title: Emotional self-regulation

text: Effective situation selection is not always an easy task. For instance, humans display difficulties predicting their emotional responses to future events. Therefore, they may have trouble making accurate and appropriate decisions about which emotionally relevant situations to approach or to avoid.


title: Emotional self-regulation

text: Situation modification involves efforts to modify a situation so as to change its emotional impact. Situation modification refers specifically to altering one's external, physical environment. Altering one's "internal" environment to regulate emotion is called cognitive change.


title: Emotional self-regulation

text: Examples of situation modification may include injecting humor into a speech to elicit laughter or extending the physical distance between oneself and another person.


title: Emotional self-regulation

text: Attentional deployment involves directing one's attention towards or away from an emotional situation.


title: Emotional self-regulation

text: Distraction, an example of attentional deployment, is an early selection strategy, which involves diverting one's attention away from an emotional stimulus and towards other content. Distraction has been shown to reduce the intensity of painful and emotional experiences, to decrease facial responding and neural activation in the amygdala associated with emotion, as well as to alleviate emotional distress. As opposed to reappraisal, individuals show a relative preference to engage in distraction when facing stimuli of high negative emotional intensity. This is because distraction easily filters out high-intensity emotional content, which would otherwise be relatively difficult to appraise and process.


title: Emotional self-regulation

text: Rumination, an example of attentional deployment, is defined as the passive and repetitive focusing of one's attention on one's symptoms of distress and the causes and consequences of these symptoms. Rumination is generally considered a maladaptive emotion regulation strategy, as it tends to exacerbate emotional distress. It has also been implicated in a host of disorders including major depression.


title: Emotional self-regulation

text: Worry, an example of attentional deployment, involves directing attention to thoughts and images concerned with potentially negative events in the future. By focusing on these events, worrying serves to aid in the down-regulation of intense negative emotion and physiological activity. While worry may sometimes involve problem solving, incessant worry is generally considered maladaptive, being a common feature of anxiety disorders, particularly generalized anxiety disorder.


title: Emotional self-regulation

text: Thought suppression, an example of attentional deployment, involves efforts to redirect one's attention from specific thoughts and mental images to other content so as to modify one's emotional state. Although thought suppression may provide temporary relief from undesirable thoughts, it may ironically end up spurring the production of even more unwanted thoughts. This strategy is generally considered maladaptive, being most associated with obsessive-compulsive disorder.


title: Emotional self-regulation

text: Cognitive change involves changing how one appraises a situation so as to alter its emotional meaning.


title: Emotional self-regulation

text: Reappraisal, an example of cognitive change, is a late selection strategy, which involves a change of the meaning of an event that alters its emotional impact. It encompasses different substrategies, such as positive reappraisal (creating and focusing on a positive aspect of the stimulus), decentering (reinterpreting an event by broadening one's perspective to see "the bigger picture"), or fictional reappraisal (adopting or emphasizing the belief that event is not real, that it is for instance "just a movie" or "just my imagination"). Reappraisal has been shown to effectively reduce physiological, subjective, and neural emotional responding. As opposed to distraction, individuals show a relative preference to engage in reappraisal when facing stimuli of low negative emotional intensity because these stimuli are relatively easy to appraise and process.


title: Emotional self-regulation

text: Reappraisal is generally considered to be an adaptive emotion regulation strategy. Compared to suppression (including both thought suppression and expressive suppression), which is positively correlated with many psychological disorders, reappraisal can be associated with better interpersonal outcomes, and can be positively related to well-being. However, some researchers argue that context is important when evaluating the adaptiveness of a strategy, suggesting that in some contexts reappraisal may be maladaptive. Furthermore, some research has shown reappraisal does not influence affect or physiological responses to recurrent stress.


title: Emotional self-regulation

text: Distancing, an example of cognitive change, involves taking on an independent, third-person perspective when evaluating an emotional event. Distancing has been shown to be an adaptive form of self-reflection, facilitating the emotional processing of negatively valenced stimuli, reducing emotional and cardiovascular reactivity to negative stimuli, and increasing problem-solving behavior.


title: Emotional self-regulation

text: Humour, an example of cognitive change, has been shown to be an effective emotion regulation strategy. Specifically, positive, good-natured humour has been shown to effectively up-regulate positive emotion and down-regulate negative emotion. On the other hand, negative, mean-spirited humour is less effective in this regard.


title: Emotional self-regulation

text: Response modulation involves attempts to directly influence experiential, behavioral, and physiological response systems.


title: Emotional self-regulation

text: Expressive suppression, an example of response modulation, involves inhibiting emotional expressions. It has been shown to effectively reduce facial expressivity, subjective feelings of positive emotion, heart rate, and sympathetic activation. However, the research findings are mixed regarding whether this strategy is effective for down-regulating negative emotion. Research has also shown that expressive suppression may have negative social consequences, correlating with reduced personal connections and greater difficulties forming relationships.


title: Emotional self-regulation

text: Expressive suppression is generally considered to be a maladaptive emotion regulation strategy. Compared to reappraisal, it is positively correlated with many psychological disorders, associated with worse interpersonal outcomes, is negatively related to well-being, and requires the mobilization of a relatively substantial amount of cognitive resources. However, some researchers argue that context is important when evaluating the adaptiveness of a strategy, suggesting that in some contexts suppression may be adaptive.


title: Emotional self-regulation

text: Drug use, an example of response modulation, can be used to alter emotion-associated physiological responses. For example, alcohol can produce sedative and anxiolytic effects and beta blockers can affect sympathetic activation.


title: Emotional self-regulation

text: Exercise, an example of response modulation, can be used to down-regulate the physiological and experiential effects of negative emotions. Regular physical activity has also been shown to reduce emotional distress and improve emotional control.


title: Emotional self-regulation

text: Sleep plays a role in emotion regulation, although stress and worry can also interfere with sleep. Studies have shown that sleep, specifically REM sleep, down-regulates reactivity of the amygdala, a brain structure known to be involved in the processing of emotions, in response to previous emotional experiences. On the flip side, sleep deprivation is associated with greater emotional reactivity or overreaction to negative and stressful stimuli. This is a result of both increased amygdala activity and a disconnect between the amygdala and the prefrontal cortex, which regulates the amygdala through inhibition, together resulting in an overactive emotional brain. Due to the subsequent lack of emotional control, sleep deprivation may be associated with depression, impulsivity, and mood swings. Additionally, there is some evidence that sleep deprivation may reduce emotional reactivity to positive stimuli and events and impair emotion recognition in others.


title: Emotional self-regulation

text: Emotion regulation strategies are taught, and emotion regulation problems are treated, in a variety of counseling and psychotherapy approaches, including Cognitive Behavioral Therapy (CBT), Dialectical Behavior Therapy (DBT), Emotion-Focused Therapy (EFT), and Mindfulness-Based Cognitive Therapy (MBCT).


title: Emotional self-regulation

text: Intrinsic emotion regulation efforts during infancy are believed to be guided primarily by innate physiological response systems. These systems usually manifest as an approach towards and an avoidance of pleasant or unpleasant stimuli. At three months, infants can engage in self-soothing behaviors like sucking and can reflexively respond to and signal feelings of distress. For instance, infants have been observed attempting to suppress anger or sadness by knitting their brow or compressing their lips. Between three and six months, basic motor functioning and attentional mechanisms begin to play a role in emotion regulation, allowing infants to more effectively approach or avoid emotionally relevant situations. Infants may also engage in self-distraction and help-seeking behaviors for regulatory purposes. At one year, infants are able to navigate their surroundings more actively and respond to emotional stimuli with greater flexibility due to improved motor skills. They also begin to appreciate their caregivers' abilities to provide them regulatory support. For instance, infants generally have difficulties regulating fear. As a result, they often find ways to express fear in ways that attract the comfort and attention of caregivers.


title: Emotional self-regulation

text: Extrinsic emotion regulation efforts by caregivers, including situation selection, modification, and distraction, are particularly important for infants. The emotion regulation strategies employed by caregivers to attenuate distress or to up-regulate positive affect in infants can impact the infants' emotional and behavioral development, teaching them particular strategies and methods of regulation. The type of attachment style between caregiver and infant can therefore play a meaningful role in the regulatory strategies infants may learn to use.


title: Emotional self-regulation

text: Recent evidence supports the idea that maternal singing has a positive effect on affect regulation in infants. Singing play-songs, such as "The Wheels on the Bus" or "She'll Be Coming 'Round the Mountain" have a visible affect-regulatory consequence of prolonged positive affect and even alleviation of distress. In addition to proven facilitation of social bonding, when combined with movement and/or rhythmic touch, maternal singing for affect regulation has possible applications for infants in the NICU and for adult caregivers with serious personality or adjustment difficulties.


title: Emotional self-regulation

text: By the end of the first year, toddlers begin to adopt new strategies to decrease negative arousal. These strategies can include rocking themselves, chewing on objects, or moving away from things that upset them. At two years, toddlers become more capable of actively employing emotion regulation strategies. They can apply certain emotion regulation tactics to influence various emotional states. Additionally, maturation of brain functioning and language and motor skills permits toddlers to manage their emotional responses and levels of arousal more effectively.


title: Emotional self-regulation

text: Extrinsic emotion regulation remains important to emotional development in toddlerhood. Toddlers can learn ways from their caregivers to control their emotions and behaviors. For example, caregivers help teach self-regulation methods by distracting children from unpleasant events (like a vaccination shot) or helping them understand frightening events.


title: Emotional self-regulation

text: Emotion regulation knowledge becomes more substantial during childhood. For example, children aged six to ten begin to understand display rules. They come to appreciate the contexts in which certain emotional expressions are socially most appropriate and therefore ought to be regulated. For example, children may understand that upon receiving a gift they should display a smile, irrespective of their actual feelings about the gift. During childhood, there is also a trend towards the use of more cognitive emotion regulation strategies, taking the place of more basic distraction, approach, and avoidance tactics.


title: Emotional self-regulation

text: Regarding the development of emotion dysregulation in children, one robust finding suggests that children who are frequently exposed to negative emotion at home will be more likely to display, and have difficulties regulating, high levels of negative emotion.


