in the show's soundtrack;[72] however, the idea was abandoned when the show drew the ire of Senator Joseph Lieberman.[72] The third single was released on September 3, 2001 in the UK and October 6, 2001 in the US.[98][99] A remixed version of the song later appeared in the 2001 Johnny Depp film From Hell.[100]
Cover and packaging
The album's artwork was designed by P. R. Brown and Marilyn Manson.[43] Manson began conceptualizing it as he wrote the songs, and Brown and Manson worked in tandem to realize the imagery after deciding to do the work themselves.[43] It features elements from alchemy and the tarot.[43]
The symbol for the planet Mercury (common in alchemy) is a logo. Expanding on its relationship to the album's concept, Manson said "It represents both the androgyne and the prima materia, which has been associated with Adam, the first man".[33]
The singer commissioned a redesigned set of fourteen Major Arcana tarot cards, based on the Rider-Waite deck.[46] He explained that his interest in tarot was grounded in an attraction to its symbolism, not divination.[46] The cards depict each member of the band in a surrealistic tableau.[46] Each card was reinterpreted, reflecting the iconography of the album;[43] the Emperor, with prosthetic legs, is sitting in a wheelchair clutching a rifle in front of an American flag; the Fool is stepping off a cliff, with grainy images of Jacqueline Kennedy Onassis and a JFK campaign poster in the background, and Justice weighs the Bible against the brain on his balance scale.[46] The album's inner sleeve has nine of these cards: the Magician, the Devil, the Emperor, the Hermit, the Fool, Justice, the High Priestess, Death and The Hierophant.[43][46] The remaining cards are the Star, the World, the Tower and the Hanged Man.[46]
The cover art, which portrays Manson as a crucified Christ with his jawbone torn off, is intended as a criticism of censorship and America's obsession with media martyrs.[26] It is a cropped version of the reinterpreted Hanged Man card.[43] Under it is an obscured copy of the coroner's report for John F. Kennedy with the words "clinical record" and "autopsy".[101] The Marilyn Manson typeface uses the same font as the Disney World logo of the 1960s.[48] Manson explained the cover: "I think it's more offensive to Christians for me to say, 'I believe in the story of Christ and I enjoy the images that you present, but for different reasons than you'. I've taken my own interpretation, that's more offensive than Antichrist Superstar, and just completely disvaluing it. I'm going to turn a bunch of kids onto Christianity in my own sick, twisted way".[48]
The cover was controversial; some copies were issued with a cardboard sleeve featuring an alternative cover, since some retailers refused to stock the album with the original artwork.[63][102] A pastor in Memphis, Tennessee threatened to go on a hunger strike unless the album was pulled from shelves.[56] Manson described these actions as attempts at censorship: "the irony is that my point of the photo on the album was to show people that the crucifixion of Christ is, indeed, a violent image. My jaw is missing as a symbol of this very kind of censorship. This doesn't piss me off as much as it pleases me, because those offended by my album cover have successfully proven my point".[1][102] Gigwise ranked the cover 16th on its list of "The 50 Most Controversial Album Covers Of All Time!"[103]
Formats
Holy Wood (In the Shadow of the Valley of Death) was released in three formats. The standard jewel-case CD release has an enhanced CD, a gatefold booklet and a card-stock outer slipcase.[32] The UK limited-edition CD features a bonus acoustic version of "The Nobodies", while the Japanese limited-edition CD has the UK bonus track and a live version of "Mechanical Animals".[104] Universal Music Japan released a remastered version of the album in Super-High-Material CD (SHM-CD) on December 3, 2008 and a limited-edition 10th-anniversary commemorative reissue in 2010.[105][106][107] The vinyl LP release was pressed on two black discs and contained in a gatefold paperboard slipcase.[108] The cassette release contained a single cassette tape, a gatefold booklet and a card-stock outer slipcase.[109] Amazon.com has offered a digital MP3 version since November 14, 2000.[110]
Reception
From critics
Professional ratings
Aggregate scores
Source
Rating
Metacritic (72/100)
Review scores
Source
Rating
allmusic 4.5/5 stars [111]
Billboard (85/100) [112]
Robert Christgau (dud) [113]
Drowned in Sound 10/10 stars [114]
Entertainment Weekly (B) [115]
LA Weekly 4.5/5 stars[112]
Los Angeles Times 2/4 stars[116]
PopMatters (favorable)[50]
Q 4/5 stars[112]
Rolling Stone 3.5/5 stars [117]
Holy Wood received positive reviews from most critics.[118] At Metacritic (which assigns a normalized rating out of 100 to reviews from mainstream critics) the album received an average score of 72 based on 14 reviews, indicating "generally favorable reviews".[118] Stephen Thomas Erlewine of Allmusic praised it as "the definitive Marilyn Manson album, since it's tuneful and abrasive". He complimented the band for "figur[ing] out [how] to meld the hooks and subtle sonic shading of Mechanical Animals with the ugly, neo-industrial metallicisms of Antichrist [Superstar]", and said that "much of its charm lies in Manson trying so hard, perfecting details ... there's so much effort, Holy Wood winds up a stronger and more consistent album than any of his other work. If there's any problem, it's that Manson's shock rock seems a little quaint in 2000 ...[However,] it's to Warner's [frontman Marilyn Manson] credit as, yes, an artist that Holy Wood works anyway".[111]
Barry Walters of Rolling Stone said, "The band truly rocks: Its malevolent groove fleshes out its leader's usual complaints with an exhilarating swagger that's the essence of rock and roll".[117] LA Weekly was similarly impressed, pointing out that "almost all [the songs] contain a double-take chord change or a textural overdose or a mind-blowing bridge, and they'll be terroristic in concert".[119] Revolver magazine editor Christopher Scapelliti was impressed by the record's earnestness: "For all Holy Wood's well-tempered melodies and drunken pandemonium, what comes across loudest on the album is not the music but the sense of injury expressed in Manson's lyrics. Like Plastic Ono Band, John Lennon's bare-boned solo debut, Holy Wood screams with a primal fury that's evident even in its quietest moments".[31] According to Billboard magazine, the album proved that Manson is "one of the most skilled lyricists in rock today".[119]
Other critics were less impressed. Drowned in Sound (which assigns a normalized rating out of 10) gave the album a score of 10; however, they noted "There [are] a number of criticisms that could come Marilyn Manson's way: too much more of the same, too much philosophical posing, too much sloganeering. Regardless, all this needs to attain perfection is a few minutes shaved off of the overall running time ...[and] lyrically it actually says something intelligent for once and musically it has a lot more variation and scope than the Limp Bizkits of the world".[114] PopMatters agreed: "The central flaw of Holy Wood is that the power of its message, an important and provocative one, is watered down by its artistic pretensions. While Holy Wood is often affecting, it would be a better album if it was shorter and dealt with its subject matter directly, instead of through the veil of the 'concept album'."[50] Robert Hilburn of the Los Angeles Times was also disappointed that Holy Wood did not live up to "the promise of Mechanical Animals". In contrast to Erlewine of Allmusic, he viewed the musical cross-pollination of Antichrist Superstar and Mechanical Animals as confusion on the band's part about "where to turn [musically], as if uncertain which is the right move commercially in a rock world taken over by Limp Bizkit and Eminem". He concluded that "[t]his is music that sounds reasonable on the radio but crumbles under scrutiny".[116] Joshua Klein of The A.V. Club was also unconvinced, remarking that "[this] sort of agitprop is thoroughly predictable, and the only thing that could prove shocking about Manson's antics would be if the singer actually evinced any power over his followers. Here, he seems entranced by his own power, which may be why his dark worldview sounds baseless even as he offers sharp hooks others would kill for".[120]
Sales
Since early critical appraisal of Holy Wood was far less favorable than the band's previous effort, Mechanical Animals, many critics and retailers wondered if the band still had commercial appeal on the early-2000s music scene. Best Buy's 2000 sales projections estimated its first-week sales at about 150,000 units nationally, significantly less than the 223,000 units sold by Mechanical Animals during its first week.[121] In the US the album debuted (and peaked) at No. 13 on the Billboard 200 with first-week sales of 117,000, an initial commercial disappointment.[122]
The album spent 13 consecutive weeks on the charts before dropping off on March 3, 2001, making it the shortest-charting full-length LP by the band until The High End of Low (2009).[123] It was overshadowed by Antichrist Superstar and Mechanical Animals (which spent 52 and 33 weeks on the charts, respectively).[123] The album's sales figures were dismal, and it took three years to attain a gold certification from the RIAA (in March 2003) for shipments of over 500,000 units.[124] However, in four other countries (Australia, Austria, Italy and Sweden) the album peaked in the top 10;[125] in the UK, it peaked at No. 23.[126] As of 2011 the album has sold over nine million copies worldwide, making it one of the most successful in the band's catalogue.[127]
Seventeen months after Holy Wood (In the Shadow of the Valley of Death)'s release, Manson commented on the album's lackluster US sales.[128] He attributed the lack of commercial appeal to the musical climate of the time, but argued that it stood up comparatively well to contemporary rock albums.[128] Manson noted that the band's US sales figures are usually one or two million records, and did not find the sales figures disappointing.[128]
Accolades
In 2001 Kerrang! named Holy Wood the year's best album at their annual Kerrang! Awards.[129] Manson sardonically remarked, "[there is] nothing like a good school shooting to inspire a record" when he collected the award.[130]
Kerrang! ranked Holy Wood ninth on their 2000 list of albums of the year.[131] The British magazine NME ranked the album 34th in their critic's picks for the 50 best albums of 2000 in their "Decade In Music" series, calling it "a series of heroic rallying cries for the disenfranchised, while also baiting the American Far Right for all it's worth".[132] The album ranked 30th in the Critics Top 50[133] and 9th in the popular poll[134] of the German magazine Musik Express/Sounds in their 2000 Albums of the Year. The French edition of the British magazine Rock Sound ranked Holy Wood 15th in Le choix de la rédaction (the editor's choice) and 5th in Le choix des lecteurs (readers' choice) of their Choix des critiques (critics' choice) of 2000 Albums of the Year.[135] The British magazine Record Collector also ranked the album on their Best of 2000 list.[136]
Legacy
In their November 10, 2010 issue Kerrang! published a 10th-anniversary commemorative article on the album, "Screaming For Vengeance",[1] calling it "Manson's finest hour". "Set against the backdrop of what the rest of the rock and metal world were attempting at the turn of the century—Limp Bizkit were parading their jockishness with Chocolate Starfish And The Hot Dog Flavored Water and Disturbed were unveiling their contrived anger with The Sickness, for example—it put the singer into a league of his own ...[and] a decade on, there has still not been as eloquent and savage a musical attack on the media and mainstream culture as Manson achieved with Holy Wood ...[It is] still scathingly relevant today ... perhaps that's where Holy Wood achieved its greatest success. In deflecting the attention that was targeted at him back onto the media, they reacted exactly as he knew they would: by blustering and further exposing their own inadequacies ... The shame of it all, though, is that so little has changed. That the album is still so relevant today suggests it failed in its task of changing attitudes. That it exists at all, though, is a credit to a man who refused to sit and take it, but instead come out swinging."[1]
Guns, God and Government Tour
Main article: Guns, God and Government Tour
To promote the album, the band began a worldwide stadium tour (the Guns, God and Government Tour) three days after its scheduled release date and seventeen days before its actual launch.[54][69] From October 27, 2000 to September 2, 2001, the tour had six legs spanning Eurasia, Japan and North America with 107 shows (out of 109 planned).[54] Typical of the band, the concerts were theatrical[69] and lasted an average of one hour and forty minutes. Sets were designed with communist, religious and "Celebritarian" imagery.[137] Manson had a number of costume changes during each show: a bishop's dalmatic and mitre (often confused with papal regalia); a costume made from animals (including epaulettes made from a horse's tail and a shirt made from skinned goat heads and ostrich spines); his signature black leather corset, g-string and garter stockings; an elaborate Roman legionary-style imperial galea; an Allgemeine SS-style peaked police cap; a black-and-white fur coat, and a large conical skirt which lifted him 12 metres (39 ft) in the air.[69][138][139]
The Ozzfest leg marked the band's first performance in Denver, Colorado (on June 22, 2001 at Mile High Stadium) after the Columbine High School massacre in Littleton.[140] After initially canceling due to a scheduling conflict, the band changed their plans to play the Denver date.[140] The group's decision met resistance from conservative groups; Manson received death threats and demands to skip the date.[141][142] A group of church leaders and families related to Columbine formed an organization opposing the show, Citizens for Peace and Respect, which was supported by Colorado governor Bill Owens and representative Tom Tancredo. On their website, the ad hoc group claimed that the band "promotes hate, violence, death, suicide, drug use, and the attitudes and actions of the Columbine killers".[140][143] In response, Manson issued a statement:
I am truly amazed that after all this time, religious groups still need to attack entertainment and use these tragedies as a pitiful excuse for their own self-serving publicity. In response to their protests, I will provide a show where I balance my songs with a wholesome Bible reading. This way, fans will not only hear my so-called, 'violent' point of view, but we can also examine the virtues of wonderful 'Christian' stories of disease, murder, adultery, suicide and child sacrifice. Now that seems like 'entertainment' to me.[144]
Two films of the concert tour were made. The Guns, God and Government DVD, released by Eagle Rock Entertainment on October 29, 2002, featured live concert footage from performances in Los Angeles, Europe and Japan.[145][146] It also included a 30-minute behind-the-scenes featurette, The Death Parade, with guest appearances by Ozzy Osbourne and Eminem.[146] Seven years later, it was followed by Guns, God and Government – Live in L.A. Released on Blu-ray by Eagle Rock Entertainment (a division of Eagle Records) on November 17, 2009, it recorded the entire sixteen-song set of the Los Angeles performance.[147][148]
Track listing
All lyrics written by Manson[32][111].
A: In the Shadow
No.
Title
Music
Length
1. "GodEatGod" Manson 2:34
2. "The Love Song" Ramirez, 5 3:16
3. "The Fight Song" 5 2:55
4. "Disposable Teens" 5, Ramirez 3:01
D: The Androgyne
No.
Title
Music
Length
5. "Target Audience (Narcissus Narcosis)" Ramirez, 5 4:18
6. ""President Dead"" Ramirez, 5, Gacy 3:13
7. "In the Shadow of the Valley of Death" Ramirez, 5 4:09
8. "Cruci-Fiction in Space" Ramirez, 5, Gacy 4:56
9. "A Place in the Dirt" 5 3:37
A: Of Red Earth
No.
Title
Music
Length
10. "The Nobodies" 5, Manson 3:35
11. "The Death Song" 5, Manson 3:29
12. "Lamb of God" Ramirez 4:39
13. "Born Again" Ramirez, 5 3:20
14. "Burning Flag" Ramirez, 5 3:21
M: The Fallen
No.
Title
Music
Length
15. "Coma Black: a. Eden Eye b. The Apple of Discord" Manson, 5, Ramirez 5:58
16. "Valentine's Day" Ramirez, Manson 3:31
17. "The Fall of Adam" Ramirez, 5 2:34
18. "King Kill 33º" Ramirez 2:18
19. "Count to Six and Die (The Vacuum of Infinite Space Encompassing)" 5 3:24
Bonus tracks[104]
No.