title: Emotional self-regulation

text: Adolescents show a marked increase in their capacities to regulate their emotions, and emotion regulation decision making becomes more complex, depending on multiple factors. In particular, the significance of interpersonal outcomes increases for adolescents. When regulating their emotions, adolescents are therefore likely to take into account their social context. For instance, adolescents show a tendency to display more emotion if they expect a sympathetic response from their peers.


title: Emotional self-regulation

text: Additionally, spontaneous use of cognitive emotion regulation strategies increases during adolescence, which is evidenced both by self-report data and neural markers.


title: Emotional self-regulation

text: Social losses increase and health tends to decrease as people age. As people get older their motivation to seek emotional meaning in life through social ties tends to increase. Autonomic responsiveness decreases with age, and emotion regulation skill tends to increase.


title: Emotional self-regulation

text: Emotional regulation in adulthood can also be examined in terms of positive and negative affectivity. Positive and negative affectivity refers to the types of emotions felt by an individual as well as the way those emotions are expressed. With adulthood comes an increased ability to maintain both high positive affectivity and low negative affectivity “more rapidly than adolescents.” This response to life’s challenges seems to become “automatized” as people progress throughout adulthood. Thus, as individuals age, their capability of self-regulating emotions and responding to their emotions in healthy ways improves.


title: Emotional self-regulation

text: Additionally, emotional regulation may vary between young adults and older adults. Younger adults have been found to be more successful than older adults in practicing “cognitive reappraisal” to decrease negative internal emotions. On the other hand, older adults have been found to be more successful in the following emotional regulation areas:


title: Emotional self-regulation

text: As people age, their affectthe way they react to emotionschanges, either positively or negatively. Studies show that positive affect increases as a person grows from adolescence to their mid 70s. Negative affect, on the other hand, decreases until the mid 70s. Studies also show that emotions differ in adulthood, particularly affect (positive or negative). Although some studies found that individuals experience less affect as they grow older, other studies have concluded that adults in their middle age experience more positive affect and less negative affect than younger adults. Positive affect was also higher for men than women while the negative affect was higher for women than it was for men and also for single people. A reason that older peoplemiddle adulthoodmight have less negative affect is because they have overcome, "the trials and vicissitudes of youth, they may increasingly experience a more pleasant balance of affect, at least up until their mid-70s". Positive affect might rise during middle age but towards the later years of lifethe 70sit begins to decline while negative affect also does the same. This might be due to failing health, reaching the end of their lives and the death of friends and relatives.


title: Emotional self-regulation

text: In addition to baseline levels of positive and negative affect, studies have found individual differences in the time-course of emotional responses to stimuli. The temporal dynamics of emotion regulation, also known as affective chronometry, include two key variables in the emotional response process: rise time to peak emotional response, and recovery time to baseline levels of emotion. Studies of affective chronometry typically separate positive and negative affect into distinct categories, as previous research has shown (despite some correlation) the ability of humans to experience changes in these categories independently of one another. Affective chronometry research has been conducted on clinical populations with anxiety, mood, and personality disorders, but is also utilized as a measurement to test the effectiveness of different therapeutic techniques (including mindfulness training) on emotional dysregulation.


title: Emotional self-regulation

text: The development of functional magnetic resonance imaging has allowed for the study of emotion regulation on a biological level. Specifically, research over the last decade strongly suggests that there is a neural basis. Sufficient evidence has correlated emotion regulation to particular patterns of prefrontal activation. These regions include the orbital prefrontal cortex, the ventromedial prefrontal cortex, and the dorsolateral prefrontal cortex. Two additional brain structures that have been found to contribute are the amygdala and the anterior cingulate cortex. Each of these structures are involved in various facets of emotion regulation and irregularities in one or more regions and/or interconnections among them are affiliated with failures of emotion regulation. An implication to these findings is that individual differences in prefrontal activation predict the ability to perform various tasks in aspects of emotion regulation.


title: Emotional self-regulation

text: People intuitively mimic facial expressions; it is a fundamental part of healthy functioning. Similarities across cultures in regards to nonverbal communication has prompted the debate that it is in fact a universal language. It can be argued that emotion regulation plays a key role in the ability to generate the correct responses in social situations. Humans have control over facial expressions both consciously and unconsciously: an intrinsic emotion program is generated as the result of a transaction with the world, which immediately results in an emotional response and usually a facial reaction. It is a well documented phenomenon that emotions have an effect on facial expression, but recent research has provided evidence that the opposite may also be true.


title: Emotional self-regulation

text: This notion would give rise to the belief that a person may not only control his emotion but in fact influence them as well. Emotion regulation focuses on providing the appropriate emotion in the appropriate circumstances. Some theories allude to the thought that each emotion serves a specific purpose in coordinating organismic needs with environmental demands (Cole, 1994). This skill, although apparent throughout all nationalities, has been shown to vary in successful application at different age groups. In experiments done comparing younger and older adults to the same unpleasant stimuli, older adults were able to regulate their emotional reactions in a way that seemed to avoid negative confrontation. These findings support the theory that with time people develop a better ability to regulate their emotions. This ability found in adults seems to better allow individuals to react in what would be considered a more appropriate manner in some social situations, permitting them to avoid adverse situations that could be seen as detrimental.


title: Emotional self-regulation

text: In solitary conditions, emotion regulation can include a minimization-miniaturization effect, in which common outward expressive patterns are replaced with toned down versions of expression. Unlike other situations, in which physical expression (and its regulation) serve a social purpose (i.e. conforming to display rules or revealing emotion to outsiders), solitary conditions require no reason for emotions to be outwardly expressed (although intense levels of emotion can bring out noticeable expression anyway). The idea behind this is that as people get older, they learn that the purpose of outward expression (to appeal to other people), is not necessary in situations in which there is no one to appeal to. As a result, the level of emotional expression can be lower in these solitary situations.


title: Emotional self-regulation

text: The way an individual reacts to stress can directly overlap with their ability to regulate emotion. Although the two concepts differ in a multitude of ways, "both coping [with stress] and emotion regulation involve affect modulation and appraisal processes" that are necessary for healthy relationships and self-identity.


title: Emotional self-regulation

text: According to Yu. V. Shcherbatykh, emotional stress in situations like school examinations can be reduced by engaging in self-regulating activities prior to the task being performed. To study the influence of self-regulation on mental and physiological processes under exam stress, Shcherbatykh conducted a test with an experimental group of 28 students (of both sexes) and a control group of 102 students (also of both sexes).


title: Emotional self-regulation

text: In the moments before the examination, situational stress levels were raised in both groups from what they were in quiet states. In the experimental group, participants engaged in three self-regulating techniques (concentration on respiration, general body relaxation, and the creation of a mental image of successfully passing the examination). During the examination, the anxiety levels of the experimental group were lower than that of the control group. Also, the percent of unsatisfactory marks in the experimental group was 1.7 times less than in the control group. From this data, Shcherbatykh concluded that the application of self-regulating actions before examinations helps to significantly reduce levels of emotional strain, which can help lead to better performance results.


title: Emotional self-regulation

text: Emotion regulation has also been associated with physiological responses to stress during laboratory stress paradigms.


title: Emotional self-regulation

text: Identification of our emotional self-regulating process can facilitate in the decision making process. Current literature on emotion regulation identifies that humans characteristically make efforts in controlling emotion experiences. There is then a possibility that our present state emotions can be altered by emotion regulation strategies resulting in the possibility that different regulation strategies could have different decision implications.


title: Emotional self-regulation

text: Following widespread adoption in the 21st century of digital devices and services for use in everyday life, evidence is mounting that people are increasingly using these tools to manage and regulate moods and emotions. A wide range of digital resources are used for emotion regulation including smartphones, social media, streaming services, online shopping, and videogames. Such spontaneous forms of digital emotion regulation can be distinguished from the use of digital interventions such as smartphone apps that have been explicitly designed to support emotional regulation or teach emotion regulation skills in clinical and non-clinical populations. Digital implementation of emotion regulation strategies can occur at all stages of the process model and in all strategy families, including interpersonal emotion regulation.


title: Emotional self-regulation

text: With a failure in emotion regulation, there is a rise in psychosocial and emotional dysfunctions caused by traumatic experiences due to an inability to regulate emotions. These traumatic experiences typically happen in grade school and are sometimes associated with bullying. Children who can't properly self-regulate express their volatile emotions in a variety of ways, including screaming if they don't have their way, lashing out with their fists, throwing objects (such as chairs), or bullying other children. Such behaviors often elicit negative reactions from the social environment, which, in turn, can exacerbate or maintain the original regulation problems over time, a process termed cumulative continuity. These children are more likely to have conflict-based relationships with their teachers and other children. This can lead to more severe problems such as an impaired ability to adjust to school and predicts school dropout many years later. Children who fail to properly self-regulate grow as teenagers with more emerging problems. Their peers begin to notice this "immaturity", and these children are often excluded from social groups and teased and harassed by their peers. This "immaturity" certainly causes some teenagers to become social outcasts in their respective social groups, causing them to lash out in angry and potentially violent ways. Being teased or being an outcast in childhood is especially damaging because it could lead to psychological symptoms such as depression and anxiety (in which dysregulated emotions play a central role), which, in turn, could lead to more peer victimization. This is why it is recommended to foster emotional self-regulation in children as early as possible.


title: Pretty Things

text: The Pretty Things were an English band formed in September 1963 in Sidcup, Kent. They took their name from Willie Dixon's 1955 song "Pretty Thing". A pure rhythm and blues band in their early years, with several singles charting in the United Kingdom, they later embraced other genres such as psychedelic rock in the late 1960s (with 1968's "S.F. Sorrow" being one of the first rock operas), hard rock in the early 1970s and new wave in the early 1980s. Despite this, they never managed to recapture the same level of commercial success of their early releases.


title: Pretty Things

text: The Pretty Things were preceded by Little Boy Blue and the Blue Boys, which consisted of Dick Taylor, fellow Sidcup Art College student Keith Richards, and Mick Jagger, among others. When Brian Jones was recruiting for his own band, all three joined Brian and Ian Stewart and were dubbed "Rollin' Stones" by Jones in June 1962. Because there were too many guitar players in the band, Taylor switched to bass. He quit the Stones five months later, when he was accepted at the Central School of Art and Design in London. Phil May, another Sidcup student, convinced him to form a new band. Taylor was once again playing guitar, with May singing and playing harmonica. They recruited John Stax on bass, Brian Pendleton on rhythm guitar, and Pete Kitley on drums. Kitley was soon replaced by Viv Andrews, also known as Viv Broughton.


title: Pretty Things

text: Bryan Morrison, a fellow student at the Art College where May and Taylor studied, was recruited as their manager. Morrison was to manage them for the rest of the 1960s, building his own Bryan Morrison Agency. This agency represented Pink Floyd among many other bands. Forming a partnership with songwriter Jimmy Duncan, he got the Pretty Things a recording contract with Fontana Records in early 1964. At this point, Viv Andrews was replaced by Viv Prince, a more experienced drummer who had played with Carter-Lewis and the Southerners.


title: Pretty Things

text: The Pretty Things' early material consisted of hard-edged blues-rock influenced by Bo Diddley and Jimmy Reed. Their first three singles appeared in the UK Singles Chart in 1964 and 1965: "Rosalyn" No. 41, "Don't Bring Me Down" No. 10, and the self-penned "Honey I Need" at No. 13. They never had a hit in the United States, but had considerable success in their native United Kingdom and in Australia, New Zealand, Germany and the Netherlands. Their appearance and behaviour were provocative, with May claiming to have the longest hair in the UK and Prince often causing chaos wherever he went.


title: Pretty Things

text: The band later blamed their lack of success in the US on the fact their management opted for a tour of the Southern Hemisphere in July–August 1965. During their two weeks in New Zealand, they caused so much outrage in the media that the New Zealand Parliament addressed the issue of granting entry permits to musicians such as the Pretty Things. The band was never actually banned from re-entering New Zealand, contrary to what can be read in some sources.


title: Pretty Things

text: The first of what would be many personnel changes over the years also began, with Prince, whose wild antics had become too much for the other members to endure, being the first to go in November 1965. He was replaced by Skip Alan. In early 1966, the band made a short film "The Pretty Things on Film"; it featured live footage and a music video prototype for "Can't Stand the Pain", which also featured their manager, Morrison. Rarely screened at the time, the film can be found as a bonus multimedia item on the Snapper CD re-issue of "Get the Picture". 1966 saw the R&B scene fall into decline and the Pretty Things began moving away, flirting with soul music. In mid-1966, they made the UK Singles Chart for the final time with a cover of the Kinks song "A House in the Country". In December 1966 came the single "Progress", where the band were joined by a brass section.


title: Pretty Things

text: Pendleton left in December 1966 and was replaced on stage by Billy Harrison from Them. Stax followed in January 1967. Jon Povey and Wally Waller, both former Fenmen from Bern Elliott and the Fenmen, joined and made the band a five-piece once again.


title: Pretty Things

text: Their final album for Fontana Records was a contractual obligation produced by Steve Rowland and the subject of controversy, since "Emotions" was laden with brass and string arrangements arranged by Reg Tilsley. EMI producer Norman Smith expressed interest in working with them and at the end of September 1967, the Pretty Things signed to EMI's Columbia label. In November 1967 they released "Defecting Grey", a psychedelic effort that failed to sell. This was followed three months later by a double A-side single, "Talking About the Good Times" / "Walking Through My Dreams".


title: Pretty Things

text: That single marked the beginning of sessions for the "S.F. Sorrow" album. Released in December 1968, it was the first rock opera, preceding the release of the Who's "Tommy" in May 1969. It was recorded between December 1967 and September 1968 at the Abbey Road Studios, while Pink Floyd were working on "A Saucerful of Secrets" (also produced by Norman Smith) and the Beatles worked on the "White Album". In March 1968, drummer Skip Alan left the group. Twink replaced him to help the band to complete the album.


title: Pretty Things

text: In March 1969, the British music magazine "NME" reported that Motown Records vice-president Barney Ales had visited London to sign the Pretty Things as the U.S. label's first British act. "S.F. Sorrow" was commercially unsuccessful, with no immediate release in the United States. The work received only modest support from EMI, and its depressing narrative probably did not help sales. The American release, on Motown's Rare Earth Records label, came out more than a year late, leading to the impression that "S.F. Sorrow" was merely following the trend set by the Who's "Tommy".


title: Pretty Things

text: 1969 saw the band feeling disillusioned by the failure of "S.F. Sorrow" and that June, Taylor left the group. The Pretty Things borrowed guitarist Victor Unitt from the Edgar Broughton Band to replace Taylor. During the summer of 1969, they recorded an album for a young French millionaire Philippe DeBarge, which was intended only to be circulated among his social circle. The acetate has since been bootlegged. In 2010, it was picked up by Mike Stax, owner of 1960s music magazine "Ugly Things". He unearthed one of the two acetates and had it mixed and mastered and then as a "piece de resistance", had the classic Pretty Things line-up, which Dick Taylor had just left at the time of the recording of the tracks with DeBarge, record a song entitled "Monsieur Rock" ("Ballad of Philippe") a bonus track for this release on Ugly Things UTCD-2207.


title: Pretty Things

text: Twink left at the end of 1969 to form the Pink Fairies. Skip Alan returned to the drumstool in time for the band's return to Abbey Road to start work on "Parachute", which kept the psychedelic sound. Shortly before the release of "Parachute", Unitt left to rejoin the Edgar Broughton Band and was replaced by Pete Tolson, former guitarist for Eire Apparent. Despite much stage work and acclaim, their records were still failing to sell at all well. With Tolson, they released a few singles before disbanding in mid-1971.


title: Pretty Things

text: During the late 1960s, the group made some extra money by recording for music library company DeWolfe. Some of these songs ended up in low-budget films including "What's Good for the Goose" (1969), "The Haunted House of Horror" (1969), and a couple of softcore porn films. Not intended for official release, these songs were later compiled on a number of records and released under the alias Electric Banana: "Electric Banana" (1967), "More Electric Banana" (1968), "Even More Electric Banana" (1969), "Hot Licks" (1970), and "Return of the Electric Banana" (1978). The initial releases featured one side of vocal and one side of instrumental tracks. Subsequent releases of these albums generally keep the true identity of the band secret.


title: Pretty Things

text: Pretty Things reformed in late 1971. Wally Waller, who had become assistant producer at EMI, was replaced by Stuart Brooks (ex-Black Cat Bones). They signed with Warner Bros. Records and released "Freeway Madness" at the end of 1972. Although Waller was no longer a member of the band, he produced the album under a pseudonym and contributed lead vocals to the song "Over the Moon". The album was commercially unsuccessful.


title: Pretty Things

text: In 1973, David Bowie covered two of their songs, "Rosalyn" and "Don't Bring Me Down", on his album "Pin Ups". Around this time, the band recruited a sixth member, Gordon John Edwards (born 26 December 1946, Southport, Lancashire). A versatile musician, Edwards could play the guitar as well as the keyboards, and he also sang.


title: Pretty Things

text: In 1974, Pretty Things were one of the first acts signed by Swan Song Records, the label created by Led Zeppelin, and Peter Grant became their manager. Stuart Brooks left the band before the recording of their first album for Swan Song, "Silk Torpedo". The bass lines on the album were recorded by guitarist Pete Tolson before the arrival of a new bass player, Jack Green, who only contributed backing vocals.


title: Pretty Things

text: "Silk Torpedo" was the first British album release on Zeppelin's own label Swan Song. It charted in the lower reaches of the "Billboard" Hot 100, for the first time in the band's history. Jimmy Page later remarked:


title: Pretty Things

text: During the recording of "Savage Eye", the follow-up to "Silk Torpedo", tensions arose between the members of the band, with May finding himself at odds with newcomers Edwards and Green. After the release of "Savage Eye", May did not show up at a major London gig, and he was fired soon after. Alan, Edwards, Green and Tolson tried to form a new band called Metropolis, but Swan Song was not interested in offering them a contract and they went their separate ways. Edwards briefly joined the Kinks for their "Misfits" tour, while Green became a member of Rainbow for a few weeks before launching a solo career.


title: Pretty Things

text: The 1967 line-up of Alan, May, Povey, Taylor and Waller reformed in 1978 for a one-off gig in the Netherlands. Adding Pete Tolson, the six-piece recorded "Cross Talk" for Warner Bros. Records in 1980. The new wave sounds did not improve their sales figures, and Pretty Things split up again in 1981, after an appearance in the horror film "The Monster Club" (1981).


title: Pretty Things

text: Throughout the 1980s, May and Taylor kept the band's name alive with a rotating cast of supporting musicians, touring extensively in continental Europe, especially Germany where they retained a loyal fanbase. In 1987, they released "Out of the Island", a live-in-the-studio album consisting of new recordings of songs from their catalogue which was their first CD release. They did a successful European blues tour in late 1990 with Stan Webb's Chicken Shack and Luther Allison. This outfit included drummer Hans Waterman (formerly of Dutch rock group Solution), bassist Roelf ter Velt and guitarist/keyboardist Barkley McKay (Waco Brothers, Pine Valley Cosmonauts, Jon Langford, the Mekons) on guitar. This line-up regularly toured the European mainland until late 1994.


title: Pretty Things

text: May and Taylor, together with former Yardbirds drummer Jim McCarty, recorded two albums in Chicago as Pretty Things/Yardbird Blues Band. They were "The Chicago Blues Tapes 1991" and "Wine, Women, Whiskey", both produced by George Paulus. They also recorded one album with members of the Inmates and Matthew Fisher of Procol Harum under the name Pretty Things n' Mates. It was released in 1992 as "Rockin' the Garage".


title: Pretty Things

text: The early 1990s were taken up with a battle against EMI. This was over unpaid royalties stemming back to a deal EMI set up with Motown subsidiary Rare Earth in 1968. The band never received any royalties from Rare Earth nor had received any monies from EMI for many years. The band won the legal case, the result being that in 1993 EMI gave them back all their master tapes, copyrights and an undisclosed sum of money as settlement. On friendly terms again, the 1967 line-up decided to return with the addition of Pete Tolson, Taylor's replacement in 1970, just like they had done in 1980 on "Cross Talk". After much rehearsal, Tolson grew disillusioned and quit with Frank Holland taking Tolson's place.