Title
Music
Length
20. "The Nobodies" (Acoustic Version; Japan/UK editions only) Manson. 5 3:35
21. "Mechanical Animals" (Live; Japan edition only) Manson, Ramirez, Zum 4:41
Notes
The disc contains a data track leading to a video no longer hosted by Interscope's website,[32] but later included as a secret track on the companion DVD of Lest We Forget.[149]
Charts and certifications
Album charts
Charts (2000)
Peak
position
Australia (ARIA)[125] 8
Austria (Ö3)[125] 6
Belgium (Flanders) (Ultratop 50)[125][150] 34
Belgium (Wallonia) (Ultratop)[125] 29
Canada (CANOE)[123][151] 13
Finland (Mitä Hitti)[125] 25
France (SNEP)[125] 12
Germany (Media Control)[152] 11
Ireland (IRMA)[153] 21
Italy (FIMI)[125] 7
Japan (Oricon)[154] 14
Netherlands (MegaCharts)[125] 53
New Zealand (RIANZ)[125] 18
Norway (VG-Lista)[125] 12
Sweden (Sverigetopplistan)[125] 7
Switzerland (Hitparade)[125] 20
United Kingdom (OCC)[155] 23
United States Billboard 200[123][151] 13
Billboard Top Internet Albums[123][151] 10
Certifications
Region
Provider
Certification
Shipment
Actual sales
Canada CRIA Gold[156] 50,000+ —
Switzerland IFPI Gold[157] 20,000+ —
United Kingdom BPI Gold[158] 100,000+ —
United States RIAA Gold[124] 500,000+ —
Singles
Single
Chart (2000)
Peak
position
"Disposable Teens" Australia (ARIA)[159] 24
France (SNEP)[159] 67
Italy (FIMI)[159] 7
Netherlands (MegaCharts)[159] 99
Sweden (Sverigetopplistan)[159] 52
Switzerland (Hitparade)[159] 73
United Kingdom (OCC)[155] 12
U.S. Billboard Mainstream Rock Tracks[160] 22
Billboard Modern Rock Tracks[160] 24
Single
Chart (2001)
Peak
position
"The Fight Song" Austria (Ö3)[161] 59
Finland (Mitä Hitti)[161] 19
United Kingdom (OCC)[155] 24
Single
Chart (2001)
Peak
position
"The Nobodies" Austria (Ö3)[162] 56
France (SNEP)[162] 94
Italy (FIMI)[162] 17
Spain (PROMUSICAE)[162] 8
Switzerland (Hitparade)[162] 96
United Kingdom (OCC)[155] 34
Credits and personnel
Marilyn Manson[163]Marilyn Manson – arranger, vocals, producer, art direction, concept, syncussion, optigan, mellotron, distorted flute, synth bass, keyboards, piano, electric harpsichord, rhythm guitar
Twiggy Ramirez – bass, guitar (rhythm, lead, Leslie, warped), keyboards
John 5 – guitar (lead, rhythm, acoustic, synth, electric, slide, phase)
Madonna Wayne Gacy – synths, ambiance, keyboards, samples, bass synth, synth strings, mellotron, sound effects
Ginger Fish – drums (live, drum machine), sound effects, keyboards
Production[163]Bon Harris of Nitzer Ebb – synthesizers, programming, pre-production editing, organic drum programming, bass, keyboard, synth bass, sleigh bells, electronics, piano
Paulie Northfield – additional engineering
D. Sardy (Dave Sardy) – producer, synths, (organic) drum programming, mixing, rhythm guitar
P.R. Brown – art direction, design, photography
Greg Fidelman – engineer
Nick Raskulinecz – assistant engineer
Joe Zook – assistant engineer
Kevin Guarnieri – assistant engineer
Danny Saber – additional loops
Alex Suttle – backing vocals
References
Notes
1.Jump up ^ Harris and Klebold appeared on the May 3, 1999, cover of Time, titled The Monsters Next Door, along with their victims. The killer's pictures are colored and superimposed over their victims' school photos, which are noticeably smaller, and in black and white.[59] They appeared again on Time's December 20, 1999, cover, titled The Columbine Tapes. This time the picture depicts only the killers—with their weapons—in a screenshot taken from the school's surveillance camera of the cafeteria during the rampage.[60]
Footnotes
1.^ Jump up to: a b c d e f g h i j k l m n o p q r s t u Bryant, Tom (2010-11-10). "Screaming For Vengeance". Kerrang! (Bauer Media Group) (1338): 40–42.
2.^ Jump up to: a b c d e f g h i j Lanham, Tom (2000-11). "Marilyn Manson: Absinthe Makes The Heart Grow Fonder". Alternative Press (Alternative Press Magazine, Inc.) (148): 76–86.
3.^ Jump up to: a b c d e f g h i j k l m n o Kessler, Ted (2000-09-09). "Marilyn Manson Goes Ape". NME (IPC Media): 28–31.
4.^ Jump up to: a b c d "Rolling Stone Album Guide for Marilyn Manson". Rolling Stone. Wenner Media LLC. Retrieved 2011-07-21.
5.^ Jump up to: a b Strauss, Neil (1997-05-17). "A Bogey Band to Scare Parents With". The New York Times (The New York Times Company). Retrieved 2011-05-03.
6.^ Jump up to: a b c France, Lisa Respers (2009-04-20). "Columbine left its indelible mark on pop culture". CNN (Turner Broadcasting System, Inc. (Time Warner)). Retrieved 2010-11-17.
7.^ Jump up to: a b Cullen, Dave (1999-09-23). "Inside the Columbine High investigation". Salon. Salon Media Group. Retrieved 2012-05-15.
8.Jump up ^ O'Connor, Christopher (1999-04-27). "Colorado Tragedy Continues To Spark Manson Bashing". VH1. MTV Networks (Viacom). Retrieved 2011-05-03.
9.Jump up ^ Jones 2002, pp. 126–127
10.Jump up ^ Meegan, Holland (2009-04-20). "Columbine High School massacre on 10th anniversary: 5 myths surrounding deadliest school attack in U.S. history". The Grand Rapids Press (Advance Magazine Publishers, Inc. D.B.A. Booth Newspapers, Inc). Retrieved 2010-11-16.
11.Jump up ^ Burk, Greg (2001-01-18). "Marilyn:A Re-Examination (page 1)". LA Weekly (Village Voice Media). Retrieved 2010-11-22.
12.Jump up ^ Uhelszki, Jaan (1999-08-13). "Lynyrd Skynyrd Threaten Marilyn Manson With a Can of Whoop Ass". Rolling Stone. Wenner Media LLC. Retrieved 2011-06-09.
13.Jump up ^ "Marilyn Manson Postpones U.S. Tour Dates". MTV News. MTV Networks (Viacom). 1999-04-28. Retrieved 2011-03-21.
14.^ Jump up to: a b "Outraged Senators Write To Manson's Label". VH1. MTV Networks (Viacom). 1999-04-29. Retrieved 2011-05-03.
15.^ Jump up to: a b O'Connor, Christopher (1999-05-01). "Politicians Go On Offensive Against Marilyn Manson". VH1. MTV Networks (Viacom). Retrieved 2011-05-04.
16.Jump up ^ Sterngold, James (1999-04-29). "Terror in Littleton: The Culture; Rock Concerts Are Cancelled". The New York Times (The New York Times Company). Retrieved 2010-11-22.
17.Jump up ^ Marilyn Manson (1999-05-28). "Columbine: Whose Fault Is It?". Rolling Stone (op-ed essay) (Wenner Media LLC) (815).
18.Jump up ^ O'Connor, Christopher (1999-06-01). "Manson Rants, Raves, Reacts In Rolling Stone Essay". VH1. MTV Networks (Viacom). Retrieved 2011-04-04.
19.Jump up ^ "Marilyn Manson: The Write To Be Wrong". NME. IPC Media. 1999-05-01. Retrieved 2011-03-31.
20.^ Jump up to: a b c d e O'Connor, Christopher (1999-05-04). "Senators Criticize Marilyn Manson, Nine Inch Nails At Hearing". VH1. MTV Networks (Viacom). Retrieved 2011-05-03.
21.^ Jump up to: a b Tapper, Jake (2000-08-29). "Hollywood on trial". Salon. Salon Media Group. Retrieved 2012-05-15.
22.^ Jump up to: a b c Long, April (2000-11-10). "Holy Wood (In the Shadow of the Valley of Death) album review". NME. IPC Media. Retrieved 2010-12-02.
23.^ Jump up to: a b c d e f g h i Basham, David (2000-02-29). "Marilyn Manson Tweaks "Holy Wood" Plans". MTV News. MTV Networks (Viacom). Retrieved 2011-03-22.
24.Jump up ^ Michael, Ibrahim (2000-08). "Welcome To Hollywood". Hammer Edge.
25.^ Jump up to: a b c d e f g h i j k l m n o p q r s t Rushfield, Richard (2000-11). "The Antichrist's Cross". CMJ New Music Monthly (College Media Inc.) (87): 46–51.
26.^ Jump up to: a b c d e f g h i j k Saidman, Sorelle (2000-09-18). "Marilyn Manson Unveils Tour Plans, First Single For Holy Wood". VH1. MTV Networks (Viacom). Retrieved 2010-11-16.
27.^ Jump up to: a b c d e f g h i j k l m McCaughey, Brian (2000-08-05). "This Is My Holy Wood". Kerrang! (Bauer Media Group) (813): 4–7.
28.^ Jump up to: a b c d e f g Basham, David (1999-12-16). "Manson To Walk In The "Valley Of Death" For Next LP". MTV News. MTV Networks (Viacom). Retrieved 2012-05-15.
29.^ Jump up to: a b c Norris, John (1999-11-24). "'Marilyn Manson To Probe Celebrity And Suffering In New Film, Next Album.". MTV News. MTV Networks (Viacom). Retrieved 2012-05-15.
30.^ Jump up to: a b c "Marilyn Manson's Unholy Doings". VH1. MTV Networks (Viacom). 2000-08-03. Retrieved 2011-04-03.
31.^ Jump up to: a b c d e f Christopher Scapelliti (Winter 2000). "Dark Angel". Revolver (Future US, Inc.): 72–77.
32.^ Jump up to: a b c d "Holy Wood (In the Shadow of the Valley of Death) Enhanced". Amazon. Retrieved 2010-11-16.
33.^ Jump up to: a b c d Basham, David (2000-08-25). "Manson Expands On "Adam" Concept For New LP". MTV News. MTV Networks (Viacom). Retrieved 2011-04-01.
34.^ Jump up to: a b c Hochman, Steve (2000-07-20). "The Third Face of Marilyn Manson". Rolling Stone (Wenner Media LLC) (845).
35.^ Jump up to: a b c d e f g h VanHorn, Teri (1999-12-16). "Marilyn Manson: Upcoming Album 'Unlike' Predecessors". VH1. MTV Networks (Viacom). Retrieved 2011-04-05.
36.Jump up ^ "Manson To Reveal Album Title Online". VH1. MTV Networks (Viacom). 1999-12-09. Retrieved 2011-04-05.
37.^ Jump up to: a b c Simunek, Chris (2001-02). "Tinseltown Rebellion: Marilyn Manson In The City Of Angels". In Skye, Dan; Bienenstock, David; Hager, Steven. High Times (Tom Forcade) 306: 52–58. Retrieved 2011-04-30.
38.^ Jump up to: a b Young, Simon (2000-11-11). "He Hits the Keyboards. His Friends Call Him Pogo. He Jumps Through Windows for Fun". Kerrang! (Bauer Media Group) (827): 18–23.
39.^ Jump up to: a b Young, Simon (2000-11-11). "You Know Him As a Drummer; He Calls Himself the Bodyguard". Kerrang! (Bauer Media Group) (827): 18–23.
40.^ Jump up to: a b Winwood, Ian (2000-11-11). "Manson's Right Hand Man on Fame, Failure and Masturbating with Pizza Dough". Kerrang! (Bauer Media Group) (827): 18–23.
41.Jump up ^ Arnum, Eric (2000-02-23). "Marilyn Manson Lectures At Alternative-Information Conference". VH1. MTV Networks (Viacom). Retrieved 2011-04-03.
42.^ Jump up to: a b "Manson Launches New Posthuman Label". NME. IPC Media. 2000-04-12. Retrieved 2011-04-01.
43.^ Jump up to: a b c d e f g h i j k l m n o Alexander, Phil (2000-11-11). "The Holy War". Kerrang! (Bauer Media Group) (827): 44–45. Retrieved 2012-05-15.
44.^ Jump up to: a b Manning, Kara (1999-11-16). "Marilyn Manson Discusses Post-Columbine Shell Shock". MTV News. MTV Networks (Viacom). Retrieved 2011-03-27.
45.Jump up ^ "Satanic Cult Meeting". NME. IPC Media. 1999-11-16. Retrieved 2011-03-30.
46.^ Jump up to: a b c d e f g h Palahniuk, Chuck (2000-11). "Destiny's Child". Gear Magazine (Bob Guccione, Jr.): 73.
47.Jump up ^ "Alien Autopsy: Marilyn Manson and David Duchovny on Area 51". Official U.S. PlayStation Magazine (Future US). 2005-02.
48.^ Jump up to: a b c d e f g h i j k l m n Gargano, Paul (2001-03). "Holy Wars: The Ground Campaign Begins". Metal Edge (Zenbu Media): 6–12.
49.^ Jump up to: a b c d e f g h i j k l m n o p q Myers, Ben (2000-11-18). "Holy Wood". Kerrang! (Bauer Media Group) (831): 29–36.
50.^ Jump up to: a b c d e f g Robinson, Charlotte (2000-12-14). "Holy Wood (In the Shadow of the Valley of Death) album review". PopMatters. Sarah Zupko. Retrieved 2012-05-15.
51.Jump up ^ Segal, David (2000-11-27). "Welcome to His Nightmare: Acceptance". Washington Post (The Washington Post Company). Retrieved 2012-05-15.
52.^ Jump up to: a b c d "Revolution in Action". Rock Sound (Editions Freeway) (11). 2001-01-08.
53.^ Jump up to: a b c Manson, Marilyn (2000-12-01). Marilyn Manson: No Regrets. Interview with Kurt Loder. MTV Networks (Viacom). MTV. New York.
54.^ Jump up to: a b c d Burk, Greg (2001-01-18). "Marilyn:A Re-Examination (page 2)". LA Weekly (Village Voice Media). Retrieved 2010-08-22.
55.^ Jump up to: a b c d e "The 'Holy..' Bible!". NME. IPC Media. 2000-08-29. Retrieved 2011-03-31.
56.^ Jump up to: a b c Clark, Stuart (2001-02-01). "No More Mister Nasty Guy". Hot Press 25 (2). Retrieved 2011-04-30.
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58.Jump up ^ Paul Gargano (1999-07). "Revelations of an Alien-Messiah". Metal Edge (Zenbu Media) 44: 08–13.
59.Jump up ^ "The Monsters Next Door (May 3, 1999 cover of Time magazine)". Time. Time Inc. (Time Warner). 1999-05-03. Retrieved 2011-05-24.
60.Jump up ^ "The Columbine Tapes (December 20, 1999 cover of Time magazine)". Time. Time Inc. (Time Warner). 1999-12-20. Retrieved 2011-05-24.
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63.^ Jump up to: a b Manson, Marilyn (2000-11-15). Mothers Against Marilyn Manson. Interview with Carson Daly. MTV Networks (Viacom). Total Request Live (TRL). MTV. New York.
64.^ Jump up to: a b Mancini, Robert (2000-11-15). "Marilyn Manson Marks Holy Wood Release With Acoustic Set". MTV News. MTV Networks (Viacom). Retrieved 2011-04-01.
65.Jump up ^ "Manson Works On New LP, Screenplay". VH1. MTV Networks (Viacom). 1999-06-09. Retrieved 2011-04-05.
66.^ Jump up to: a b Moss, Corey (2000-02-17). "Marilyn Manson Covers Charles Manson Song". VH1. MTV Networks (Viacom). Retrieved 2011-04-05.
67.Jump up ^ "Manson Brings You '...Love'". NME. IPC Media. 2000-08-10. Retrieved 2011-04-01.
68.Jump up ^ "'Teens' Sensation". NME. IPC Media. 2000-10-10. Retrieved 2011-03-31.
69.^ Jump up to: a b c d "Give 'Em Enough Pope". NME. IPC Media. 2000-10-30. Retrieved 2011-04-10.
70.Jump up ^ "Maz Gets 'Netted". NME. IPC Media. 2000-11-02. Retrieved 2011-04-01.
71.^ Jump up to: a b c d "Teenage Sensation!". NME. IPC Media. 2000-10-24. Retrieved 2011-03-30.
72.^ Jump up to: a b c d e Chirazi, Steffan (2001-06). "Marilyn Manson: Moral Minority". Metal Edge (Zenbu Media).
73.Jump up ^ "Entertainment industry an issue, asset for presidential campaign". CNN (Turner Broadcasting System, Inc. (Time Warner)). 2000-11-06. Retrieved 2011-05-04.
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78.Jump up ^ Saidman, Sorelle (2000-09-18). "Manson Moves "Holy Wood" Date, Preps Tour Plans". MTV News. MTV Networks (Viacom). Retrieved 2011-03-27.
79.Jump up ^ "Punk's Not Dead!". NME. 2000-11-13. Retrieved 2011-04-01.
80.^ Jump up to: a b "'...Wood' You Believe It?". NME. IPC Media. 2000-11-10. Retrieved 2011-04-01.
81.Jump up ^ vanHorn, Teri (2001-01-10). "Marilyn Manson Denies Video Has Columbine Link". VH1. MTV Networks (Viacom). Retrieved 2011-04-02.
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84.Jump up ^ "Disposable Teens pt. 1". Amazon UK. Retrieved 2011-07-17.
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88.Jump up ^ "Disposable Teens #2 [12" Vinyl]". Amazon UK. Retrieved 2011-07-17.
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99.Jump up ^ "Nobodies [Import, Single]". Amazon. Retrieved 2011-04-01.
100.Jump up ^ Wiederhorn, Jon (2001-11-01). "Marilyn Manson Cover 'Tainted Love,' Record Live DVD". MTV News. MTV Networks (Viacom). Retrieved 2011-04-01.
101.Jump up ^ "Christ Almighty!". NME. IPC Media. 2000-09-26. Retrieved 2011-03-30.
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103.Jump up ^ "The 50 Most Controversial Album Covers Of All Time!". Gigwise. Giant Digital. Retrieved 2011-03-16.
104.^ Jump up to: a b "Holy Wood (Extra Tracks, Import)". Amazon. Retrieved 2011-04-01.
105.Jump up ^ "Holy Wood (Original Recording Remastered, Import)". Amazon. Retrieved 2011-04-01.
106.Jump up ^ "Holy Wood Amazon Search". Amazon. Retrieved 2012-05-15.
107.Jump up ^ "Holy Wood (In the Shadow of the Valley of Death) Limited Reissue". Amazon. Retrieved 2011-04-01.
108.Jump up ^ "Holy Wood (In the Shadow of the Valley of Death) Vinyl". Amazon. Retrieved 2011-04-01.
109.Jump up ^ "Holy Wood (In the Shadow of the Valley of Death) Audio Cassette". Amazon. Retrieved 2011-04-01.
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114.^ Jump up to: a b Price, Dale (2000-11-13). "Holy Wood (In the Shadow of the Valley of Death)". Drowned in Sound. Silentway Ltd. Retrieved 2011-03-11.
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116.^ Jump up to: a b Hilburn, Robert (2000-11-12). "Holy Wood (In the Shadow of the Valley of Death) LA Times Record Rack review". Los Angeles Times (Tribune Company). Retrieved 2011-04-08.
117.^ Jump up to: a b Walter, Barry (2000-11-23). "Holy Wood (In the Shadow of the Valley of Death) review". Rolling Stone. Wenner Media LLC. Retrieved 2010-11-22.
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119.^ Jump up to: a b "Critic Reviews for Holy Wood (In the Shadow of the Valley of Death) – Marilyn Manson". Metacritic. CBS Interactive. Retrieved 2010-11-22.
120.Jump up ^ Klein, Joshua (2000-11-14). "Holy Wood (In the Shadow of the Valley of Death) AV Club music review". The A.V. Club. The Onion, Inc. Retrieved 2011-03-09.
121.Jump up ^ "Marilyn Manson May Be In for a Shock". Los Angeles Times (Tribune Company). 2000-11-20. Retrieved 2012-05-15.
122.Jump up ^ Dansby, Andrew (2003-05-21). "Manson Golden at Number One". Rolling Stone. Wenner Media LLC. Retrieved 2011-04-12.
123.^ Jump up to: a b c d e "Billboard 200 and Canadian Albums charting". Billboard 200. Prometheus Global Media. Retrieved 2010-11-17.
124.^ Jump up to: a b "RIAA Database Search for Marilyn Manson". Recording Industry Association of America. Retrieved 2010-11-16.
125.^ Jump up to: a b c d e f g h i j k l m "International charting positions for Marilyn Manson – Holy Wood (In the Shadow of the Valley of Death) (Album)". Irish-charts. Retrieved 2011-03-05.
126.Jump up ^ "The Official UK Charts Database Search for Marilyn Manson". The Official Charts Company (OCC). Retrieved 2011-03-24.
127.Jump up ^ "Marilyn Manson". Eagle Rock Entertainment. Retrieved 2011-01-04.
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129.Jump up ^ "Manson wins Kerrang! honour". BBC News. BBC. 2001-08-28. Retrieved 2010-11-19.
130.Jump up ^ "'Holy' Shitstorm!". NME. IPC Media. 2001-08-29. Retrieved 2011-03-31.
131.Jump up ^ "Kerrang! Albums Of The Year 2000". Kerrang!. Bauer Media Group. Retrieved 2011-03-06.
132.Jump up ^ "50 best albums of 2000". NME. IPC Media. 2009-06-11. Retrieved 2011-04-01.
133.Jump up ^ "Kritiker Top 50 die fünfzig besten Alben 2000". Musik-Express/Sounds (in German). Retrieved 2011-03-06.
134.Jump up ^ "Pop Poll 2000 Album des Jahres". Musik-Express/Sounds (in German). Retrieved 2011-03-06.
135.Jump up ^ "Rock Sound Choix des critiques depuis 1993". Rock Sound (in French). Editions Freeway. Retrieved 2011-03-06.
136.Jump up ^ "10 Classic Albums from 21 Genres for the 21st Century". Record Collector (Diamond Publishing) (257). Retrieved 2011-03-06.
137.Jump up ^ "A Day in the Life of Marilyn Manson". Kerrang! (Bauer Media Group). 2000-02-10.
138.Jump up ^ "Marilyn Manson Muses On Politics As He Prepares For Tour". Star Tribune (The Star Tribune Company). 2000-10-26.
139.Jump up ^ Mancini, Robert (2001-06-12). "Metal Scrapes Against Metal At Ozzfest Opener". VH1. MTV Networks (Viacom). Retrieved 2011-05-02.
140.^ Jump up to: a b c "Denver of Iniquity?". NME. IPC Media. 2001-05-08. Retrieved 2011-03-31.
141.Jump up ^ "Marilyn Manson: 'I'm Always Going To Be Bad'". Blabbermouth.Net. Borivoj Krgin. 2007-06-02. Retrieved 2012-05-15.
142.Jump up ^ "Marilyn Manson: 'My Greatest Fear Has Always Been Not Being Able To Create'". Blabbermouth.Net. Borivoj Krgin. 2007-04-15. Retrieved 2012-05-15.
143.Jump up ^ D'Angelo, Joe (2001-05-21). "Colorado Governor, Congressman Support Anti-Manson Group". MTV News. MTV Networks (Viacom). Retrieved 2012-05-15.
144.Jump up ^ "Manson To Lead Bible Studies Class". NME. IPC Media. 2001-05-13. Retrieved 2011-03-31.
145.Jump up ^ "Marilyn Manson – Guns, God and Government World Tour (2001)". Amazon. Retrieved 2011-03-28.
146.^ Jump up to: a b LeVasseur, Andrea. "Marilyn Manson: Guns, God and Government World Tour". MTV. MTV Networks (Viacom). Retrieved 2011-03-28.
147.Jump up ^ "Marilyn Manson: Guns, God and Government – Live in L.A. [Blu-ray] (2009)". Amazon. Retrieved 2011-03-28.
148.Jump up ^ Seibert, Perry. "Marilyn Manson: Guns, God and Government – Live in L.A.". MTV. MTV Networks (Viacom). Retrieved 2011-03-28.
149.Jump up ^ "Lest We Forget: The Best of (Bonus Dvd) (Coll) [Explicit Lyrics]". Amazon. Retrieved 2010-11-16.
150.Jump up ^ "International charting positions for Marilyn Manson – Holy Wood (In the Shadow of the Valley of Death) (Album)". Ultratop. Retrieved 2011-03-05.
151.^ Jump up to: a b c "allmusic Billboard charts & awards". allmusic. All Media Guide (Rovi). Retrieved 2010-11-17.
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153.Jump up ^ "Holy Wood ChartTrack". GfK. Retrieved 2011-01-18.
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156.Jump up ^ "CRIA Database Search for Marilyn Manson". Canadian Recording Industry Association. Retrieved 2012-05-15.
157.Jump up ^ "Search for: Marilyn Manson" (in Swiss). The Official Swiss Charts and Music Community. Retrieved 2008-07-02.
158.Jump up ^ "BPI - Statistics - Certified Awards - Search for Marilyn Manson". British Phonographic Industry. Retrieved 2013-10-07.
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160.^ Jump up to: a b "Modern Rock Tracks charting". Billboard 200. Prometheus Global Media. Retrieved 2010-09-18.
161.^ Jump up to: a b "International charting positions for Marilyn Manson – The Fight Song (Song)". Irish-charts. Retrieved 2011-03-05.
162.^ Jump up to: a b c d e "International charting positions for Marilyn Manson – The Nobodies (Song)". Irish-charts. Retrieved 2011-03-05.
163.^ Jump up to: a b "Holy Wood (In the Shadow of the Valley of Death) credits". allmusic. All Media Guide (Rovi). Retrieved 2010-11-17.
Bibliography
Jones, Steve (August 2002). Pop Music and the Press. Philadelphia: Temple University Press. ISBN 1-56639-966-1.
Manson, Marilyn (2003-05-15). "The Dead Rock Star". Rolling Stone (op-ed essay) (Wenner Media LLC) (922).
External links
Holy Wood (In the Shadow of the Valley of Death) at Interscope Records
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Brutal Planet
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Brutal Planet
Studio album by Alice Cooper
Released
June 6, 2000
Recorded
2000 at the Blue Room and A&M Studios, California
Genre
Heavy metal, hard rock, industrial
Length
47:58
Label
Spitfire
Producer
Bob Marlette
Alice Cooper chronology
A Fistful of Alice
(1997) Brutal Planet
(2000) Mascara and Monsters: The Best of Alice Cooper
(2001)
Brutal Planet is the 21st studio album by Alice Cooper, released in 2000. Musically, this finds Alice tackling a much darker and heavier approach than on previous albums, with many songs approaching a somewhat modern-sounding, industrial/metal sound. Lyrically, it's a concept album that deals with themes of dark "social fiction", including domestic violence ("Take It Like a Woman"), prejudice ("Blow Me a Kiss"), psychopathic behavior ("It's the Little Things"), war ("Pick Up the Bones") and school shootings ("Wicked Young Man"). The album was followed by a sequel Dragontown.
Doug Van Pelt, editor of the alternative Christian music-oriented HM Magazine, found that the lyrics communicated biblical morals "in a very powerful way".[1] Van Pelt stated further that the final argument is provided in the title track, which condemns the systems of judgment that the world uses.[1] Moreover, "Blow Me a Kiss" urges the listener to think deeper about spiritual matters.[1]
Professional ratings
Review scores
Source
Rating
Allmusic 3/5 stars link
HM Magazine [1]
Contents
[hide] 1 Track listing 1.1 Bonus track on Japanese edition
1.2 2001 Tour Edition Bonus Tracks
2 Personnel
3 Trivia
4 References
Track listing[edit]
All songs written by Alice Cooper and Bob Marlette except where noted.
1."Brutal Planet" – 4:40
2."Wicked Young Man" – 3:50
3."Sanctuary" – 4:00
4."Blow Me a Kiss" (Cooper, Marlette, Bob Ezrin) – 3:18
5."Eat Some More" – 4:36
6."Pick Up the Bones" – 5:14
7."Pessi-Mystic" (Cooper, Marlette, Brian Nelson) – 4:56
8."Gimme" – 4:46
9."It's the Little Things" – 4:11
10."Take It Like a Woman" – 4:12
11."Cold Machines" – 4:14
Bonus track on Japanese edition[edit]
12. "Can't Sleep, Clowns Will Eat Me"
2001 Tour Edition Bonus Tracks[edit]
12."It's the Little Things" (Live) – 5:19
13."Wicked Young Man" (Live) – 3:32
14."Poison" (Live) - 4:52
15."My Generation" (Live) – 1:32
16."Total Rock Rockumentary" – 35:48
Personnel[edit]
Alice Cooper - Vocals
Ryan Roxie - Guitar
China - Guitar
Phil X - Guitar
Eric Singer - Drums
Bob Marlette - Rhythm Guitar, Bass, Keyboards
Trivia[edit]
Cooper stated in an interview with Hard Music Magazine, "The funny thing was that The Last Temptation really wasn't part of the trilogy. That was on its own. That was the first thing I wrote as a Christian. And then, it was six years before I wrote Brutal Planet. Brutal Planet was a whole different story."
The songs "Gimme" and "It's the Little Things" had official music videos.
Six years passed between The Last Temptation and Brutal Planet, making it the longest break Cooper has taken to produce a new album.
A song titled "Can't Sleep, Clowns Will Eat Me" was going to be on this album but Cooper thought it didn't fit with the other songs so it was removed. It first appeared as a bonus track on the Japanese and Australian releases of the album, then appeared worldwide on the Special Edition version of Dragontown in 2002.
In a 2013 interview, Cooper stated that "Cold Machines" was an attempt at a Marilyn Manson-style song.
References[edit]
1.^ Jump up to: a b c d Van Pelt, Doug (September / October 2000). "Reviews / Brutal Planet". HM Magazine (85): 65.
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Hate It or Love It
From Wikipedia, the free encyclopedia
(Redirected from Hate It Or Love It)
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"Hate It or Love It"
Single by The Game featuring 50 Cent
from the album The Documentary
Released
January 28, 2005
Format
Digital download, CD single, 12 inch
Recorded
2004
Genre
Hip hop
Length
3:26
Label
G-Unit/Aftermath/Interscope
Writer(s)
Jayceon Taylor & Curtis Jackson
Producer
Cool & Dre & Dr. Dre
Certification
Gold (RIAA)
The Game singles chronology
"How We Do"
(2004) "Hate It or Love It"
(2005) "Dreams"
(2005)
50 Cent chronology
"Candy Shop"
(2005) "Hate It or Love It"
(2005) "Just a Lil Bit"
(2005)
"Hate It or Love It" is a single by American rapper and West Coast hip hop artist The Game, featuring vocals from fellow G-Unit member at the time, rapper 50 Cent. It was released as the third official single from The Game's debut studio album The Documentary (2005). The song features production from duo Cool & Dre, with additional production from Dr. Dre and B.G. Knocc Out. The song features a music sample of "Rubber Band" (1972) by The Trammps from their debut album The Legendary Zing Album (1972). "Hate It or Love It" achieved commercial success worldwide. The track peaked within the top 10 in multiple countries, including the United Kingdom, Ireland, Netherlands and New Zealand. The single was commercially successful in the United States, peaking at #2 on the Billboard Hot 100 for five consecutive weeks, becoming The Game's second top-five single on the chart as a lead artist and 50 Cent's eighth overall top-ten hit.
The song was blocked from the number one position on the Billboard Hot 100 by The Game's fellow G-Unit member, 50 Cent (who was also featured in this song), with his hit single, "Candy Shop", (featuring G-Unit Records' first female artist Olivia). "Hate It or Love It" reached the number one spot on the Hot R&B/Hip-Hop Songs, making it yet again another top five hit on the chart alongside How We Do which also featured 50 Cent. At the 2006 48th Annual Grammy Awards the song was nominated for two Grammy Awards, including Grammy Award for Best Rap Song and Grammy Award for Best Rap Performance by a Duo or Group but lost in both categories to Kanye West's "Diamonds from Sierra Leone" and The Black Eyed Peas' "Don't Phunk with My Heart", respectively. Music critics praised the song as some of The Game's best work to date, as well for the nature of the song.
Contents
[hide] 1 Background and conception
2 Composition
3 Critical reception
4 Music video
5 Remixes
6 Awards
7 Charts and certifications 7.1 Weekly charts
7.2 Year-end charts
7.3 Certifications
8 See also
9 References
10 External links
Background and conception[edit]
The song first began to be conceived during the middle period of the recording process for The Documentary,[1] in early 2004, during a recording process in which The Game would frequently fly to various recording locations in New York City to work with 50 Cent: he would be given beats to hear along the way, to help inspire him artistically. When he initially heard the production that would later become "Hate It or Love It", he did not display much interest in it, as he was "in a different mind frame" - artistically, he was conceiving more "hard hitting" records.[1] However, on the flight home later that day, he took more of an interest, and began to write the first components of the song.[1]
The song's chorus is sung and written by 50 Cent, who helped with the rest of the writing process and recording for the rest of the song, along with The Game, at his mansion in Connecticut.[1] The song was even suggested for 50 Cent's upcoming album The Massacre (2005),[1] due to 50 Cent's large artistic input: when The Game arrived at the mansion on the day of recording, 50 Cent presented him with several already part-completed records, with variously-placed verses and choruses.[1] The Game wrote his final verse first, and worked backwards from there: he apparently did this to avoid tiredness affecting his later verses.[1] After 50 Cent heard the final version of the song after the recording process had finished, he was very excited by the song's potential, and felt the song would have to be one of the album's singles:[1] it was later released as the album's third, after "Westside Story" and "How We Do", both of which also featured 50 Cent.
The aforementioned original production for "Hate It or Love It" first surfaced on a compilation CD, put together by Cool & Dre themselves (who had, in fact, been in contact with The Game since early 2002)[1] released unofficially to the local rap community.[1] After G-Unit Records producer Sha Money XL happened to receive a copy of this disc, he requested a meeting with the duo, feeling that the song had much potential to be a hit.[1] After Dr. Dre heard the original production, he made various sonic alterations to the production, and according to Aftermath Entertainment A&R Mike Lynn, "made it sound like a record", a process he carried out on all of the other tracks on The Documentary.[1] When Interscope Records chairman Jimmy Iovine later requested to hear the original production, he admitted could not tell the difference: Cool & Dre later praised the quality of Dr. Dre's mix, stating that "Dre brought it to life... [As a mixer is what] I think is his best quality... his ear for instrument placement is amazing".[1]
Composition[edit]
Built around a sample of the song "Rubber Band" by The Trammps,[2] "Hate It or Love It" is backed by a soul-orientated production, which contains a "smoothed out R&B funk vibe".[3][4]
Critical reception[edit]
"Hate It or Love It" received generally positive reviews from critics. Scott McKeating of Stylus Magazine wrote that "It’s a great piece of warm soul-fuelled hip-hop, in which guest star 50 Cent manages to steal the show, considerably stepping up his lyrical content to squash together some great but clichéd lines against a level of his infamous smart arsed profundity."[3] IGN described the song as "a smoothed out R&B funk vibe underneath the tales of the hood."[4]
The song has earned The Game award nominations. In 2006 "Hate It or Love It" was nominated at the 48th Annual Grammy Awards for both Grammy Award for Best Rap Song and Grammy Award for Best Rap Performance by a Duo or Group, but lost in both categories to Kanye West's "Diamonds from Sierra Leone" and The Black Eyed Peas' "My Humps", respectively. "Hate It or Love It" was named number one on About.com's Best Hip-Hop Songs of 2005 and was ranked at #43 on VH1's "100 Greatest Songs of Hip Hop".