title: Pretty Things

text: Their label, Snapper Music, issued remastered CDs with many bonus tracks, plus a DVD of the September 1998 live netcast re-recording of "S.F. Sorrow" at Abbey Road Studios, with David Gilmour and Arthur Brown as guest players. They played a tour of the U.S. for the first time in decades.


title: Pretty Things

text: Original rhythm guitarist Brian Pendleton died of lung cancer on 16 May 2001 in Maidstone. Their ex-guitarist and keyboard player Gordon Edwards, who also played for the Kinks in the late 1970s, died on 28 February 2003 due to depression-related suicide.


title: Pretty Things

text: In 1999, they released the studio album "Rage Before Beauty" and in the early 2000s, they released several compilation albums, a live album and DVD. In 2003, Alan Lakey's biography of the band, "Growing Old Disgracefully", was published by Firefly. The book dealt with the long and involved history of the band, and paid special attention to the legal proceedings issued against EMI in the 1990s.


title: Pretty Things

text: Skip Alan suffered heart problems in 2001 restricting his commitment to the band, with Mark St. John (not to be confused with former KISS / White Tiger guitarist of the same name) deputising on the drums as required. In mid-2007, the Pretty Things released their eleventh studio album "Balboa Island" on Zoho Roots. Family illnesses meant Waller and Povey were unable to commit to the band's live schedule. A new line-up emerged around May and Taylor with Frank Holland on guitar, Jack Greenwood on drums and George Woosey on bass.


title: Pretty Things

text: In June 2009, May, Taylor, Waller, Povey and Alan reunited to receive the "Heroes" award at the annual "Mojo" Awards ceremony. Waller, Povey, Alan and Tolson reunited in the middle of 2010 to re-record "Parachute", to commemorate its 40th anniversary. Using the byline 'The XPTs', the album was released by Esoteric Recordings on 30 April 2012. Tolson died in April 2016.


title: Pretty Things

text: On 30 April 2012, a re-imagining of "S.F. Sorrow", entitled "Sorrow's Children" and featuring covers by contemporary bands of each track, was released on Fruits de Mer Records, only on vinyl and in a limited edition of 700. The album included an interview with May and Taylor, and had a live version of "Loneliest Person". The latter was recorded at their gig at London's 100 Club in December 2010, at which they played the whole of their first album.


title: Pretty Things

text: In 2012, the band returned to New Zealand for the first time since the bad publicity of 1965. They also toured Australia and were reunited with original bass player, John Stax, for their Melbourne shows. This was the first time May, Taylor and Stax had played together since 1967.


title: Pretty Things

text: In 2013 the Pretty Things celebrated their 50th Anniversary Tour with dates in the UK and Europe. The band's studio album, "The Sweet Pretty Things (Are in Bed Now, of Course...)", was released on 10 July 2015. This is the first album recorded with touring members Greenwood and Woosey.


title: Pretty Things

text: In 2018, the band announced that they were splitting up at the end of the year. All current and forthcoming dates throughout 2018 were billed as part of a farewell tour.


title: Pretty Things

text: 22 May 2020 saw the release of two tracks from an upcoming "stripped back, acoustic-driven" album recorded by May, Taylor, and Mark St. John before May's death. The album, "Bare as Bone, Bright as Blood", was released in September 2020.


title: Ovoviviparity

text: Ovoviviparity, ovovivipary, ovivipary, or aplacental viviparity is a term used as a "bridging" form of reproduction between egg-laying oviparous and live-bearing viviparous reproduction. Ovoviviparous animals possess embryos that develop inside eggs that remain in the mother's body until they are ready to hatch.


title: Ovoviviparity

text: The young of some ovoviviparous amphibians, such as "Limnonectes larvaepartus", are born as larvae, and undergo further metamorphosis outside the body of the mother. Members of genera "Nectophrynoides" and "Eleutherodactylus" bear froglets, not only the hatching, but all the most conspicuous metamorphosis, being completed inside the body of the mother before birth.


title: Ovoviviparity

text: Among insects that depend on opportunistic exploitation of transient food sources, such as many Sarcophagidae and other carrion flies, and species such as many Calliphoridae, that rely on fresh dung, and parasitoids such as tachinid flies that depend on entering the host as soon as possible, the embryos commonly develop to the first larval instar inside the mother's reproductive tract, and they hatch just before being laid or almost immediately afterwards.


title: Ovoviviparity

text: Ovoviviparous animals are similar to viviparous species in which there is internal fertilization and the young are born alive, but differ in that there is no placental connection and the unborn young are nourished by egg yolk; the mother's body does provide gas exchange.


title: Ovoviviparity

text: In some species, the internally developing embryos rely solely on yolk. This is known as "yolk-sac viviparity" and is regarded as a type of lecithotrophy (no maternal provisioning). Other species exhibit matrotrophy, in which the embryo exhausts its yolk supply early in gestation and the mother provides additional nutrition. This additional provisioning may be in the form of unfertilized eggs (intrauterine oophagy), uterine secretions (histotrophy) or it may be delivered through a placenta. The first two of these modes were categorized under histotroph viviparity, or aplacental viviparity.


title: Ovoviviparity

text: The young of ovoviviparous amphibians are sometimes born as larvae, and undergo metamorphosis outside the body of the mother. Modes of reproduction include based on relations between zygote and parents:


title: Ovoviviparity

text: Some insects, notably tachinid flies, are ovolarviparous, which means that the embryos develop into the first larval stage (instar) within the eggs while still in the female's oviduct. As a result, the larvae hatch more rapidly, sometimes immediately after egg deposition, and can begin feeding right away. A similar phenomenon is larviparity, in which larvae hatch "before" the female delivers them, although this may be mistakenly identified in species with very thin and transparent egg membranes.


title: Ovoviviparity

text: A lack of a rigidly defined term resulted in widespread misuse of the term ovoviviparity in the biological literature. Ovoviviparity has been used to describe delayed forms of egg-laying reproduction as well as live-bearing species that provide maternal nutrients but do not use a placenta. This widespread misuse of the term has led to confusion over what earlier authors meant when using the name. Modern practice has seen the disuse of ovoviviparity in favour of the more specific definitions of lecithotrophic and matrotrophic oviparity and viviparity.


title: Deepika Singh

text: Deepika Singh Goyal (born 26 July, 1989) is an Indian television actress. She is known for playing the role of Sandhya Rathi in Star Plus's "Diya Aur Baati Hum".


title: Deepika Singh

text: Singh was born in New Delhi on 26 July 1989. She completed her Masters in Business Administration in Marketing at Punjab Technical University.


title: Deepika Singh

text: Singh made her television debut in 2011, in the serial "Diya Aur Baati Hum" on Star Plus, as the character Sandhya Kothari. She played the role for 5 years until the show went off air in September 2016.


title: Deepika Singh

text: In 2018 she was seen in a webseries called "The Real Soulmate". She also became a contestant on Ekta Kapoor's "Box Cricket League" in 2014 and 2019. In 2019, Deepika made a comeback to television acting, as she portrayed the double role of twin sisters Sandhya and Sakshi Patwardhan in Colors TV's supernatural show "Kavach... Mahashivratri".


title: Deepika Singh

text: She is reprised the role of Sandhya Rathi to film a promotion video for StarPlus's show Ghum Hai Kisikey Pyaar Meiin. The show is based on IPS Officer Virat Chavan and his marriage to Sai Joshi under unfavourable circumstances. Hence why Singh was asked to film a promo in her police officer get up from Diya Aur Baati Hum.


title: Deepika Singh

text: Singh married the director of her television show Rohit Raj Goyal on 2 May 2014 after which she changed her name to Deepika Singh Goyal. In January 2017, she announced her pregnancy news to the media and her fans. In May 2017, she gave birth to a baby boy and took a brief break from acting.


title: Formation (song)

text: "Formation" is a song recorded by American singer Beyoncé for her sixth studio album "Lemonade" (2016). It was written by Beyoncé, Mike WiLL Made-It, Swae Lee, and Pluss, and produced by the former two. It served as the album's lead single, surprise-released on February 6, 2016, through Parkwood Entertainment. "Formation" is an R&B song with trap and bounce influences, in which Beyoncé celebrates her culture, identity and success as a black woman from the Southern United States.


title: Formation (song)

text: The song received widespread acclaim upon release, with particular praise for the lyrical references, as well as for the production and vocal performance. It was critics' top song of 2016, being named the best song of the year by publications including "Rolling Stone", "Time", NPR, and "Complex". In 2019, it was named the best song of the decade (2010s) by publications including "Essence" and "Parade". "Formation" was also Google's most searched song of 2016. "Formation" won all six of its nominations at the MTV Video Music Awards, and was nominated for three Grammy Awards: Record of the Year, Song of the Year and Best Music Video, of which it won the latter award.


title: Formation (song)

text: The song's music video premiered on the same day as the song itself as an unlisted video on Beyoncé's official YouTube account. Directed by Melina Matsoukas, the New Orleans-set video portrays black pride and resilience through diverse depictions of black Southern culture. The video received critical acclaim, with "Rolling Stone" naming it the greatest music video of all time in 2021. In order to promote the song, Beyoncé performed it during her guest appearance at the Super Bowl 50 halftime show the day after its premiere.


title: Formation (song)

text: Upon release, "Formation" ignited discussions on the topics of culture, racism and politics. The song, music video and Super Bowl performance also triggered controversy, with conservative commentators and politicians claiming that Beyoncé was spreading anti-police and anti-American messages and law enforcement groups organizing anti-Beyoncé boycotts and protests. The song became known as a protest song and was adopted as an anthem by the Black Lives Matter movement and the Women's March. The song has also been the subject of study at colleges and universities.