Music video[edit]
The setting of the music video alternates between Compton, California and Jamaica, Queens, New York City, New York. The video recalls the rough childhoods of 50 Cent and The Game, showing where they come from, what it was like living in their neighborhoods, and the struggles they overcame as kids to become rappers. Tequan Richmond portrays The Game and Zachary Williams plays 50 Cent in their youth. In one scene, the two are caught spraypainting "N.W.A." on a wall, resulting in their subsequent arrest by two policemen. Big Fase 100, members of Black Wall Street, Tony Yayo and Lloyd Banks make cameos appearances. The filming of the video was when tensions of their feud were high when 50 Cent refused to shoot a scene in the front seat of a car with The Game, instead sitting in the back (The Game's brother, Big Fase 100, would replace him).
This video was nominated at the MTV Video Music Awards of 2005 for Best Rap Video, but lost to the video for Ludacris' song "Number One Spot".
The music video was directed by The Saline Project.
Remixes[edit]
There have been several remixes of the track:
The official remix appears as track 22 on 50 Cent's album The Massacre as "Hate It or Love It (G-Unit Remix)" as a bonus track. It features the rest of the G-Unit members: Lloyd Banks, Young Buck and Tony Yayo. The first time the chorus is performed in this version, it is identical to the original, but the consecutive choruses have 50 Cent's line followed by another member of G-Unit rapping The Game's original line. While 50 Cent's opening verse and bridge are included in this version (though the bridge is altered), The Game's second verse is omitted and replaced with new lyrics.
Mary J. Blige covers the song on the single "MJB Da MVP" from her multi-platinum album The Breakthrough, with 50 Cent rapping his chorus line and Blige continuing with an altered version of The Game's original line. The Game is featured on the remix of the song. This is the second official remix.
There is also a remix on The Game's mixtape, You Know What It Is, Vol. 3, remastered into a diss towards G-Unit called "Hate It or Love It (G-Unot Remix)". On this, the lyrics are insulting all the members of G-Unit.
The Re-Up Gang featured a remix of the track on their mixtape, We Got It 4 Cheap: Vol. 2. The song features the four members of the group rapping about their troubles in the past.
Awards[edit]
Year
Ceremony
Award
Result
2005 BET Awards Best Collaboration[5] Nominated
MTV Video Music Awards Best Rap Video[6] Nominated
2006 Grammy Awards Best Rap Song[7] Nominated
Best Rap Performance By a Duo or Group[7] Nominated
Charts and certifications[edit]
Weekly charts[edit]
Chart (2005–06)
Peak
position
Australia (ARIA)[8]
21
Austria (Ö3 Austria Top 40)[9]
23
Belgium (Ultratop 50 Flanders)[10]
19
Belgium (Ultratop 50 Wallonia)[11]
22
Denmark (Tracklisten)[12]
17
European Hot 100 Singles[13]
12
France (SNEP)[14]
42
Germany (Media Control AG)[15]
14
Ireland (IRMA)[16]
5
Netherlands (Dutch Top 40)[17]
5
New Zealand (Recorded Music NZ)[18]
3
Norway (VG-lista)[19]
19
Switzerland (Schweizer Hitparade)[20]
12
UK Singles (Official Charts Company)[21]
4
US Billboard Hot 100[22]
2
US Hot R&B/Hip-Hop Songs (Billboard)[23]
1
US Pop Songs (Billboard)[24]
16
US Rap Songs (Billboard)[25]
1
Year-end charts[edit]
Chart (2005)
Peak
position
Australia (ARIA)[26]
95
New Zealand (RIANZ)[27]
21
Switzerland (Schweizer Hitparade)[28]
97
UK Singles (The Official Charts Company)[29]
49
US Billboard Hot 100[30]
24
Certifications[edit]
Country
Certification
United States
Gold[31]
See also[edit]
List of number-one R&B singles of 2005 (U.S.)
References[edit]
1.^ Jump up to: a b c d e f g h i j k l m "The Making of The Game's "The Documentary | "Hate It or Love It" f. 50 Cent". Complex. Complex Media. Retrieved 30 July 2011.
2.Jump up ^ "The Game feat. 50 Cent's Hate It or Love It sample of The Trammps's Rubber Band". WhoSampled. Retrieved June 28, 2012.
3.^ Jump up to: a b McKeating, Scott (2005-01-28). "The Game: The Documentary". Stylus Magazine. Retrieved 2011-03-29.
4.^ Jump up to: a b Staff (2005-01-28). "The Game: The Documentary". IGN. Retrieved 2011-03-29.
5.Jump up ^ "BET Awards Nominees 2005". About.com. 2005. Retrieved 2009-07-02.
6.Jump up ^ "2005 MTV VMA nominees". MTV. Retrieved 2009-07-02.
7.^ Jump up to: a b "Complete list of Grammy Award nominations". USA Today. 2005-12-08.
8.Jump up ^ "Australian-charts.com – The Game feat. 50 Cent – Hate It or Love It". ARIA Top 50 Singles. Retrieved 2011-03-29.
9.Jump up ^ "The Game feat. 50 Cent – Hate It or Love It – Austriancharts.at" (in German). Ö3 Austria Top 40. Retrieved 2011-03-29.
10.Jump up ^ "Ultratop.be – The Game feat. 50 Cent – Hate It or Love It" (in Dutch). Ultratop 50. Retrieved 2011-03-29.
11.Jump up ^ "Ultratop.be – The Game feat. 50 Cent – Hate It or Love It" (in French). Ultratop 50. Retrieved 2011-03-29.
12.Jump up ^ "Danishcharts.com – The Game feat. 50 Cent – Hate It or Love It". Tracklisten. Retrieved 2011-03-29.
13.Jump up ^ "Illegal name entered The Game/The+Game/chart?f=349 The Game Album & Song Chart History" European Hot 100 for The Game.
14.Jump up ^ "Lescharts.com – The Game feat. 50 Cent – Hate It or Love It" (in French). Les classement single. Retrieved 2011-03-29.
15.Jump up ^ "charts.de". charts.de. 2005-05-08. Retrieved 2011-03-09.
16.Jump up ^ "Chart Track". Irish Singles Chart.
17.Jump up ^ "Nederlandse Top 40 – week 23, 2005" (in Dutch). Dutch Top 40
18.Jump up ^ "Charts.org.nz – The Game feat. 50 Cent – Hate It or Love It". Top 40 Singles. Retrieved 2011-03-29.
19.Jump up ^ "Norwegiancharts.com – The Game feat. 50 Cent – Hate It or Love It". VG-lista. Retrieved 2011-03-29.
20.Jump up ^ "The Game feat. 50 Cent – Hate It or Love It – swisscharts.com". Swiss Singles Chart.
21.Jump up ^ "Archive Chart" UK Singles Chart. Retrieved March 03, 2011.
22.Jump up ^ "Illegal name entered The Game/The+Game/chart?f=379 The Game Album & Song Chart History" Billboard Hot 100 for The Game. Retrieved 2011-03-29.
23.Jump up ^ "Illegal name entered The Game/The+Game/chart?f=367 The Game Album & Song Chart History" Billboard R&B/Hip-Hop Songs for The Game.
24.Jump up ^ http://www.billboard.com/artist/276292/game/chart
25.Jump up ^ "Illegal name entered The Game/The+Game/chart?f=1222 The Game Album & Song Chart History" Billboard Rap Songs for The Game.
26.Jump up ^ "ARIA Charts — End Of Year Charts — Top 100 Singles 2005". Australian Recording Industry Association. Retrieved 2011-03-29.
27.Jump up ^ "Annual Top 50 Singles Chart 2005". Recording Industry Association of New Zealand. Retrieved 2011-03-29.
28.Jump up ^ "2005 Year End Swiss Singles Chart". Swiss Music Charts. 2005. Retrieved 2011-03-29.
29.Jump up ^ "End Of Year Charts: 2005" (PDF). UKChartsPlus. Retrieved 2011-03-29.
30.Jump up ^ "2005 Year End Charts: The Billboard Hot 100". Billboard. Prometheus Global Media. 2005-11-26. Retrieved 2011-03-30.
31.Jump up ^ "RIAA – Gold & Platinum: "The Game"". Recording Industry Association of America. Retrieved February 25, 2011.
External links[edit]
"Hate It or Love It" music video on YouTube
HatersGunk - Spread Love. Share Hate
Full lyrics of this song at MetroLyrics
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Categories: 2005 singles
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The Massacre
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For the album by The Exploited, see The Massacre (The Exploited album). For the 1914 film, see The Massacre (film). For the Doctor Who television serial commonly referred to by this title, see The Massacre of St Bartholomew's Eve.
The Massacre
Studio album by 50 Cent
Released
March 3, 2005
Recorded
2004
Genre
Hip hop
Length
73:47
Label
Aftermath, Interscope, Shady
Producer
50 Cent (exec.), Dr. Dre (also exec.), Eminem (also exec.), Scott Storch, Sha Money XL, J.R. Rotem, Disco D, F.B.T., Hi-Tek, Mike Elizondo, Needlz, Buckwild, Cue Beats, Dangerous LLC, Black Jeruz
50 Cent chronology
Get Rich or Die Tryin'
(2003) The Massacre
(2005) Curtis
(2007)
Singles from The Massacre
1."Disco Inferno"
Released: November 28, 2004
2."Candy Shop"
Released: January 15, 2005
3."Just a Lil Bit"
Released: May 10, 2005
4."Outta Control (Remix)"
Released: September 6, 2005
The Massacre is the second studio album by American rapper 50 Cent, released March 3, 2005 on Aftermath Entertainment and Interscope Records in the United States. Its initially planned release was pushed five days ahead to avoid Internet leakage. The album debuted at number one on the US Billboard 200 chart, selling over 1.14 million copies in its first week. Upon its release, The Massacre received generally positive reviews from most music critics. It was nominated for a Grammy Award for Best Rap Album,[1] losing to Kanye West's Late Registration at the 48th Grammy Awards.[2]
Contents
[hide] 1 Background
2 Commercial performance
3 Critical reception
4 Track listing
5 Personnel
6 Charts
7 Certifications
8 The Massacre (Special Edition) 8.1 Background
8.2 Track listing
9 See also
10 References
11 External links
Background[edit]
The Massacre has a music video for every track on the special edition version of the album. The original title for the album was St. Valentine's Day Massacre and was arranged to be released on February 14, 2005, but was postponed and the album's title was shortened to The Massacre. The censored version of the album censors out most profanity, violence, and all drug content. "Gunz Come Out" has inconsistency in the editing, and contains some profanity. In comparison, the album is not as heavily censored as Get Rich or Die Tryin', but it is still a very highly censored album ranking in severity with albums such as Tony Yayo's Thoughts of a Predicate Felon and Nas' Stillmatic.
Commercial performance[edit]
The Massacre sold 1.14 million copies in its first week of release, making it the seventh highest-selling album since SoundScan began tracking sales data in 1991.[3] It is the third best opening week for any hip hop album in history, behind Eminem's The Marshall Mathers LP which sold over 1.79 million copies in its first week and The Eminem Show which sold 1.32 million copies for its first week.[4]
Critical reception[edit]
Professional ratings
Review scores
Source
Rating
Allmusic 3.5/5 stars[5]
Robert Christgau A−[6]
Entertainment Weekly B−[7]
The Guardian 1/5 stars[8]
Los Angeles Times 3/4 stars[9]
NME 8/10[10]
Pitchfork Media 7.0/10[11]
Rolling Stone 4/5 stars[12]
Spin B–[13]
Uncut 3/5 stars[14]
The Massacre received generally positive reviews from music critics; it holds a score of 66 out of 100 at Metacritic.[15] Vibe magazine found it "full of finger-pointing panache" and wrote that "50 delivers a taut, albeit less explosive, album aimed at both silencing his detractors and keeping the ladies satisfied".[16] NME observed "a new depth to the murderous lyricism" from 50 Cent on the album.[10] Greg Tate, writing in The Village Voice, said that, like Tupac, 50 Cent is "a ruffian who knows the value of a good pop hook", and called The Massacre "the most diabolically sensous collection of baby-making gangsta music since Pac's All Eyez."[17] Kelefa Sanneh of The New York Times found the album to be "nearly as addictive as its predecessor" and called 50 Cent "a crafty songwriter, specializing in obvious but nearly irresistible tracks that sound better the more you hear them."[18] In his review for The Village Voice, Robert Christgau said that 50 Cent's "ugly gangsta lies" are "incidental to the mood of the piece, which is friendly, relaxed, good-humored, and in the groove."[6]
In a mixed review, Nathan Rabin of The A.V. Club said that, although its strengths lie in 50 Cent's "dark charisma" and "fluid delivery", the album is marred by flaws typical of "big rap releases: At nearly 78 minutes, it's far too long, wildly uneven, and not particularly cohesive sonically or thematically."[19] Uncut magazine wrote that, despite 50 Cent's "cool menace", "not even tight productions from Eminem and Dre can stop things from flagging midway."[14] Lynne d Johnson of Spin felt that it lacks "originality" and makes artistic concessions: "He's tryin' too hard to be everything to everybody."[13] In a negative review for The Guardian, Alexis Petridis panned him as a lyricist and felt that the album lacks "any of the factors that make the best gangsta rap disturbingly compelling ... There's nothing except a string of cliches so limited that repetition is unavoidable".[8]
The Massacre was nominated at the 2006 Grammy Awards for Best Rap Album, but lost to Kanye West's Late Registration. It was ranked the tenth best album of the year by Rolling Stone.[20]
Track listing[edit]
All songs were co-written by 50 Cent.
No.
Title
Writer(s)
Producer(s)
Length
1. "Intro" 0:41
2. "In My Hood" Luis Resto, T. Crawford, P. Pitts, Eminem C. Styles, Bang Out, Eminem (add.), Luis Resto (add.) 3:51
3. "This Is 50" R. Smith, Michael Clervoix Sha Money XL, Black Jeruz 3:04
4. "I'm Supposed to Die Tonight" Resto, Steve King, Mathers Eminem, Luis Resto (add.) 3:51
5. "Piggy Bank" K. Cain, Needlz 4:15
6. "Gatman and Robbin'" (featuring Eminem) Jeff Bass, Resto, Mark Bass, Neal Hefti, Mathers Eminem, Jeff & Mark Bass (add.) 3:46
7. "Candy Shop" (featuring Olivia) Scott Storch Scott Storch 3:29
8. "Outta Control" (featuring Mobb Deep) Andre Young, Mike Elizondo, Mark Batson, Albert Johnson, Kejuan Muchita, Christopher Pope Dr. Dre, Mike Elizondo 3:21
9. "Get in My Car" T. Cotrell Hi-Tek 4:05
10. "Ski Mask Way" Raymond Tyson, Bunny Sigler, Resto, Mathers, Dave "Disco D" Shayman Disco D, Eminem (add.), Luis Resto (add.) 3:05
11. "A Baltimore Love Thing" Q. Staples, Norma Toney Cue Beats 4:17
12. "Ryder Music" Cotrell Hi-Tek 3:51
13. "Disco Inferno" Crawford, Pitts C. Styles, Bang Out 3:34
14. "Just a Lil Bit" Storch Scott Storch 3:57
15. "Gunz Come Out" Young, Elizondo Dr. Dre, Mike Elizondo 4:24
16. "My Toy Soldier" (featuring Tony Yayo) Resto, Steve King, Marvin Bernard, Mathers Eminem, Luis Resto (add.) 3:44
17. "Position of Power" Jonathan Rotem J.R. Rotem 3:12
18. "Build You Up" (featuring Jamie Foxx) Scott Storch Scott Storch 2:55
19. "God Gave Me Style" Cain, Leonard Caston, Jr., Tom McFadden Needlz 3:01
20. "So Amazing" (featuring Olivia) Rotem, J. Lopez J.R. Rotem 3:16
21. "I Don't Need 'Em" Anthony Best Buckwild 3:20
22. "Hate It or Love It (G Unit Remix)" (bonus track) (featuring Game, Tony Yayo, Young Buck and Lloyd Banks) Cool & Dre 4:23
[show]2006 France re-release[21]
"Intro" is excluded from the 2006 France edition.[21]
Sample credits[22]"Intro" contains elements from "What Up Gangsta" performed by 50 Cent
"This Is 50" contains elements from "Things Done Changed" performed by The Notorious B.I.G.
"I'm Supposed to Die Tonight" contains vocal samples of Spectrasonics' "Vocal Planet"
"Gatman and Robbin'" contains replayed elements from "Batman Theme"
"Candy Shop" contains a sample of "Love Break" performed by The Salsoul Orchestra (uncredited)
"Ski Mask Way" contains elements from "What Am I Waiting For" performed by The O'Jays and resung elements from "Cell Therapy" performed by Goodie Mob
"A Baltimore Love Thing" contains elements from "I'll Be Waiting There For You" performed by The Dells
"God Gave Me Style" contains elements from "Each Day I Cry A Little" performed by Eddie Kendricks
"I Don't Need 'Em" contains elements from "Nobody Knows" performed by S.C.L.C.
Personnel[edit]
Credits for The Massacre adapted from Allmusic.[23]
50 Cent – executive producer, author
Bang Out – producer
Jeff Bass – keyboards, producer
Mark Bass – producer
Steve Baughman – engineer, mixing
Akane Behrens – engineer
Black Jeruz – producer
Buck Wild – producer
Jeff Burns – mixing assistant, assistant
Dave Cabrera – keyboards
Tony Campana – engineer
Larry Chatman – project coordinator
Lindsay Collins – voices, speech/speaker/speaking part
Cool – producer
Ruben Cruz – vocals (bckgr)
Cue Beats – producer
Dion – vocals (bckgr)
Disco D – producer
Dr. Dre – producer, executive producer, mixing
Mike Elizondo – bass, guitar, keyboards, sitar, producer
Eminem – producer, executive producer, mixing
Nicole Frantz – creative assistance
Brian "Big Bass" Gardener – mastering
Yvette Gayle – publicity
Zach Gold – photography
Scott Gutierrez – assistant engineer, assistant
Tiffany Hasbourne – stylist
Adam Hawkins – engineer
Marcus Heisser – A&R
Hi-Tek – producer
Lionel Holoman – keyboards
Kameron Houff – engineer
Eric Hudson – bass
Mauricio "Veto" Irragorri – engineer, mixing
Tyrue "Slang" Jonas – artwork
Rouble Kapoor – assistant engineer, mixing assistant, assistant
Steven King – bass, guitar, mixing
Marc Labelle – A&R
Chris Lighty – management
Steve Lininger – assistant engineer, assistant
Jared Lopez – engineer
Mike Lynn – A&R
Andrew Mains – editing
Tracy McNew – A&R
Kyla Miller – engineer
Riggs Morales – A&R
Needlz – producer
Traci Nelson – vocals (bckgr)
Alex Ortiz – engineer
James Oruz – management
Conesha Owens – vocals (bckgr)
Kirdis Postelle – project coordinator
Chuck Reed – engineer
Luis Resto – horn, keyboards, producer
Robert "Roomio" Reyes – assistant engineer, assistant
Roberto Reyes – assistant
J.R. Rotem – producer
David Saslow – video
Kelly Sato – marketing coordinator
Ed Scratch – engineer
Les Scurry – production coordination
Sha Money XL – producer, engineer, executive producer, mixing
Randy Sosin – video
Nancie Stern – sample clearance
Scott Storch – producer
Chris Styles – producer
Rob Tewlow – producer
Patrick Viala – mixing
Che Vicious – programming
Barbara Wilson – vocals (bckgr)
Brandon Winslow – assistant
Ravid Yosef – editing
Charts[edit]
Chart (2005)[24]
Peak
Position
Australian Albums Chart[24] 2
Austrian Albums Chart[24] 2
Belgian Flanders Albums Chart[24] 3
Belgian Wallonia Albums Chart[24] 9
Canadian Albums Chart[25] 1
Danish Albums Chart[24] 8
Dutch Albums Chart[24] 2
Finnish Albums Chart[24] 7
French Albums Chart[24] 3
Hungarian Albums Chart[26] 11
Italian Albums Chart[24] 13
New Zealand Albums Chart[24] 1
Norwegian Albums Chart[24] 3
Portuguese Albums Chart[24] 5
Spanish Albums Chart[24] 32
Swedish Albums Chart[24] 10
Swiss Albums Chart[24] 2
UK Albums Chart[27] 1
US Billboard 200[28] 1
US Top R&B/Hip-Hop Albums[29] 1
US Top Rap Albums[30] 1
Certifications[edit]
Country
Certification
Australia Platinum[31]
Belgium Gold[32]
Canada 3× Platinum[33]
Europe Platinum[34]
France Gold[35]
Germany Platinum[36]
Greece Gold[37]
Ireland 2× Platinum[38]
Japan Platinum[39]
New Zealand Platinum[40]
Russia 3× Platinum[41]
Switzerland Platinum[42]
United Kingdom 2x Platinum[43]
United States 5× Platinum[44]
The Massacre (Special Edition)[edit]
The Massacre (Special Edition)
Studio album by 50 Cent
Released
September 6, 2005
Recorded
2004-2005
Genre
Hip hop
Length
73:47
Label
Aftermath, Interscope, Shady
Producer
50 Cent (exec.), Dr. Dre (also exec.), Eminem (also exec.), Scott Storch, Sha Money XL, J.R. Rotem, Disco D, F.B.T., Hi-Tek, Mike Elizondo, Needlz, Buckwild, Cue Beats, Dangerous LLC, Black Jeruz
50 Cent chronology
The Massacre
(2005) The Massacre (Special Edition)
(2005) Curtis
(2007)
Singles from The Massacre
1."Disco Inferno"
Released: November 28, 2004
2."Candy Shop"
Released: January 15, 2005
3."Just a Lil Bit"
Released: May 10, 2005
4."Outta Control (Remix)"
Released: September 6, 2005
Background[edit]
The album was re-released under the name The Massacre (Special Edition). It was re-released on September 6, 2005 with a remix of "Outta Control" featuring Mobb Deep. The re-release included a bonus DVD with music videos for all of the songs (except for Disco Inferno, Gunz Come Out & the Intro), and the trailer for the movie Get Rich or Die Tryin' and excludes track 22, the G-Unit remix of "Hate It or Love It", clearly due to the ongoing feud between 50 Cent and The Game and just leaves 21 songs. The re-release helped it re-climb to number two in the United States.
Track listing[edit]
All songs were co-written by 50 Cent.
No.
Title
Writer(s)
Producer(s)
Length
1. "Intro" 0:41
2. "In My Hood" Luis Resto, T. Crawford, P. Pitts, Marshall Mathers C. Styles & Bang Out 3:51
3. "This Is 50" R. Smith, Michael Clervoix Black Jeruz, Sha Money XL 3:04
4. "I'm Supposed to Die Tonight" Resto, Steve King, Mathers Eminem 3:51
5. "Piggy Bank" K. Cain, Needlz 4:15
6. "Gatman and Robbin'" (featuring Eminem) Jeff Bass, Resto, Mark Bass, Neal Hefti, Mathers Eminem 3:46
7. "Candy Shop" (featuring Olivia) Scott Storch Scott Storch 3:29
8. "Outta Control (Remix)" (featuring Mobb Deep) Andre Young, Mike Elizondo, Mark Batson, Albert Johnson, Kejuan Muchita, Mark Batson, Chris Pope, Steven Standard Dr. Dre, Mike Elizondo 4:07
9. "Get in My Car" T. Cotrell Hi-Tek 4:05
10. "Ski Mask Way" Raymond Tyson, Bunny Sigler, Resto, Mathers, Dave "Disco D" Shayman Disco D 3:05
11. "A Baltimore Love Thing" Q. Staples, Norma Toney Cue Beats 4:17
12. "Ryder Music" Cotrell Hi-Tek 3:51
13. "Disco Inferno" Crawford, Pitts C. Styles & Bang Out 3:34
14. "Just a Lil Bit" Storch Scott Storch 3:57
15. "Gunz Come Out" Young, Elizondo Dr. Dre, Mike Elizondo 4:24
16. "My Toy Soldier" (featuring Tony Yayo) Resto, Steve King, Marvin Bernard, Mathers Eminem 3:44
17. "Position of Power" Jonathan Rotem J.R. Rotem 3:12
18. "Build You Up" (featuring Jamie Foxx) Scott Storch Scott Storch 2:55
19. "God Gave Me Style" Cain, Leonard Caston, Jr., Tom McFadden Needlz 3:01
20. "So Amazing" (featuring Olivia) Rotem, J. Lopez J.R. Rotem 3:16
21. "I Don't Need 'Em" Anthony Best Buckwild 3:20
Sample credits
Informations taken from The Massacre liner notes:[22]
"Intro" contains elements from "What Up Gangsta" performed by 50 Cent
"I'm Supposed to Die Tonight" contains samples of "Warning" by The Notorious B.I.G.
"Gatman and Robbin'" contains replayed elements from "Batman Theme"
"Candy Shop" contains a sample of "Love Break" performed by The Salsoul Orchestra (uncredited)
"Ski Mask Way" contains elements from "What Am I Waiting For" performed by The O'Jays and resung elements from "Cell Therapy" performed by Goodie Mob
"A Baltimore Love Thing" contains elements from "I'll Be Waiting There For You" performed by The Dells
"God Gave Me Style" contains elements from "Each Day I Cry A Little" performed by Eddie Kendricks
"I Don't Need 'Em" contains elements from "Nobody Knows" performed by S.C.L.C.
See also[edit]
List of number-one albums from the 2000s (UK)
List of number-one albums in 2005 (New Zealand)
List of number-one albums of 2005 (Ireland)
List of number-one albums of 2005 (U.S.)
References[edit]
1.Jump up ^ Complete list of Grammy Award nominations. Associated Press. Retrieved on 2009-12-25.
2.Jump up ^ Grammy Awards Best Rap Album Winners: Late Registration. About.com. Retrieved on 2009-12-25.
3.Jump up ^ Gundersen, Edna (March 9, 2005). 'Massacre' sales top 1 million. USA Today. Retrieved June 12, 2007.
4.Jump up ^ Alex Mar, March 9, 2005. 50 Sells Over a Million. Rolling Stone.
5.Jump up ^ Jeffries, David. Review: The Massacre. Allmusic. Retrieved on 2009-12-25.
6.^ Jump up to: a b Christgau, Robert (April 19, 2005). "Consumer Guide: Ignorants and Know-Alls Keep Out". The Village Voice (New York). Retrieved June 8, 2013.
7.Jump up ^ Browne, David (2005-03-11). Review: The Massacre. Entertainment Weekly. Retrieved on 2009-12-25.
8.^ Jump up to: a b Petridis, Alexis (March 10, 2005). "CD: 50 Cent, The Massacre". The Guardian (London). Friday Review section, p. 17. Retrieved June 8, 2013.
9.Jump up ^ Dreisinger, Baz (2005-05-02). "Review: The Massacre". Los Angeles Times: E.2. March 2, 2005. (Transcription of original review at talk page)
10.^ Jump up to: a b "Review: The Massacre". NME (London): 58. March 2005.
11.Jump up ^ Shepherd, Julianne (2005-03-06). Review: The Massacre. Pitchfork Media. Retrieved on 2009-12-25.
12.Jump up ^ Brackett, Nathan (2005-03-10). Review: The Massacre. Rolling Stone. Retrieved on 2009-12-25.
13.^ Jump up to: a b Johnson, Lynne d (April 2005). "Review: The Massacre". Spin (New York): 100–1. Retrieved June 8, 2013.
14.^ Jump up to: a b "Review: The Massacre". Uncut (London): 95. May 2005.
15.Jump up ^ The Massacre (2005): Reviews. Metacritic. Retrieved March 3, 2005.
16.Jump up ^ Rodriguez, Jayson. "Review: The Massacre". Vibe: 166. April 2005.
17.Jump up ^ Tate, Greg (2005-03-08). Review: The Massacre. The Village Voice. Retrieved on 2009-12-25.
18.Jump up ^ Sanneh, Kelefa (2005-03-03). Review: The Massacre. The New York Times. Retrieved on 2009-12-25.
19.Jump up ^ Rabin, Nathan (March 15, 2005). "50 Cent: The Massacre". The A.V. Club (Chicago). Retrieved June 8, 2013.
20.Jump up ^ The Top 50 Records of 2005. Rolling Stone.
21.^ Jump up to: a b "The massacre - Nouvelle edition" (in French). Fnac. Retrieved June 8, 2013.
22.^ Jump up to: a b (2005) Album notes for The Massacre by 50 Cent. Aftermath Entertainment.
23.Jump up ^ Credits: The Massacre. Allmusic. Retrieved on 2010-02-28.
24.^ Jump up to: a b c d e f g h i j k l m n o p Steffen Hung. "50 Cent – The Massacre". hitparade.ch. Retrieved 2009-09-22.
25.Jump up ^ "Canadian Albums Chart". Billboard. 2005-03-19. Retrieved 2012-05-16.
26.Jump up ^ "Archívum - Slágerlisták - MAHASZ - Magyar Hangfelvétel-kiadók Szövetsége". Mahasz.hu. Retrieved 2012-03-01.
27.Jump up ^ "2005-03-19 Top 40 Official UK Albums Archive". Official Charts. 2005-03-19. Retrieved 2012-05-16.
28.Jump up ^ "Billboard Hot 200". Billboard. 2005-03-19. Retrieved 2012-05-16.
29.Jump up ^ "Top R&B/Hip-Hop Albums". Billboard. 2005-03-19. Retrieved 2012-05-16.
30.Jump up ^ "Top Rap Albums". Billboard. 2005-03-19. Retrieved 2012-05-16.
31.Jump up ^ "ARIA Charts - Accreditations - 2005 Albums". Aria.com.au. Retrieved 2012-04-14.
32.Jump up ^ "Ultratop Belgian Charts". ultratop.be. Retrieved 2012-04-14.
33.Jump up ^ "Canadian Recording Industry Association (CRIA): Gold & Platinum - March 2005". Cria.ca. Retrieved 2012-04-14.
34.Jump up ^ "IFPI Platinum Europe Awards - 2005". Ifpi.org. 2005-09-01. Retrieved 2012-05-16.
35.Jump up ^ "Disque en France". Disque en France. Retrieved 2012-05-16.
36.Jump up ^ "Bundesverband Musikindustrie: Gold-/Platin-Datenbank". Musikindustrie.de. Retrieved 2012-04-14.
37.Jump up ^ "Greek Foreign Albums Chart". IFPI Greece. Archived from the original on 2005-10-28. Retrieved 2012-04-14.
38.Jump up ^ Jaclyn Ward - Fireball Media Ltd. "The Irish Charts". IRMA. Retrieved 2012-06-26.
39.Jump up ^ "一般社団法人 日本レコード協会｜各種統計". Riaj.or.jp. Retrieved 2012-04-14.
40.Jump up ^ "RIANZ". RIANZ. Retrieved 2012-04-14.
41.Jump up ^ "NFPF International 2005 certifications". NFPF. 2009-01-24. Archived from the original on 2009-01-24. Retrieved 2012-05-11.
42.Jump up ^ Steffen Hung. "The Official Swiss Charts and Music Community". Swisscharts.com. Retrieved 2012-04-14.
43.Jump up ^ "Certified Awards Search". British Phonographic Industry. Retrieved 2012-04-12.
44.Jump up ^ "Recording Industry Association of America". RIAA. Retrieved 2012-04-14.
External links[edit]
The Massacre at Discogs (list of releases)
Preceded by
O by Omarion Billboard 200 number-one album
March 19, 2005 – April 23, 2005 Succeeded by
The Emancipation of Mimi by Mariah Carey
Preceded by
G4 by G4 UK Albums Chart number-one album
13 March 2005 Succeeded by
Language. Sex. Violence. Other? by Stereophonics
Preceded by
In Between Dreams by Jack Johnson New Zealand RIANZ Albums Chart number-one album
13 March 2005 Succeeded by
In Between Dreams by Jack Johnson
Preceded by
Hot Fuss by The Killers Irish Albums Chart number-one album
10 March 2005 Succeeded by
Shots by Damien Dempsey
Preceded by
Confessions by Usher Billboard 200 Year-End number-one album by year
2005 Succeeded by
Some Hearts by Carrie Underwood
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Gangsta Rap Made Me Do It
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Gangsta Rap Made Me Do It"
Single by Ice Cube
from the album Raw Footage
Released
January 3, 2008
Format
CD, digital download
Recorded
2007
Genre
West Coast hip hop, gangsta rap, hardcore hip hop, political hip hop
Length
4:45
Label
Lench Mob
Writer(s)
O'Shea Jackson
Producer
Vaushaun "Maestro" Brooks
Ice Cube chronology
"You Gotta Lotta That"
(2007) "Gangsta Rap Made Me Do It"
(2008) "Do Ya Thang"
(2008)
"Gangsta Rap Made Me Do It" is the first single from Ice Cube's studio album, Raw Footage. It was released with a music video on his MySpace page on January 3, 2008. The song contains a "chopped and screwed" line from Cube's previous single, Child Support. ("...you niggas know my pyroclastic flow...") Several members of Westside Connection make cameo appearances in the video.[1] In the song Ice Cube comments ironically on the exploitation of gangsta rap as a scapegoat for society's problems.