title: Formation (song)

text: Co-producer Pluss formulated the original beat for "Formation" in Atlanta, Georgia, implementing a synthesizer effect found in the Virtual Studio Technology plug-in on FL Studio. In April 2014, Mike WiLL Made-It and the members of Rae Sremmund were driving to Coachella and freestyling to beats in the car. For the beat that Pluss made, Swae Lee said: "Okay ladies, now let's get in formation". Will loved the concept and thought it would be suited to Beyoncé, who had recently asked him to send new music ideas. Will believed it could be a huge female empowerment anthem in the same vein as "Single Ladies (Put a Ring on It)", with the song being about women getting in line with the men they are in relationships with. They recorded the line on a voice note and later played it back when in a recording studio in Los Angeles. Lee recorded a simple reference track, freestyling over the beat. Mike Will sent it to Beyoncé, together with five or six other reference tracks. A few months later, Mike Will was at a party after a basketball game. Beyoncé appeared at the party and told him she really liked the "Formation" idea, and left it at that.


title: Formation (song)

text: Beyoncé then wrote all of the verses of the song in New York, while keeping the central concept of "okay ladies, now let's get in formation". Beyoncé's verses took the song in a different direction from what Will intended and broadened its scope to turn it into an anthem about her identity, heritage and culture. Jon Platt of Warner Chappell Music told Mike Will: "Yo, this shit's crazy, you got to hear this". Will went to New York and spent a week in the studio with Beyoncé to complete the recording and production. They added heavy, distorted 808 beats with saturated upper harmonics to the track to make it "palatable to the culture", according to mixing engineer Jaycen Joshua. Beyoncé thought it could be a song that marching bands would play, and asked for horns to be added to the track to evoke the sounds of New Orleans. Will explained that Beyoncé "took this one little idea we came up with on the way to Coachella, put it in a pot, stirred it up, and came with this smash. She takes ideas and puts them with her own ideas, and makes this masterpiece."


title: Formation (song)

text: "Formation" was released on February 6, 2016, accompanied by its official music video. It was a surprise release, being released with no prior announcement in a similar manner to Beyoncé's 2013 self-titled studio album. The song was made available for free download exclusively via the subscription-based music streaming service Tidal. The release of the song was also followed by new merchandise through the singer's website with items and clothing citing lyrics from the song. The release date of the song was noteworthy as it was the start of Black History Month, during Mardi Gras in New Orleans, the day after Trayvon Martin's birthday, and the day before Sandra Bland's birthday.


title: Formation (song)

text: "Formation" is a Houston trap and New Orleans bounce song. The song is written in the key of F minor in common time with a tempo of 123 beats per minute. It has a minimalistic beat containing rubbery synths and a heavy bass line, which transforms into a horn-infused stomp reminiscent of marching bands and military tattoos. Regina N. Bradley for "The Huffington Post" wrote that the synth effect sounds like a tweaked electronic banjo from the bayou, which positions Beyoncé "squarely in the middle of a messy Black South". In "The Oxford Handbook of Social Media and Music Learning", Joseph Michael Abramo wrote that Beyoncé's implementation of electronic production, brass elements and vocal fry in "Formation" acts as a tribute to the signifiers of black music, while also forming a critique of institutional racism together with the lyrics. The song has an unconventional structure that deviates from the norm of pop music. American singer-songwriter Mike Errico called the songwriting "practically Dylanesque", with no single clear chorus on the track, but instead a chorus followed by a "super-chorus" that "blows what we thought was the chorus out of the water".


title: Formation (song)

text: Beyoncé's vocals span from D to A in the song. Beyoncé employs multiple delivery styles on the track, with the introduction being delivered in a hoarse, whispered tone that switches into a half-rapped, half-sung cadence as the song progresses. Lauren Chanel Allen of "Teen Vogue" noted how Beyoncé used "a lazy trap flow" instead of "her superhuman vocal range", which acts as a refusal to code-switch and an embracing of blackness. "The Guardian" Alex Macpherson characterized Beyoncé's delivery as "playful" and "carefree", noting the "amused drawl" of the opening line and the "sudden giddy exclamation as she lands on the word "chaser" in the chorus". Sheldon Pearce of "Pitchfork" described how Beyoncé raps on the track, implementing enunciated syllables, "hard-cracking consonant sounds and precisely-measured alliteration" that make the lyrics satisfying to recite.


title: Formation (song)

text: "Formation" contains strong political criticism in its lyrics, being described by "Los Angeles Times" Mikael Wood as "a statement of radical black positivity." It also was noted by Joseph Lamour who commented during a review for MTV that "Formation" is "a song whose lyrics are teeming with notions of empowerment and pride in her heritage as a black American with roots in Alabama and Louisiana." In the opening line, Beyoncé says "Y'all haters corny with that Illuminati mess", addressing the conspiracy theory about the singer's connection to the Illuminati. With this line, Beyoncé is dismissing those who believe that black women can only achieve success through secretive manipulation instead of recognizing their talent and hard work. NPR's Mandalit del Barco noted during the first verse, Beyoncé represents her family roots, she said, "Her mother is from Louisiana, as she let us know in the song. This has always been a big part of her identity; it's not one that the mainstream focus is on. People talk about her not centering it." She also described the lines as an "unapologetic blackness".


title: Formation (song)

text: "Formation" received widespread critical acclaim upon release. Alexis Petridis, head rock and pop critic for "The Guardian", characterized "Formation" as "a masterpiece", citing the "adventurous" music, Beyoncé's "perfect" vocal performance which switches "between playfulness and determination", and the lyrics that act as "a powerful statement of black resilience and a tribute to the fabulousness of Beyoncé". "Pitchfork" named the song "Best New Track", with Britt Julious describing it as one of Beyoncé's "most instrumentally-dense and trend-forward productions" which is made specifically for black women, "an audience that might not receive the sort of mainstream, visually and sonically-enticing wisdom that Bey has perfected". Julious added that "for Beyoncé (and for her listeners, too), the unapologetic embracing of one's blackness and the power one can harness when making a name, livelihood, and legacy can't ever be ignored or taken for granted." "The New York Times" Jenna Wortham praised the expression of black identity in the song, writing that is "about the entirety of the black experience in America in 2016" encompassing topics such as beauty standards, police brutality, empowerment, and shared culture and history. Wortham also characterized the song as "an existential call to action", with Beyoncé telling black women to join her in formation, making "a power structure that doesn't rely on traditional institutions."


title: Formation (song)

text: In "The Lemonade Reader", Tamara Winfrey Harris described the song as "a radical act", with Beyoncé forgoing an image of blackness that appeases white Americans ("smiling, agreeable, passive, straight, and as close to white as possible") in favor of one that makes them uncomfortable ("Nappy Black, 'Bama Black, queer Black, sexual Black, militant Black"). Omise'eke Natasha Tinsley, a professor of African Studies at University of Texas at Austin, writes for "Time" that the song, which many called "political" because of its references, "differs radically from other post-Ferguson protests songs like Trip Lee's "Coulda Been Me" or Rihanna's "American Oxygen" video, which focuses on black men's deaths", calling African American women to stand side by side ("in formation"). Kevin Fallon of "The Daily Beast" called the song "a booming meditation on black identity, the validity and transience of a person's roots and history, and the crushing interplay between power and helplessness, agency, and victimization". A "Rolling Stone" journalist wrote that "in the era of #BlackLivesMatter, 'Formation' felt downright necessary" and further deemed it "a powerful statement of black Southern resilience". "Formation" was later placed at number one on the same magazine's "50 Best Songs of 2016" list by Rob Sheffield, with him commenting: Formation' was a song that kept hope alive in a bleak year – and it will be essential ammo for the struggles to come in the next."


title: Formation (song)

text: According to global critic aggregator Acclaimed Music, "Formation" was critics' top song of 2016. It was named the best song of 2016 by "Rolling Stone", "Time", NPR, "Rolling Stone Australia", "Rolling Stone Argentina", "Complex", "Entertainment Weekly", "Fuse", "Paste", "The Music", "Musikexpress", "Aftonbladet", "Idolator", "Mashable", "Red Bull", and "PopMatters". In the annual "Village Voice"'s Pazz & Jop mass critics poll of the year's best in music in 2016, "Formation" was ranked at number one. The song was also named the best international song of 2016 by "Rolling Stone Brazil". "Pitchfork" and "Spin" named the song the second best of the year, while "Noisey" named it the fourth best. "Fact" named it the fifth best song of the year, while "NME" the sixth. "Billboard" ranked "Formation" at number one on their "10 Best R&B Songs of 2016" list, and number 14 on their "100 Best Pop Songs of 2016" list. "Formation" was also named one of the best songs of 2016 by "The Irish Times", "Elle", and "Harper's Bazaar".


title: Formation (song)

text: In 2019, "Essence" and "Parade" named "Formation" the greatest song of the decade (2010s). "Consequence of Sound", "Paste", "Insider", and "Tampa Bay Times" listed "Formation" as the third greatest song of the 2010s. For "Pitchfork" and "Rolling Stone" it was the fourth best of the same period, while for "Stereogum" it was the 8th best, and for "NME", the 11th best. "BBC", "Billboard", and "GQ" included "Formation" in their lists of the songs that defined and shaped the decade. From over 35 outlets, global critic aggregator Acclaimed Music went on to rank "Formation" the 3rd greatest song of the 2010s. "Vulture" included the release date of "Formation" in their list of the 103 days that shaped music in the 2010s.


title: Formation (song)

text: "The Independent" included "Formation" on their list of the 40 best song lyrics of all time. "i-D" ranked the song at number one on their list of the greatest pop comebacks of the 21st century. In 2021, "Rolling Stone" placed the song at number 73 on its list of the 500 Greatest Songs of All Time.


title: Formation (song)

text: "Formation" received three nominations at the 59th Annual Grammy Awards: Record of the Year, Song of the Year and Best Music Video, of which it won the latter award. At the 2016 MTV Video Music Awards, "Formation" won all of its nominations, making Beyoncé the most awarded artist in Video Music Awards history. This video's win for Video of the Year marked Beyoncé's second win in this category, tying the record for artist with the most wins in the category in history. With the song's win for Best Pop Video, Beyoncé became the only black artist to win the award in history.


title: Formation (song)

text: Prior to its official release as a single, "Formation" debuted at number nine on the US "Billboard" Bubbling Under Hot 100 in February 2016. The song also debuted at number 11 on the US Hot R&B/Hip-Hop Airplay with 16.3 million audience impressions, marking Beyoncé's highest career debut on that chart, despite the song not being promoted to radio stations or available for purchase. Throughout March, the song reached number 33 on the Hot R&B/Hip-Hop Songs due to airplay and further purchase was not disclosed to "Billboard" by Tidal, the official platform where the song was exclusively made available. After the release of "Lemonade", "Formation" set new peak positions on the charts. It debuted at number 10 on the "Billboard" Hot 100 chart on May 2, 2016, becoming Beyoncé's first top 10 single since "Drunk in Love" in 2014; it is also the singer's highest-debuting single of her career (surpassing "Ring the Alarm" and "Drunk in Love" which both debuted at number 12). During that week, the song debuted at number three on the Digital Songs chart, selling 174,000 downloads. It fell to number 19 on the Hot 100 in its second week.


title: Formation (song)

text: Upon the release of "Lemonade", "Formation" also debuted on several international charts. It debuted at number 31 on the UK Singles Chart on May 5, 2016. The same week it also moved to a new peak position of eight on the UK R&B Singles chart. On the ARIA Singles Chart, the song set a peak of 17 on the chart issue dated May 8, 2016. It managed to top the ARIA Urban chart the same week, while the singer's own "Hold Up" was on the second spot. On the French Singles Chart, "Formation" set a peak position of 24 during the week of the album's release. In Canada, the single peaked at number 32 on the Canadian Hot 100 and was certified gold by Music Canada on November 28, 2019, for sales of 80,000 units.


title: Formation (song)

text: Beyoncé approached Melina Matsoukas to direct the accompanying music video for "Formation" a few weeks before its release. After Matsoukas agreed to direct the video, Beyoncé invited Matsoukas to her house in Los Angeles and explained the concept behind "Lemonade". They also discussed Beyoncé's family history, the South, and New Orleans. Matsoukas explained how she treats the videos she directs "like a thesis project", spending hours browsing art books, magazines, and websites. For the "Formation" video, she found ideas in the work of Toni Morrison, Maya Angelou, and Octavia Butler. Matsoukas conceived scenes featuring events from throughout black history, including slavery, Mardi Gras parades and the Rodney King protests. Matsoukas told "The New Yorker": "I wanted to show — this is black people. We triumph, we suffer, we're drowning, we're being beaten, we're dancing, we're eating, and we're still here". She wrote out a treatment at 2am and sent it to Beyoncé at 5am or 6am, thinking that Beyoncé would reply later in the day. However, Beyoncé responded immediately and asked to discuss it further.


title: Formation (song)

text: One set for the video was the Fenyes Estate, which was used due to its resemblance to New Orleans plantation houses. To evoke a Southern Gothic aesthetic, production designer Ethan Tobman and his crew decorated rooms with vintage plantation-era rugs and furniture, while adding storm shutters, Spanish moss, ivy, and wisteria to the building's exterior. Matsoukas wanted to include French Renaissance-style portraits of black subjects in the house, with the aim of subverting traditional power dynamics by portraying a plantation house where the black people are the masters and not the slaves. The crew looked for such portraits but found that none existed, so they painted black people over other portraits and hung them on the walls.


title: Formation (song)

text: The music video for "Formation" was shot in Los Angeles, California over two days. Arthur Jafa was hired as camera operator; Jafa had been the cinematographer of "Daughters of the Dust", a 1991 film about Gullah women in South Carolina whose focus on black sisterhood is echoed throughout the "Formation" video. Matsoukas wanted to create a sense of verisimilitude in the video, shooting some scenes with a camcorder and others with a Bolex camera, the latter giving the scenes a grainy look resembling documentary footage. Matsoukas also used footage from "That B.E.A.T.", a 2014 documentary about bounce culture in New Orleans. The filmmakers of the documentary were alternately pleased with its inclusion and frustrated by their work being used as "just b-roll by someone else". A representative for Beyoncé told "Entertainment Weekly" that the documentary footage was used with permission and licensed from the owner of the footage, and that they were correctly compensated and credited.


title: Formation (song)

text: Matsoukas devised a scene of Beyoncé performing on top of a police car that slowly sinks into the floodwaters of Hurricane Katrina. This scene represented how the police "hadn't really shown up for us, and that we were still here on top, and that she was one with the people who had suffered". The scene was filmed on a soundstage with an artificial lake backed by a blue screen, with oak trees, rooftops and cast iron gates added to the lake to provide realism. A series of pulleys and cables connected to a winch and a crane allowed Beyoncé and the police car to be repeatedly sunk into the water with controlled speed. The scene was filmed using one camera suspended by a crane on a barge and another camera that Matsoukas operated from a speedboat. Beyoncé's mother Tina Knowles-Lawson was scared because the water was cold and called Matsoukas saying "You're going to give her pneumonia, and she has to perform at the Super Bowl", however Beyoncé did not complain. Instead of ending the video with Beyoncé sinking into the water, Matsoukas wanted to use a more uplifting image. Looking through the footage, she found a shot of Beyoncé sitting in the plantation house making the "black-girl air grab". She placed this clip at the end of the video as an emphatic last gesture.


title: Formation (song)

text: The "Formation" video was premiered alongside the song on February 6, 2016. It was made available as an unlisted video on YouTube; this prevented the music video from being accessed by search functionalities, with viewers needing to access the video via Beyoncé's official website.


title: Formation (song)

text: The music video is set in New Orleans, exploring interpretations of the city's past, present and future in the wake of Hurricane Katrina, in turn forming a celebration of black pride and resilience. It features rapidly edited scenes that depict the variety and heterogeneity of black Southern culture. This includes Mardi Gras, black cowboys, stepping, wig shops, crawfish, cotillions, grills, black preachers, second lines, marching bands, bounce dancers, and traditional courtship and burial rituals. Beyoncé is seen embodying several archetypal Southern black women that span time, class, and space, which Ryann Donnelly viewed as being nine distinct personas that recur throughout the video. The video modifies the song to include spoken interpolations from the New Orleans artist Big Freedia and the YouTube personality Messy Mya, who was murdered in New Orleans in 2010. Dance routines are performed throughout the video by Beyoncé accompanied by back-up dancers. Her daughter Blue Ivy Carter makes a cameo appearance, sporting a natural afro.


title: Formation (song)

text: The video begins with Beyoncé crouching on top of a New Orleans police interceptor, which is partially submerged in floodwaters. As the video progresses, the car gradually sinks into the water. The scene forms a criticism of the police response to Hurricane Katrina, which disproportionately affected people of color, while also acting as a symbol of rebirth. An additional interpretation of this scene is that Beyoncé is invoking Mami Wata, harnessing water as a force of life and destruction. Jennifer Sweeney-Risko believes Beyoncé's outfit in this scene to be a reference to the Student Non-Violent Coordinating Committee, who traveled through the South to plan freedom rides, sit-ins and voter registration drives while wearing jeans and simple dresses to replicate the clothes of the black working class. Another set of scenes portray Beyoncé as the mistress of an all-black household in a Southern plantation-style house, reclaiming the legacy of slavery in the South. Beyoncé and her dancers perform in an empty swimming pool in another scene, referencing the story of a recently-desegregated public swimming pool in the 1950s being drained after Dorothy Dandridge dipped her toe in it.Beyoncé is later depicted standing in front of a plantation house with a black wide-brimmed hat covering her eyes, which Janell Hobson interprets as an invocation of the Vodou death loa Maman Brigitte. In another scene, a man can be seen holding a newspaper titled "The Truth" with an image of Martin Luther King Jr. on the front page. Headlined "More Than A Dreamer", the image contains the caption: "What is the real legacy of Dr. Martin Luther King, Jr. and why was a revolutionary recast as an acceptable Negro leader?" Laura Visser-Maessen wrote that with this scene, Beyoncé is bringing awareness to the whitewashing of King's legacy as a non-radical figure, which is being used to undermine the current movement for racial equality. The last sequence depicts a young boy in a hoodie dancing in front of a line of police officers in riot gear. When the boy holds up his hands, the officers reciprocate the gesture. The video cuts to a wall graffitied with the phrase: "Stop shooting us", echoing the demand of the Black Lives Matter movement for reform in policing and criminal justice.


title: Formation (song)

text: Syreeta McFadden for "The Guardian" noted that the video depicts archetypal southern black women "in ways that we haven't seen frequently represented in popular art or culture". Jon Caramanica of "The New York Times" described the video as "high-level, visuallystriking, Black Lives Matter-era allegory". In an interview for NPR, Dream Hampton described the video as a "visual anthem" that feels like "an Oscar-worthy feature". Hampton also praised how Beyoncé centers both black women and queer people in the video.


title: Formation (song)

text: In 2021, "Rolling Stone" named "Formation" the greatest music video of all time. In 2019, "Billboard" named "Formation" the best music video of the 2010s, stating that it "served as an active reminder that black people could not be silenced". The video was included in "E! News"' "The Most Memorable Music Videos Ever" list, describing it as "a gorgeous paean to the Black experience in America, both a love letter and a rally cry." "Slant Magazine" named "Formation" the 30th greatest music video of all time.


title: Formation (song)

text: Beyoncé performed the song as part of a guest appearance during the Super Bowl 50 halftime show, which was headlined by Coldplay at the Levi's Stadium in Santa Clara, California on February 7, 2016. Her performance started after Bruno Mars finished with "Uptown Funk". She wore a black and golden leather outfit and was joined towards the end by Mars again. The duo finished his track and went on performing dance choreographies. Jon Caramanica of "The New York Times" praised the singer's overall energetic performance, concluding that she outshined Coldplay. He felt that Beyoncé was the only artist capable of promoting new songs at the event. and "walking the cultural tightrope of delivering a song with such potent declarations of black pride on a stage that prefers studied neutrality". A writer of "Rolling Stone" felt that the performance, with tributes to Michael Jackson and the Black Panthers was "awe-inspiring".