A remix to the song was made featuring Nas and Scarface. It is credited to being featured on the video game Midnight Club: Los Angeles.
Contents
[hide] 1 Music video 1.1 List of video clip images
2 References
3 External links
Music video[edit]
The video begins in a classroom of the year 2020. A teacher wearing a military-style uniform, flanked by two American flags, condemns gangsta rap for the vices of society. When a child asks if Compton was dangerous before the emergence of gangsta rap, the teacher yells, "Wrong! Compton was a nature preserve for bunny rabbits!" The room darkens and Ice Cube's face is projected on a screen, rapping that gangsta rap is allegedly the root of all crimes. Several video clips of actual shootings in the U.S. and Iraq are shown, as well as the Virginia Tech Massacre including the infamous image of Cho pointing a gun. It also features footage of the Michael Richards Laugh Factory incident (during the lyric "If I call you a nigga"), Don Imus ("If I call you a nappy-headed ho") and Chris Benoit (referring to the Benoit murder/suicide).
List of video clip images[edit]
A bank robbery in Bank of America (when Cube is talking about not needing to steal money)(1:12)
1992 Los Angeles riots (1:20)
"Arson in the Southland" fire clip (when Cube is talking about how "hot" he is) (1:35)
"False prophecy" clip with the image of Warren Jeffs (when Cube talks about him being Utah and having multiple bitches) (1:37)
Oklahoma City bomber Timothy McVeigh being led away by police (1:50)
Michael Richards incident at the Laugh Factory (when Cube is rapping the chorus) (1:53)
Don Imus after his offensive statement. (1:55)
Michael Vick prior to the dogfighting clip (1:59)
Dogs fighting (when Cube is talking about acting like an animal) (2:01)
Police brutality (2:15)
Newspaper headline, "'Crack' Epidemic Linked to Contras" (2:45)
Columbine High School cafeteria surveillance tape and sign (3:05)
The Virginia Tech massacre (3:09)
Abu Ghraib torture and prisoner abuse (3:17)
Budd Dwyer's televised suicide (3:29)
A video of the welcome sign to Jena, Louisiana, home of the Jena Six(3:34)
NBA player Ron Artest punching a Pistons' fan in 2004. (3:50)
Oliver North testifying before the Iran-Contra hearings
Polar ice caps melting (When saying "If I fuck up the planet.") (4:19)
Chris Benoit vs. Chris Jericho in a ladder match for the WWF Intercontinental Championship at the 2001 Royal Rumble pay-per-view event. (4:33)
Gameplay of Grand Theft Auto: San Andreas, Grand Theft Auto III and Halo (4:35)
The infamous O.J Simpson L.A Wide pursuit.(4:37)
United Airlines Flight 175 crashing into the second tower of the World Trade Center (4:39)
Oprah Winfrey (4:54)
References[edit]
1.Jump up ^ Gangsta Rap Made Me Do It. BallerStatus. Accessed January 13, 2008.
External links[edit]
Full lyrics of this song at MetroLyrics
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Other songs
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Related articles
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Lench Mob Records
Categories: 2008 singles
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Teenagers (song)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Teenagers"
Single by My Chemical Romance
from the album The Black Parade
Released
United Kingdom United States Canada July 9, 2007
Australia New Zealand August 31, 2007
Germany September 14, 2007
Format
CD, 7" vinyl, digital download
Recorded
July 26, 2006
Length
2:41
Label
Reprise
Writer(s)
My Chemical Romance
Producer
Rob Cavallo, My Chemical Romance
Certification
Platinum
My Chemical Romance singles chronology
"I Don't Love You"
(2007) "Teenagers"
(2007) "Desolation Row"
(2009)
Additional cover
Promotional cover
"Teenagers" is the fourth single and the eleventh track from My Chemical Romance's third studio album, The Black Parade. It is the third U.S. single from the album, but it is the fourth single released in the UK, the Philippines, Australia and Canada. This song is the band's eleventh overall single.
Contents
[hide] 1 Background
2 Music video
3 Promotion 3.1 Media
4 Reception
5 Charts
6 Track listing
7 References
8 External links
Background[edit]
Gerard Way is quoted as saying that he wrote the song after finding himself in a New York subway car full of high schoolers: "That was the first time I felt old...I was nervous and I was a target. I felt like I had become a parent figure or part of the problem."[1]
About the relationship between the song and concerns about gun violence, Way said:
“ That song almost didn't fit on the record but it's a topic that's so important to our culture. It's about a really big problem in America where kids are killing kids. The only thing I learned in high school is that people are very violent and territorial.[2] ”
This song was #25 on Rolling Stone's list of the 100 Best Songs of 2007.[3] This song was also #80 on MTV Asia's list of Top 100 Hits of 2007.[4] The single is certified Platinum by the RIAA.[5]
Music video[edit]
The video version of the song (directed by Marc Webb) seems to have some added audio. During and onwards the lyrics "They say all teenagers scare the living shit out of me", there are piano notes playing in the background in the style of western music (during live performances, the piano plays along to the music even more so). The album version of the song does not have this piano playing until the coda. Early in the video, it shows teenagers breaking in.
The video is extremely similar to "Red Flag" by Billy Talent, in the way the cheerleaders have gas masks on (the last scene from "Red Flag" has teenagers wearing similar masks) and the way the sheer number of teenagers break free and get physically close to the band. The video is also strongly reminiscent of the video for "Smells Like Teen Spirit" by grunge rock band Nirvana from their album entitled Nevermind. The use of a high school setting, the use of cheerleaders, as well as ending with the assembled students storming stage scene, have become synonymous with the 1991 Samuel Bayer hit video.
The music video was posted by the band via their YouTube channel on May 30 and was one of the most watched videos on YouTube obtaining over 70,000,000 views. Sometime around November 1, 2007, the video passed the "Famous Last Words" video as the third most played video on the site. This version of the video cut out the word "shit". The MTV version differs from the YouTube version; notably the teenagers breaking in was cut out, as well as the words "gun," "shit," and "murder". The video has debuted on Total Request Live.
This video made its world premiere in New Zealand. New Zealand was the first country in which The Black Parade reached number one. Multiple pirated versions of the video surfaced on the internet days before the American debut.
Promotion[edit]
It was made available for download for the Xbox 360's Guitar Hero II game on August 15, 2007, along with "Famous Last Words", and "This Is How I Disappear", adding to their song shipped with the game, "Dead!". It was also made available for download with full guitar, drum, bass, and vocals charts for Guitar Hero: Warriors of Rock.
Media[edit]
The video for "Teenagers" can be seen and heard on the television in one scene of the television series Bionic Woman, in the episode "Do Not Disturb". This song is also featured in an episode of Dog The Bounty Hunter, the 2008 film Never Back Down, and an episode of LA Ink, in which tattoo artist Kat Von D tattoos Frank Iero. The main riff of the single was featured in the seventh episode of Dirty Sexy Money' "The Wedding". It is also included on the Saints Row 2 soundtrack.
Reception[edit]
My Chemical Romance surprised many critics by the musical style of "Teenagers". It incorporates elements of pop punk, hard rock and 12 bar blues. This earned them mostly positive reviews from critics[citation needed]. A reviewer from NME Magazine wrote, "Some bands go out of their way to do a song with a sound they're never bound to do, then release it as a single. They usually fail. My Chemical Romance tried a substantially different sound for this song, and it paid off. The message is simple, the chorus is catchy and Ray Toro's solo joins the chorus and bridge together so smoothly." The song managed to grab 5 stars in both NME and AbsolutePunk.net as well as 4/5 from IMDb.
Charts[edit]
The song entered the Bubbling Under Hot 100 Singles chart at #2, before debuting at #87 on the Hot 100 the following week as the "Hot Shot" debut of the week, and has peaked at #67. It has reached #23 on the Pop 100, and #13 on Modern Rock Tracks. It has also debuted at #42 in the UK, and has gone onto become the band's fourth straight top 20 hit from The Black Parade and their third top ten hit from the album, peaking at #9. It debuted at number 16 on the ARIA Singles Chart.
Chart (2007)
Peak
position
Australian ARIA Singles Chart 16
Austrian Singles Chart 50
Canadian Hot 100 53
Czech IFPI Chart[6] 32
European Hot 100 Singles[7] 27
German Singles Chart 74
Irish Singles Chart 7
New Zealand Top 40 Singles Chart 6
UK Singles Chart 9
US Billboard Hot 100 67
US Billboard Pop 100 23
US Billboard Alternative Songs 13
Venezuela Pop Rock (Record Report)[8] 15
Track listing[edit]
All songs written by My Chemical Romance.
Version 1 (promotional CD)
No.
Title
Length
1. "Teenagers" (radio edit) 2:38[9]
Version 2 (CD and 7" vinyl)
No.
Title
Length
1. "Teenagers" 2:41
2. "Dead!" (live from E-Werk in Berlin on October 14, 2006) 3:16[10]
Version 3 (7" vinyl)
No.
Title
Length
1. "Teenagers" 2:41
2. "Mama" (live from the National Indoor Arena in Birmingham on March 22, 2007) 5:00[11]
Version 4 (CD)
No.
Title
Length
1. "Teenagers" 2:41
2. "Dead!" (live at E-Werk in Berlin on October 14, 2006) 3:16
3. "Mama" (live from the National Indoor Arena in Birmingham on March 22, 2007) 5:00[12]
Version 5 (digital download)
No.
Title
Length
1. "Teenagers" 2:41
2. "Teenagers" (music video) 2:51
3. "I Don't Love You" (Video from AOL Sessions) 3:57
References[edit]
1.Jump up ^ Fresh from the Garden State, in Black Leather and Eyeliner, The New York Times, 22 October 2006.
2.Jump up ^ "MCR discuss high school gun crime", New Musical Express, 25 October 2006.
3.Jump up ^ No byline (December 11, 2007). "The 100 Best Songs of 2007" Rolling Stone. Retrieved 2007-12-21
4.Jump up ^ MTV Asia. "Top 100 Hits List". Retrieved 2007-12-27
5.Jump up ^ "RIAA Gold & Platinum Database: Teenagers". Recording Industry Association of America. 2008-04-19. Retrieved 2008-07-19.
6.Jump up ^ Čns Ifpi
7.Jump up ^ "Top 100 Music Hits, Top 100 Music Charts, Top 100 Songs & The Hot 100". Billboard.com. Retrieved 2012-03-11.
8.Jump up ^ "Pop Rock" (in Spanish). Record Report. 2007-09-29. Archived from the original on 2007-07-02.
9.Jump up ^ My Chemical Romance Teenagers UK Promo 5" CD SINGLE (409122)
10.Jump up ^ The Record Shack
11.Jump up ^ The Record Shack
12.Jump up ^ My Chemical Romance Teenagers Australia 5" CD SINGLE (412774)
External links[edit]
“Teenagers” sound track at the official My Chemical Romance website
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Pumped Up Kicks
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"Pumped Up Kicks"
Single by Foster the People
from the album Foster the People and Torches
Released
September 14, 2010
Format
Digital download, 12-inch single
Recorded
2009
Genre
Indie pop, alternative rock, neo-psychedelia
Length
4:00 (album version)
3:38 (radio edit)
Label
Columbia, Startime
Writer(s)
Mark Foster
Producer
Mark Foster
Foster the People singles chronology
"Pumped Up Kicks"
(2010) "Helena Beat"
(2011)
The Knocks remix cover
"Pumped Up Kicks" is a song by American indie pop band Foster the People. It was released as the group's debut single in September 2010, and the following year was included on their EP Foster the People and their debut album Torches. "Pumped Up Kicks" became the group's breakthrough hit and was one of the most popular songs of 2011. The song was written and recorded by frontman Mark Foster while he was working as a commercial jingle writer. Contrasting with the upbeat musical composition, the lyrics describe the homicidal thoughts of a troubled youth.
The track received considerable attention after it was posted online in 2010 as a free download, and it helped the group garner a multi-album record deal with Columbia Records imprint Startime International. "Pumped Up Kicks" proved to be a sleeper hit; in 2011, after receiving significant airplay on modern rock stations, the song crossed-over onto contemporary hit radio stations. The song spent eight consecutive weeks at number three on the Billboard Hot 100 chart in the United States, making it the first Billboard Alternative Songs number-one single to crack the U.S. top 5 since Kings of Leon's "Use Somebody" in 2009. The song was widely praised by critics, and it has been licensed for use in a wide range of popular media since its release. "Pumped Up Kicks" received a Grammy Award nomination for Best Pop Duo/Group Performance.
Contents
[hide] 1 Writing and recording
2 Composition and inspiration
3 Release and promotion 3.1 Initial attention
3.2 Commercial breakthrough
4 Music video
5 Reception 5.1 Critical reaction
5.2 Accolades
6 Impact 6.1 Use in popular media
6.2 Cover versions and remixes
7 Track listing
8 Charts and certifications 8.1 Weekly charts
8.2 Certifications
8.3 Year-end charts
9 Release history
10 See also
11 References
12 External links
Writing and recording[edit]
Soon after Mark Foster formed Foster the People in 2009, he wrote and recorded "Pumped Up Kicks" in five hours while working as a commercial jingle writer at Mophonics in Los Angeles.[1][2] On the day of recording, Foster debated between songwriting in the studio and going to the beach. He explained: "I really didn't have anything to do that day. I was standing there in the studio, and this thought came in my mind like, 'I'm going to write a song,'... and then I was like, 'I don't feel like writing. I don't want to write a song.' I was a block away from the beach, and it was a beautiful day. I kind of just wanted to just be lazy and go hang out at the beach or whatever. But I just forced myself to write a song... By that time the next day, the song was finished."[3] Reflecting on the lack of inspiration he felt when writing the song, Foster said, "I've heard a lot of other artists talk about this as well, like, 'I'm not inspired right now. I've got writer's block. I'm just not really feeling anything.' And I've felt that way, too, just not being inspired and wanting to wait for inspiration to come before I wrote. But I wasn't inspired when I wrote 'Pumped Up Kicks,' and that's what came out. So... it just solidified the notion that perspiration is more powerful than inspiration."[3] Thinking that he was just recording a demo, he played all of the instruments on the song,[4] and using the software Logic Pro, he arranged and edited the song himself.[5] The demo is ultimately the version of the song that Foster released.[4]
Composition and inspiration[edit]
"I like to write about real-life topics, and I like to write about different walks of life. For me, that song was really an observation about something that's happening in the youth culture these days. I guess I wanted to reveal that internal dialogue of a kid who doesn't have anywhere to turn, and I think the song has kind of done its job. I think people are talking about it, and it's become a point of conversation, which I think is a really healthy thing."
—Mark Foster[6]
The lyrics to "Pumped Up Kicks" are written from the perspective of a troubled and delusional youth with homicidal thoughts.[4] The lines in the chorus warn potential victims to "outrun my gun" and that they "better run, better run, faster than my bullet". Foster said in a statement to CNN.com, "I wrote 'Pumped Up Kicks' when I began to read about the growing trend in teenage mental illness. I wanted to understand the psychology behind it because it was foreign to me. It was terrifying how mental illness among youth had skyrocketed in the last decade. I was scared to see where the pattern was headed if we didn't start changing the way we were bringing up the next generation."[7] In writing the song, Foster wanted to "get inside the head of an isolated, psychotic kid"[4] and "bring awareness" to the issue of gun violence amongst youth, which he feels is an epidemic perpetuated by "lack of family, lack of love, and isolation".[8][9] The song's title refers to shoes that the narrator's peers wear as a status symbol.[10]
The issue of youth violence is a matter close to the group. Foster was bullied in high school, while bassist Cubbie Fink has a cousin who survived the Columbine High School massacre in 1999. Fink said of his cousin's experience, "She was actually in the library when everything went down, so I actually flew out to be with her the day after it happened and experienced the trauma surrounding it and saw how affected she was by it. She is as close as a sister, so obviously, it affected me deeply. So to be able to have a song to create a platform to talk about this stuff has been good for us."[6]
Contrasting with the dark lyrics of the song, the music, which was written first, is upbeat. Foster said, "It's a 'fuck you' song to the hipsters in a way—but it's a song the hipsters are going to want to dance to."[4] Jeffery Berg of Frontier Psychiatrist said, "I was so engrossed with the cheery melody of its chorus that it took me a few listens to discover that the lyrics suggest dark, Columbine revenge."[11]
Due to the opening lyrics, "Robert's got a quick hand," many have speculated that the song is a reference to Robert Hawkins, perpetrator of Omaha's Westroads Mall shooting. The band's publicist denied any connection: "This is completely false. The character name in the song is just a coincidence."[12] For play on the television channels MTV and MTVu, the words "gun" and "bullet" were removed from the song's chorus.[13] Foster believes many have misinterpreted the song's meaning, and have written letters to his record label and called radio stations to complain. He explained, "The song is not about condoning violence at all. It's the complete opposite. The song is an amazing platform to have a conversation with your kids about something that shouldn't be ignored, to talk about it in a loving way."[2]
Release and promotion[edit]
Initial attention[edit]
After writing "Pumped Up Kicks", Mark Foster (pictured) posted the song on his website as a free download. It subsequently grew in popularity through viral outlets and earned the band a record deal.