title: Formation (song)

text: "Formation" was the opening number on Beyoncé's The Formation World Tour (2016) with the first performance taking place in Miami at the Marlins Park on April 27, 2016. It was performed with the singer backed by dancers dressed in black sequined leotards and hats with wide brims. "Formation" was also performed as part of a medley of songs from "Lemonade" at the 2016 MTV Video Music Awards on August 28, 2016, along with "Pray You Catch Me", "Hold Up", "Sorry" and "Don't Hurt Yourself". She finished the performance with "Formation", with her dancers forming the female symbol at the end. "Rolling Stone"s Rob Sheffield commented that Beyoncé "set the whole thing on fire with a 16-minute stomp through the "Lemonade" songbook", considering the performance as "one of the most blood-chillingly great live performances in award-show history". "Billboard" named the performance the greatest award show performance of all time. Beyoncé performed "Formation" during a surprise set at a "Get Out the Vote" concert for Hillary Clinton on November 4, 2016. Beyoncé and her dancers wore pantsuits, which is a piece of clothing that Clinton is known for.


title: Formation (song)

text: During her 2018 Coachella performance, Beyoncé sang "Lift Every Voice and Sing" (commonly known as the Black National Anthem) and then transitioned into "Formation". Naima Cochrane of "Billboard" described the placement of the song as "thoughtful", tying "Formation" – "an anthemic call to action celebrating her power as a black woman" – to the Civil Rights Movement anthem. The performance was subsequently included in the 2019 "Homecoming" film and . Beyoncé performed "Formation" during the On the Run II Tour, her 2018 co-headlining stadium world tour with Jay-Z. The song was also performed at the 2018 Global Citizen Festival: Mandela 100 charity concert in Johannesburg, South Africa, which commemorated Nelson Mandela's 100th birthday. Beyoncé and her dancers each wore a different color and lined up in a row, forming a human pride flag to show support for the LGBTQ community.


title: Formation (song)

text: "Formation", its music video, and the performance at the Super Bowl received criticism from conservative figures, law enforcement organizations and social media users over perceived anti-police, anti-American and racist messages. Former Mayor of New York City Rudy Giuliani called the performance "outrageous", adding: "I don't know what the heck it was. A bunch of people bouncing around and all strange things. It was terrible." Congressman Peter King condemned the "Formation" video, saying that "no one should really care what she thinks about any serious issue confronting our nation". Canadian politician Jim Karygiannis said that the Canadian government should investigate Beyoncé and consider banning her from the country. Conservative commentator Rush Limbaugh said that the song was "representative of the cultural decay and social rot that is befalling our country". Conservative TV host Tomi Lahren directed a rant towards Beyoncé, accusing her of "ramrodding an aggressive agenda down our throats" and concluding: "Your husband was a drug dealer. For fourteen years, he sold crack cocaine. Talk about protecting black neighborhoods? Start at home". Beyoncé requested to use thirty seconds of Lahren's rant for the Formation World Tour, but Lahren denied the request. An anti-Beyoncé campaign was started on social media titled #BoycottBeyoncé, which was met with a competing #IStandWithBeyoncé hashtag. As part of the campaign, an anti-Beyoncé protest was held on February 16, 2016, outside the National Football League headquarters, citing the "hate speech & racism" in Beyoncé's performance, which encouraged a counter-protest to be organized. In order to stoke unrest as part of the Russian interference in the 2016 US elections, the Kremlin-backed Internet Research Agency placed adverts on Instagram urging people to attend the protests. Only three anti-Beyoncé protesters attended, while a larger counter-protest gathered, holding signs expressing statements such as "Pro-black doesn't mean anti-white".


title: Formation (song)

text: The National Sheriffs' Association linked Beyoncé's performance to the killings of seven law enforcement officers in the US. Rutherford County Sheriff Robert Arnold blamed shots being fired outside his home on the "Formation" video. Police unions across the US encouraged a boycott of the Formation World Tour. Outside Beyoncé's concert at NRG Stadium on May 7, 2016, the Coalition of Police and Sheriffs held a demonstration over the Black Lives Matter themes in "Formation". The protesters wore "Police Lives Matter" T-shirts, held a printout of Jay Z's mugshot, and shone a blue light toward the stadium. President of the Tampa Police Benevolent Association Vinny Gericitano urged a boycott of Beyoncé's music and tour, however ensured that her concert in Tampa would be properly policed. Other law enforcement organizations did not join the boycott, such as those in Houston and Raleigh, the latter of which voted unanimously not to boycott the tour.


title: Formation (song)

text: Other public figures defended Beyoncé. Writer Chimamanda Ngozi Adichie told "Le Monde" that she "very much admires" what Beyoncé did with "Formation". Adichie said that there is something in mainstream American culture "that says you cannot be too black", and questioned why people would feel uncomfortable with the song's message and not be outraged over police brutality. The controversy was discussed on "Real Time with Bill Maher", where Maher mocked the right-wing response to "Formation". Rapper and activist Killer Mike explained how the song is not about white people, while comedian Margaret Cho added: "Black pride doesn't have to take anything away from white culture. I think this is what Black America needed. It's what all of us needed." Minister Louis Farrakhan backed the singer during a sermon and offered her the protection of the Nation of Islam. Singer-songwriter Ne-Yo questioned why Beyoncé was being criticized for singing about her identity, stating: "Everybody else has the right to talk about their culture and their race and be proud of it, so why can't we? Why can't she?" On "The Daily Show", Jessica Williams defended Beyoncé and responded to commentators who said her performance was not "wholesome" enough, saying she did not realize singing about race was the equivalent to Janet Jackson's Super Bowl controversy.


title: Formation (song)

text: Beyoncé responded to the backlash, telling "Elle": "I'm an artist and I think the most powerful art is usually misunderstood." She expressed respect and admiration for police officers and explained that the message of "Formation" was not anti-police but against police brutality and injustice. Beyoncé added: "If celebrating my roots and culture during Black History Month made anyone uncomfortable, those feelings were there long before a video and long before me. I'm proud of what we created and I'm proud to be part of a conversation that is pushing things forward in a positive way." Beyoncé later sold "Boycott Beyoncé" merchandise at the Formation World Tour, acting as a tongue-in-cheek reference to the controversy. "The Atlantic"'s Spencer Kornhaber wrote that this was also a statement that Beyoncé was unwavering in her beliefs, which directly acknowledges "the people she's alienated and telling them she doesn't want them to come back".


title: Formation (song)

text: Upon its release, "Formation" dominated public conversation and ignited discussions on the topics of culture, racism and politics. Many academic syllabi, think pieces, ideological debates and analyses were published that were triggered by the release of the song. Puja Patel, editor-in-chief of "Pitchfork", wrote that the song was "an awakening for a country in crisis" at first, and it has since evolved to "live on as a reminder of the slow, persistent, daily work of organizing and the power of resilience and protest". The song garnered attention for the Black Lives Matter movement and raised awareness for issues facing black people before the 2016 US presidential election. Charles Hughes, professor and director of the Memphis Center at Rhodes College, said that music was one of the strongest influences on the 2016 presidential election and that "Formation" had the greatest influence of all songs. Hughes described the song as "invoking movement" and reminding listeners of the role of women in the Black Lives Matter movement. In "Michael Moore in TrumpLand", American filmmaker Michael Moore said that Beyoncé's performance of "Formation" at the Super Bowl was the breaking point of the shifting gender balance in American society, at which straight white men realized they were losing their power to women. The song forced Americans to address topics in American history, such as the Black Power movement, the Black Panther Party and Malcolm X, which had largely been excluded from history books and public school syllabi. The song also reclaimed the images of both the Black Lives Matter movement and Black Panther Party, which some Americans had associated with terrorism instead of liberation. Describing the song as "revolutionary", Riché Richardson wrote that it "unsettled the prevailing national fantasies of a post-racial America" and challenged listeners to envisage a future nation that is more inclusive of race, sexuality, and gender.


title: Formation (song)

text: "Formation" became known as a protest song upon its release and has since been used as an anthem for various socio-political movements. The song became a Black Lives Matter anthem, being adopted by activists and played at protests worldwide. Tamara Winfrey Harris explained how "music has a powerful ability to shape social values and beliefs", with "Formation" following in the footsteps of songs that provide "the support and soundtrack for civil rights", such as Billie Holiday's "Strange Fruit", Nina Simone's "Mississippi Goddam", Sam Cooke's "A Change Is Gonna Come" and Aretha Franklin's "Respect". Nora Guthrie, daughter of American singer-songwriter Woody Guthrie, told "Billboard" that she looks to Beyoncé to continue the work of her father and other folk pioneers who wrote protest songs in the 1960s. Guthrie compared "Formation" to the work of Lead Belly, adding: "just because the music isn't based in acoustic guitar doesn't mean it isn't drawing from the same ideals." Gerrick D Kennedy of the "Los Angeles Times" wrote that the song became part of the "soundtrack for a new generation of young black men and women during a renewed time of racial unrest" and helped Beyoncé become "the face of protest music" in 2016. "Formation" continued to be one of the protest songs of the Black Lives Matter movement in 2020, with the track being played at the George Floyd protests. The song also became a women's empowerment anthem, with it being used to show support for the #MeToo movement and its lyrics being featured on signs at the Women's March.


title: Formation (song)

text: With "Formation", Beyoncé "set the standard [for] nearly everyone else in the music industry", according to Bianca Gracie of "Billboard". "Glamour"'s Danielle Young wrote that the song "revolutionized the way we consume music", with Beyoncé making listeners stop and experience the song together. Writing for "Vice", University of Waterloo professor Naila Keleta-Mae noted that with the release of the song, "Beyoncé went from manipulating the pop culture music industry machine to usurping it". Keleta-Mae added that the song has acted as a blueprint for how artists can "unequivocally delve into the politics that matter to them while simultaneously holding mainstream attention". Jordan Bassett of "NME" wrote that song has brought protest music back. In an article for "The Guardian", Yale University professor Daphne A Brooks wrote that one can consider the song to have ushered in "a new golden age of protest music", as an "inspired, insurgent assault" that "challenges us to ask how we can all make cultural forms work for us and not the other way around".