"Pumped Up Kicks" drew considerable attention online after Foster posted the song on his website as a free download in early 2010; Nylon magazine used the track in an online advertising campaign,[14] and through various blogs, it went viral.[15] Foster the People first performed the song live at the Stand Up Charity Benefit in Venice in February.[16] The group, yet to be signed, garnered buzz with performances at the South by Southwest music festival in March.[17][18] Foster was emailed by many people about the song, and needing professional guidance, he contacted artist manager Brent Kredel at Monotone, Inc., saying, "Everyone is calling me and emailing me—what do I do? Who are the good guys, who are the bad guys?" Kredel recalled that "He went from the guy who couldn't get a hold of anyone to being the guy who had hundreds of emails in his inbox." Kredel and Brett Williams were subsequently hired to co-manage Foster the People, and they helped the group get a multi-album record deal with Columbia Records imprint Startime International in May 2010.[14] Wishing to release a record that would back up the song's success, the group wrote new material between July–September 2010.[14]
"Pumped Up Kicks" was licensed for use in a July 2010 episode of the TV series Entourage, the first of many instances in which Foster the People's music was licensed in popular media.[14] The song received its first widespread radio play that month on Sirius XM's Alt Nation channel and the Australian radio station Triple J.[19] The song was released as their debut single on September 14, 2010.[citation needed] In November, the University of Maryland's radio station WMUC played the song, marking its debut on US terrestrial radio.[20] The song placed at number 32 in the Triple J's Hottest 100 for 2010,[21] a notable achievement due to the band being relatively unknown in Australia. Still, the group was inexperienced as a live act, and as a result, their booking agent Tom Windish secured them several club shows "to help them get their sea legs." Foster the People promoted these concerts in January 2011 by emailing fans who had downloaded "Pumped Up Kicks" from their website, notifying them of the shows. The group continued to grow its fanbase with a month-long residency of concerts in January at The Echo nightclub in Los Angeles. By the group's third show at the venue, according to Windish, "there were hundreds of people trying to get in outside... It was an obvious turning point that could be measured in numbers."[14]
Commercial breakthrough[edit]
In January 2011, the band issued their first commercial non-single release, a self-titled EP on which "Pumped Up Kicks" appeared. Around the same time, many alternative radio stations began playing "Pumped Up Kicks", including Los Angeles terrestrial stations KROQ-FM and KYSR, and it continued to gain popularity on Alt Nation.[14] Mark Foster credits Sirius XM's airplay with the song's success, saying, "Alt Nation played our music before any other radio outlet in the country."[22] On January 29, the song debuted on Billboard's Rock Songs chart and a week later, it debuted on the Alternative Songs chart. In May, the track debuted at number 96 on the Billboard Hot 100, and later that month, the group released their first full-length studio album, Torches, on which "Pumped Up Kicks" appears.[14] On May 23, 2011, BBC Radio 1 DJ Greg James selected the song as his Record of the Week, which ran until May 27. During this time, James released an accompanying video of him dancing to the song which he entitled and promoted "The Bum Dance".[23]
The song proved to be a crossover hit; after peaking at number one on the Alternative Songs chart in June and number three on the Rock Songs chart in July, the song broke into the top 40 of the Hot 100 in late July and appeared on the Adult Top 40 and Mainstream Top 40 charts. Columbia senior VP of promotion Lee Leipsner said, "It was one of the only alternative bands I remember in a while that you could actually dance to. And the fact that the record has a groove and rhythmic feel to it—not heavy guitar-based at all—gave us a wide opportunity to cross the record." He credits the song's crossover success and push into the top 40 to a June presentation of new music by Clear Channel president of national programming platforms Tom Poleman. According to Leipsner, "After we showed our presentation, we had so many Clear Channel major-market programmers come up to us and say, 'The record I want to play besides Adele is Foster the People.'" "Pumped Up Kicks" peaked at number three on the Hot 100, spending eight consecutive weeks at the position.[14] It has been certified 5× platinum in Canada and Australia,[24][25] 4× platinum in the US,[26] and gold in Germany.[27] The song ranked as the sixth-best-selling digital song of 2011 in the United States with 3.84 million copies sold,[28] while it ranked as music streaming service Spotify's most streamed song of the year.[29] The song has sold 5,173,000 copies in the US as of August 2013.[30]
Music video[edit]
The music video, directed by Josef Geiger, features the band playing a show. There are also cuts to band members doing other activities, such as playing frisbee and surfing. The video peaked at #21 on the MuchMusic Countdown in Canada.[31] The video has received over 100 million views on YouTube.[2]
Reception[edit]
Critical reaction[edit]
"Pumped Up Kicks" received positive reviews from critics. Barry Walters of Spin said that with the song as their debut single, Foster the People "announce themselves as major players".[32] Jon Dolan of Rolling Stone described the song as having a "slinky groove, misty guitar flange and delicious astral-wimp vocals".[33] Rob Webb of NME drew some parallels between the song and other indie pop hits like "Young Folks", "Paris", and "Kids" describing its rise in popularity as thus: "artist writes (undeniably brilliant) pop song, makes it catchy as hell, but quirky enough for the 'cool' crowd, song subsequently gets some big pimping from every blog/radio station/Hype Machine user on the planet and, seemingly overnight, becomes utterly, irritatingly inescapable."[34] August Brown of the Los Angeles Times called it a "reputation-making single" that "cakes Foster in Strokes-y vocal distortion atop a loping synth bass".[35] Jon Pareles of The New York Times called it a "pop ditty with dazed, dweeby vocals and a handclapping chorus that warns, 'You better run, better run, outrun my gun'".[36] BBC Music's Mark Beaumont called the song a "psychedelic block party skipping tune". Reflecting on the song's fusion of various musical elements, Beaumont said the song is a prime example of how they "adapt Animal Collective's art-tronic adventurousness to incorporate the funky danceability of Scissor Sisters, the fuzzy pop catchiness of 'Kids' and the knack of throwing in deceptively downbeat twists akin to Girls, Sleigh Bells or Smith Westerns".[37] Matt Collar of Allmusic said the song, like other tracks from the album, is "catchy, electro-lite dance-pop that fits nicely next to such contemporaries as MGMT and Phoenix".[38] The Guardian's Michael Hann was less receptive, saying it "amounts to little more than a bassline and a chorus" and that "It's as irresistible as it is infuriating".[39]
Accolades[edit]
A Rolling Stone readers poll named it the second-best song of summer 2011.[40] Claire Suddath of Time magazine named "Pumped Up Kicks" one of the Top 10 Songs of 2011,[41] while Entertainment Weekly selected the song as the year's second-best single.[42] In end-of-year polls, writers for Rolling Stone selected "Pumped Up Kicks" as the 11th-best song of 2011,[43] while the publication's readers voted it the year's sixth-best song.[44] A listeners poll by Toronto radio station CFNY-FM (102.1 The Edge) voted it #1 in a list of the top 102 new rock songs of 2011.[45] NME ranked it number 21 on its list of the "50 Best Tracks of 2011", writing, "Unusually for a song so omnipresent, listening to its hyper-upbeat melodies about a psycho high-school kid-killer is still an enjoyable experience."[46] The magazine's readers voted "Pumped Up Kicks" the year's eighth-best song.[47] At the end of 2011, the song received a Grammy Award nomination for Best Pop Duo/Group Performance.[48]
Impact[edit]
"I think it's great that that song did what it did around the world, not just for us as a band but I think for a lot of other artists who are left-of-centre artists. That song kind of paved the way for. Now I listen to the radio and there are songs like Gotye, with 'Someone That I Used To Know' has blown up, and fun. - their song has blown up, I raise my glass to artists when that happens you know?"
—Mark Foster, on the song's success[49]
In an article for The Huffington Post, DJ Louie XIV singled out "Pumped Up Kicks" as one of several popular songs that helped usher in the return of commercially successful indie music. In discussing the growing acceptance of fringe cultures, he wrote, "It seems only fitting, then, that the soundtrack to this time period should be music that was itself once viewed as fringe culture."[50] Reflecting on the song's success, Gary Trust, the associate director of charts/radio for Billboard, said, "They're walking a tightrope very well in terms of eras, formats and styles. When you mix all that together, it becomes a very good recipe for a hit that works on so many levels. It's the perfect song." Foster said of the song, "There's a spirit there and that's what people resonate with. 'Pumped Up Kicks' wasn't an accident."[2]
Use in popular media[edit]
The song was used in TV series such as Entourage,[51] Gossip Girl, CSI:NY, Cougar Town, Homeland, Pretty Little Liars, Warehouse 13 and The Vampire Diaries and also in the 2011 films Friends with Benefits[14] and Fright Night, as well as sampled in Shawn Chrystopher's song "All the Other Kids", from his 2010 hip-hop album You, and Only You. The whistling part of the song is part of the rotation of bumper music played on the Michael Medved syndicated radio program. The song was also used on the BBC programmes Top Gear (2002 TV Series) and Match of the Day. On October 8, 2011, Foster the People performed the song on Saturday Night Live. The song was also used in Australian beer XXXX's "XXXX Summer Bright Lager" television commercial.[52] "Pumped Up Kicks" will be included as a playable track in the music video game Rock Band Blitz.
The song was pulled from some U.S. radio stations in December 2012 in the aftermath of the Sandy Hook Elementary School shooting, due to its lines "You'd better run, better run, outrun my gun" and "You'd better run faster than my bullet".[53]
Cover versions and remixes[edit]
The official remix of the single was released by New York City-duo The Knocks in April 2011, under the name "Pumped Up Kicks (The Knocks Speeding Bullet Remix)", and was made available to subscribers to the band's email list. The song was covered by Weezer during their 2011 North American Tour, at the Orange County Fair on August 4, 2011. Weezer also played the song during their grandstand performance at the Minnesota State Fair on September 3, 2011.[54] Mark Foster said in reaction, "Nine years ago, I met Rivers Cuomo at a party, and I had my acoustic guitar with me. He taught me how to play 'Say It Ain't So'. So nine years later, to watch him play one of my songs - it was wild. I can't wait to meet him and remind him of that story."[55]
In 2011, The Kooks covered song in BBC Radio 1's Live Lounge.[56] Australian musician Owl Eyes performed a version of "Pumped Up Kicks" for Triple J's Like a Version. In the Triple J Hottest 100, 2011, Owl Eyes' version came in at 28, four positions higher than the original did the previous year. Singer-songwriters Dani Shay and Justin Chase covered the song in a theatrical music video October 2011[57] and released the single in November 2011.[58] A parody of the song was performed by Taylor Swift and Zac Efron on The Ellen DeGeneres Show, as a serenade to the host. Its lyrics were about how they felt weird when Ellen used to put them as a couple when they were not.[59] On March 12, 2012 singers Lex Land and Charlotte Sometimes performed the song during the second "Battle Round" episode of The Voice.[60] In September 2012, singer Mackenzie Bourg performed this song as his Blind Audition for The Voice, winning a spot on Cee Lo Green's team.[61] Kendrick Lamar also recorded a remix to the song with DJ Reflex.[62] On February 1, 2013 singer Fatin Shidqia performed this song as her solo performances on Bootcamp 3 episode of "X Factor Indonesia"[63]
Track listing[edit]
UK digital download[64]
No.
Title
Length
1. "Pumped Up Kicks" 3:58
2. "Pumped Up Kicks" (Chrome Canyon Remix) 4:49
Vinyl – side A[65]
No.
Title
Length
1. "Pumped Up Kicks" 4:13
2. "Chin Music for the Unsuspecting Hero" 3:26
Vinyl – side B[65]
No.
Title
Length
1. "Pumped Up Kicks" (a cappella) 4:13
2. "Pumped Up Kicks" (instrumental) 4:13
Charts and certifications[edit]
Weekly charts[edit]
Chart (2011–12)
Peak
position
Australia (ARIA)[66] 1
Austria (Ö3 Austria Top 40)[67] 3
Belgium (Ultratop 50 Flanders)[68] 30
Belgium (Ultratop 50 Wallonia)[69] 40
Brazil (Billboard Hot 100)[70] 31
Canada (Canadian Hot 100)[71] 3
Canada (Canadian Alternative Chart)[72] 1
Canada (Canadian Rock Chart)[73] 17
Czech Republic (IFPI)[74] 7
France (SNEP)[75] 10
Germany (Media Control AG)[76] 9
Greece Digital Songs (Billboard)[77] 6
Ireland (IRMA)[78] 11
Mexican Airplay (Billboard)[79] 1
Netherlands (Dutch Top 40)[80] 34
Japan (Japan Hot 100)[81] 9
New Zealand (Recorded Music NZ)[82] 6
Poland (Polish Airplay Top 20)[83] 1
Scotland (Official Charts Company)[84] 18
Slovakia (IFPI)[85] 1
South Korea International Singles (Gaon)[86] 106
Switzerland (Schweizer Hitparade)[87] 17
UK Singles (Official Charts Company)[88] 18
US Billboard Hot 100[89] 3
US Pop Songs (Billboard)[89] 3
US Adult Pop Songs (Billboard)[89] 3
US Rock Songs (Billboard)[89] 3
US Alternative Songs (Billboard)[89] 1
US Adult Contemporary (Billboard)[90] 28
US Hot Dance Club Songs (Billboard)[89][91] 39
US Latin Pop Songs (Billboard)[89][92] 38
Certifications[edit]
Region
Certification
Sales/shipments
Australia (ARIA)[93]
6× Platinum 420,000^
Austria (IFPI Austria)[94]
Gold 15,000x
Canada (Music Canada)[95]
5× Platinum 400,000^
Germany (BVMI)[96]
Platinum 300,000^
Mexico (AMPROFON)[97]
4× Platinum 240,000^
New Zealand (RMNZ)[98]
Platinum 15,000*
United States (RIAA)[99]
4× Platinum 5,173,000[30]
*sales figures based on certification alone
^shipments figures based on certification alone
xunspecified figures based on certification alone
Year-end charts[edit]
Chart (2011)
Position
Australia (ARIA)[100] 23
Austria (Ö3 Austria Top 40)[101] 59
Germany (Media Control Charts)[102] 90
New Zealand (RIANZ)[103] 33
Switzerland (Schweizer Hitparade)[104] 62
US Billboard Hot 100[105] 13
US Pop Songs [106] 24
US Adult Pop Songs[107] 23
US Rock Songs[108] 4
US Alternative Songs[109] 1
Chart (2012)
Position
Australia (ARIA)[110] 54
France (SNEP)[111] 53
Release history[edit]
Country
Date
Format
Label
United States
September 14, 2010[65] Vinyl Columbia Records
United Kingdom
June 19, 2011[64] Digital download
See also[edit]
List of number-one Billboard Alternative Songs of 2011
List of number-one dance airplay hits of 2011 (U.S.)
List of number-one singles of 2012 (Australia)
References[edit]
1.Jump up ^ Martens, Todd (June 26, 2011). "Foster the People: Pumped up, indeed". Los Angeles Times. Retrieved November 15, 2011.
2.^ Jump up to: a b c d Barker, Olivia (November 6, 2011). "Foster the People's 'Pumped Up Kicks' has legs". USA Today. Retrieved November 16, 2011.
3.^ Jump up to: a b Sculley, Alan (2012-06-22). "Single pumps up Foster the People". The Columbian. Retrieved 2012-06-28.
4.^ Jump up to: a b c d e Doyle, Patrick (June 8, 2011). "Band to Watch: Foster the People's Pumped-up Psych-Pop". Rolling Stone. Retrieved August 22, 2011.
5.Jump up ^ "Foster the People: Pumped Up Hits". Apple Inc. Retrieved 2012-07-05.
6.^ Jump up to: a b Quan, Denise (January 10, 2012). "Foster the People on inspiration, odd jobs and meeting Bono". CNN.com. Turner Broadcasting System. Retrieved January 11, 2012.
7.Jump up ^ Quan, Denise (2012-12-21). "Band talks 'Pumped Up Kicks' post school shooting". The Marquee Blog. Turner Broadcasting System. Retrieved 2013-01-03.