title: Formation (song)

text: "Formation" inspired the 2018 book "Beyoncé in Formation: Remixing Black Feminism" by Omise'eke Natasha Tinsley. The book is based on Tinsley's college course "Beyoncé Feminism, Rihanna Womanism", which she teaches as professor at Harvard University and the University of Texas at Austin, and analyses the cultural, political, and black feminist themes in "Lemonade". In 2017, the University of Pennsylvania offered a course titled "Beyoncé, Protest, and Popular Music", which explored the risks that Beyoncé took when releasing "Formation", its place in the history of protest songs, and the role of gender and race in popular music. At the University of Hertfordshire, "Formation" was studied as part of the UK's first degree course focusing on the Black Lives Matter movement. In 2016, the University of Texas at San Antonio offered a class focusing on the "Formation" video and "Lemonade" album. These projects were used as a basis to examine the sociocultural issues affecting black women through the study of black feminist theory, film, music, and literature. Texas Christian University offered a course titled "Beyoncé and Intersectionality", which used "Formation" and other Beyoncé projects "to explore deeper issues of patriarchy, racism, classism and sexism in society". In 2021, Boston University offered a course that studied the "Formation" video as part of their exploration of how the South has been depicted in American fiction. The University of Wisconsin–Madison School of Nursing analyzed the concepts and issues in "Formation" to explore topics such as intersections of black history, black femininity and body politics, and how the Black Lives Matter movement has impacted health and health outcomes. The 2017-18 Rabinor Lecture in American Studies at Cornell University by Riché Richardson was inspired by "Formation", being titled "Writing Home: The Birth of Beyoncé and a Formation Nation". Richardson also taught a course titled "Beyoncé Nation", which studied "Formation" and other projects to examine Beyoncé's use of iconic symbolism, allusions to police brutality, and feminist themes.


title: Formation (song)

text: References within the lyrics of "Formation" have popularized certain brands and phrases. The mention of the American restaurant chain Red Lobster in the song's bridge increased sales at the restaurants by 33%, and upon the song's release, the chain was tweeted about over 42,000 times during the first hour and trended for the first time in its history according to Red Lobster spokesperson Erica Ettori. Employees also renamed popular menu items after Beyoncé and call the effect the "Beyoncé Bounce". The term "Bama" received a major boost in prominence after it was used in "Formation", and the word was subsequently added to the "Oxford English Dictionary". Beyoncé's shoutout to the Chevrolet El Camino car in the song and its feature in the music video "did more in 5 seconds for the El Camino than General Motors marketing did for years", according to Hannah Elliott of "Bloomberg".


title: Formation (song)

text: The use of the word "slay" in the song has since popularized the term. A novel method of screening drugs to combat antibiotic resistance was named SLAY (Surface Localized Antimicrobial Display) as a reference to the song. Presbyterian pastor Floretta Barbee-Watkins evoked the song in the opening devotion of the 2021 Presbyterian Mission Agency Board meeting, where she called for the Presbyterian Church (USA) to "get in formation" by transforming the church in a time of volatility and complexity, and ended the devotion with the call to action "'cause we slay".


title: Formation (song)

text: The lyric "I got hot sauce in my bag, swag" became a common refrain after the song's release and inspired people to produce related merchandise. In an interview with "The Breakfast Club" during her 2016 presidential campaign, Hillary Clinton referenced the lyric, saying she carries hot sauce in her purse. This sparked controversy, with some saying that she was pandering to young black voters.


title: Formation (song)

text: One of the hairstyles that Beyoncé wore in the music video, with long cornrows with a deep side part, has since been termed "Lemonade braids" after the album and remains a popular hairstyle for black women. The black power beret was given "a new lease of life" after the performance of "Formation" at the Super Bowl, according to "The Guardian"'s deputy fashion editor Priya Elan, triggering the hat's comeback as a symbol of black power. Piping became the defining trend of the spring/summer 2016 fashion season after Beyoncé wore a piped shirt in the "Formation" video.


title: Formation (song)

text: Several white musicians released acoustic covers of "Formation". Jonny Hetherington, frontman of Canadian rock band Art of Dying, posted a cover of the song on February 18, 2016. In contrast to the original track, Hetherington sings with a clear vocal accompanied by piano chords. This video, among the other covers, sparked controversy as they were perceived to be trivializing the specific blackness of the song. In "The Oxford Handbook of Social Media and Music Learning", Joseph Michael Abramo wrote that it is "striking and uncomfortable" to see a white man sing lyrics such as "I like my negro nose with Jackson Five nostrils", which celebrate black features that have been "denigrated by white conceptions of beauty". Abramo added that Hetherington's delivery eliminates the "grittiness" of the track, in turn eliminating "the criticism of institutional racism it represents". In response to these covers, Black Twitter posted trap covers of songs by white artists, such as Taylor Swift's "You Belong With Me", The Beatles' "Hey Jude", and Queen's "We Will Rock You", to outrage from fans. This also ignited a wider debate on the appropriation of black culture in music.


title: Formation (song)

text: American electronic musician Lotic released a remix of "Formation" titled "Formation (Election Anxiety/America Is Over Edit)" on November 9, 2016, in response to the results of the United States presidential election. The song evokes Lotic's trademark industrial sound as well as that of marching bands, acting as a reference to Beyoncé's Super Bowl performance of the song and as a tribute to the South. The song was named "Best New Track" by "Pitchfork", with Philip Sherburne writing that it "turns Beyoncé's strutting call to arms into a cry of pain and defiance".


title: Formation (song)

text: Australian brand Misha Collection concluded its Australian Fashion Week show on May 16, 2016, with models led by Bella Hadid walking to "Formation". This received criticism, as there were no models of color cast in the show, which acts in contrast to the song's message of celebrating blackness. This incident was used to trigger conversations on the lack of diversity in the fashion industry.


title: Formation (song)

text: "Formation" was used in Google's 2021 Women's History Month commercial that celebrates women who became "firsts" in their respective fields.


title: Where the Buffalo Roam

text: Where the Buffalo Roam is a 1980 American semi-biographical comedy film which loosely depicts author Hunter S. Thompson's rise to fame in the 1970s and his relationship with Chicano attorney and activist Oscar "Zeta" Acosta. The film was produced and directed by Art Linson. Bill Murray portrayed the author and Peter Boyle portrayed Acosta, who is referred to in the film as Carl Lazlo, Esq. A number of other names, places, and details of Thompson's life are also changed.


title: Where the Buffalo Roam

text: Thompson's eulogy for Acosta, "The Banshee Screams for Buffalo Meat", which appeared in "Rolling Stone" issue #254 in December 1977, serves as the basis of the film, although screenwriter John Kaye drew from several other works, including "Fear and Loathing on the Campaign Trail '72", "The Great Shark Hunt", and "Fear and Loathing in Las Vegas". Thompson served as "executive consultant" on the film.


title: Where the Buffalo Roam

text: The film opens in the Rocky Mountains on the Colorado ranch of Dr. Hunter S. Thompson, a journalist furiously trying to finish a story about his former attorney and friend, Carl Lazlo, Esq. Thompson then flashes back to a series of exploits involving the author and his attorney.


title: Where the Buffalo Roam

text: In 1968, Lazlo is fighting to stop a group of San Francisco youngsters from receiving harsh prison sentences for possession of marijuana. He convinces Thompson to write an article about it for "Blast Magazine". Thompson's editor, Marty Lewis, reminds Thompson that he has 19 hours to deadline. The judge hands out stiff sentences to everyone; the last client is a young man who was caught with a pound of marijuana and receives a five-year sentence. Lazlo reacts by attacking the prosecuting attorney and is then jailed for contempt of court.


title: Where the Buffalo Roam

text: The magazine story about the trial is a sensation, but Thompson does not hear from Lazlo until four years later, when Thompson is on assignment covering Super Bowl VI in Los Angeles. Lazlo appears at Thompson's hotel and convinces him to abandon the Super Bowl story and join his band of freedom fighters, which involves smuggling weapons to an unnamed Latin American country. Thompson goes along with Lazlo and the revolutionaries to a remote airstrip where a small airplane is to be loaded with weapons, but when a police helicopter finds them, Lazlo and his henchmen escape on the plane while Thompson refuses to follow.


title: Where the Buffalo Roam

text: Thompson's fame and fortune continue. He is a hit on the college lecture circuit and covers the 1972 presidential election campaign. After being thrown off the journalist plane by The Candidate's press secretary, Thompson takes the crew plane and gives strait-laced journalist Harris from the "Post" a strong hallucinogenic drug and steals his clothes and press credentials. At the next campaign stop, in the airport bathroom, Thompson is able to use his disguise to engage The Candidate in a conversation about the "Screwheads" and the "Doomed".


title: Where the Buffalo Roam

text: Thompson, still posing as Harris, returns to the journalist plane. Lazlo then appears, striding across the airport tarmac in a white suit. He boards the plane and tries to convince his old friend to join his socialist paradise somewhere in the desert. After causing a disturbance, Thompson and Lazlo are thrown off the plane, and Lazlo's papers that describe the community are blown across the airport runway. Lazlo, presumably, is not heard from again.


title: Where the Buffalo Roam

text: The action then returns to Thompson's cabin, just as the writer puts the finishing touches on his story, explaining that he didn't go along with Lazlo—or Nixon—because "it still hasn't gotten weird enough for me."


title: Where the Buffalo Roam

text: In the late 1970s, film producer Thom Mount paid US$100,000 for the film rights to the obituary of Chicano activist Oscar Zeta Acosta, "The Banshee Screams for Buffalo Meat", written by Hunter S. Thompson. Thompson agreed to have it optioned without seeing a screenplay figuring that the film would never get made, as the vastly more popular "Fear and Loathing in Las Vegas" had been optioned several times and was never made. In 1978, Art Linson, who had previously produced four films, started planning to make the film, which would be his directorial debut. Thompson remembered, "Then all of a sudden there was some moment of terrible horror when I realized they were going to make the movie". Linson asked illustrator Ralph Steadman to create a poster for the film in the style of the illustrations he had done for Thompson's articles. He used a drawing titled "Spirit of Gonzo" as the basis.


title: Where the Buffalo Roam

text: Thompson met with the film's screenwriter John Kaye and felt that Kaye understood more than what was in the script, which he described as "bad, dumb, low-level, low rent". Thompson admitted that he signed away having any kind of control so that he could not be blamed for the end result. In the original script, Lazlo's surname was Mendoza but this was changed after Nosotros, a group of Chicano actors and filmmakers, threatened to create controversy if the character was played by Anglo actor Peter Boyle. Just before principal photography was to begin, Bill Murray became apprehensive about the project because of the shortcomings of the script.