8.Jump up ^ Faith-Ann Young (March 14, 2011). "EXCLUSIVE INTERVIEW Foster The People Open Up About Their New Album, Gun Violence, And Bungee Jumping On Stage At Coachella". KROQ-FM. Retrieved August 14, 2011.
9.Jump up ^ Allison Stewart (June 22, 2011). "Be specific: Foster the People’s Mark Foster talks about "Pumped Up Kicks," a sunny and violent new hit". The Washington Post. Retrieved August 14, 2011.
10.Jump up ^ Welch, Andy (2012-03-06). "Pumped up Kicks". Irish Independent. Retrieved 2012-03-12.
11.Jump up ^ Jeffery Berg (May 23, 2011). "Foster the People – A Review of Torches". frontpsych.com. Retrieved August 14, 2011.
12.Jump up ^ Coffey, Kevin (August 18, 2011). "Band says song not about Von Maur shooter". http://omaha.com. Omaha World-Herald. Retrieved August 30, 2011.
13.Jump up ^ Richard Huff (June 28, 2011). "MTVu censors Foster the People's music video hit 'Pumped Up Kicks'". NY Daily News. Retrieved August 14, 2011.
14.^ Jump up to: a b c d e f g h i Peters, Mitchell (October 3, 2011). "Foster the People: How a Free Download Begat a Business". Billboard. Prometheus Global Media. Retrieved November 15, 2011.
15.Jump up ^ "Foster The People: An Outsider Anthem, A Viral Hit". NPR Music. NPR. May 26, 2011. Retrieved August 14, 2011.
16.Jump up ^ "Breaking News - Foster The People Stand Up For The Kids In Venice". February 9, 2010. Retrieved August 14, 2011.
17.Jump up ^ Sanchez, Lindsay (2010-07-15). "Second Stage: Foster The People". NPR Music. NPR. Retrieved 2012-02-27.
18.Jump up ^ Menze, Jill (2011-06-09). "Foster the People pumped up for all ages". Chicago Sun-Times. Sun-Times Media Group. Retrieved 2012-05-22.
19.Jump up ^ "Foster the People to Perform Private Concert at New York City's Bowery Electric for SiriusXM Listeners" (Press release). PRNewswire. 2011-11-07. Retrieved 2012-02-27.
20.Jump up ^ "Displaying archived playlist for Ctrl Alt Delete on 2010-11-03 02:00:00". WMUC College Park Radio 88.1 FM. Retrieved October 7, 2011.
21.Jump up ^ John Ritchie (January 26, 2011). "Triple J’s Hottest 100 Countdown – 2010 Full List Of Songs (Live update)". musicfeeds.com.au. Retrieved November 24, 2011.
22.Jump up ^ Osborne, Spencer (November 7, 2011). "FTP to host private concert for SiriusXM". Sirius Buzz. Retrieved November 15, 2011.
23.Jump up ^ "BBC - BBC Radio 1 Programmes - Greg James, Wednesday - Greg's bum dance, Greg 'bum dances' to his record of the week". BBC Radio 1. May 25, 2011. Retrieved June 5, 2011.
24.Jump up ^ "Gold and Platinum Search: Foster the People". Music Canada. Retrieved June 6, 2012.
25.Jump up ^ "Accreditations – 2012 Singles". ARIA. Retrieved June 6, 2012.
26.Jump up ^ "Gold & Platinum: Searchable Database". Recording Industry Association of America. Retrieved June 6, 2012.
27.Jump up ^ "Gold-/Platin-Datenbank (Foster%the%People; 'Pumped%Up%Kicks')" (in German). Bundesverband Musikindustrie. Retrieved January 15, 2012.
28.Jump up ^ Caulfield, Keith (January 4, 2012). "Adele Rules 2011 With Top Selling Album & Song". Billboard.com. Prometheus Global Media. Retrieved January 5, 2012.
29.Jump up ^ Murphy, Samantha (2011-12-29). "Spotify Names Top 10 Songs Streamed in 2011". Mashable. Retrieved 2012-07-19.
30.^ Jump up to: a b Paul Grein (August 28, 2013). "Week Ending Aug. 25, 2013. Songs: Robin & Marvin". Chart Watch.
31.Jump up ^ MuchMusic Countdown
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33.Jump up ^ Dolan, Jon (June 10, 2011). "Torches by Foster the People". Rolling Stone. Retrieved September 2, 20112.
34.Jump up ^ Webb, Rob (June 21, 2011). "Album Review: Foster the People - 'Torches'". NME. Retrieved September 2, 2011.
35.Jump up ^ Brown, August (2011-05-23). "Album review: Foster the People's 'Torches'". Los Angeles Times. Retrieved 2012-03-12.
36.Jump up ^ Pareles, Jon (2011-07-03). "Industrial Hip-Hop And Bouncy Sociopathy". The New York Times. p. AR14. Retrieved 2012-03-12.
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38.Jump up ^ Collar, Matt. "Torches - Foster the People". Allmusic. Retrieved September 2, 2011.
39.Jump up ^ Hann, Michael (2011-06-24). "Foster the People: Torches – review". guardian.co.uk. Guardian News and Media Limited. Retrieved 2012-03-12.
40.Jump up ^ Greene, Andy (September 8, 2011). "Readers Poll: The Best Songs of the Summer". Rolling Stone. Retrieved September 9, 2011.
41.Jump up ^ Suddath, Claire (December 7, 2011). "The Top 10 Everything of 2011 - Foster the People, 'Pumped Up Kicks'". Time. Retrieved December 13, 2011.
42.Jump up ^ "Nicki Minaj's 'Super Bass' named No. 1 song of 2011 by Billboard, Entertainment Weekly". MSN. Microsoft. December 19, 2011. Retrieved December 31, 2011.
43.Jump up ^ Anderson, Stacey, Jon Dolan, David Fricke, Will Hermes, Monica Herrera, Jody Rosen, Rob Sheffield, and Simon Vozick-Levison. "50 Best Singles of 2011: 11. Foster the People, 'Pumped Up Kicks'". Rolling Stone. Retrieved December 27, 2011.
44.Jump up ^ "Readers' Poll: The Best Songs of 2011: 6. Foster the People, 'Pumped Up Kicks'". Rolling Stone. Retrieved December 27, 2011.
45.Jump up ^ "102.l the Edge - Top 102 Songs of 2011". edge.ca. Retrieved May 12, 2012.
46.Jump up ^ "50 Best Tracks of 2011". NME. Retrieved 2012-05-21.
47.Jump up ^ "20 best tracks of the year 2011, as voted by you". NME. 2011-11-29. Retrieved 2012-05-21.
48.Jump up ^ "Foster The People Receives Grammy® Nominations for 'Best Alternative Album' and 'Best Pop Duo/Group Performance'" (Press release). PR Newswire. December 1, 2011. Retrieved December 2, 2011.
49.Jump up ^ Robert, David (2012-07-18). "Foster The People Talk The Success Of 'Pumped Up Kicks' With MTV News". MTV.ca. Bell Media. Retrieved 2012-07-19.
50.Jump up ^ DJ Louie XIV (2012-04-16). "'Indie Pop': Indie Rock's Pop Culture Moment". The Huffington Post. Retrieved 2012-05-21.
51.Jump up ^ "HBO Entourage Music - S7 Ep 82 Tequila Sunrise". HBO. Retrieved October 5, 2011.
52.Jump up ^ http://www.youtube.com/watch?v=SLJiqUlGSP8
53.Jump up ^ http://www.hollywoodreporter.com/earshot/keshas-die-young-singer-responds-404776
54.Jump up ^ Riemenschneider, Chris (2011-09-04). "Weezer wears it proudly". Star Tribune. The Star Tribune Company. Retrieved 2012-05-22.
55.Jump up ^ http://www.nme.com/news/weezer/58500
56.Jump up ^ http://www.youtube.com/watch?v=oo8wHQOHXFY
57.Jump up ^ "Foster The People - "Pumped Up Kicks" - by Dani Shay & Justin Chase (@Be_More_Heroic)". YouTube. October 10, 2011.
58.Jump up ^ "iTunes - Music - Pumped Up Kicks - Single by Dani Shay & Justin Chase". Apple. November 18, 2011.
59.Jump up ^ http://www.youtube.com/watch?feature=player_embedded&v=d8kCTPPwfpM
60.Jump up ^ http://www.nbc.com/the-voice/video/charlotte-sometimes-vs-lex-land-pumped-up-kicks/1390158
61.Jump up ^ http://www.youtube.com/watch?v=XQ1Io0d4yo4&feature=plcp
62.Jump up ^ https://soundcloud.com/solrepublic/pumped-up-kicks-feat-kendrick
63.Jump up ^ http://www.youtube.com/watch?v=GaR2uA5K_u0
64.^ Jump up to: a b Foster the People 'Pumped Up Kicks' - Digital Download, United Kingdom Amazon.com, Retrieved May 29, 2011.
65.^ Jump up to: a b c Foster the People 'Pumped Up Kicks' - Vinyl, United States Amazon.com, Retrieved May 29, 2011.
66.Jump up ^ "Australian-charts.com – Foster The People – Pumped Up Kicks". ARIA Top 50 Singles.
67.Jump up ^ "Foster The People – Pumped Up Kicks – Austriancharts.at" (in German). Ö3 Austria Top 40.
68.Jump up ^ "Ultratop.be – Foster The People – Pumped Up Kicks" (in Dutch). Ultratop 50.
69.Jump up ^ "Ultratop.be – Foster The People – Pumped Up Kicks" (in French). Ultratop 50.
70.Jump up ^ ""Brasil Hot 100 Airplay". Billboard Brasil (Brasil: bpp) (2): 97.January 2012. ISSN 785-98764560-23". Billboard Brasil (ABPD). January 7, 2012. Retrieved January 7, 2012.
71.Jump up ^ "Pumped Up Kicks - Foster the People". Billboard. Retrieved May 23, 2011.
72.Jump up ^ "Canadian Active Rock & Alt Rock Chart Archive: Alternative Rock - May 31, 2011". America's Music Charts. Retrieved May 31, 2011.
73.Jump up ^ "Canadian Active Rock & Alt Rock Chart Archive: Active Rock - August 9, 2011". America's Music Charts. Retrieved August 9, 2011.
74.Jump up ^ "ČNS IFPI" (in Czech). Hitparáda – Radio Top100 Oficiální. IFPI Czech Republic. Note: insert {{{year}}}{{{week}}} into search.
75.Jump up ^ "Lescharts.com – Foster The People – Pumped Up Kicks" (in French). Les classement single.
76.Jump up ^ "Die ganze Musik im Internet: Charts, News, Neuerscheinungen, Tickets, Genres, Genresuche, Genrelexikon, Künstler-Suche, Musik-Suche, Track-Suche, Ticket-Suche – musicline.de" (in German). Media Control Charts. PhonoNet GmbH.
77.Jump up ^ "Chart Search Results - Greece Digital Songs 2011-12-17". Billboard.biz. Archived from the original on August 7, 2012. Retrieved August 7, 2012.
78.Jump up ^ "Chart Track". Irish Singles Chart.
79.Jump up ^ "Mexico Airplay". Billboard. May 5, 2012. Archived from the original on April 26, 2012.
80.Jump up ^ "Nederlandse Top 40 – Foster The People search results" (in Dutch) Dutch Top 40.
81.Jump up ^ "Chart Search Results - Japan Hot 100 Singles 2011-11-19". Billboard.biz. Archived from the original on August 7, 2012. Retrieved August 7, 2012.
82.Jump up ^ "Charts.org.nz – Foster The People – Pumped Up Kicks". Top 40 Singles.
83.Jump up ^ "Listy bestsellerów, wyróżnienia :: Związek Producentów Audio-Video". Polish Airplay Top 20.
84.Jump up ^ "Archive Chart". Scottish Singles Top 40.
85.Jump up ^ "SNS IFPI" (in Slovak). Hitparáda – Radio Top100 Oficiálna. IFPI Czech Republic. Note: insert {{{year}}}{{{week}}} into search.
86.Jump up ^ "South Korea Gaon International Chart (Week: January 15, 2012 to January 21, 2012)". Gaon Chart. December 15, 2012. Retrieved December 21, 2012.
87.Jump up ^ "Foster The People – Pumped Up Kicks – swisscharts.com". Swiss Singles Chart.
88.Jump up ^ "20, 2011/ Archive Chart" UK Singles Chart.
89.^ Jump up to: a b c d e f g "Pumped Up Kicks - Foster the People". Billboard.com. Prometheus Global Media. Retrieved September 29, 2011.
90.Jump up ^ http://www.billboard.com/articles/chartbeat/513364/chart-highlights-lady-gagas-marry-the-night-tops-danceclub-play-songs
91.Jump up ^ "Chart Highlights: Sara Bareilles Bows On Adult Pop Songs". Billboard.com. Prometheus Global Media. Retrieved October 3, 2011.
92.Jump up ^ "Chart Highlights: Katy Perry Debuts On Pop Songs, Lady Gaga Leads Dance/Club Play Songs". Billboard.com. Prometheus Global Media. October 17, 2011. Retrieved October 17, 2011.
93.Jump up ^ "ARIA Charts – Accreditations – 2013 Singles". Australian Recording Industry Association.
94.Jump up ^ "Austrian single certifications – Foster the People – Pumped Up Kicks" (in German). IFPI Austria. Enter Foster the People in the field Interpret. Enter Pumped Up Kicks in the field Titel. Select single in the field Format. Click Suchen
95.Jump up ^ "Canadian single certifications – Foster the People – Pumped Up Kicks". Music Canada.
96.Jump up ^ "Gold-/Platin-Datenbank (Foster the People; 'Pumped Up Kicks')" (in German). Bundesverband Musikindustrie.
97.Jump up ^ "Mexico Airplay". Billboard. June 2, 2012. Archived from the original on May 24, 2012.
98.Jump up ^ "New Zealand single certifications – Foster the People – Pumped Up Kicks". Recording Industry Association of New Zealand.
99.Jump up ^ "American single certifications – Foster the People – Pumped Up Kicks". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Single, then click SEARCH
100.Jump up ^ "ARIA 2011 Top 100 Albums Chart" (PDF). Australian Recording Industry Association (ARIA). Retrieved January 1, 2012.
101.Jump up ^ http://oe3.orf.at/charts/stories/singleyear/
102.Jump up ^ http://www.mtv.de/charts/Single_Jahrescharts_2011
103.Jump up ^ http://nztop40.co.nz/chart/?chart=1862
104.Jump up ^ http://hitparade.ch/year.asp?key=2011
105.Jump up ^ "Best of 2011: Hot 100 Songs". Billboard. Prometheus Global Media. 2011. Retrieved December 9, 2011.
106.Jump up ^ "Best of 2011:Pop Songs". Billboard. Prometheus Global Media. 2011. Retrieved December 10, 2011.
107.Jump up ^ "Best of 2011:Adult Pop Songs". Billboard. Prometheus Global Media. 2011. Retrieved December 10, 2011.
108.Jump up ^ "Best of 2011:Rock Songs". Billboard. Prometheus Global Media. 2011. Retrieved December 10, 2011.
109.Jump up ^ "Best of 2011:Alternative Songs". Billboard. Prometheus Global Media. 2011. Retrieved December 10, 2011.
110.Jump up ^ "ARIA 2012 Top 100 Singles Chart" (PDF). Australian Recording Industry Association (ARIA). Retrieved January 9, 2013.
111.Jump up ^ "Classement des 200 premiers Singles Fusionnés par GfK année 2012". SNEP. Retrieved 2013-02-03.
External links[edit]
"Pumped Up Kicks" Official music video on YouTube
Full lyrics of this song at MetroLyrics
[hide]
v·
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e
Foster the People
Mark Foster·
Cubbie Fink·
Mark Pontius
Studio albums
Torches
EPs
Foster the People
Singles
"Pumped Up Kicks"·
"Helena Beat"·
"Call It What You Want"·
"Don't Stop (Color on the Walls)"·
"Houdini"
Related articles
Discography·
Sony Music Entertainment·
Startime International·
Columbia
Categories: Singles certified sextuple platinum by the Australian Recording Industry Association
Singles certified gold by the International Federation of the Phonographic Industry of Austria
Singles certified quintuple platinum by the Canadian Recording Industry Association
Singles certified platinum by the Bundesverband Musikindustrie
Singles certified quadruple platinum by the Asociación Mexicana de Productores de Fonogramas y Videogramas
Singles certified platinum by Recorded Music NZ
Singles certified quadruple platinum by the Recording Industry Association of America
2010 singles
2011 singles
Foster the People songs
Billboard Alternative Songs number-one singles
Billboard Dance/Mix Show Airplay number-one singles
Mexican Airplay Chart number-one singles
Number-one singles in Poland
Number-one singles in Australia
Debut singles
Number-one debut singles
Columbia Records singles
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